A09578	----	A briefe and short instruction of the art of musicke to teach how to make discant, of all proportions that are in vse: very necessary for all such as are desirous to attaine to knowledge in the art; and may by practice, if they can sing, soone be able to compose three, foure, and five parts: and also to compose all sorts of canons that are usuall, by these directions of two or three parts in one, upon the plain-song. By Elvvay Bevin. Bevin, Elway, ca. 1554-1638. 1631 Approx. 32 KB of XML-encoded text transcribed from 32 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2005-03 (EEBO-TCP Phase 1). A09578 STC 1986 ESTC S101568 99837377 99837377 1696 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A09578) Transcribed from: (Early English Books Online ; image set 1696) Images scanned from microfilm: (Early English books, 1475-1640 ; 1090:13) A briefe and short instruction of the art of musicke to teach how to make discant, of all proportions that are in vse: very necessary for all such as are desirous to attaine to knowledge in the art; and may by practice, if they can sing, soone be able to compose three, foure, and five parts: and also to compose all sorts of canons that are usuall, by these directions of two or three parts in one, upon the plain-song. By Elvvay Bevin. Bevin, Elway, ca. 1554-1638. [6], 52 p. : music Printed by R. Young, at the signe of the Starre on Bread-street hill, London : 1631. Some of the music is printed in red. Reproduction of the original in the British Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org). The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. Anyone can now take and use these texts for their own purposes, but we respectfully request that due credit and attribution is given to their original source. Users should be aware of the process of creating the TCP texts, and therefore of any assumptions that can be made about the data. Text selection was based on the New Cambridge Bibliography of English Literature (NCBEL). If an author (or for an anonymous work, the title) appears in NCBEL, then their works are eligible for inclusion. Selection was intended to range over a wide variety of subject areas, to reflect the true nature of the print record of the period. In general, first editions of a works in English were prioritized, although there are a number of works in other languages, notably Latin and Welsh, included and sometimes a second or later edition of a work was chosen if there was a compelling reason to do so. Image sets were sent to external keying companies for transcription and basic encoding. Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Music theory -- History -- 17th century -- Early works to 1800. Musical canon -- Early works to 1800. 2004-10 TCP Assigned for keying and markup 2004-11 Apex CoVantage Keyed and coded from ProQuest page images 2004-12 Andrew Kuster Sampled and proofread 2004-12 Andrew Kuster Text and markup reviewed and edited 2005-01 pfs Batch review (QC) and XML conversion A BRIEFE AND SHORT INSTRVCTION OF THE ART OF MVSICKE , to teach how to make Discant , of all proportions that are in vse : VERY NECESSARY FOR ALL such as are desirous to attaine to knowledge in the Art ; And may by practice , if they can sing , soone be able to compose three , foure , and five parts : And also to compose all sorts of Canons that are usuall , by these directions of two or three parts in one , upon the Plain-song . By ELVVAY BEVIN . LONDON , Printed by R. Young , at the signe of the Starre on Bread-street hill . 1631. ❧ TO THE RIGHT REVEREND FATHER IN GOD , AND MY HOnourable good Lord , the Lord Bishop of GLOCESTER . RIGHT REVEREND , AFter much paines taken in the study and art of Musicke , for these many yeares last past , to compose Canons of two & three parts in one upon the Plain-song ; have now at length laid downe this burden of my minde , the hopefull issue of my tyred braine . To the visiting of which Infant , many of my good friends resorting , and those skilfull in my profession , perswaded me to expose it to the world , and let try for it selfe ; which I refused to doe , untill I called to minde , that it might tend to the praise and glory of Almighty God , and to the benefit of my native country : Yet finding , that such exposed Infants might easily perish without the protection of some worthy and powerfull Patron , resolved to keepe it at home , untill I remembred your good Lordship to be a lover and favourer of Musick , and unto whom I have beene much bound for many favours , for all which , being not able to returne worthy compensation , but rather to trench more and more daily upon your benignity , doe bequeath this my Infant unto your Lordships Patronage , whom I know for authority , wisedome , and learning to be able , and for piety and charity will bee willing , to protect the same ; which if you vouchsafe , you have and alwayes shall have devoted To your Lordships service , ELVVAY BEVIN . TO THE READER . BEing no lesse true than ancient , that good things common are of more regard , I might not imbrest this talent ( the perfection of my long endeavours ) and not impart it to the publique benefit , lest I should prove my selfe no Moralist , and so incurre their blackest censure , who first did backe me on this enterprise . I doubt not the perusers favour ( yet not glory in my little one ) if hee vouch safe it but a slender tryall ; for though it be but small in quantity , yet for diversities of examples and difficulties , the quality may seeme the greater , and passe the elaborate workes of larger volumes . Thine , Elway Bevin . To M r Elway Bevin upon his Canons of three parts in one ▪ An EPIGRAM . MUsicke breaths heaven , nay more , it doth disclose it , If old Iudicious Bevin doe compose it . Astronomy stares high , and doth not feare To draw heavens curtaine , and unfold a Spheare : But Musicke climbes as high as Iacobs Scale , Out-vies a Iacobs Staffe : it doth unvaile Three for her one , or rather three in one : A mystery that Art ne're thought upon . Three parts in one , are no Trichotomy Of one in three , but a sweet Trinity Combin'd in one . This may ( with wonder ) make An Atheist ( if hee 'le lay his eares to stake ) Sing Trinity in Vnity , when he shall Heare that ( which he thought harsh ) prove musicall . Church Musicke finds applause , then why not Hee That sets forth Canons of a Trinity ? Thomas Palmer . Bristoll . There are nine Concords of Musicke , as followeth : A Vnison , Third , Fift , Sixt , Eight , Tenth , Twelfth , Thirteenth , and Fifteenth : Whereof five are called perfect , and foure unperfect . The five perfect , are , Unison , Fift , Eight , Twelfth and Fifteenth : Of these you may not take two of one sort together , neither rising nor falling , as two Fifts or two Eights . The other foure , called unperfect , you may take two or three together of one sort , rising or falling , which are , a Third , Sixt , Tenth , and Thirteenth . These nine Concords are comprehended in foure , viz. Unison , Eight , Fifteenth , are counted as one , for every eight is the same . So that in effect there are but foure Concords . Third , Tenth , likewise . Fift , Twelfth , likewise . Sixt , Thirteenth , in like sort . The Discords are , a Second , Fourth , and Seventh , with their Eights ; which being sometime mixt with Concords , make best musicke , being orderly taken . The proportions , as follow . Conter point : Dupla . Tripla . 31 Quadrupla . 41 Quadrupla by three . 41 Sextupla . 61 Octupla . 81 Nonupla . 91 Sesq. altera . 32 Sesq. tertia . Sesq. tertia . 43 Tripla Inductio to Nonupla 31 91 Sesq. altera Inductio to 92. 32 92 Divers other proportions there are , as Quintupla , Septupla , and suchlike , which are out of use . Semb . and Mynome . Mynome and Crochet . Driuing an odde Mynome to the end . Driuing an odde Crochet to the end . Subdupla Subtripla . The manner of maintaining a point . Another Example . Another of the same . Another of Sextupla . 61 3. Voces . 2. partes to the plain-song : The point reuerted . The ordinary wayes of two partes in one , are as followeth . 2. in one in the Vnison . Second . Third . Fourth . Fift . Sixt. Seventh . Of these sorts you may make upon one Plain-song a thousand wayes , onely by altering the Rests , and setting the Plain-song sometime above , sometime below , and sometime in the middest , which causeth great variety , as for example you may partly see , by these that follow . Plain-song above . A Crochet following . Canon . Plainsong in the middest . Canon . Plainsong belowe : 1 Canon . A Crochet following . 2 Canon . 3 Canon . 4 Canon . 5 Canon 6 Canon . 7 Canon . A Mynome following . 1 Canon . 2 Canon . 3 Canon . 4 Canon . 5 Canon . 6 Canon . 7 Canon . 8 Canon . A Semibriefe following . 1 Canon . 2 Canon . 3 Canon . 4 Canon . 5 Canon . 6 Canon . 7 Canon . Three Mynomes following . 1 Canon . Two Semibriefes following . 4. Voces . 1 Canon . Thus may you increase your Rests , if the Plain-song be of any length , to eight or tenne Semibriefes , or more , before the following part cometh in . And in this order might a great number of wayes be made : But I will not counsaile any to the pursuit thereof ; for I hold it better to know the way and meanes how it may be done , than to take so laborious a worke in hand . Two parts to the Plainsong maintaining their seuerall points . Another example of the same . There are diuerse other wayes of two parts in one , which are not so common , but yet more difficult in composing , as two in one per Augmentation , that is , when one part doubleth euery Note , making the Crochet a Mynome , the Mynome a Semibriefe , &c. Example . Canon per Aug. Another example . Canon per Aug. Also you haue two parts in one per Arsin & Thesin , by contrary motions , that when one part ascendeth the other descendeth , which is both difficult , and carrieth more maiesty than any other Canon : And are diuersly made in any distance . Example . Canon per Arsin & Thesin . Another example . Canon per Arsin & Thesin . Moreouer you haue two in one Recte & Retro , when one part singeth forward and the other backward , which is somewhat difficult to be made vpon a Plainsong , but without , the easiest of all other . Many other wayes there are , and are daily inuented by the skilfull , as you shall perceiue by these examples that follow . Canon . Recte and Retro : Another below . Canon . Recte and Retro . Another . Canon . Recte and Retro . There is also a kinde of double discant which is no Canon , but somewhat of the nature of a Canon , and sometime also made in a Canon . Double discant . The Principall . In the Reply the Treble is set eight notes lower and made the Counter , and the Base is set twelve notes higher and made the Treble , the Plainsong set an eight lower and made the Base . The reply . Double discant in a Canon . The principall . In the Reply the higher of the principall is set an eight lower and made the Base , and the Base set a fift higher and made the Counter , and the Plainsong being the Treble set eight notes lower . The Reply . Diminution by turnes per Arsin & Thesin . Here are certaine Canons of three in one , very difficult , made of the Plainsong it selfe ; euery part contrary to other in nature . These are compound Canons , euen as the Apothecary maketh his confections of diuers simples , compounded together of sundry wayes . Recte and Retro , & per Arsin & Thesin . Canon . Three in one , per Arsin & Thesin . Another example , per Arsin & Thesin . Canon . Three in one . Per Arsin & Thesin , Recte and Retro . I haue set them downe very briefe and short , and haue made choise of this Plainsong of purpose , to the intent , the Learner of Practitioner may the better conceiue of euery particular , being also set downe in partition . Per Arsin & Thesin . Example . Recte and Retro per Arsin & Thesin . Canon three in one Example . Canon three in one , per Arsin & Thesin , making euery note a Semibriefe . Take one and leaue one per Aug. So the Plainsong contained therein . Canon three in one . Foure in two . 4. Voces . Canon . Canon per Arsin & Thesin . Another foure in two . Canon Recte & Retro & per Arsin & Thesin . Canon . Canon Diapente . Another foure in two . Canon Diapente . Another of foure in two . Canon subdiapente . Canon subdiapente . Per Augmentation , Aliud crescit in Duplo . Canon . Three in one . These Canons that follow are also very difficult to be made on any Plainsong . Three in one of sundry proportions . Canon three in one . Crescit in Duplo . Per Aug. & per Arsin & Thesin . Another of like difficulty . Canon . per Arsin & Thesin . Aliud per Aug. Crescit in duplo , leauing the rest at the beginning . Per Arsin & Thesin . Canon three in one . Fiue in two , Recte & Retro & per Arsin & Thesin . Canon three in one , Recte & Retro . Canon two in one , Recte & Retro . A Mynome following . Canon in diatessaron . Ad placitum . Canon per Arsin & Thesin . Ad placitum . A note aboue . Canon . Nota superior . Mynome and Crochet binding one vpon another . Canon . Double discant made in a Canon Canon . Ad placitum . In the Reply the Meane is made the Base , set eight notes lower , the Base is made the Meane , set eight notes higher . Canon . A note aboue . Canon . Canon in the third . This Canon singeth onely the Crochets Semibriefes , the other onely the Crochets making them Briefes . Canon . Foure in two . 4. Voces . Canon . Foure in two . Canon . Canon . Here follow certaine Canons of diuerse and sundry sorts , which are many of them very difficult to be made to any Plainsong . This Canon may be sung after the manner of a Round , falling a note at euery returne , and falling note by note to the end . Canon . This Canon riseth a note at euery returne , and riseth note by note to the end . Canon three in one , Diapente inferior , making euery note a Semibriefe . Two parts falling , the third rising , making euery note a Semibriefe . Canon three in one . The third part singeth onely the Mynomes making them Semibriefes , per Aug. Canon three in one Vnison . A Canon of three in one , hath resemblance to the holy Trinity , for as they are three distinct persons and but one God , so are the other three distinct parts , comprehended in one . The leading part hath reference to the Father , the following part to the Sonne , the third to the holy Ghost . Diapason . Aliud per Arsin & Thesin making euery note a Semibriefe . Canon three in one . A note aboue Another . Canon three in one . Rising a note at euery returne , a fift one aboue another . Canon three in one . Rising a note at euery returne . Canon three in one . O Iesu dulcis remissio omnium peccatorum meorum ▪ O Iesu. Foure parts in two . Canon . Canon . Fiue voc . foure in two . Canon . Canon . Fiue Voc. Ad placitum . Canon three in one per Arsin & Thesin & Vnison . Canon three in one . Foure in two . Ad placitum . Canon . Canon . This taketh onely the Semibriefe . Foure in two : Canon in the third . Ad placitum . Canon . Foure in two . Canon . Canon . Foure in two . Canon . Canon . Foure in two , either part repeting that the other sung before . Canon per Arsin & Thesin . Canon Vnison . Canon three in one per Arsin & Thesin . Foure in two . Canon . Canon . These Canons be of different natures , therefore the more difficult . Foure in two . Canon per Arsin & Thesin . Canon Vnison . This Canon is very difficult to make vpon any plainsong , either part repeating that the other sung before . Canon three in one per Arsin & The sin & Vnison . Canon three in one per Aug. & Vnison . Per Aug. Ad placitum . Fiue Voc. This Canon is to be prict in two seuerall colours . Canon three in one . The red is one part , the blacke another , the third part singeth both colours , leauing all the Rests , as appeareth below . The Canon explained . Here follow certaine Canons , which are most difficult in composition , by reason of the great variety of Canons contained in them . This Canon hath a resemblance to the frame of this world , for as this world doth consist of the foure Elements , viz. Fire , Ayre , Water , and the Earth , and in either of them sundry liuing and moueable creatures : So likewise this Canon consisteth and is deuided into foure seuerall Canons , and to euery one belongeth fifteene parts , a certaine number for an vncertaine . The whole sixty parts are contained in these seuen . These figures are set to distinguish the parts . 1 2 3 4 5 6 7 1 3 5 7 2 4 6 1 2 3 4 5 6 7 1 3 5 7 2 4 6 Here is to be noted , that the following parts of euery Canon rest two Semibriefes after other , euery Canon different in nature . You shall vnderstand that in the Canon , which is the red , is diuided into foure seuerall Canons , and to euery of them belongeth fifteene parts , in the whole three score : Two of these Canons are whole , and two are halfe Canons , because they take onely the later part , which is the Semibriefe and Semibriefe Rest , and are to be sung in diuers tunes according to the direction . Bis binos capit Canon verosque Canones : Integri duo sunt , dimidiique duo . Horum quisque Canon vero terquinque requirit : At primo debent caetera cuncta Cani . Sed iuncto duplici Basso ponitur infra , Vocibus isto nouem singularite Canas . 8 9 10 11 12 13 14 15 9 11 13 15 8 10 12 14 8 9 10 11 12 13 14 15 9 11 13 15 8 10 12 14 Canon sixty in one . Diapente superior 15. Sexto superior Retro . 15. Tertio inferior per Arsin & Thesin 15. Diatessaron inferior 15. These threescore parts in one are contained in foure red notes . This Canon is to be sung in all distances , as appeareth in the page following . Foure Voc. Canon Vnison . He that will looke into the depth of this Canon , must take the paines to pricke out euery one of these at large , for I haue set downe only the beginning of euery part , to saue labour : And so likewise in the next that followeth . 2 3 4 5 6 Secundo . Tertio . Diatessaron superior . Diapente superior . Sexto . three in one . 7 8 9 10 11 12 Septimo . Octauo . Nono . Diatessaron inferior . Diapente inferior . Subdiapason . The Plainsong neuer changeth , neither the Base , but onely in the fift way , which is the Canon set eight notes lower . The other two parts may easily be prict according to the directions set downe already . Three parts to the Plain-song , composed in such sort , as euery part is made the Base or ground to the other , which causeth variety of musicke , by reason of the changing of the parts and is to be sung foure seuerall wayes , as appeareth . Foure Voc : Either of these Replies are to be prict out at large . The first Reply . The second Reply . The third Reply . 1 The Treble in the first Reply , is the Tenor of the principall , prict an eight higher . 2 The Treble in the second Reply , is the Meane of the principall , prict a fift higher . 3 The Treble in the third Reply , is the Base of the principall , set twelue notes higher . 1 The Meane in the first Reply , is the Treble of the principall . 2 The Meane in the second Reply , is the Base of the principall , set twelue notes higher . 3 The Meane in the third Reply , is the Tenor of the principall , set eight notes higher . 1 The Tenor in the first Reply , is the Base of the principall , set eight notes higher . 2 The Tenor in the second Reply , is the Treble of the principall , set eight notes lower . 3 The Tenor in the third Reply , is the Meane of the principall , set foure notes lower . 1 The Base in the first Reply , is the Meane of the principall , set eight notes lower . 2 The Base in the second Reply , is the Tenor of the principall . 3 The Base in the third Reply , is the Treble , set fifteene notes lower . xxi . parts . Foure parts to the plain-song , euery part fiue in one , resting fiue Semibriefes after other . Canon fiue in one . Canon fiue in one . Canon fiue in one . Canon fiue in one . Whose will take a view of all the parts of this song , must take the paine to pricke out euery part by it selfe . The first resteth fiue Semibriefes , the second tenne , the third fifteene , the fourth and last twenty : and so likewise euery Canon . The Closes that are set here , serue to shew where euery part endeth : The part that resteth fine Semibriefes , endeth on the last Close saue one , that part that resteth tenne Semibriefes , endeth on the last Close , saue two . So the rest accordingly . Fiue parts in one to the plain-song , resting fiue Semibriefes after other , in a Round . Sixe Voc. Thrice ouer . Gloria tibi Domi - ne , qui natus es de Virgi - Canon fiue in one . Gloria tibi Domine , qui natus es de Virgine , ▪ ne , cum Pa - tre & Spiri - tui san - cto in sempiter - na sae - cu - la. cum Patre & Spiritui san - cto in sempiterna saecula ▪ Fifteene parts in one , loc here may you see , Vpon the Plain-song , all contain'd in three . And to this intent , In fiue notes consist , That may represent the fiue wounds of Christ. Canon three in one per Arsin & Thesin , aliud in Diapason . Sing this fiue times ouer . This last note that standeth by it selfe , is for the finall Close of the first part . Tenor. Fiue voc . Bassus . Laus Deo. Thus much haue J thought sufficient for young Practitioners at this present , but if I may perceiue any to take profit herein , shall be encouraged hereafter to set out a larger Volume , is it please God to giue me life , and enable me thereunto . In the meane season , I wish thee all happinesse and good success in thy proceedings . Thy harty wel-willer in Christ Iesus , Elway Bevin ▪ FINIS . 
A26830	----	The lawfulness and expediency of church-musick asserted in a sermon preached at St. Brides-Church upon the 22d. of November, 1693 being the anniversary meeting of gentlemen, lovers of musick / by Ralph Battell ... Battell, Ralph, 1649-1713. 1695 Approx. 31 KB of XML-encoded text transcribed from 14 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2007-10 (EEBO-TCP Phase 1). A26830 Wing B1149 ESTC R10687 11682940 ocm 11682940 48121 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A26830) Transcribed from: (Early English Books Online ; image set 48121) Images scanned from microfilm: (Early English books, 1641-1700 ; 11:5) The lawfulness and expediency of church-musick asserted in a sermon preached at St. Brides-Church upon the 22d. of November, 1693 being the anniversary meeting of gentlemen, lovers of musick / by Ralph Battell ... Battell, Ralph, 1649-1713. [2], 25 p. Printed by J. Heptinstall for John Carr, London : 1694/5. "Published at the request of the stewards" Reproduction of original in Library of Congress. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org). The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. Anyone can now take and use these texts for their own purposes, but we respectfully request that due credit and attribution is given to their original source. Users should be aware of the process of creating the TCP texts, and therefore of any assumptions that can be made about the data. Text selection was based on the New Cambridge Bibliography of English Literature (NCBEL). If an author (or for an anonymous work, the title) appears in NCBEL, then their works are eligible for inclusion. Selection was intended to range over a wide variety of subject areas, to reflect the true nature of the print record of the period. In general, first editions of a works in English were prioritized, although there are a number of works in other languages, notably Latin and Welsh, included and sometimes a second or later edition of a work was chosen if there was a compelling reason to do so. Image sets were sent to external keying companies for transcription and basic encoding. Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Music in churches. 2006-04 TCP Assigned for keying and markup 2006-05 Apex CoVantage Keyed and coded from ProQuest page images 2006-09 Judith Siefring Sampled and proofread 2006-09 Judith Siefring Text and markup reviewed and edited 2007-02 pfs Batch review (QC) and XML conversion THE Lawfulness and Expediency OF Church-Musick ASSERTED , IN A SERMON Preached at St. Brides-Church , Upon the 22 d. of November , 1693. BEING The Anniversary Meeting of Gentlemen , Lovers of MUSICK . By RALPH BATTELL , Sub-Dean of Their Majesties Chapel-Royal . Published at the Request of the Stewards . LONDON , Printed by J. Heptinstall , for John Carr , at the Middle-Temple-Gate in Fleetstreet , 1694.5 Imprimatur . Carolus Alston R. P. D. Hen. Episc . Lond. à Sacris . Jan. 16. 1693 / 4. Psalm 100. Ver. 1 , 2. Make a joyfull noise unto the Lord , all ye Lands . Serve the Lord with Gladness ; come before his Presence with Singing . WE have in these Words a Direction how to behave our selves in the publick Worship of God ; and I have made Choice of them at this time to justify the Practice of our own Church in her laudable Use of Musick , both Vocal and Instrumental , in her solemn Assembles . Which these two Expressions of making a joyfull Noise unto the Lord , and coming before his Presence with Singing , may be taken to import . Or if the former be not so very plain here for Instruments of Musick , as the latter is for Singing , yet we need not doubt , but it was intended , because mention is made of them in so many other Psalms of David , and particularly in the last Psalm . That none may therefore henceforth go about to separate those two things which agree so very well together , I will assert the Lawfulness , yea the Fitness and great Expediency of both Vocal and Instrumental Musick in the Church , during the solemn Worship of God there . But because some have been heretofore scandalized at it , and others may perhaps still remain scrupulous about it , I will , First , Speak a few Words in proving , that what was the Custom of Holy Men of Old , and what is recommended , to us by the Sacred Scriptures , and what was so early in Use in the Christian Church , must needs be lawfull notwithstanding all the Objections or Cavils that have been brought to the contrary . Secondly , I will also endeavour to shew , that this Practice is not only barely lawfull , but also highly advantageous , and greatly available towards the more magnificent and solemn Worship of God. That Musick has in it a natural Propriety to excite and heighten Devotion , will in some measure appear from the very Customs of the Heathen who did always use it in their Religious Rites . Now even these had some Light , together with their Darkness , and were in the Right concerning a Religious Worship to be paid somewhere , though in the wrong as to its object , and did well to make their Religious Entercourses appear august and solemn , though they were ignorant of the Statutes and Ordinances of the God of Israel . Now Homer one of the ancientest Heathen Writers , gives us an account that the Greeks celebrated the Praises of their Gods and Heroes upon the Harp. Others tell us , how the Phrygians worshipped Cybelle with the Drum ; and the Egyptians , Isis with the Timbrel : And the third Chapter of Daniel enforms us , that the Cornet , Flute , Harp , Sackbut , Psaltery , Dulcimer , and all kinds of Musick were used ( amonst those Eastern Nations ) in the Worship of their Idols . The Latines had also their Tibicines or Players upon Wind-Musick , upon whom they set a great Value , and granted to them many Priviledges , because they were assistant at their holy Rites . Now although these Examples alone would not be throughly material to our Purpose , yet when in the Sacred Scriptures we also find Holy men in the Church of God recommending , approving and practising these things , we may safely from thence conclude , that even these Customs in the Heathen were not any Corruption of their Hearts , or Delusion of Satan's , but a Remnant of that natural Light , and natural Religion , which was still left in them , and taught them to imitate what by divine Impulse and Inspiration was at first taught the Children of God , and afterwards by the Ordinance of his Prophets and religious Kings was continued and established amongst them . The first mention that is made of this thing in the Scripture upon a Religious account , is before the Law was given from Mount Sinai , when Miriam the Prophetess the Sister of Aaron ( to celebrate the Deliverance out of Egypt ) took a Timbrel in her hand , and went forth with her women with Timbrels to accompany the Song of Moses , Exod. 15. 20. After that we read in 1 Sam. 10. 5. of a Company of Prophets who were met by Saul , coming down from the high place with a Psaltery , and a Tabret , and a Pipe , and a Harp before them , while they prophecied , and sang praises to God. In Conclusion , we read in 1 Chron. 15. 16. That David the King appointed singers with Instruments of Musick to welcom home the Ark at its return from the Philistines ; that he also composed a Psalm upon that occasion , and left there before the Ark of the covenant of the Lord , Asaph and his brethren to minister before the Ark continually , as every days work required , as we read 1 Chron. 16. 37. And this was the first establishment of the thing that we read of . This Custom when afterwards in the Reigns of evil Kings it had been neglected , Hezekiah in his good Reign restored , as we find in 2 Chron. 29. 25. And he set the Levites in the house of the Lord , with Cymbals , with Psalteries , and with Harps , according to the commandment of David , and of Gad the Kings Seer , and Nathan the Prophet , for so was the commandment of the Lord by his Prophets . To proceed yet on , Isaiah an inspired man and a Prophet , sung to his well beloved , a song of his beloved touching his vineyard , Isaiah 5. 1. The three Children sang a Hymn of Praise when they were cast into the fiery Furnace , and had that great Miracle wrought for their Deliverance . The Prophet Habakkuk in lofty Strains composed in just Measure , and fitted for the Skill of Musick , asswaged the publick Grief , foretelling the acceptable day of the Lord , and the compleat triumphs of Christs passion . Yea all the Prophets , saith St. Ambrose , cantaverunt spiritualibus modulis , &c. they sang forth the Oracles of divine Redemption , in spiritual Hymns , and in melancholy Dirges lamented the hard-heartedness of their own Country-men the Jews . In the New Testament we read that our Saviour sang a Hymn with his Disciples a little before his Passion , Matth. 26. 30. And even in his highest Agony upon the Cross , he recited a part of one of the Psalms of David , Psal . 22. 1. My God , my God , why hast thou forsaken me ? Paul and Silas sang in Prison at Midnight , Acts 16. 25. And the Visions of S. John do represent the Manners of the Church ; and even in Heaven they sing the Song of Moses and of the Lamb , Rev. 15. 3. All Antiquity does agree in this matter , acquainting us that this was the constant practice of the Primitive Christians , Profane Authors , together with Sacred , joyntly attesting it . Of the first kind we have Pliny the younger , who when he had enquired into the Errour of the Christians ( as he calls it ) he takes notice of no other Prayers that they had , but a Verse or Hymn to Christ , directed as to God. The Author of Philopatridis also observes that the Christians sang Hymns , etiam tota nocte , even all night long . Amongst the Ancient Fathers of the Church we have Justin Martyr mentioning their Hymns ; and Clemens Alexandrinus calls them 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , their Daily Liturgies : and a Cloud of Witnesses might be brought for the confirmation of this thing . The Cathemerina of Prudentius , the Odes of Nazianzen , the Psalms of Athanasius and Apollinarius , and the Hymns of Synesius , all yet extant , are so many standing proofs of this matter , and do sufficiently declare how much the Devotion of the Ancient Christians did consist in Harmony : They sang together in the Church , and they sang there also alternately ; for so Philo mentions them singing with a Praecentor , and the People answering the extreams or ends ; and Pliny also joyns with him to this effect . They sang at home in the Family , and abroad in the Field at their daily Labour ; they sang in Prison and under Persecution , yea and many times , moved with the Spirit of God , they sang forth Hymns of Praise even at the Stake , and amidst the Flames of Martyrdom . So that for the first of these , Vocal Musick , I suppose there can be no Objection raised against it , or any doubt but that it was ever used in the Christian as well as the Jewish Church : but there lies an exception which some have framed against Instrumental Musick , because we do not read that that was in use so early amongst the Primitive Christians ; and Justin mentions no other Musick used among them but the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , the bare singing with the Voice , unaccompanied with any Musical Instruments . Now as to this Exception let these two things be considered . First , That if it were thus for a time amongst the Primitive Christians , yet is it not any good Argument for its Perpetuity , any more than that because the upper Rooms and the subterraneous Caverns were the places where the persecuted Christians did use to meet , therefore also these are still to be used rather than the Churches , now the Persecution is ( by God's Mercy ) ceased , in a great part of the World : And Kings and Queens are become the nursing Fathers and nursing Mothers to the Church . If it were so for a Season we may and ought to look upon it as the necessity of the first Christians , rather than their Choice , and that they had not wherewithall to be at the charge of these Aids and Ornaments to their Religious Worship , rather than that they withheld the Expence , because they thought it unlawfull or unbecoming their Assemblies . For no sooner did the Church begin to flourish , but they grew into use and esteem : And we read of St. Ambrose , who lived about the latter end of the fourth Century , soon after the time of Constantine , and who it is also said composed the Te Deum , the same Hymn of Praise which we still retain in our Liturgy directed to the glorious Trinity , that he joyned Instruments of Musick with the publick Service in the Cathedral Church of Milan , where he was then Bishop : Which Example of his was so well approved of , that by degrees it became the general Practice of other Churches thereabouts , and has since obtained in almost all the Christian World besides . Secondly , Others have referr'd this to another Cause , namely , that as Inspiration in singing Psalms , ( which was doubtless an extraordinary Gift common to the Primitive Christians ) began to cease , Instruments and Skill were brought in in its Room , even as Learning and ordinary means took place instead of extraordinary Gifts : And this also might be another reason why Instrumental Musick was not so much in use at first , as it was afterwards . Now both these things together , if one of them alone be not sufficient , I hope may pass for a good answer to that Exception that has been taken by some from that passage in Justin , or any other of a like kind ( if any such be found ) in the most ancient Fathers . To this I may add farther , that the New Testament is not without some Texts which seem to point out this thing , as in Rev. 14. 2. where the voice of harpers harping with their harps is mentioned ; which place is ordinarily expounded of publick Worship in the Church . And again in the Epistle of St. Paul to the Eph. 5. 19. the Apostle there speaking of Psalms and Hymns and Spiritual Songs , adds in the Conclusion of the Verse the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 ; and as the former word signifies only singing , so this latter does properly denote the use of the Psaltery . But notwithstanding all these things , we find the Annotation which in the Geneva Bibles is affixed to the third Verse of the 150. Psalm runs thus ; David maketh mention of those Instruments which by God's Commandment were appointed in the old Law , but under Christ the use thereof is abolished in the Church . Now this indeed is very peremptorily said , but without offering us any proof of the thing . However I will examine an Objection which is most commonly brought by those men who side with the men of Geneva in this matter , and endeavour to shew you its Defects . Now the Objection is , that Instrumental Musick is a part of the Ceremonial Law of Moses which vanished with Christ : But it is a great mistake in any who look upon this as a thing of this nature ; for had it really been such , it would either have been a Type of Christ , or at least it would have been of Moses his Institution , and yet it was neither the one nor the other . Not a Type , because its representation cannot be set forth ; not of Moses his Institution , because in his time it bore no part in the Sanctuary . We read indeed of Trumpets upon Mount Sinai , which were to assemble the People together : And for the like use they were appointed unto Moses , as we read Numb . 10. 2. for the calling of the Assembly , and the journeying of the Camps , but they went no farther in his Days . So that this Objection if it were of any Force , should rather be against our Bells that call us to Church , than our Organs or other Instruments that accompany our Psalms and Anthems when we are there . And yet I have not heard that any are offended with the former , and I hope there is as little cause why they should be so with the latter . For in short it was not Moses but David who first applied Instruments of Musick to Religious Purposes , as I have before shewed , and this he might do partly out of a Sence of Natural Religion , and also farther as we may piously believe , ( he being an inspired Man and a Prophet ) by the Spirit of God : And his example is the first of the kind which our own Church does follow , and which we look upon as Authentick in the case , and a sufficient Pattern for our Imitation : And although I do not see but why even a Jewish Ceremony or Custom if it were either ornamental or significant , or any way properly and naturally subservient to Religious Uses , ( for instance , Sackcloth and Ashes , or the like ) might be assumed and adopted into the Christian Service , if our Governors of the Church thought it fitting , they having a power left them to do all things for Decency , though they are not tied to the necessity of any thing in these matters as the Jews were , and which is indeed the very formal Difference between Jewish and Christian Ceremonies : Yet that none may be offended in this particular , the Church has determined nothing in the case , but left it to be taken as a voluntary and free Thing , and as it comes recommended from Holy David , a man after God's own Heart . If the Authority of the Geneva Divines may yet sway with some , let me only by way of Ballance to it , give you the Authority of the Assembly-Divines in this case , and I hope this may go at least as far as the other : Now they have given us this different sense of these matters in their Exposition of the last Psalm of David , David ( say they ) exhorteth men the better to stir up their Joy to praise God with Musical Instruments , and if Musical Instruments ( as is granted ) had that power then , how have they changed their nature since ? To this I will only add farther the opinion of Mr. Baxter , a considerable man esteemed amongst those of the Separation from us in this Nation , let his Authority prevail where it can , most of his Arguments I verily think are unanswerable . And thus he has set them down in his Cases of Conscience , annexed to his Christian Directory . As , First , God set up Instruments of Musick in his Service , long after Moses's Ceremonial Law by David , Solomon , &c. Secondly , 'T is not an instituted Ceremony merely , but a natural help to the Mind's Alacrity ; and ( under this argument ) he adds , as it is lawfull to use the comfortable Help of Spectacles in reading the Bible , so is it of Musick to exhilerate the Soul towards God. Thirdly , Jesus Christ joined with the Jews that used it , and never spake a word against it . Fourthly , No Scripture forbiddeth it , and therefore it is not unlawfull . Fifthly , Nothing can be said against it , but what may be said against Tunes and Melody of Voice ; and whereas some say that they find it to do them Harm , yet all wise Men say , they find it to do them good : and why should the experience of some prejudiced self-conceited Persons , or of a half man that knoweth not what Melody is , be set against the experience of all others , and deprive them of such Helps and Mercies as these People say they find no benefit by ? Thus far , and more to this effect is said by him upon this Subject ; which now leads me to the Second thing I proposed , viz. The advantages that do redound from hence , and how it is highly conducing towards the more magnificent and solemn Worship of God. Musical Harmony , whether by Voice or Instrument , but especially by both together , is so pleasing and agreeable to that part of man which is most Divine , that some Philosophers have called the Soul Harmony ; all have agreed it to have a compleat Share of Harmony in it . Hence it is that Melody is a thing which delights all Ages , and becomes all States of Life ; 't is as seasonable in Sorrow , as in Joy ; as suitable an attendant on publick Actions , as diverting in private Recreations ; as capable to raise Devotion , as to procure Delight ; and as subservient to the ends of Religion , as conducive to the Pleasure of Society . The reason hereof according to the judicious Mr. Hooker is , An admirable Faculty which is in Musick , to express and represent to the Mind more inwardly than any other sensible thing , the Rising and Falling , the Turns and Varieties of all Passions whereunto the Soul is Subject : Yea and so to imitate them , that whether it resemble the same State we are in or a contrary ; we are not more contentedly confirmed by the one , than changed and led away by the other : Hence it is , that some sorts of Harmony are apt to move and stir our Affections , others to draw us to a grave and sober Mediocrity , and there is that will carry us into Extasies , filling the Mind with a heavenly joy ; so that although we should lay aside the subject-matter of the Psalm or Hymn , yet even the very Harmony of Sounds being carried from the Ear to the spiritual Faculties of the Soul , is by a native power greatly available to bring to a perfect temper whatsoever is there troubled ; apt as well to quicken the Spirits , as to allay that which is too eager , sovereign against melancholy and despair , forcible to draw forth Tears of Devotion , and able both to move and moderate all Affections . Boetius tells us this is wrought by vertue of the answerableness of the Notes in Musick to those in Nature : And therefore a well composed Harmony , shall have even a natural Efficacy to work changes for the better in humane Affections , to enliven and stir up those that are dull , and to compose and pacifie those which are irregular : So that not only the Psalms of the Church , but even the Voluntaries , being suitably framed , may have a good effect upon the Mind , and even influence and dispose it to sober and Religious purposes . Let me also give you a few Eulogies hereof from the antient Fathers of the Church , who found the Benefits of it in their Religious Exercises , and have thus commended it to us . First , Justin Martyr , says of the single or plain Song which only was in use in his time . That it stirs up the Mind with a certain Pleasure unto an ardent Desire of that which is celebrated in the Song , that it allays the Desires and Affections of the Flesh , that it drives away evil Thoughts , and makes the Mind pregnant and apt to bring forth holy and Divine Fruits ; that it makes the generous Contenders in Piety Valiant and Strong in Adversity , and brings a Medicine and Remedy to all the evil Accidents of our Life : He also adds , that St. Paul in his spiritual Armory , calls this the Sword of the Spirit , for it is all of it the Word of God that is celebrated in the Mind , in the Song , and in the Verse ; it drives away evil Spirits , and the pious mind is by the Songs of the Church perfected in vertue . The next that I shall mention is St. Basil , and he also speaks after this manner . Whereas the Holy Spirit saw that Mankind was difficultly drawn unto Vertue , and that Righteousness was the less accounted of by reason of the proneness of our affections to that which delighteth ; it pleased the wisdom of the same Spirit , to borrow from melody that pleasure which mingled with Heavenly Mysteries , should convey as it were by stealth the treasure of Good things into mens Minds . Oh the wise contrivance of that Heavenly Teacher ! who hath by his skill found out a way , that doing those things wherein we delight , we might also meet with those things whereby we profit . St. Augustine also in his Confessions joyns in this matter , and says , I am induced to approve of the Custom of Singing in the Church , that through the Delight of the Ear the Minds of the infirm may raise themselves to a pious Affection . And speaking of himself , he tells us , that he has often wept piously being thereunto moved by the sweet Harmony in the Church . The last of this kind that I shall mention , is that of St. Chrysostom in his Homily upon the 41st . Psalm , who there speaks to this effect , Nothing raises the Mind so much , and affects it being raised , and frees it from the earth , and sets it loose from the Bonds of the Body , and fills it with the love of Wisdom , and makes it despise the things of this World , as a divine Hymn harmonically composed . And that Musick is thus apt to move the Mind to pious Dispositions , and raise it up to a pitch above it self , and in some measure as it were to inspire it divinely , at least to fit it for such Inspiration , we may gather from the Customs of the Prophets of Old , ( already mentioned ) of whom we read that while they prophecied , they came down from the high Place with a Psaltery , and a Tabret , and a Pipe , and a Harp before them : and the Spirit of the Lord came also upon Saul who met them , and he became a new man , and prophesied with them , 1 Sam. 10. 5. 6. Another wonderfull effect we read of that Musick had upon him was , that when an evil Spirit from the Lord was upon him , whether it were a deep Melancholy that he was fallen into , which might be excited and heightned by the Devil's Suggestion , as most Interpreters think ; or whether it were an actual Possession of Satan's , as some of the Jewish Rabbins would have it ; yet when David played skilfully upon the Harp it departed from him . The manner of this Cure is also variously adjudged by Expositors , some thinking it a Hymn or Religious Psalm that David sang , and that thereby the Devil was the more effectually chased away from Saul ; others attributing it only to the Notes of Musick , and their natural Efficacy in the subduing of all black Melancholy and Despair ; all Anger , Malice and Envy , or the like foul Passions whereby the Mind can become overwhelmed , or enraged and cast down into a condition truly Diabolical ; whatever were the root of the Malady , or whatever might be the true cause of the Remedy , we find the Cure was effectually wrought by the Harp of David . I forbear to mention some other wondrous effects of Musick related by the Ancients , as Plutarch , Pythagoras , &c. Because they are not so proper to be considered upon a Religious Account ; but the foregoing ones are abundantly sufficient to let us see that there is something in Musick that has a great Propriety to Religious Purposes : And therefore as Holy David first composed Godly Psalms , in number and measure , ( he being admirably skill'd in divine Poesy ) and was moreover the Author of adding Melody , both Vocal and Instrumental , for the raising up of mens Hearts , and moving their Affections towards God ; so likewise the Church of Christ doth at this day retain it as an Ornament to God's Service , and a help to her own Devotion . And thus much also as to my Second Particular , the Expediency as well as Lawfulness of this Practice . But after I have said all in Vindicating of this Custom , we do not condemn any other foreign Churches as guilty of any material Defect if they do not receive it , nor while we say it may , do we assert that it must be used ; or although it be even expedient , yet it is not altogether necessary ; but this may be truly said of it , that it is an agreeable attendant and a Suitable Ornament to Religious Services ; though no part of the Substance thereof : but it is to be placed in the Classis of those things which by Divines are called Evangelical Councels , or Precepts of Perfection : things , which when they are seasonably , and decently , and reverently used are apt to raise men's Hearts and Affections to greater Degrees of Piety , and to produce larger Portion of Zeal and Devotion in our spiritual Exercises . Thus kneeling down in Prayer , setting apart festival Solemnities , making Oblations , building of Temples and beautifying them , and the like , are things that have a tendency in Nature , or ( at least ) by universal Custom to encrease Religion as well as to adorn it ; to raise holy Thoughts and pious Dispositions within , by suitable Aids and Ornaments from without ; making the aimiableness of God's Tabernacles excite the Ardency of our Thanksgivings there , and the beauty of Holiness conduce to ( or at least concur with ) the Spirit of Prayer , and therefore when this is superinduced by the Piety of Christian Governors , we maintain against all Opposers the Lawfulness and Decency , yea the fitness and great expediency of it in the Church of Christ . Finally , whatsoever accidental Abuses may creep in amidst the use of these laudable things , we earnestly disswade and disallow , advising all Persons to be very carefull and circumspect in the use thereof , lest their Minds should stray , and it might happen to them as it did sometimes to St. Augustin , who in his Confessions laments his Inadvertency in this point , owning , that when the Musick affected him more than the Subject-matter of the Psalm or Hymn , he was greatly to be blamed . Indeed the Heart is the best Psalmist , and the inward Affection of the Soul is the best Musick in God's ear , and it is purely for the sake of this , that the other is used . We also disapprove of all other Defaults of a like kind ; that is , where-ever the use of Edification is lessened or lost , which may happen either when the words are not to be understood by the Hearers , or when they are not suited to the true Christian Temper of Prayer and Praise , or when the Airs of our Anthems and Hymns are not grave and solemn , and befitting the House of God , rather than the House of Rimmon . But on the other hand , these Faults being prevented ( as God be thanked due care is taken in our own Church that they should be ) the Efficacy of Musick is truly admirable , and does mightily edify , because it does most powerfully excite the Passions and Affections ; the very heart and Soul towards God. By this our Minds may be raised and spiritualized in their flights towards Heaven , our Devotions quickned and enflamed with a greater Zeal and Fervency in our Religious Addresses , and when the Fire is thus kindled within , we shall become the more fit and ready to speak with our Tongues , and to begin here upon Earth , that which is to be a part of our eternal Employment in Heaven ; namely , To sing Hallelujahs to the Praise and Glory of God , the Father , the Son , and the Holy Ghost , to whom , let us ascribe all Glory , and Majesty , Dominion , and Power , both now and ever . Amen . FINIS . 
A29150	----	Church-musick vindicated a sermon preach'd at St. Bride's church, on Monday, November 22, 1697, being St. Caecilia's day, the anniversary feast of the Lovers of musick / by Nicholas Brady. Brady, Nicholas, 1659-1726. 1697 Approx. 31 KB of XML-encoded text transcribed from 14 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2007-10 (EEBO-TCP Phase 1). A29150 Wing B4169 ESTC R6317 11577579 ocm 11577579 47888 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A29150) Transcribed from: (Early English Books Online ; image set 47888) Images scanned from microfilm: (Early English books, 1641-1700 ; 484:3) Church-musick vindicated a sermon preach'd at St. Bride's church, on Monday, November 22, 1697, being St. Caecilia's day, the anniversary feast of the Lovers of musick / by Nicholas Brady. Brady, Nicholas, 1659-1726. [4], 23 p. 20 cm. Printed for Joseph Wilde, London : 1697. Reproduction of original in Huntington Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. 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Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Music in churches -- Sermons. Sermons, English -- 17th century. 2006-05 TCP Assigned for keying and markup 2006-07 Apex CoVantage Keyed and coded from ProQuest page images 2006-08 Judith Siefring Sampled and proofread 2006-11 Apex CoVantage Rekeyed and resubmitted 2006-12 Jonathan Blaney Sampled and proofread 2006-12 Jonathan Blaney Text and markup reviewed and edited 2007-02 pfs Batch review (QC) and XML conversion Church-Musick Vindicated . A SERMON PREACH'D At St. Bride's Church , on Monday November 22. 1697. BEING St CAECILIA's Day , The Anniversary Feast of the Lovers of Musick . By Nicholas Brady , M. A. Minister of Richmond in Surry , and Chaplain in Ordinary to His Majesty . Published at the request of the STEWARDS . LONDON , Printed for Joseph Wilde at the Elephant at Charing-Cross , 1697. To the Stewards of St. Caecilia's Feast . Hugh Colvill Esq Capt. Tho. Newnam Orlando Bridgman Esq Theophilus Butler Esq Leonard Wessel Esq Paris Slaughter Esq Jeremiah Clerk Gent. Fran. Le Riche Gent. Gentlemen , However favourable a Reception this Discourse might meet with , at the time and place of it's Delivery , when every body was disposed to Applaud Church-Musick , by the irresistible charms of that Admirable performance ; which by a management peculiar to your selves , laboured under no inconveniencies of Disorder or Confusion : Yet now that the Pulpit is no longer backed by the Organ-Loft ; when that which was spoken from the One , is no longer supported by what was acted in the Other ; I have just reason to fear , that it will but indifferently answer , either the prepossessed Opinion of those who heard it , or the expectation of those that did not . Notwithstanding this , since only I am to be the Sufferer , and not the Cause ; ( which has been already too well defended by Abler Pens , to undergo any prejudice by the weakness of mine ; ) I shall gladly run that hazard in Compliance with your desire ; and shall not dispute giving even this Dangerous Testimony , of that sincere Respect which shall be always paid you , by , GENTLEMEN , Your Obliged , Humble Servant , N. BRADY . A SERMON Preached on St. Caecilia's Day . 2 Chron. 5th Ch. 13th , & 14th , Verses . verse 13 It came even to pass , as the Trumpeters and Sing rs were as one , to make one Sound to be heard in Praising and Thanking the Lord ; And when they lift up their Voice , with the Trumpets and Cymbals , and Instruments of Musick . and praised the Lord , saying , For he is good for his Mercy endureth for ever : That then the House was filled with a Cloud , even the House of the Lord ; verse 14 So that the Priests could not stand to Minister by reason of the Cloud ; For the Glory of the Lord had filled the House of God. WE do not ( I think ) meet in the whole Book of God , with a more Signal Instance of his favourable Acceptance , of that Devout Employment in which we are now Conversant , ( our praising him , and giving him Thanks , with Voices and Instruments of Musick ) than we have in those words which I have now read to you , and which I have chosen for the Subject of my following Discourse ; where we find it makes up a very considerable part , of one of the most Eminent Solemnities of Religion , that we ever heard of under the Legal Dispensation : A Solemnity Regulated by the Wisest amongst Men ; and in which we cannot suppose anything to have been allowed of , but what was suitable to the Gravity and Majesty of the occasion : It was Solomon's Dedicating that Glorious Temple , which was justly Reputed the Noblest Structure in the World ; and his Solliciting the Almighty , that he would Arise into his Resting-place , He and the Ark of his Strength To set off a performance so Remarkable as this , with all the Characters of a becoming Grandour , he Summons the Elders and Heads of Tribes , and even all the Men of Israel , to attend him at Jerusalem ▪ where having offered up Sheep and Oxen without number , they accompanyed the Priests who bore the Ark of the Covenant , and conducted it with Reverence into the most Holy place ; whilst to add to the Magnificence of the Ceremony , the Levites which were the Singers , having Cymbals and Psalteries and Harps , stood at the East end of the Brazen Altar , and with them a hundred and twenty Priests Sounding with Trumpets ; as you may read in the Verses just preceding my Text. And certainly , if an incredible Multitude of Spectators and Assistants , if the quality as well as number of the Persons Assembled , if the Stateliness and Beauty of the Scene and Action , if a pompous expence of almost innumerable Sacrifices , and a Delightful Variety of all sorts of Musick , can give Life and Quickness , Majesty and Splendour to any performance ; the Religious Festival which this Chapter gives an account of , may justly challenge the preference above all others , that ever occurred throughout the whole Jewish Oeconomy : And therefore we find , that according to God's method of proceeding with that People , whose more eminent Acts of Piety he usually Honoured , with some Sensible Demonstration of his favour , he Manifested his Approval of this Devout Solemnity , by filling the Temple with his Glory , and giving visible Tokens of of his more immediate Presence . But if amongst all those Religious performances , which were severally exercised upon this Solemn occasion , we may be allowed to Conjecture or Determine , which was most valuable in the sight of God ; we may ( I believe ) very safely conclude , that it was not the bare Assembling themselves together , nor the Costly Pageantry of their Numerous Oblations ; since these were but so many dumb shews of Religion , and a compliance only with the dead Letter of the Law ; ) But it was that Lively Sacrifice of Praises and Thanksgiving ; that agreeable Melody , and Harmonious Consort of many Hearts and Voices , and Instruments as one ; that drew down upon the devout performers , an unquestionable evidence of his Approbation ; to this it was , that he set his own Seal , and made it ( as it were ) the Signal of his extraordinary Appearance : For we are not told , that he took any publick notice of all the foregoing Exercises of Devotion ; But ( says the Text ) it came even to pass , as the Trumpeters and Singers were as One , to make one Sound to be heard in Praising and Thanking the Lord ; and when they lift up their Voice with the Trumpets and Cymbals and Instruments of Musick , and praised the Lord ; saying , For he is good , for his Mercy endureth for ever ; that then , ( and not before ) the House was filled with a Cloud , even the House of the Lord ; So that the Priests could not stand to Minister , by reason of the Cloud ; For the Glory of the Lord had filled the House of God. Such an Authentick Testimony of his favourably accepting , that Religious Entertainment which employ● us at the present ; as may justly encourage us to Repeat the Practice frequently , and may stop the Mouths of all Gainsayers . I shall therefore single out in my following Discourse , from the great variety of Matter with which my Tent abounds , some few instructive and useful Observations , which may be proper to the occasion of our present meeting together . And ▪ 1 st . We may from hence observe , that Musick whether Vocal or Instrumental , may both innocently and profitably be made use of in the publick Service and Worship of God. 2dly . We may observe yet farther , that the proper Office of Musick in the Service of God , is to praise him , and give him thanks , because he is good ; and because his Mercy endureth for ever . 3 dly . We may observe in the last place , how Signal an evidence God has been pleased to give of his avow'd allowance and approbation , of this use of Musick in his Service . 1 st . Then we may observe from the words of my Text , that Musick whether Vocal or Instrumental , may both innocently and profitably be made use of in the Publick Service and Worship of God. Religion , however mistaken or misrepresented by some , is the most entertaining thing in Nature , attended by a good Conscience , which is a continual Refreshment ; and Supported by the Assurance of God's Favour and Protection , which is the most certain Fund of Comfort and Satisfaction ; if we take her portraiture from the Life , she will appear as bright and beautiful as an Angel ; set off with all those Charms and and raising Attractions , which may most powerfully Recommend her to our Affections ; allowing and encouraging the truest chearfulness , and not clashing with , or condemning any Innocent Delights : And therefore nothing has done her a greater prejudice , nothing has more hindered her Diffusiveness and Efficacy , than the false Draughts made of her by some sort of People , who would have her to consist in Moroseness and Austerity : They dress her up like a Fiend or a Fury , they arm her with Snakes and Whips , and Firebrands ; and having thus made her an Object of Loathing and Aversion , they pretend to recommend her under so frightful an Appearance ; It is through their means , who limn her after this hideous manner , that Musick her obsequious and useful Handmaid , has run the hazard of being Discarded from her Service ; as if she were an Attendant too light and airy , to comport with the gravity of so reserved a Mistress . But in this they deal with her , as they did with the other , and represent her much different from what she really is ; making that lightness essential to her , which is purely accidental ; and decrying that as her inseparable habit , which is only a loose Garment that the sometimes wears abroad , but which the always drops before her entrance into the Church . There the puts on such a Composedness and Solidity , a● is suitable to the Sacred Offices in which she is employed , and may qualifie her to be made use of both , with Innocence and Advantage . And 1 st . As to the Innocence of this Usage . It would be wholy unnecessary to insist upon this Topick ; were there not a party of Men so unaccountably scrupulous , as to censure the Harmony , which is made use of in our Churches , as a sort of proceeding extremely culpable ▪ These then are the Persons whom I would desire to consider , that that which has been the custom of good Men in all Ages , without any mark of God's disapproval ; that which is so often recommended to our practice , by those who have been commissionated to convey his Order to us ; that which is the Entertainment of the Blest above , in their perfect State of Purity and Felicity ; that ( I say ) cannot be supposed with any shadow of Reason , to contract any guilt , or be liable to any just censure : But this ( we find ) was a devout Emyloyment , in which the best of Men have been exercis'd frequently ; witness the Songs of Moses and Deborah , before the whole Congregation of the People of Israel : Witness the Divine and Musical Compositions of David , Solomon , and others , for the Service of the Temple : Witness the Hymn that our Saviour sung with his Apostles who were then the Abridgment of the Christian Church , and those that were afterwards , in their solemn Assemblies , made use of by the Disciples and Followers of our Lord. This also we find recommended to our Practice , by those who revealed unto us the will of God ; such as the Royal Psalmist , almost in every page ; Isaiah and Jeremiah in several places of their Prophesies ; St. Paul in his Writings to the Ephesians and Colossions , and St. James in his Epistle to the Church in general ; in all which we have frequent Exhortations to this Duty , as a positive part of our Religious Wo●ship . In this we are assured that the Heavenly Host are always happily employed , where Cherubim and Serayhim continually resound , Holy , Holy , Holy , Lord God of Sabbath : Where the Four and twenty 〈◊〉 that attend about the Throne , inc●ssantly chant out their Allelujahs ; and where those who have gotten the Victory over the Beast , unanimously joyn in singing the Sorg of the Lamb : Unless therefore we will unreasonably imagine , that God would be so far wanting to his best beloved Servants , as to suffer them to go on in a sinful course , without giving them any notice of the E●rour they lay under ; unless we will Blasphemously suppose him so unfaithful to us , as to suffer us to be deluded by those who come to u● in his Name , and who bring his own Credentials along with them ; unless we will entertain absurd Notions of him , that he is inconsistent with himself , and admits of that in his Heavenly Pala●e , which is offensive to him upon his Earthly Footstool ; we cannot conceive that this decent usage , which has so many Testimonials of his Favour , can be otherwise than highly Innocent in its self . It is true indeed , this Heavenly Art , has been sometimes abused , to the incouragement of Debauchery ; and as the best things corrupted , contract the greatest illness , so has this been made an instrument of loosness and sensuality ; but if this were sufficient to exclude it from the Temple , when purified from that Allay which debated it's value ; Poetry as well as Musick , must be banished from our Churches , and the Psalms as well as Harp of David , must be forbidden to us ; since the two Sacred Sisters have been equal Sufferers , having both been prostituted to the most scandalous Employments . Let us rather endeavour to snatch what we can of it out of the Hands of the prophane ; to rescue this Virgin , out the power of her Ravishers ; and to present her unblemished at the Altar of our God , where we may joyn Devotions with her , not only with Innocence , but with Advantage also . In order to which end , let us consider in the next place ; what profit may redound to us from such a practice . Nothing is so proper or so available as this for composing our minds , and setling them in a Sedate and quiet posture ; for reducing our straggling thoughts , and fixing them to their Duty ; for calming and allaying our disorderly passions , or for lifting up the Soul in a devout Contemplation : When we are thus entertained with the employment of Angels , our thoughts naturally ascend unto those Mansions of Joy ; we have an entercourse , as it were with those Heavenly Inhabitants , and our Conversation seems to be altogether above : There is in Musick 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , something of Divinity , which Captivates the Affections , and Regulates them at it's Will ; it acts upon the Soul with such a sweet Violence , as is almost insensible , but irresistible too ; and I have heard many testifie from their own experience , and I question not , but we have many present witnesses of the truth of it , that whenever they have been present at the performance of this nature , they have felt their zeal grow warm , if it were not kindled before , and encrease considerably if it were . Is the Spirit of the Lord to descend upon Elisha , and that upon an occasion , more extraordinary than usual ? A Minstrel must be brought to play before him , and to make his Soul susceptible of the Divine Inspiration . Is Saul's Melancholy and Despair to be driven away , and his mind to be set in order , for the discharging his great Office ? The Harp of David must apply the Medicine , and chase away his gloomy imaginations : Such was the power of that Sacred ●yre , when tuned to the Voice of the Sweet-Singer of Israel ; and such would the effect of it remain to this day , if it were still touch'd by the same inimitable hand ; but the unskilfulness of those that have played upon it since , has destroyed in a great measure the Melody of the Instrument ; and it 's Efficacy has lessened ▪ as it's Harmony has been impaired . This Divine Art has such an admirable Secret of uniting Earth and Heaven together , that the Scale of Musick appears to me , to be the exact counterpart of Jacobs Ladder ; with one end resting upon the Earth , in the material Organs that compose it , and the other end reaching up to Heaven , in the Life and Spirit of it's performances ; upon the several Degrees of this , are the Holy Angels , those Celestial Choristers , perpetually Ascending and Descending ; and the Lord himself stands at the top of it , to countenance and encourage the devout employment : Who then can with-hold at such an Heavenly Entertainment , where Devotion embraces Delight , and pleasure seems to be Spiritualized , from breaking out with the Patriarch into his Rapturous Exclamation ? Surely the Lord is in this place ! This is none other than the House of God! And this is the Gate of Heaven ! For indeed what Idea can we form to our selves , of those happy Regions of Joy and Tranquility , of which this will not be a most lively Transcript ? What is Heaven , but an Assembly of Saints and Blessed Spirits , in the immediate presence of their Almighty Creatour , Rejoycing in the Service of so bountiful a Master , and celebrating his praises with their Voices and their Instruments ? And such an imitation of them here , will qualisie us for their Society he easter , when we with Angels and Archangels , and with all the company and Host of Heaven , shall land and magnifie his Holy Name , and this leads me to the 2 d , Observation , which may be drawn from the words of my Text , namely , That the proper Office of Musick in the Service of God , is to praise him , and give him thanks , because he is good , and because his Mercy endureth for ever . The earliest instance which we have of Sacred Musick , are certain Songs of Triumph which were composed , to celebrate some Great and Signal Deliverances ; such as those already mentioned of Moses and Deborah : It's first Introduction into the Jewish Church , was by the grateful piety of King David ; who appointed certain Levites to thank and praise God , in a form which he borrowed from one of his own Psalms , and which are the very words recorded in my Text ; pursuant also to this , the Apostle advises us , that when we are merry , we should sing Psalms , for Musick being the most chearful way of exercising our Devotion , should therefore be appropriated to the most Delightful Act of Piety ; and that is praising God for the manifold expressions , of his Goodness and Mercy towards the Sons of Men. All other Duties of Religion , seem to carry some sort of uneasiness along with them ; for they either put us in mind of our igno●ance and forgetfullness , as in hearing the Word ; or of our wants and necessities , as in Prayer ; or of our Sins and Infirmities , as in Repentance ; but Praise is such a Duty , as is entertaining in it's Nature , and carries no allay with it to damp our satisfaction : To Reflect upon the goodness of our God , and the many Signal Evidences which we have had of his loving kindness ; to thank him for those Mercies which we have already received , and thereby put our selves in a condition to expect fresh Blessings ; this is nothing else but the perfection of Delight , and an employment the most desirable , and most Ravishing of any ; it is a good thing to sing praises unto our God , yea , a joyful and pleasant thing it is to be thankful : And therefore this is the Religious Worship which is practised by the Church Triumphant in Heaven , as being not at all inconsistent with our conveniency of the most consummate Happiness . Indeed in our times of Humiliation , in the Acts of Mortisication and Self-denial , when we afflict our Souls , and keep our Bodies under ; Musick which is apt to elevate the Spirits , and Recreate the Senses , would appear as improper as Mirth at Funerals ; but the Church has it's Festivals as well as Vigils ; and where the occasions of 〈◊〉 together are of a more chearful nature , this delightful expression of our Gratitude is as Decent , as a becoming Dress , a Sprightly Air , or a Look that declares our inward Satisfaction . And certainly , if ever any People had just Reason to join together their Voices and their Instruments , and to give the greater Evidences of a Devout Thankfullness ; We of this Kingdom are most eminently obliged to it , upon the account of those Blessings which we have so lately experienced ; when in stead of the Calamities of a dismal War , we find our Souls refresht with the abundance of Peace ; and with his safe Arrival and long wished for presence , to whom we stand indebted for so precious a Treasure : Peace then is restored to us within our Walls , Peace that Banisher of Discord , that Mother of Harmony , that Band of Union to consenting Minds , that Nurse and Patroness of useful Arts and Sciences : This our long absent guest , condescends to visit us again ; Let us receive her with Hearts overflowing with Gratitude ; with a joy as great , as the Advantages she imparts ; as Universal , as the Blessings she dispences . And O! That all the several parties in this Kingdom , however formerly divided by interest or design , would Resemble the Trumpeters and Singers in the Text ! That they were as one ! That they would make one Sound to be heard , in Praising and Thanking the Lord ! That they would lift up their Hearts and their Voices together , with Trumpets and Cymbals , and Instruments of Musick ; and with Joint consent would praise the Lord saying , For he is good , for his Mercy endureth for ever ! How delightful a Melody , would this Consort of Brethren that dwell together in Unity , make in the Ears of God our common Father ! How certainly would he testifie his Approbation of this Harmony , by filling the whole Nation with his Glory ! Which brings me to the 3 d. And last Observation , which may be deduced from the words of my Text ; Namely , how Signal an Evidence God has been pleased to give us , of his avow'd Allowance and Approbation , of this use of Musick in his Service . You may remember that I hinted to you in the beginning of this Discourse , after how indulgent and engaging a manner , God was wont to proceed with the People of the Jews , in Relation to their Acts of more Solemn Devotion ; Such of these as were more Eminent and Remarkable , he frequently testified his Acceptance of , by some visible and extraordinary Token of his Favour ; which was usually done , either by the Fire of God descending from Heaven , and Consuming their Sacrifices and Oblations , as in the great Contest between Elijah and the Priests of Baal ; or else filling the place of Worship with a Cloud , and with his Glory , as in the instance that is now before us . And to whatsoever Religious performances , we find these marks affixed of the Divine Approbation ; we may very safely conclude of them , that not only the Scope of the Action in general , but every particular Circumstance and Ceremony of it , was agreeable to his Will , and well ▪ pleasing in his Sight ; For had there been a failure in any one part , God would never have set his own stamp upon it , to warrant it's currancy and perfection . And therefore it was not barely Solomon's Dedication of the Temple , and his bringing the Ark into the Holiest of Holies ; but the Method and Manner also of his proceedings in it , his Assembling the Congregation , his offering up Sacrifices , his Praises and Thanksgivings , his Voices and his Instruments , whose ▪ usage was confirmed , and whose practice was approved of by God's Vouchsafement of the Schekinah , or Divine Presence . Let us not then question at any time , ( when we exercise this Duty after this Solemn manner , in which we find it was Discharged upon this Eminent Occasion ) but that God will countenance and encourage our performance , as a most acceptable part of Religious Worship : But if we expect to have it equally approved of , our management of it must be with equal Decency : We must banish from it all Disorder and Confusion , For the Trumpeters and Singers were as one , we must take the Subject of our Entertainment from the Oracles of God , and not dare to introduce into his Church , any such composures as are not Sacred and Solemn : For they lift up their Voices , and praised God , saying , in the words of the Royal Prophet , For he is good , for his Mercy endureth for ever : Nor must those who are conversant in this Heavenly Employment , Dishonour God with their Actions , whilst they Honour him with their Voices ; for they were the Levites and the Priests , Persons Dedicated to his immediate Service , to whom this part of his Worship was intrusted : And I would to God , that all those who are constantly attendant upon this most Solemn Office of Religion , would consider the Honour and Gravity of their Calling ; would look upon themselves , as enter'd into a lower sort of Holy Orders , being appointed to Minister to God in his Temple , and would never derogate from the Sacredness of their Employment , by an irregular Life , or an indecent Behaviour . Then would God declare his acceptance of this Service , by inward assurances of his favour ; as he formerly testified his Approbation of it , by outward Evidences of his Presence . For though the Jewish Sacrifices are swallowed up , in that great Oblation which Christ offered once for all ; though the Temple which was Dedicated , and the Ark which was placed in it , are both Superseded by the Temple of his Body , which was the true Ark of the Covenant of God ; Yet Praises and Thanksgiving to our Almighty Benefactour ; and this Delightful way of tendring them , with the joynt Melody of Voices and Instruments of Musick ; has continued ever since in the Church of God ; will ( I doubt not ) remain in it unto the end of the World ; and will afterwards attend it into the Mansions of Eternity ; and make a considerable part of it's infinite Felicity . And this seems to me to be a Substantial Reason , why God here Distinguish'd it above the other Acts of Devotion , by vouchsasing his Presence at that particular juncture , because this was to out-last all the other Ceremonies ; and to be a standing Duty in the Service of his Church , when the rest should vanish and be done away . And now I have gone through with the Method I proposed ; I have vindicated the innocence and usefullness of Church Musick ; I have shew'd upon what occasion it is most sitly employed , and have examined that Testimony of the Divine Allowance , which it has so eminently in the words of my Text. And tho' it might perhaps be expected upon this occasion , that I should say something of Musick in General , of its Antiquity and Excellency , it 's force and energy , of that unaccountable Activity and surprizing Subtilness , by which it insinuates it self into our Veins , mixes with our Blood , and mingles with our Spirits ; altering of a sudden the whole inward Frame , and leading our Inclinations whether soever it pleases , but I shall think my self excusable , if I wave all this , since my Subject confines me wholy to Church Musick ; and I have endeavoured to Accommodate my Discourse to my Subject ; by rather chusing to err upon the side of Gravity , than running any hazard of bordering upon Lightness And I shall now add no more to detain you from the Employment which I have been recommending , but only bewail the condition of those , whose unhappy Aversion to Divine Harmony , renders them unlike to the Saints and Blessed Spirits , which are continually busied in that Employment ; and congratulate the Happiness of their Circumstances , who by their Affection to this Sacred Art , are qualified to joyn with ineffable Raptures , in the Song of the ten Thousand times , ten Thousands of Angels ; Blessing and Honour , and Glory and Power , be unto him that sitteth on the Throne , and unto the Lamb for ever and ever . FINIS . 
A38686	----	The usefulness of church-musick a sermon preach'd at Christ-Church, Novemb. 27, 1696, upon occasion of the anniversary-meeting of the lovers of musick, on St. Cæcilia's Day / by S. Estwick ... Estwick, Sampson, d. 1739. 1696 Approx. 33 KB of XML-encoded text transcribed from 15 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2007-10 (EEBO-TCP Phase 1). A38686 Wing E3363 ESTC R13553 11834546 ocm 11834546 49753 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A38686) Transcribed from: (Early English Books Online ; image set 49753) Images scanned from microfilm: (Early English books, 1641-1700 ; 28:16) The usefulness of church-musick a sermon preach'd at Christ-Church, Novemb. 27, 1696, upon occasion of the anniversary-meeting of the lovers of musick, on St. Cæcilia's Day / by S. Estwick ... Estwick, Sampson, d. 1739. [4], 22 p. Printed for Tho. Bennet ..., London : 1696. "Published at the request of the stewards" Reproduction of original in Library of Congress. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. 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Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Music in churches -- Sermons. 2006-11 TCP Assigned for keying and markup 2006-11 Apex CoVantage Keyed and coded from ProQuest page images 2007-01 Celeste Ng Sampled and proofread 2007-01 Celeste Ng Text and markup reviewed and edited 2007-02 pfs Batch review (QC) and XML conversion The Vsefulness of Church-Musick . A SERMON Preach'd at CHRIST-CHVRCH , Novemb. 27. 1696. Upon Occasion of the Anniversary-Meeting OF THE Lovers of Musick , On St. Coecilia's Day . By S. ESTWICK , B. D. and Chaplain of Christ-Church , in Oxford . Published at the Request of the Stewards . LONDON , Printed for Tho. Bennet at the Half-Moon in St. Paul's Church-Yard . 1696. TO THE Stewards of St. Coecilia's Feast . The Right Honourable the Lord Dunluce . Sir John Smith , Baronet . John Hill , Esq ; Colonel Henry Holt. Colonel Nathan . Blackiston . John Cary , Merchant . Moses Snow , B. M. Nicola . Matteis , Gent. GENTLEMEN , YOV desir'd me first to Preach , and then to Print this Sermon : I have Obey'd You in Both ; as being willing to do whatever lay in my Power to keep up a due Esteem of Church-Musick , in an Age that seems hastning on apace to a neglect , if not a disuse of it . If this Discourse may contribute any ways towards so good an end , and withal serve to express the Respect I have for You , I have the double aim I propos'd to my self in Preaching and Publishing it . For I am a true Lover of Musick , especially when it is imploy'd to so excellent a purpose , as that of composing our Attention , and raising our Affections in Divine Worship , and a true Honourer of all those who favour and encourage it . After which , I need not tell either You or the World how much I am , Gentlemen , Your Obedient and Humble Servant , S. ESTWICK . A SERMON Preach'd at Christ-Church , Nov. 27. 1696. upon Occasion of the Anniversary Meeting of the Lovers of Musick , on St. Cecilia's Day . Col. 3. 16. The latter Part , Teaching and Admonishing one another , in Psalms and Hymns , and Spiritual Songs , Singing with Grace in your Hearts to the Lord. THE Design of this great Assembly's meeting together , being to celebrate the Praises of our God with exalted Hearts and Voices , I hope each one has acquitted himself in a suitable manner , and duly observ'd the most concerning part of this Exhortation contain'd in the latter branch of these Words . It may be needless to tell you we have all been pleas'd , if not transported , whilst the Skilful Performers with laudable Emulations have endeavour'd to raise and extol God's Goodness , to the utmost pitch our impair'd Faculties will allow of in this imperfect State : By the Frame of our Nature we may perceive our selves fitted and prepar'd for the Reception of Harmonious Sounds ; as we are fenc'd about with Nerves , we find our selves ready strung , and most of us tun'd for this Heavenly Entertainment : By a kind of Sympathy sometimes we tremble ; we are generally pleas'd when a fitting Subject is well painted by the Composer and well breath'd and set off by the several Performers . If any one should be found so hardy , or , as some think , so ill-natur'd as to oppose himself to the General Consent of Mankind , and to deny the Pow'r of Harmony , for his Satisfaction we might have wish'd him here , where he might have had the best sort of Argument for his Conviction ( viz ) the Testimony of his own Sense ; and if after this , he had remain'd unaffected with the gentle Insinuations of our softer Strains , and unmov'd with the more forcible Impressions of our louder Acclamations , you are all ready to pity the Fate of this Unhappy Temper , and to pronounce him such a sort of an Infidel , that is uncapable , if not unworthy of a farther Conviction . To say we are pleas'd with Harmonious Sounds , is to say very little in comparison of what our Apostle has suggested to us , who carries this Matter much higher , and teaches us the true use and benefit of Divine Musick in the Worship of God. He is chiefly concern'd for that Spiritual Advantage that may result from this Sensible Pleasure ; and intimates to every Good Christian , that at the same time he is gratify'd and delighted , he may be better'd and improv'd by it in Holy and Vertuous Living . By Teaching and Admonishing one another in Psalms , &c. we are assur'd of the fitness of this Divine Exercise , to promote the Spiritual Interests of Faithful People , of its suitableness to help 'em forward , as well as refresh 'em in their Passage towards their Heavenly Canaan ; and , in a word , to farther and advance their Spiritual Good and Edification . How this is done by this Divine Exercise will be more fully made out in this ensuing Discourse ; in the mean time it ought not to be forgot , that in a large sense we may be said to be taught and admonish'd by whatever renews , revives , and calls to remembrance former Thoughts , and Idea's ; we certainly may be admonish'd of what we knew before , and I think may not improperly be said to be Taught and Instructed by whatever excites and enlarges our Desires of Goodness , by whatever enflames in our Hearts the Love of God and our Neighbour ; and whatsoever Instruction serves to confirm our Faith , to enliven our Hope , and quicken our Graces , and to render our Souls more Humble , more Holy , and more like to God than they were before , may in a large Sence be deem'd Teaching ; tho' all this while we gain no fresh Supplies of new Idea's , but having an Occasion offer'd us of reviving those old ones that before lay dormant , we are thereby enabled to turn 'em to a better use , and to reduce our Knowledge to Practice . This being the Sense of our Apostle's Teaching and Admonishing in this Place , give me your Attention , whilst I lay before you some Considerations , that may serve to enforce the Injunction , and shew the Usefulness of Divine Musick in the Worship of God , and the Advantages that may be reap'd by it in Particular , by every one that attends to it in due Manner . First , I desire to offer to your Consideration , that this Method our Apostle has made choice of as a help to our Spiritual Improvements , was the old way of Teaching the World , much applauded by the Wise Ancients , and in their Esteem a very effectual means of inculcating Wisdom , and making Men more Tractable , by fixing in their Minds the Principles of Natural and Moral Philosophy . As for its Antiquity , Timagenes , as Quintilian observes , allows Musick to be the eldest of the Learned Studies : And a greater than him tells us , that about the same time that Tents , Husbandry , and Working in Brass and Iron were found out by their several Authors , Jubal lessen'd their Cares by the addition of Musical Instruments , which being handled down to After-Ages , and serving to cover the Nakedness of Vocal Sounds , were embrac'd and cherish'd by Legislators and Philosophers , who found the Aptness Musick had to Civilize the ruder part of Mankind , the Advantages it had in gently insinuating Mysterious Truths . Upon which accounts Poetry and Musick may well be esteem'd the Nurses of Infant Common-wealths , the School-Mistresses of Learning , from whose fruitful Breasts stream'd such a kindly Nourishment , as made Empires swell out to that extent of Grandure , as to attract the Eyes of their Neighbours to behold and dread their Power . Lycurgus and Numa enacted Laws for the Encouragement of Musick , not thinking themselves secure in their Governments , till by its Charms they had Temper'd and Smooth'd their unpolish'd Subjects ; or at least by this pleasant Vehicle , allur'd 'em to submit to their harsher Constitutions . How much Learning owes to Poetry and Musick , may appear from this , That the first Seeds of it were scatter'd in Number and Measure , and what the Celebrated Poets sung , and many of the Philosophers taught , gain'd a more easie passage into Mens Minds by the agreeable mixture of well regulated Sounds . Hence it was that the various Motions of the Planets , the Arcanas of Nature , and the Causes of her seeming Irregularties , were first deliver'd in Verse ; And Atlas is presum'd by Virgil to frame , and Jopas to sing the lofty Song on that Subject . If the Universe it self was thought to be Compos'd by Harmony , it 's the less to be wonder'd , that those Philosophers that embrac'd this Opinion , should act agreeably to it ; whilst Pythagoras fram'd his Works as near as he could to this Model , and apply'd himself to Musick , as a means to brighten his Morning , and compose his Evening Thoughts : 'T is the less remarkable , that Socrates should divert the taedium of his Age , by a late application to Musick ; and that Plato and Aristotle should advance it so high , as that the Speculations of the former could not be throughly understood without it , and that both allow it to be a necessary Ingredient to the Education of Youth , and tending much to the Formation of Vertue and good Manners . In pursuance of these high Encomiums given by the greatest Masters of Learning , and the Experience of its usefulness , the World became soon acquainted with the happy influences of it , beholding with pleasure , how much it serv'd to quiet and calm the unruly Passions of Men , to alleviate the Troubles of Life , to ease its Labours , to abate the Rigours of Adversity , and heighten the Enjoyments of Prosperity : It beheld with Pleasure how much it advanced the Honours of the Military Life , whilst their Heroes were animated with their Martial Sounds , and in some measure rewarded too by the grateful acknowledgment of Triumphant Songs . How much also were the Affairs of the Civil Life bettered by it , when , as Plutarch tells us , their Entertainments were season'd with wholesom Admonitions , and their Musicians encourag'd Temperance and Moderation at that very time they stood in need of such faithful and pleasant Monitors . Thus this excellent gift of Heaven , when exercised in its Primitive Purity and Simplicity , tended much to the bettering and improving Mankind ; and 't is the less to be wonder'd , that this common Blessing , that serv'd for so many excellent purposes , should be enclos'd and appropriated to the Service of God's Worship , and the Uses of Religion : That Mens Tongues and Voices should be Consecrated to enlarge upon the Noble Themes of God's Power , Wisdom and Goodness ; and thereby to make his Praise Glorious , make him Admir'd of all his Saints , and Reverenc'd of all that are round about him . For seeing the Great End of Man's Creation was to set forth the Praises of his Creator , and he alone of all the Creatures of this Sublunary World , was indu'd with Faculties to qualifie him for this Noble Employment ; it is but reasonable that he should do his utmost ( for that utmost will come far short of it ) to extol the Praises of God to the highest pitch he is capable of , to Glorifie his Maker with his Body and Spirit , with his Voice as well as Understanding . A second Consideration that serves to recommend to us our Apostle's Injunction is the Practise of the Jewish Church , as to the use of Vocal and Instrumental Musick ; both which kinds were introduc'd in the latter end of David's Reign , when the Ark had rest , and that by the Command of God , ( 1 Cor. 11. 31 ▪ ) 'T is true Ezra calls this the Ordinance of David King of Israel ; and if he appointed these Usages as a King , and not as a Prophet , we 're assured that these Commands were however confirm'd by other Contemporary Prophets : For thus we read ( 2 Chron. 29. 25. ) the Levites were set in the House of God with Cymbals , with Psalteries , and with Harps , according to the Commandment of David , and of Gad the King's Seer , and of Nathan the Prophet ; for so was the Command of God by his Prophets . From which Passage it is evident , that these Institutions proceeded from God , and that this and no other is the Critical Season , from whence they are to bear Date . Now this was long after the delivery of Moses's Law and the Sealing up of the Ceremonial Canon ; and consequently cannot be reckon'd a part of that , nor indeed any violation of that Law. It cannot be reckon'd a part of it , because that Law mentions nothing belonging to Vocal or Instrumental Musick in the Worship of God. We find indeed some Commands relating to the Priests Trumpets , but these were appointed for Civil Uses , viz the Calling of Assemblies , the Removal of their Camps , the Proclaiming War , and giving notice of their Festivals , as we find by the 10th of Numbers . These Usages were no Violation of that Law , because the appointment of Vocal and Instrumental Musick was no essential Change and Alteration of it . It was only an additional Ornament , intended to help and raise Devotion , and for its Natural fitness and congruity to that End Commanded , and so Receiv'd into the House of God. A third Consideration that enforces our Apostle's Exhortation and Recommends the Use of Divine Musick in the Worship of God , is the Exercise of it in the Christian Church , from the first Foundations of it . We find in a particular manner our B. Lord's approving it by singing a Hymn . In like manner Paul and Silas followed this Pattern , and all faithful People throughout all Ages of the Church imitated their Practice herein . 'T is true the first Age of the Christian Church was distinguish'd from the following upon this as well as other accounts ; here therefore I shall briefly inform you , what the learned Commentators understand by the several Terms ▪ mentioned by the Apostles : and first they tell us , that the Psalm is such a Divine Song , that is either design'd , or actually sung to some Musical Instrument , and this is Mr. Calvin's Sense of this word in his Comment upon this Text ; The Hymn is made to Celebrate the Praises of God , and as such does not extend so far as the Psalm , because the Matter of the Psalm may take in Petition of Blessings and Confession of Sins , and Deprecation of Evil , as is usual in many of the Psalms of David . As for the third sort , viz. Spiritual Songs , we are to understand by them such Songs , as were indited by the Holy Ghost in the Praise of God the Father , and our Redeemer , and utter'd by Virtue of a peculiar Gift , which was Communicated to some Believers , and frequently found in the Apostolical Age. Some indeed are of Opinion that these Spiritual Songs are to be understood in opposition to those Lewd Songs us'd amongst Heathens , and this may in some sense be allow'd too , yet not so as to exclude the former , and that for this reason , viz. because amongst other miraculous Gifts vouchsafed to the Church of God , we are assured that inditing Spiritual Songs by the immediate impulse of the Spirit which is sometimes call d Prophesying , was as remarkably known , as Praying by the Spirit . And this our Apostle assures us of in that noted Passage , 1 Cor. 14. V. 15. I will pray with the Spirit , and I will pray with the Understanding also : I will sing with the Spirit , and I will sing with the Understanding also ; the Scope and Design of which place is to make each particular Gift of Praying and Singing useful to their Auditors ; that is , those that had either of the two , were not either to pray or sing in unknown Tongues , but those that their Hearers were acquainted with . We have indeed but few of these Spiritual Songs transmitted to our Hands ; but from these excellent Patterns we may take our estimate of the rest , and give a pretty good guess at the great Advantages the Church of God received by 'em : For illiterate Men becoming suddenly qualified to extol the Mercies of God for the great Work of our Redemption , we cannot but presume that the matter and manner of this Exercise , was worthy of its Author ; that the Harmony was suitable to the Subject : and because it was a Gift of the Spirit , it is but reasonable to believe , that these sort of inspir'd Persons Commenc'd good Poets and good Musicians , and were thus doubly qualify'd to set forth the Praises of our God. When we consider again that Psalms and Hymns are joyn'd with Spiritual Songs , this evidently shews that the use of these was not superseded by the extraordinary assistance then given , and thô it pleas'd God to raise up Men to magnifie his Name , and to enlarge upon the new Themes of Man's Redemption and Reconciliation , yet not with that design to make void the old Subjects that were accommodated to all Estates and Conditions of Life , and to be of perpetual use to the Church of God. These by the Goodness of God are continued to his Church ; and all that I shall observe at present is , that as we have the greatest Reason , so we ought to receive the same with grateful acknowledgments , and express our Gratitude by making what Improvements we can by these standing Helps of Piety and Devotion . And so I proceed to shew more particularly the usefulness of Divine Mnsick in the Worship of God ; as how , and after what sort , it tends to our Spiritual Improvement , and what advantages may be reap'd by every good Christian that attends to it in a due manner . The usefulness of it will in some Measure appear , by reflecting on the Infirmities incident to our corrupted Nature , For when we make our approaches to the House of God , by sad experience we too often find our selves disturb'd , either by the Cares or the Pleasures of this Life . The Man of Business too frequently brings a load of it upon his Shoulders , not easie to be discharg'd ; the Man of Pleasure too often ruminates on , and acts over again the Scenes of his past Follies , or is projecting new ones . The Tradesman is too apt to make the Temple of God a House of Merchandice . The Scholar , to make it his Study to refine and digest his Notions in . In short , we are all too subject to be distracted in our Addresses to the Throne of Mercy , too liable to bring a Sacrifice without a Heart , and to be present in Body , and at a distance in Spirit . This being too often our unhappy Condition , what better Remedy can be thought of for the Cure of these Evils , than agreeable Harmony , which has a great Force and Efficacy to hush and quiet the Cares and Business of Life , to quell and lay asleep the thoughts of our Innocent Diversions or forbidden Pleasures , and by bringing the Mind into a calm even frame and temper , dispose it to attend to the concerning Matters on which our Salvation depends . By the help of these delightful Sounds , we are fitted and prepar'd to offer up our Prayers in a better manner , and to receive more eagerly the salutary Admonitions of Holy Scripture either Read or Explain'd in the Pulpit . When we find our Devotion and Attention begins to pall by the length of some of our Offices , we have from these fresh Recruits provided us to renew and invigorate our drooping Spirits . In a word , our manifold Infirmities do much want such a kind of relief , first to bring us into due Temper , and then to quicken us when we find our selves Fainting under their Pressures . Secondly , The usefulness of Divine Musick in the Worship of God , will farther appear from the Nature of this Exercise , together with the subject Matter about which it is conversant . This Exercise , when skilfully manag'd , has a native Puissance and admirable Facility to set off the Matter about which it is Conversant , and make it appear to the best Advantages , so as to render that which in it self is lovely , more amiable , and more delightful . There are Sounds proper for every Passion , such as can damp you , when your Mirth and Joy begins to be rampant and excessive , such as can raise you when your Spirits are languishing , and either the needless Troubles , or necessary Cares of Life begin to overset you . Your Hopes shall be enlarg'd , and by an over-ruling Power of Harmony , ye shall be willingly forc'd to part with your unpleasing Thoughts , and to enjoy a Calm at least , if not an Extasie of Rapture when the Poet and Musician have severally discharg'd themselves , according to their different Tasks and Imployments . Ev'n the mean empty Trifles of this Life , when cloath'd and adorn'd in proper Words , and harmoniously express'd , are made too lovely and too desirable . Vice its self , which one would think needs Art and all other Imbellishments to ingratiate it self , owes too much of its Empire to the impure Idea's of lascivious Poets , and the Performances of wanton Musicians ; by the help of which Varnish , the Mind becomes enamour'd with the most odious and deform'd Objects , and those excellent Faculties that were given us to raise our Love and Esteem , and to fix our Mind upon Vertue and our sovereign Good , are too often debas'd , and made to serve in the meanest Drudgeries , even the propagating Sensuality and Uncleanness . If Vice it self is oblig'd to call in for those Succours to make her wrinkl'd gastly Face look Smooth and Beautiful , how amiable must Vertue appear , which in its self is lovely , when adorn'd with those Imbellishments ? When the Lineaments of her Picture are drawn by the skilful Hand of a Chast Poet , and colour'd by a good Musician ? For to come now to the subject Matter of our Praises and Thanksgivings , with what complacency and delight , ought we to receive those imitable Patterns of Devotion ; that display the Scenes of God's Love , and our thankful acknowledgements for his transcendent Goodness and Mercy to the Children of Men. And that more especially when we sing the Songs of Angels or Inspir'd Men ; or those Holy Raptures of Good Men , wherein God's Power , Wisdom and Goodness are set forth by the Works of Creation and Redemption . When in particular we adore his excellent Majesty in our Te Deums , make his Praise glorious for the Works of Creation in our Benêdicite . When we Joy and Triumph in our Faith by singing the Nicene Creed , and at the same time that we confess our Faith , shew that we are pleas'd with it : When in the rest of our Psalms and well chosen Hymns , we ascribe the Honour due unto his Name , and thus offer him the best Sacrifice in the best manner . If the bare Matter of our Praises , when attentively read , are so very apt to raise our Affections , and fill our Hearts with Joy , how much is that Joy encreas'd , when melodious Sounds , agreeable to the Matter treated of , give each Word their due force and emphasis , especially when the Composer has an Eye upon the Sense , lays wait upon what is most material , does not clog his Parts with needless Repetitions , but orders his business so , that the Hearer shall be little interrupted , but shall follow him with Ease and Pleasure , whilst he raises your Idea's by a just representation of the Subject that lies before him . If his Matter is Great and Majestick , his Harmony rises proportionably with it ; if it is more Grave and Solemn he lengthens his Measure , and gives you time to pause upon it : If it is more Chearful and Gay , you 'll the more easily pardon him , if he keeps pace with it in a quick measure : If sometimes he repeats the more emphatical words of our Psalms and Hymns , you 'll excuse him , because the Holy Pen-men have done the same before him ; and where they have not done it , he does not want an excuse , if , by the variety of the Descant he gives you a fresh occasion to circumstantiate the Praises of God , and to dwell upon 'em with greater Complacency . There are some Expressions that are hardly parted with , and more especially deferve to be insisted on . The Consideration of God's Mercy ought to create an Holy emulation among the Performers , and when the Composer has well acquitted himself , each of 'em seems to be desirous to raise it to the highest Perfection . The last follows the Steps of the former , and that with a design to improve and raise , as well as to make the Harmony more compleat ; and , to conclude , when the Composer and Performers have exactly done their Parts , how much must our Hearts be lifted up ? how much have they now been lifted up with these Heavenly Acclamations ? How much must our Joys be enlarg'd ? how much have they been enlarg'd , whilst we have all joyn'd together either in Heart or Voice , to praise and magnifie our Glorious God , and tell out His Works with Gladness ? From what I have hitherto said , give me leave to make a few short Inferences , and so I shall conclude . Seeing what I have hitherto laid down relates chiefly to the external part of our Duty , and has a regard to the Modes and Circumstances of performing it . This gives us a good account of the Nature of those Constitutions that belong to these ; and also suggests to us , that we ought to mind more the Substance of what is perform'd in the House of God , than the manner of its performance . This is very requisite in every Duty , and more especially in our Praises and Thanksgivings , and if we want that inward frame of Spirit , and that Attention that is the Life and Soul of 'em , we are only pleasing our selves : And if so , it is easie to determine what sort of Worship this it to be accounted . Our Apostle requires the Melody of Heart , and that we should sing with Grace unto the Lord ; we ought therefore to attend to what is doing , that we may not incurt the Hypocrites Doom , who draw near to God with their Lips , when their Heart is far from him . Secondly , If it be true that Divine Musick in Gods Worship may contribute to our Spiritual Improvement ; This gives us just occasion to blame the Practice of the Church of Rome , which has fram'd and contriv'd her Praises more to the Honour of Men than of God ; and not only so ; but she has lock'd up the few sound Pieces of Devotion remaining in their Breviary , in a Language not understood by the generality of their People . Possibly they may please the Ears of the People , more than we do ours , but their Hearts can never be affected , and if so , they are doing but one half of their Duty ; they 're doing nothing that concerns the more substantial part of God's Worship , who being a Spirit , is to be Worship'd in Spirit and Truth . Thirdly , If the Use and Practice of Church-Musick is of such long standing in the House of God , and Voices and Instruments were appointed by God himself , to promote the Edification of his People , this shews us the unjust Exceptions the Dissenters takes against our Way of Worship , making it to be Popish and Superstitious , and what not ; not considering in the mean time , that those excellent Offices of Praise , I mean our Hymns were practiced long before Popery was in being ; and as to the manner of adorning 'em with good Musick ; this I presume is no fault , however I could wish for the good of their Souls , that they would come to our Churches , and try whether it is a fault or not ; and then it might be hop'd we might keep them there , at least , give 'em no just cause to forsake our Assemblies . Fourthly , And to conclude , seeing these usages of our Church have a great tendency to farther our Spiritual Improvement , this shews what great reason we have to stick firm to the Practices of our Church , and to adhere to the Model of our first Reformers , who have discover'd their Wisdom and Piety in nothing more , than in the happy Choice of those Offices that were design'd to set forth the Praises of God. And because our frail state is such , that we can never hope in this Life , to do it so perfectly as we ought , let our Constitutions be never so compleat ; However , let us accustom our selves to this Divine Work here to the utmost extent of our Faculties , that we may with the Blessed Saints and Angels Praise God in the Life to come , and sing Hallelujahs to the Honour of his Great Majesty , who liveth and reigneth Three Persons and One God , both now and for evermore , Amen . FINIS . Books Printed for Tho. Bennet at the Half-Moon in St. Paul's Church-Yard . MOnsieur Bossu's Treatise of the Epick Poem , containing Reflections useful and necessary for the right understanding and judging of the Excellencies of Homer and Virgil. Done into English from the French. Together with some Reflections upon Prince Arthur . By W. Jones . To which are added , an Essay upon Satyr . By Monsieur D' Acier . And a Treatise upon Pastoral Poetry . By Monsieur Fontanelle . 80. A Comparison between Pindar and Horace . Written in French by Mr. Blondel , Master to the Dauphin . Englished by Sir Edward Sherburn . 80. The Art of Speaking . Written in French by Messeiurs Du Port-Royal , in pursuance of a former Treatise , Entitled , The Art of Thinking . Made English . Remarks on the late Writings of the English Socinians . By Mr. Lurancy . 80. The Lives of all the Princes of Orange ; from William the Great , Founder of the Common-wealth of the Vnited Provinces . To which is added , The Life of His present Majesty , King William III. from His Birth , to His Landing in England . By Mr. Tho. Brown. Together with all the Princes Heads , taken from Original Draughts . By Mr. Robert White . 80. Ten Sermons Preach'd upon several Publick Occasions . By R. Meggot , D. D. and late Dean of Winchester . 80. The Foolish Abuse , and Wise Use of Riches . A Sermon Preach'd May the 1st . 1695. By W. Talbot , D. D. Dean of Worcester . Mr. Blackburn's Sermon of Anger . Preach'd before the Queen . Mr. Adams's Sermon , before the Lords Justices , at Whitehall , upon the Thanksgiving for the Taking of Namur . — His Sermon before the Honourable House of Commons , at St. Margaret's , Westminster , Nov. 5. 1696. 
A44855	----	Thesaurus musicus being, a collection of the newest songs performed at Their Majesties theatres; and at the consorts in Viller-street in York-buildings, and in Charles-street Covent-Garden. With a thorow-bass to each song for the harpsichord, theorbo, or bass-viol. To which is annexed a collection of airs, composed for two flutes, by several masters. The first book. Thesaurus musicus. Book 1 Hudgebut, John. 1693 Approx. 33 KB of XML-encoded text transcribed from 23 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2007-01 (EEBO-TCP Phase 1). A44855 Wing H3250 ESTC R224047 99834658 99834658 39162 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A44855) Transcribed from: (Early English Books Online ; image set 39162) Images scanned from microfilm: (Early English books, 1641-1700 ; 1820:19) Thesaurus musicus being, a collection of the newest songs performed at Their Majesties theatres; and at the consorts in Viller-street in York-buildings, and in Charles-street Covent-Garden. With a thorow-bass to each song for the harpsichord, theorbo, or bass-viol. To which is annexed a collection of airs, composed for two flutes, by several masters. The first book. Thesaurus musicus. Book 1 Hudgebut, John. [4], 38 p. : music printed by J. Heptinstall for John Hudgbut. And are to be sold by John Carr, at the Middle-Temple Gate in Fleetstreet, and John Money, stationer at the Miter in Miter Court in Fleet-street. And at most musick-shops in town, London : 1693. Attributed to John Hudgebut by Wing. Lyrics with music scored for an accompanying instrument. Identified as Wing (2nd ed.) T870 (number cancelled) on UMI microfilm set "Early English books, 1641-1700", reel 1820. Reproduction of the original at the British Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). 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After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Songs, English -- Early works to 1800. Songs -- Accompaniments -- Early works to 1800. Music in theaters -- Early works to 1800. Thorough bass -- Early works to 1800. 2006-01 TCP Assigned for keying and markup 2006-03 Apex CoVantage Keyed and coded from ProQuest page images 2006-05 Derek Lee Sampled and proofread 2006-05 Derek Lee Text and markup reviewed and edited 2006-09 pfs Batch review (QC) and XML conversion THESAURUS MUSICUS : BEING , A COLLECTION of the Newest SONGS PERFORMED At Their Majesties Theatres ; and at the Consorts in Viller-street in York-Buildings , and in Charles-street Covent-Garden . WITH A Thorow-Bass to each SONG for the Harpficord , Theorbo , or Bass-Viol . To which is Annexed A Collection of Aires , Composed for two Flutes , by several Masters . THE FIRST BOOK . LESSONS FOR THE RECORDER depiction of four children sitting around a table and playing recorders LONDON , Printed by J. Heptinstall for John Hudgebut . And are to be Sold by John Carr , at the Middle-Temple Gate in Fleetstreet , and by John Money , Stationer at the Miter in Miter Court in Fleet-street . And at most Musick-Shops in Town . 1693. A Table of SONGS contain'd in this Book . A Ah Friends , how happy are we here , 8 And in each Track of Glories , 26 B Beauty first the heart inspires , 5 D Down , down with Bacchus , 38 E ' Ere Time had run so long a Race , 25 F Fye Jocky never prattle meer so like a Loon , 16 Fond Virgins run into the Snare , 17 H How long must Women wish in vain , 28 I Jack , Whither so fast ? 7 I wonder what those Lovers mean , 24 O Of noble Race was Shinking , 20 S Such command o're my Fate , 12 T Tho' you make no return to my Passion , 1 Tell me no more , no more I am deceiv'd , 2 'T is pity Myrtilla you shou'd be a Wife , 3 To Convent Streams , or shady Groves , 6 Tell me-thou fairest of all thy whole Sex , 11 That scornfull Sylvia's Chains I wear , 13 The Queen of Beauty lov'd a Swain , 18 To yonder Sweet delicious Shade , 21 W What beastly to drink ! that 's a jest , 9 Why wonders beauteous Cloris , 14 Where Phoebus with his kindest look , 22 A Table of the Flute-Tunes in two parts . Aires for 2 Flutes by Mr. King. P. 30 , 31 , 32 , 33. Aires for 2 Flutes by Mr. Godfrido Finger , and Mr. John Banister . P. 34 , 35. Aires for 2 Flutes by Mr. Keen P. 36 , 37. TO Thomas Drax , Esquire . SIR , BY the advice and assistance of some Eminent Masters of Musick , whom I have great reason to believe my very good Friends , and by some Care and Industry of my own , I have Collected this small Volume , which I find wants nothing but your Name to Recommend it to the Musical part of the World ; the Sence of this Encourages me ( but with all Humility imaginable ) to beg your Protection of it , since none ( especially who have had Gentleman-like Education ) will be so unmannerly as to oppose what a Person of your Sense and Merit has Vouchsaf'd to Patronise . I am not unsensible how Ridiculous an attempt of Panegyrick would appear in me , who am altogether as unfit for it , as to perform in a Consort of Musick , but this I must beg leave to affirm , that if Persons of your Rank and Sphere , not only condescend to be Patrons of the Sons of Apollo , but to be Performers also , we have all the ground imaginable to be assured , that our Island will be as famous for Excellent Compositions and admirable Performances in Musick , as Rome the long acknowledg'd Mistress of the World. Now Sir I must beg if you should find any Errors that you would not Impute them to the want of Skill in the Masters , but either to mine or the Printers oversight , who do not pretend to Infallibility . But this I need not have mention'd , since I know you are so Generous as to Connive at such faults , and I hope you will Pardon this presumption of Your already infinitely oblig'd , And most humble Servant , John Hudgebutt . The first Song in the Maids last Prayer , by Mr. Henry Purcell . Sung by Mrs. Dyer . THO ' you make no return to my pas — sion , still , still I pre — sume to a — dore ; 't is in Love but an odd re — pu — ta — tion , when faintly re — puls'd , to give o're . When you talk of your Duty , I gaze on your Beauty , nor mind the dull maxime at all : Let it reign in Cheapside , with a Ci — tizens Bride ; it will ne'er be receiv'd , it will ne'er , ne'er , it will ne'er be receiv'd at White — hall . II. What Apocryphal Tales are you told , By one who would make you beleive , That , because of to have and to hold , You still must be pinn'd to his sleeve . 'T were apparent high Treason , ' Gainst Love and ' gainst Reason , Should one such a Treasure engross : He who knows not the Joys , That attend such a Choice , Shou'd resign to another who does . The 2d . Song in the Maids last Prayer , Sung by Mrs. Ayliff . TELL me no more , no more I am de — ceiv'd , that Cloe's false , that Cloe's false and common : by Heav'n I all a — long beleiv'd she was , she was a ve — ry , ve-ry , Wo — man. As such I lik'd , as such ca — rest , she still , she still was con — stant when pos — sect ; she cou'd , she cou'd , she cou'd , she could do more for no man. 2d . Stanza . But oh ! but oh her thoughts on o — ther 's ran , and that you think , and that you think a hard thing ; per — haps she fan — cy'd you the Man , why what care I , why what care I one Far — thing . You say she 's false , I 'm sure she 's kind , I 'le take , I 'le take her — Bo — dy , you her Mind ; who , who , who has the better Bar — gain ? By Mr. Akeroyd T IS pit — ty pit — ty Myr — til — la you shou'd be a Wife , to be made a mere slave and a drudge all thy life ; to throw all thy freedome and pleasures a — way , change the joys of Command for the curse of O — bey : Be un — ea — sy a — broad ' cause home you must come , to be plagu'd all the night with a fumbling hum — drum , with a fum , fum , fum , fumbling , with a fumbling hum — drum . The Words by Mr. Jo. O. Set by Mr. Akeroyd BEAU — TY first the heart In — spires , e — qual flames en — crease the fires ; Mu — tual loves have mu-tual blisses , hearts a — greed the same soft wi — she s ; Still de — sire — ing , still re — qui — ring , looking still , and still ad — mire — ing . II. Some dear pleasing Raptures roul , Alike about each ravish'd Soul ; True Lovers wishes are not cloy'd , The object ne're so oft enjoy'd . Still , &c. III. Free from Troubles , free from harms , Full of Honour , full of charms ; Bless these pairs ye Gods above , Crown their hearts with lasting Love. Still , &c. Set by Mr. Ralph Courtivil . TO convent Streams or sha — dy Groves , may Ce — lia be con — fin'd , and from Au — gus — ta , from Au — gus — ta far re — move , — since hand — some and un — kind : Let her not range nor plea — sures take , in Town which no — ne will give ; why shou'd we room for Beau — ty make , why , why shou'd we room for Beau — ty make , which will not let us live ? why shou'd we room — for Beau — ty make , which wi — ll not let us live ? A Catch for 3. Voices , by Mr. King. JACK , whither so fast ? To the Devil ; where shou'd I ? I 'm not in such hast to go thither . A — dieu t' ye ; I hope to in — treague yet many a year , and Whore in a — bundance be — fore I come there ; May you al — ways be damn'd to the Hell of a Punck , while I at the Devil get Hea — ven — ly Drunk . A Song for two Voices , Set by Mr. Akeroyde . AH friends how hap-py are we here , blest with good Drink , blest with good AH friends how hap — py are we here , blest with good Drink , Drink , and with good Cheer ; we 're crown'd with joys a — bove all blest with good Drink , and with good Cheer ; we 're crown'd with joys a — bove all measure , in War we fear to lose our life , in Love , in Love ther 's measure , in War we fear to loose our life , in Love , in Love , ther 's jea — lou — sy and streif , by Trade , and play we lose our Treasure . jea — lou — sy and strief , by Trade , and play we loose our Treasure . But here , but here , un — less our Bowl should fall , and some mis-chance should But here , but here , un — less our Bowl should fall , and some mis — chance should spill it all , nothing can e — ver baulk our pleasure , but here un — spill it all , nothing can e — ver baulk our pleasure , but — less our Bowl shou'd fall , nothing can baulk , nothing can baulk , here un — less our Bowl shou'd fall nothing can baulk , nothing can nothing can baulk , can baulk our pleasure . baulk , can baulk , can baulk our pleasure . A Song for 2. Voices , Set by Mr. Robert King. WHAT Beastly to drink ! that 's a jest , that 's a jest , I 'le not bear it ; WHAT Beastly to drink ! that 's a jest , I 'le not bear it ; un — un — less you 'l de — mon — strate Beasts e — ver drink Claret : — less you 'l de — monstrate , de — monstrate Beasts e — ver drink Claret : But hang 't 't is a fol — ly to make a dis — pute , 't is the But hang 't 't is a fol — ly , a fol — ly to make a dis — pute , 't is the dull sober , dull so — ber Sot , that is real — ly the Brute , for while we drink dull so — ber Sot , that is real — ly the Brute , for while we drink Wine , for Wine , for while we drink Wine , let all men hereafter proclaim him a Beast that while we drink Wine , drink Wine , let all men hereafter proclaim him a Beast that on — ly drinks Water , proclaim him a Beast , a Beast , who on — ly drinks Water . on — ly drinks Water , proclaim him a Beast , a Beast , who on — ly drinks Water . Set by Dr. Staggins . TELL me thou fairest of all thy whole Sex , why so much good nature poor hearts doth per — plex ; The un — grate — full be — trays me with hopes in my sleep , but when the Dreams gone my heart's rea — dy to break ; This Charming sweet Creature hath a Soul so re — fin'd , that I 'de give all the world that we were of one mind . Set by Mr. Tho. Tallot . SUCH command o're my Fate , has your Love or your Hate , that no — thing can make me more wretched or great : Whilst expecting I lye to Live , or to Dye , thus doubtfull the sentence of such I re — ly , your Tongue bids me goe , tho' your eyes say not so , but much kinder words from their language do flow . II. Then leave me not hear thus between hope and fear , Tho' your Love cannot come let your Pitty appear ; But this my request you must grant me at least , And more I 'le not ask but to you leave the rest ; If my Fate I must meet let it be at your Feet , Death there with more joy than elsewhere I wou'd greet . Set by Mr. Akeroyd . THAT Scornfull Sil — vias Chaines I wear , the Groves and Streames can tell ; Those blasted with my Sighs ap — pear , these with my Tears , my Tears o're swell : But Sights and Tears bring no re — dress , and Love that sees , that sees me greive , con — spires with Sil — via to op — press the heart he shoul'd re — lieve . A Song Set by Mr. Samuel Akeroyde . The Words by Sir Ed. S. WHY wonders beauteous Clo — ris , why , I 've aim'd so oft at Po — e — try ? since by my ge — n'rous de — sti — ny , I 've seen the ob — ject of her Eye ; why wonders beauteous Clo — ris , why , I 've aim'd so oft at Po — e — try ? I 'm in a Hea — ven a — — las at least , when e're my Eyes doe on her feast : why wonders beauteous Clo — ris , why , I 've aim'd so oft at Po — e — try ; and in that Hea — ven my rap — tures be im — prov'd by her di — vi — ni — ty ? why wonders beauteous Clo — ris , why , I 've aim'd so much at Po — e — try ? II. Translated thus to Heavens blest Shore , I cease to be the thing before ; And in those hallow'd Plaines receive , Rewards too great for Earth to give ; Then Cloris can you so admire , At what you only , you Inspire ; The mighty wonders of whose Eyes , Produce your Strephons Rhapsodies . A Song in the Richmond Heirest , or a Woman once in the Right . FYE Jocky never prattle meer so like a Loon , no Rebel e're shall garr my heart to Love ; Sawny was a Loyal Scot tho' dead and gone , and Jenny'd in her Daddy 's way with muckle joy shall move : Laugh at the Kirk A — po-stles , and the canting Swarms , and fight with bonny Lad that love their Monarchy and King ; then Jenny fresh and blith , shall take thee in her Arms , and give thee twenty kisses , and per — haps a better thing . A Song for 2 Voices , Set by Mr. Samuel Akeroyde . The Words by Mr. Jo. O. FOND Virgins run in — to the snare , false Men to catch their hearts pre — pare : FOND Virgins run in — to the snare , false Men to catch their hearts pre — pare : With bro — ken Oaths and Vows be — tray'd , they wou'd complain , but are a — With bro — ken Oaths and Vows be — tray'd , they wou'd complain , but are a — fraid ; and each that Lists her self for a Wife , is doom'd to — fraid ; and each that Lists her self , a Wife is doom'd to praise , is doom'd , is doom'd to praise the care — full life . praise is doom'd to praise the care — full life . II Praise the carefull life , The Nymph she is both gay and wise , The tempting Bait discreetly flyes ; She loves her self , she loves her friend , She looks for joys and has her end ; She only can her freedom boast , Which when resign'd is ever lost . A Pastoral Dialogue by Mr. Jo. O. Set by Mr. Samuel Akeroyd . Thirsus THE Queen of Beau — ty lov'd a Swain , and le — ft her throne a — bove ; To sport it on the hum — ble plain , and re — vel , and re — vel , and re — vel — Flor. i — n his Love. But what 's the Wanton Queen to me , my — Reason is my Rule ; Nor wou'd it e — ver be with thee , if — Thris . I shou'd play the fool : Were Reason , cruel Nymph , your guide , as you mis — — take it is , you wou'd not glo — ry in your pride , nor shun Loves Flor. sacred bliss . Flor. My nu — me — rous Flocks are more than thine , my Fleeces fi — ner Wooll ; The herds that yon — der graze are mine , my Barnes are al — so full ; Thirs . But mine o — h ! fates are thine of store , my herds , my flocks but few ; I plead my Love I ask no more , since love does a — ll sub — due . CHORVS . Then let 's to yon — der Grove re — move , the coolest of the plain : There CHORVS . Then let 's to yon — der Grove re — move , the coolest of the plain : There sing the Charmes of mu — tual love , so to our Flocks a — gain . sing the Charmes of mu — tual love , so to our Flocks a — gain . A Song in the Richmond Heirest , or a Woman once in the Right . Harp. OF no — ble Race was Shinking , — The Line of Omon : S : Tudor , thum , thum , thum , thum , But her renown is fled and gone , since cruel Love persu'd her . II. Fair Winnies Eyes bright shining , And Lilly breasts Alluring ; Poor Jenkins heart with fatal Dart , Have wounded past all curing . III. Her was the prettyest Fellow At Foot-ball , or at Crickett ; At Hunting Chace , or nimble Race , Cots-plut how her cou'd prick it . IV. But now all joy's are flying , All pale and wan her Cheeks too ; Her heart so akes , her quite forsakes , Her Herrings , and her Leeks too . V. No more must dear Metheglin , Be top'd at good Mongomery ; And if Love sore , smart one week more , Adieu Cream-Cheese and Flomery . TO yon — der sweet de — li-cious shade , lovely Silvia let 's retire ; careles — ly on Roses lay'd , loose to ev'ery warm desire , loose to e — very warm de — sire , loose to e — v'ry warm de — sire . Let us wanton lau — ug and play , lau — gh and play , kiss and sing the hours a — way , kiss and sing the hours a — way , kiss and sing the hours a — way , kiss and sing the hours a — way . A Song on the Italian Woman , The Words by Mr. Heningham . Set by Mr R. Courtiville . WHERE Phaebus with his kindest , king — est , kind — est look vi — fits his Neighbours a — ll the year ; that place this Beautious Nymph , this Beautious , this Beau — tious Nymph , forsook to en — ter — tain and warm us here , here , here , to en — ter — tain and warm us here , where Phaebus here : So the sweet Cho — ris — ters of Air , who long have felt his scor — ching heat , to Sylvian Scenes of Woods re — pair , to Sylvian Scenes of Woods re — pair ; and there in sha — des their Songs re — peat , and there in sha — des , and there , and there in shades , in shades their Songs re — peat , and there , and there in shades , in sha — — des their Songs repeat , re — peat , re — peat their Songs re — peat , re — peat . Set by Mr. John Barrett . I wonder what those Lovers mean , who say , they have giv'n , they have giv'n their hearts a way : Some good kind Lo — ver tell me how , for mine is : S : but a tor — ment now ; some good kind Lo — ver tell me how , for mine is but a tor — ment now . II If so it be one place both hearts contain , For what , for what do they complain ; What Courtesies can Love do more , Then to joyn hearts that were parted before ; What Courtesies can Love do more , Than to joyn hearts that were parted before ▪ A Scotch Song set by Mr. Robert King. E'RE Time had run so long a race , when Wul — ly gan en — trea — ty , then I 'ze was thought a bon — ny Lass , and call — ed wondrous pretty : But af — ter Wedlock — knot was wove , and the Lad my Charms had worn , he curs'd my ea — sy yeilding Love , and wish'd he had had my scorn , and wish'd he had had my scorn . A Song for two Voices by Mr. Henry Purcell . AND in each track of Glo — ry , since And in each track of Glo — and in each track of Glo — ry since , — ry , since of Glo — ry , since for their lov'd Coun — try , or their Prince . Princes that for their lov'd Coun — try , or their Prince . Princes that hate , that hate Romes Ti — ran — ny and joyn the Nations right , with their own hate , that hate Romes Ti — ran — ny and joyn the Nations right , with their own Roy — al — ty ; none were more ready , none were more rea — dy , none , none , Roy — al — ty ; none , none , none , none , none were more , none were more , none , none , none were more ready in — dis — tress to save , no , none were more ready , none were more ready in — dis — tress to save , none were more Loyal , none , none , none , none , none , none , none , none , none , none were more Loyal none , none , none , none , none , none , none , none , none were more Loyal none , none more Brave . Loyal none , none more Brave . A Song for 2 Voices . By Mr. Robert King. HOW long must Women wish in vain , a con — stant How long must Wo — men wish in vain a constant Love to find ? No art can Fic — kle Man re — Love to find ? no art can fic — kle , can fic — kle Man re — tain , or fix a Ro — ving mind : Yet fond — ly we , — tain , or fix a Ro — ving mind : Yet fond — ly yet fond — ly we our selves deceive , and emp — ty hopes pur — sue ; we our selves , our selves de — ceive , and emp — ty hopes pur — sue , Tho' Tho' false to o — ther 's , we be — leive they will to us prove true , false , tho' false to o — ther 's we be — lieve they will to us prove true , tho' false to o — ther 's , tho' false to o — ther 's , tho' false to Tho' false to o — ther 's , tho' false to o — ther 's , others , we be — leive they will to us prove true . others , we be — lieve they will to us prove true . First Treble . ( 1. ) ( 2. ) ( 3. ) ( 4. ) ( 5. ) ( 6. ) ( 7. ) ( 8. ) ( 9. ) ( 10. ) ( 11. ) ( 12. ) ( 13. ) ( 14. ) Slow . Second Treble . ( 1. ) ( 2. ) ( 3. ) ( 4. ) ( 5. ) ( 6. ) ( 7. ) ( 8. ) ( 9. ) ( 10. ) ( 11. ) ( 12. ) ( 13. ) ( 14. ) Slow . A Catch for 3 Voices . By Mr. H. Purcell . DOWN , down with Bacchus , down , down with Bacchus ; from this hour renounce , re — nounce the Grapes Ty-ran — nick pow'r ; whilst in our large , our large Con — fe — d'rate Bowl , and mingling Vertue , mingling Ver — tue , chear the Soul. Down with the French , down with the French , march on to Nantz for whose , for whose dear sake wee 'l con-quer France ; and when , when th'inspiring Cups swell high , their hun — gry , hun — gry juice with scorn , with scorn de — fy . Rouse , rouse , rouse , rouse , rouse Royal Boyes , your Forces joyn , to rout , to rout the Monsieur and his Wine ; then , then , then , then the next year , our Bowl shall be quaff'd , quaff'd un — der the Vines in Bur — gun — dy . FINIS . 
A28384	----	Synopsis of vocal musick containing the rudiments of singing rightly any harmonical song, delivered in a method so solid, short and plain, that this art may now be learned more exactly, speedily and easily, than ever heretofore : whereunto are added several psalms and songs of three parts, composed by English and Italian authors for the benefit of young beginners / by A.B., Philo-Mus. A. B., Philo-Mus. 1680 Approx. 109 KB of XML-encoded text transcribed from 78 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2005-10 (EEBO-TCP Phase 1). A28384 Wing B32 ESTC R12157 11692038 ocm 11692038 48207 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A28384) Transcribed from: (Early English Books Online ; image set 48207) Images scanned from microfilm: (Early English books, 1641-1700 ; 9:23) Synopsis of vocal musick containing the rudiments of singing rightly any harmonical song, delivered in a method so solid, short and plain, that this art may now be learned more exactly, speedily and easily, than ever heretofore : whereunto are added several psalms and songs of three parts, composed by English and Italian authors for the benefit of young beginners / by A.B., Philo-Mus. A. B., Philo-Mus. [10], 135, [7] p. : music Printed for Dorman Newman ..., London : 1680. On verso of t.p.: John Lever, bookseller, stationer and printseller, at Little Moorgate, near Moorfields. With errata ([3] p.) at end. Reproduction of original in Library of Congress. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org). The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. Anyone can now take and use these texts for their own purposes, but we respectfully request that due credit and attribution is given to their original source. Users should be aware of the process of creating the TCP texts, and therefore of any assumptions that can be made about the data. Text selection was based on the New Cambridge Bibliography of English Literature (NCBEL). If an author (or for an anonymous work, the title) appears in NCBEL, then their works are eligible for inclusion. Selection was intended to range over a wide variety of subject areas, to reflect the true nature of the print record of the period. In general, first editions of a works in English were prioritized, although there are a number of works in other languages, notably Latin and Welsh, included and sometimes a second or later edition of a work was chosen if there was a compelling reason to do so. Image sets were sent to external keying companies for transcription and basic encoding. Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Sight-singing. Songs, English. Music theory -- History -- 17th century. 2004-10 TCP Assigned for keying and markup 2004-12 Apex CoVantage Keyed and coded from ProQuest page images 2005-01 Andrew Kuster Sampled and proofread 2005-01 Andrew Kuster Text and markup reviewed and edited 2005-04 pfs Batch review (QC) and XML conversion Synopsis of Uocal Musick : CONTAINING The Rudiments of Singing Rightly any Harmonical Song , DELIVERED In a Method so Solid , Short and Plain , that this ART may now be Learned more Exactly , Speedily and Easily , than ever heretofore . Whereunto are Added Several PSALMS and SONGS of Three Parts . COMPOSED BY English and Italian Authors for the benefit of young Beginners . By A. B. Philo-Mus . LONDON , Printed for Dorman Newman , at the Kings Arms in the Poultrey , 1680. JOHN LEVER , Bookseller , Stationer and Printseller , at Little Moorgate , near Moorfields . TO ALL Ingenious Lovers of MUSICK . ALthough in this Age Books of all sorts do abound , yet in some Cases there will be still need of writing more . When many Mysteries do remain still undiscovered , no man will doubt , but it is the duty of any Ingenious Lover of a Science , to bring the Truth to Light according to his utmost ability . If any will say , shall we be wise than our Forefathers , to endeavour the discovery of that which they could never find out ? The Answer is clear , Truth is the Daughter of Time. A Pigmy upon a Gyants shoulder may see farther than the Gyant himself . Even so , one enjoying the Labours of those , that have gone before , may see as far as they did , and by wading into further depths , may go farther then they , Upon this account it doth more peculiarly belong to every Ingenious Lover of an Art or Science , to continue the work , where they 〈◊〉 it , to add to the stock of knowledge to be clear , where they were confused , to turn into the way , where they went out , and to bring those things to light , that have been hidden from them , If they further urge , that they are come to the very Zenith and top of all kind of Learning , and that they know already all what they need to know : daily experience will shew the contrary , to wit , that many things are reserved for the industry and diligence of the latter times , and that there will be just occasion of writing new Books , as long as new matter remains to be published to the World. Especially is this more evident in the excellent Art and Science of Musick , which transcendeth all others of its rank , because of its profound mysteries , which have many times put the most learned Professors thereof into great admiration . Therefore in this latter Age the most learned and renowned Alstedius , Des Cartes , and Kircherus , have not thought it any disparagement to make a further , clearer and fuller Discovery , both of the Theorical and Practical Parts of this Noble Science , shewing such a way of an improvement thereof , that those things which are concealed , may be fully discovered ; those which are imperfect , compleated ; and those which are doubtful , cleared by evident demonstration . But because the Operation and Experience of the Practical Part of Composing , require the study and expence of many years , and so many excellent Tunes for Air , Variety , and Substance are at present Composed by divers eminent Authors , amongst several Nations : to condescend to the meanest Capacity of Beginners , who intend onely to spend but a small portion of time , and to reap the benefit of the Works of those eminent Composers , there are in this Treatise delivered so Solid , Short and Plain Principles and Rules , that whosoever desires to learn to Sing any composed harmonical Song , may now more exactly , speedily and easily , than ever heretofore attain thereunto . For , besides the Principles and Rules formerly published by divers other Professors of this Art , here are now delivered and demonstrated out of the foresaid famous Authors , the exact division of all the space , which any Sound can pass , into certain degrees , whereof the Scale of Musick doth consist , and the admirable Order of those degrees , their proportional dimensions or intervals , and also the exact agreeableness of the Cliffs and Syllables with them , and the generation of a Diapason or Eighth in b flat : by which means the very beginners will be not only delivered of that toilsome and troublesome torture of mutation of voices or syllables , which hath often caused many of them to despair of ever coming to any perfection ; but they will also be very much enlightned , that they may know the transcendent vertue and excellency , that is comprehended in the due proportion of Musical Sounds , and gain a full satisfaction unto their Reason as well as to their Sense . Furthermore here are added twelve most usual Tunes of Psalms in Three Parts , Treble , Mean , and Bass ; then twelve selected Tunes of divers English Authors , also in Three Parts ; two Trebles and a Bass , with twelve Selected Catches of three Voices ; lastly fourteen Italian Tunes composed by Giovanni Giacomo Castoldi de Carrivaggio , also in Three Parts , two Trebles and a Bass , whereby beginners will have a sufficient store of Tunes to exercise themselves by degrees , till they going on further to more difficult Songs at length may come to some perfection , and be able to sing at the first sight any Harmonical Song to their own delightful Divertisement from their more serious Employments . No nobler and more pleasant Satisfaction can be afforded both to Sense and Mind than by this Art , which is known to none but to their own tryal and experience , and by how much the more one exerciseth himself herein , and becomes the more skilful , he will find and enjoy the more delight and pleasure . For the improvement then of all ingenious Lovers , these Rules are thus contrived , the certainty whereof hath been experienced by divers , and may likewise be further known unto others , if they please to try , understand and use them . Now not being willing to weary the Readers Patience , I shall only add , that if any shall ( as I doubt not but they will ) reap benefit hereby , I receive the end of my desires , and so rest Your Servant for the common good , A. B. Reverendissimo in Christo Patri , ac Honoratissimo Domino , D. GUILIELMO , Providentia Divina , Archiepiscopo Cantuariensi , Totius Angliae Primati ac Metropolitano , Regiae Majestati à Sanctioribus Consiliis . VENERANDE VIR , Vltio ne vertatur , quod praefulgentis Tui Nominis minio , hujusce libelli mei frontispicium exornare non erubescam . Etenim licet nostris , quas victuras speramus , chartis , ceu Memoriae Aris , ea praefigamus nomina , quae studemus ad seram posteritatem transmittere , illos mitati , qui chara sibi nomina ab interitu , quantum pote est , vindicaturi , illa Palatiorum marmoribus insculpunt ; nunc tamen è contrario , huic libello è musei umbra ad publicum gestianti , Lucem , quam à se non habet , ab illustri Tui Nominis sole foenerari studeo . Hoc deinde Numine Tutelari , à Zoilorum morsibus & Lemorum censuris iniquis , quicquid isthuc est opusculi , immune praestandum plane confido : Tuumque Nomen Venerandum in hoc Vestibulo ei futurum , quod aiunt Romae in quodam sacello fuisse quondam Herculis clavam , quae suo nidore canibus & muscis illud Delubrum maccessum reddebat . Denique hosce meos labores Tuae , Rev. Dign . inscribendo satius duxi , meum nomen inter illos profiteri , quibus eximiae Tuae Virtutes venerationi simul sunt & admirationi , & quos de Tuo Singulari Amore & Favore , praesertim erga literarum meliorum cultor●s perpetim gloriari juvat . Concede , Vir Summe , ut hoc tenui munusculo , cum in praesentiarum nil Te dignius ad manus habeam , in grati & Tibi devoti animi monimentum , Tuis in me litem meritis ; idque gratioso at benigno suscipe vultu , non tam aestimato rei oblatae pretio , quam humillimo affectu offerentis , Tibi mansuri , quam diu hic Spiritus hos regit artus Devotissimi & Addictissimi : & donec id Solenniori modo contestandi mihi coelitus affulgeat occasio , Deum Opt. Max. indesinenter venerabor , ut Te quam diutissima Ecclesiae & Rei publicae superstitem esse jubeat , Tibique affatum benedicere pergat . Londini , è museo meo . Prid. Cal. Decemb. Anno M D CLXXX . Amplissimae Dignitatis Tuae Devotissimus & Obsequentissimus Cultor , A. B. Synopsis of Uocal Musick . CHAP. I. Of Vocal Musick in general . VOcal Musick is an Art of expressing rightly things by Voice , for the sweet moving of the affections and the mind . It is an Art , be●●use it is busied about an object , which can be made , and is meet only for every Art. For the formal object of it is Singing , wherein it directeth the understanding . It s form is a right expression of things by voice , either monodically in a simple melodie , or Symphonially in a compounded . The end and effect of it is , a sweet moving of the affections and the mind . For exhilarating the animal spirits , it moderateth gratefully the affections , and thus penetrateth the interiour of the mind , which it most pleasantly doth affect . The means by which it is acquired are a frequent exercising of the voice , as well according to certain signs by which vocal melodies are represented , as according to the direction , either of a well tuned Instrument , or rather of an experienced Master . The signs whereby vocal melodies are represented , are either of the melodies themselves , or of the Ornaments of them . Signs of melodies themselves are either of sounds , or of things . The signs of Sounds are either of the length , or of the thickness , or of the breadth of a sound . Signs of the length of sounds do note their duration . And are either of the length of sounds it self , or of the touch , by which the length of sounds is measured . The signs of the length of sounds it self , are either of the length of positive or present sounds , or of the length of privative or absent sounds . Signs of the length of positive or present Sounds , are either primary or Secondary . CHAP. II. Of the Notes . THE Primary signs of the length of positive or present sounds are the Notes . Notes are signs which do note the duration of sounds ; and are either whole or broken . Whole Notes do note the duration of whole times . And art either Of Eight times , Which are called , Large . And are thus marked . Four times , Long. Two times , Breves . One time . Semibreves . Broken Notes do note the duration of sounds of parts of a time . And are either Of the Second Part of a time which are called Minims , And are thus marked . Fourth Crotchets , Eighth Quavers , Sixteenth Semiquavers , Two and thirtieth . Demiquavers , CHAP. III. Of the Pricks . The Secundary Signs of the length of positive or present sounds are the Pricks . Pricks are Signs which do augment by the half part every Note after which they are placed . Therefore A Large of the length of Eight times thus pricked is of the length of Twelve times . Long Four times Six times . Breve Two times Three times . Semibreve One time One time and an half . Minim Half a time An half time and a 4th . part . Crotchet The fourth part of a time A fourth and an eighth part . Quaver The eight part of a time An eighth and a sixteenth part . CHAP. IV. Of the Pauses . SIgns of the length of privative or absent sounds are the pauses or rests . Pauses are signs which do note the duration of silences ; and are either of whole times , or of parts of a time . Pauses of whole times are either of Eight times . Four times . Two times . One time . Marked thus . Pauses of parts of a time are either of Half a time . The fourth part of a time . The eighth part of a time . The sixteenth part of a time . Marked thus . CHAP. V. Of the Signs of the Common Time. SIgns of the tact , touch or time , are by which the length of all Sounds , Notes and Pauses are measured and are either primary or secondary . The primary Signs of the Time are diverse , according to the diversity of the Time. Time is a successive motion , depression and elevation , fall and rise of the hand , by which the length of all Sounds , Notes and Pauses is measured : and is either dupla usually called common , or tripla , or sesquiatera . The Common Time is whose parts , depression and elevation are equal , or even long , and by which all Notes and Pauses , according to their proper value are measured . And is either Slower but less usual , marked with an half circle thus — Swifter and most usual , marked with an half circle cut with a perpendicular line thus — CHAP. VI. Of the slower Triple . TRiple Time is whose parts are unequal , the depression of the hand twice as long as the elevation and by which Notes and Pauses are measured , not according to their proper value , but according to a certain proportion : and is either slower , or swifter , or swifteste . The Slower Triple consisteth of three Semibreves , or equivalent Notes , and is marked with the numbers 3 and 1 , the former being perpendicularly placed above the latter , because it consisteth of three Notes of one Time , according to the common Time. As in Example A Breve serving in respect of his latter half part for the elevation of the hand is commonly blacked , and also for the most part his immediately anteceding Note . As Two or more Breves , the one following immediately the other , are often signed without Pricks or equivalent Notes for a whole time , because then the one perfecteth the other . As The Pauses of this Triple are thus measured . Pauses according to the Common Time of Eight times , Four times , Two times , Two of one time , One time . are in this triple of Four times , Two times , One time , Depression of the hand , Elevation of the hand . CHAP. VII . Of the Swifter Triple . THE Swifter Triple consisteth of three Minims or equivalent Notes , and is marked with the numbers 3 and 2 , the former being perpendicularly placed above the latter , because it consisteth of three Notes of half a time , according to the Common Time. As A Semibreve serving in respect of his latter half part , for the elevation of the hand , is for the most part blacked , with his immediately anteceding Note : as also a Breve , serving in respect of his fourth or last part , for the depression of the hand . As Two or more Semibreves also Semibreves and Breves , the one following immediately the other are often signed without Pricks or equivalent Notes , as then the one perfecteth the other , and consequently a Semibreve is of one , and a Breve of two times . As The Pauses of this Triple of whole times are like to the Pauses of the Common Time , but of parts of a Time are differing . Pauses according to the Common Time of Eight times , Four times , Two times , One time , Two half times , One half time , a Fourth part of a time . Are in this Triple of Eight times , Four times , Two times , One time , Depression of the hand , Elevation , A Sixth part of Time , CHAP. VIII . Of the Swiftest Triple . THE Swiftest Triple consisteth of three Crotchets , or equivalent Notes , and is marked with the numbers 3 and 4 , the former being perpendicularly placed above the latter , because it consisteth of three Notes of the fourth part of a Time , according to the Common Time. As A Minim in this Triple , serving either for the depression or for the elevation of the hand , is signed , either after his usual manner : As Or is changed into a Semibreve blacked : as The Pauses of this Triple of Whole Times , are like to the Pauses of the Common Time , but of parts of a Time are differing . Pauses according to the Common Time of 8 times , 4 times , 2 times , 1 time , 2 fourth parts of a time , 1 fourth part of a time , an 8 part of a time . Are in this Triple of 8 times , 4 times , 2 times , 1 time , depression of the hand , elevation of the hand , the sixth part of a time . CHAP. IX . Of the slower Sesquial ' e. SEsquialtre time is whose parts , the depression and elevation of the hand are equal , or even long , as in Common Time , yet by whom Notes and Pauses are measured , not according to their proper value , as in Common Time , but according to a certain proportion as in Triple : And is either Slower , Swifter , or Swiftest . The Slower Sesquialtre consisteth of six Crotchets or equivalent Notes , and is therefore marked with the numbers 6 and 4 , the former being perpendicularly placed above the latter : Asin Example , The Pauses of this Sesquialtre of whole times , are like to the Pauses of the Common Time , but of parts of a Time are differing . Pauses according to the Common Time , of Half a Time , two fourth parts of a Time , one fourth part of a time , an eighth part of a time . Are in this Sesquialtre of Half a Time , two sixth parts of a Time , one sixth part of a Time , a twelfth part of a Time. CHAP. X. Of the Swifter Sesquialtre . THE Swifter Sesquialtre consisteth of six Quavers , or equivalent Notes , and is therefore marked with the numbers 6 and 8 , the former being perpindicularly placed above the latter . As in Example The Pauses of this Sesquialtre of whole times are like to the Pauses of the Common Time , but of parts of a time are differing . Pauses according to the Common Time of Half a Time , two fourth parts of a Time , one fourth part of a Time , an eighth part of a Time. Are in this Sesquialtre of Half a Time , two eight parts of a Time , one eighth part of a Time , one sixteenth part of a Time. CHAP. XI . Of the Swiftest Sesquialtre . THE Swiftest Sequialtre consisteth of twelve Quavers or equivaleut Notes , and is therefore marked with the numbers 12 and 8 , the former being perpendicularly placed above the latter . As in Example The Pauses of this Sesquialtre of Whole Times are like to the Pauses of the Common Time , but of parts of a Time are differing . Pauses according to the Common Time of Half a time , the fourth part of a time , the eighth part of a time , two eight parts of a time . Are in this Sesquialtre of Half a Time , three twelfth parts of a Time , one twelfth part of a time , two twelfth parts of a Time. The secondary signs of the Tact or Time are certain words used by the Italians , and afterwards also of others , to wit , Adagio , and Presto , fignifying , that such a part of a Song where Adagio is written , is to be Sung slower , and where Presto , swifter . CHAP. XII . Of the Systems . THE signs of the thickness of sounds do note their gravity and acuteness , or profundity and altitude . And are either containing , or contained . The containing signs are either primary , or secundary . The primary containing signs are the Systemes , which by their five joyned parallel lines , and spaces between them whereof they do consist , assign and afford to the Cliffs their due higher or lower places : according to this Type . But if any Notes of a Melody rise higher or fall lower , exceeding this Systeme of five lines above or below , then there are drawn more small lines , that serve for the placing of them : as appeareth in this Type . CHAP. XIII . Of the Bars , and Repeats . THE secondary containing signs are either Limiting , or Repeating . The Limiting signs are the Bars which are perpendicular lines , and are either single , measuring the distances of one or more times of a Song ; or double , marking the strains or stanza's of it : As in Example . The repeating signs are the Repeats , which signifie that a part of a Song must be sung over again . And are either of a General part of a Song thus signed , Or of a particular part of it over against a Note thus marked . CHAP. XIV . Of the Cliffs . THE contained signs of the thickness of a Sound , are they which in the Systemes are placed . And are either Primary , or Secondary . The primary contained signs are either principal , or less principal . The principal contained signs are which chiefly do note the profundity and altitude of a Sound . And are either Visible , or Audible . The Visible signs of the thickness of Sounds are the Cliffs or Keys , which being placed in the Systemes , do represent by their Notes the just Altitude and Profundity of every Sound . And are according to the seven Degrees of the Scale of Musick , the first seven letters of the Alphabet , as A , B , C , D , E , F , and G ; whereof four , as B , C , D , and E , are never noted , but understood and known by those three signed , as G Marked thus . C F These three are distant the one from the other by a fifth , and afford a double use , to wit , in respect of voices , and in respect of Notes . CHAP. XV. Of the Use of Cliffs in respect of Voices . IN respect of voices , the Cliffs discern the voices distinctly the one from the other . For the Cliff F , is proper to the Bass , and signifieth being placed on the fifth line a Lower Bass , on the fourth a Common , on the third an Higher . The Cliff C is for Tenor , Mean , and Lower Treble , and signifieth being placed on the fouth line a Tenor , on the third a Mean , on the second an Higher Mean , on the first a Lower Treble . The Cliff G is proper for the Treble , and signifieth , being placed on the third line a Lower Treble , on the second a Common , on the first an Higher . CHAP. XVI . Of the Use of Cliffs in respect of Notes . IN respect of the Notes , the Cliffs give to all Notes , in regard of their thickness their names , and make that the understood , or not signed Cliffs do that same . The Cliff G nameth all Notes that stand upon that line upon which it is placed : in B sharp , that is , when the Cliff B , is not with a little round b marked — Sol. B flat , that is , when the Cliff B , is with a little round b marked — Re. The Cliff C nameth them in B sharp — Vt. B moll — Sol. The Cliff F nameth them in B sharp — Fa. B moll — Vt. CHAP. XVII . Of the Syllables . THE audible signs of the thickness of Sounds are certain Syllables every where amongst Musicians received , that beginners may by the help of them easily learn to discern exactly the just altitude and profundity of every Sound . And are in number seven , as Vt , Re , Mi , Fa , Sol , La , and Ci. The former first six of these Syllables are said to be invented , almost seven hundred years ago , by Guido Arerinus otherwise in Musick well enough skill'd , out of this Hymn of St. John. Ut queant laxis , Mira gestorum , Solve polluti , Resonare fibris , Famuli tuorum , Labii reatum . Sancte Johannes . But because they are not sufficient to express the seven degrees of the Scale of Musick , many have had need of divers mutations of them , which ( as Experience witnesseth ) hath been to Learners , not only a troublesome torture in learning , but also no little hinderance in their going forwards . Therefore later Musicians have added to the six Syllables the seventh Ci , that their number might answer exactly to the seven degrees contained in the Scale of Musick , and no mutation might be any more required . CHAP. XVIII . Of the Scale of Musick . THE Scale of Musick is an order of seven degrees , distant one from another by just intervals , according to which every sound in ascending and descending is to be directed . The degrees of it are certain limits , by which all the space which a sound can pass , is divided so exactly in certain intervals , that a sound may by them be lifted up , or pressed down , in a due proportion , one following another . And these degrees can be by nature neither more nor less in number : moreover , neither can they differ one from another by greater or lesser intervals . For all the space of sounds is first of all by Nature itself divided into consonancies , whereof every one is called an Eighth , or commonly a Diapason . Because Nature it self sheweth most evidentiy this division in a Whistle , which being blown with a stronger blast than usually , giveth immediately a sound higher by an eighth . And this sound , as the higher term of the eighth , although it in respect of its altitude differeth from the graver or profounder term of that eighth therein , that it is only its half part , because it 's twice contained in it , like a shorter string in a longer , which is very well known by experiment in a monochord ; and that it is weaker , because it is moved of a graver , as of a stronger , which appeareth by the strings of a Lute , whereof if any graver is stricken , that which is by an eighth acuter , immediately trembleth and soundeth : yet in respect of its consonancy it doth equisonate with it after the manner of an unison , which also most evidently appeareth out of the singing of a Song of one voice made by two singers , who can sing that same altogether from the beginning to the end , without any dissonancy , yet the one by an eigth higher than the other . The eighth therefore is the most perfect consonancy , differing from an unison only therein , that in its terms is the most simple conveniency divers , as between the whole and half . The same reason is of an eighth once compounded , commonly called a disdiapason , a double eighth , or fifteenth ; and of a twice compounded , which is called a trisdiapason , a triple eighth or two and twentieth ; and also of a thrice compounded called a tetradiapason , a quadrula eighth , or nine and twentieth , whereof the one can in no way differ from the other . Afterwards an eighth is divided into a fifth , and its residue a fourth : this is commonly called a diatessaron , that a diapente . A fifth or diapente is very easily discerned by hearing , because its terms differ between themselves more than they of an eighth , and less than they of a third or ditone , and therefore it soundeth to the hearing not so flatly as an eighth , nor so sharply as a ditone , but most pleasantly of all . For that object is most pleasant to sense , which in its receiving , neither by its easiness wholly filleth the desire of sense , nor by its difficulty doth weary it : because as too much easiness breedeth fulness and loathing , so too much difficulty trouble and weariness . And this fifth is the most perfect amongst consonancies next to the eighth , because it is by it self generated out of the division of an eight , which is certainly known by experiment in the strings of a Lute , that if any of them be stricken , that the strength of that very sound , immediately striketh all the strings , which are acuter by any kind of a fifth . After that a fifth is divided into a greater third , and its residue a lesser third : this is commonly called a Semiditone , that a Ditone . This greater third or Ditone is also very easily discerned by hearing , because it consisteth in a manifold proportion , consonating with the terms , not only of an eighth , but also of a fifth , and is therefore , next to the fifth , a consonancy so perfect , that it , as experience witnesseth , effecteth upon the strings of a Lute a trembling , which may be perceived not only by seeing but also by hearing . Besides , the remaining Semiditone is divided into a greater Semitone , and a greater tone , that the acuter term of the greater Semitone may consonate with the acuter term of the eighth , after the manner of a fifth . Further this fifth generated out of the division of the foresaid Semiditone , is also divided into a Ditone and its residue a Semiditone , whose Ditone's acuter term doth constitute the sixth degree in an eighth . Moreover the Ditone of the first divided fifth , is divided into a lesser and a greater tone , that the acuter term of this lesser tone may consonate with the acuter term of the sixth , after the manner of a fifth . Lastly the Semiditone betwixt the sixth an eighth is divided into a greater tone and greater Semitone , that the acuter term of this grater tone may constitute a fifth , with the acuter term of the first Ditone . CHAP. XIX . Of the Order of the Generation of the Degrees . THE seven Degrees of the Scale of Musick are then generated after this order . 1. The first Degree ariseth out of the division of all the space of Sounds into eighths , and is the graver term of an eighth , as the acuter term of that same eighth is likewise the first Degree of the next following ácuter eighth . 2. The fifth Degree ariseth out of the division of an eighth into a fifth , and its residue fourth , and is the acuter term of that fifth . 3. The third Degree ariseth out of the division of a fifth into a Ditone , and its remaining Semiditone , and as the acuter term of that Ditone . 4. The fourth Degree ariseth out of the division of the Semiditone into a greater Semitone and a greater Tone , and is the acuter term of that greater Semitone , which maketh a fifth with the acuter term of the eighth . 5. The sixth Degree ariseth out of the division of this foresaid fifth into a Ditone and Semiditone , and is the acuter term of that Ditone . 6. The second Degree ariseth out of the division of the Ditone of the former fifth into a lesser and greater Tone , and is the term of that lesser Tone , and maketh a fifth with the acuter term of the sixth . 7. The seventh Degree ariseth out of the division of the latter Semiditone into a greater Tone and a greater Semitone , and is the acuter term of that greater Tone , and maketh a fifth with the acuter term of the former Ditone . Therefore an eighth is divided according to the successive order of these Degrees into a fifth and its residue a fourth ; that fifth into a Ditone and a Semiditone ; the Ditone into a lesser and greater Tone ; the Semiditone into a greater Semitone and a greater Tone ; that remaining sourth into a lesser Tone and a Semiditone ; that Semiditone into a greater Tone and a greater Semitone . CHAP. XX. Of the Intervals of the Degrees . AND these Degrees are distant the one from the other by these Tones or Intervals . For a Tone is a space , distance , or interval between two sounds , a graver and an acuter . Between the first and second Degree is a lesser Tone , containing nine comma's : between the second and the third is a greater Tone , exceeding the lesser by its tenth part , which tenth part is commonly called a Comma ; between the third and fourth is an half greater Tone , commonly called a greater Semitone ; between the fourth and fifth is a greater Tone of ten Comma's ; between the fifth and sixth is a lesser Tone of nine Comma's ; between the sixth and seventh is a greater Tone of ten Comma's ; between the seventh and the first of the next following acuter eighth is a greater Semitone of five Comma's . So that Nature it self demonstrateth it most manifestly that there can be in the Scale of Musick neither more nor less degrees in number than seven : moreover that they cannot be distant the one from the other by greater or lesser intervals . That all these things may appear more evidently , so is the successive division of all the space of sounds , and also the Scale of Musick , together with its degrees and intervals , rolled into a Circle , and represented in the following Figure . CHAP. XXI . Of the agreeableness of the Cliffs and Syllables with the Degrees of the Scale of Musick . TO discem rightly these seven Degrees of the Scale of Musick , are commonly used the first seven letters of the Alphabet , called Cliffs ( as above is said Chap. 14. ) which by their Notes do shew before ones Eyes , the just altitude and profundity of the sound of every Degree . And because the Cliff b , being by nature sharp , can be changed into a flat , as afterwards shall be demonstrated , so is the first Degree of an eighth represented by the Cliff c , the second by d , the third by e , the fourth by f , the fifth by g , the sixth by a , and the seventh by b : which seventh Degree , because it is the acuter term of a greater Tone , it maketh a sharp sound , and therefore that Cliss b is called b sharp , and the Scale marked with that b , the Scale of b sharp , and also a Song contained in that Scale , a Song in b sharp . Now reason it self also telleth , that like as there be seven Cliffs shewing the just altitude and profundity of the sounds of every Degree to the sight , that there also must be used seven voices or syllables , which also may fitly represent the same altitude and profundity of the Sounds to the hearing . And there can be no fitter syllables than the six of the Ancients , now by long use every where received , if to them be added the seventh , to wit , ci , because they make by their letters a sound convenient enough . For ut and fa afford a flat and esseminate sound ; re , sol , and la , a natural and middle ; but mi and ci a sharp and man-like . Ut agreeth with the first Degree , because this Degree is distant from the seventh Degree of the graver eighth by a greater Semitone , which therefore also maketh a flat sound . Re answereth the second Degree , because this Degree is distant from the first by a lesser Tone , and therefore also affordeth a natural and middle sound . Mi is like to the third Degree , because this Degree is distant from the second by a greater Tone , and therefore also emitteth a sharp and man-like sound . Fa agreeth with the fourth Degree , because this Degree is distant from the third by a greater Semitone , and therefore also maketh an effeminate and flat sound . Sol answereth to the fifth Degree , because this Degree is distant from the fourth , indeed by a greater Tone , but moveable into a lesser , as afterwards shall be demonstrated , when b flat shall be treated of , and therefore also affordeth a natural or middle sound . La is like to the sixth Degree , because this Degree is distant from the fifth by a lesser Tone , and therefore also giveth a natural and middle sound . Lastly Ci doth agree with the seventh Degree , because this Degree is distant from the sixth by a greater Tone , and therefore also maketh a sharp and man-like sound . By these voices or syllables is then the just altitude and profundity of the sounds of every degree also conveniently enough represented to the hearing . CHAP. XXII . Of the generation of an Eighth in b flat . FUrther because there be in an Eighth two greater Semitones , and the acuter term of a greater Semitone be the first Degree of an Eighth , so must then be considered , how an Eighth with every one of his Degrees is exactly to be made out of the acuter term of the latter greater Semitone . The first Degree of that Eighth let be the acuter term of that latter greater Semitone , to wit , the fourth Degree of the former Eighth . The second Degree of an Eighth should be distant from the first by a lesser Tone , and the thiid from the second by a greater , but the fifth Degree of the first Eight is distant from the fourth by a greater Tone , and the sixth from the fifth by a lesser Tone , therefore there must be made a fraction , which is the difference of a greater and lesser Tone , and is commonly called a Schisma or Comma , and that Comma must be taken away from the greater Tone , and be added to the lesser , then the second Degree of this Octave will be distant from the first by a lesser Tone , and the third from the second by a greater Tone which was required . The fourth Degree of an Eighth should be distant from the third by a greater Semitone , and the fifth from a fourth by a greater Tone , but the seventh Degree of the first Eighth is distant from the sixth by a greater Tone , and the first from the seventh by a greater Semitone : therefore must here also be made a fraction by the difference of a greater Semitone , to wit , a greater Semitone must be taken away from the greater Tone , and be added to the greater Semitone ; then the fourth Degree of this Eighth will be distant from the third by a greater Semitone , and the fifth from the fourth by a greater Tone , which also was required . The sixth Degree should be distant from the fifth by a lesser Tone , the seventh from the sixth by a greater Tone , and again the first from the seventh by a greater Semitone , now the second Degree of the first Eighth , is distant from the first by a lesser Tone , the third from the second by a greater Tone , and the fourth from the third by a greater Semitone , therefore these Degrees do well agree amongst themselves , and all the latter eighth is perfected . The Scale arising out of this Eighth is called the Scale of b flat , because herein b sharp is turned into b flat ; and also a Song contained in this Scale , is called a Song in b flat . And it beginneth in the Cliff f , and is therefore distant from the Scale of b sharp by its gravity , by a fifth , for in so much as a Sound is flatter , in so much it is also graver , and needeth lesser breath , that it may be uttered . Both these Scales , as well of b sharp , as of b flat , together with their Cliffs and Syllables , rolled into a Circle , are exactly represented in the following Figure : the degrees of the Scale of b sharp with continued Lines , but the degrees of the Scale of b flat with lines made of small points . In Plain are the Scales thus represented : In B Sharp , Ut Re Mi Fa Sol La Ci Ut. Ut Ci La Sol Fa Mi Re Ut In B Flat , Sol La Ci Ut Re Mi Fa Sol. Sol Fa Mi Re Ut Ci La Sol. Therefore a Song being proposed , first must be the Cliff consulted what Cliff it be , and whether in B sharp , or in B flat , and accordingly by its Name be called : from thence must be proceeded to the Notes according to the Scale , in ascending and descending to the end of the Song . But if a Song is not concluded in these seven degrees of the Scale , either ascending higher , or descending lower , then the degrees are iterated in order either forward or backward , as far as a Song it self extendeth . CHAP. XXIII . Of the lesser principal and secondary contained signs . THE less principal contained signs , are signs either pressing down the sounds , or lifting them up . Signs which do press down the Sounds is B flat . B flat maketh every Note before which it is placed , by half a Tone graver or lower . As , Signs which lift up the sounds are B sharp , and B cancelled . B sharp raiseth every Note , before which it is placed , by half a Tone higher . As , B cancelled raiseth also every Note before which it is placed , by half a Tone higher . As , The Secondary contained signs are the Directs . A Direct sheweth that in the same Cliff in which it is placed , the first Note of the next following System doth stand . As , CHAP. XXIV . Of the signs of the breadth of sounds , and of things . SIgns of the latitude or breadth of sounds are which ought to shew whether a sound must be sung with a clear and full , or with a soft and small spirit , and are by Artists less carefully expressed , who leave that to the text , and to the things themselves which in a Song are to be expressed . Italians only , and some that them do follow , do use these two words , Forte and Piano , signifying that such part of a song must be sung clearer and fuller , under which is written Forte , but softer and smaller , under which is written Piano . Signs of things are either Primary or Secundary . The Primary signs of things , is the Text it self written under a melody . The Secundary signs of things are either Repeats or Tyes . A Repeat of things is a sign which signifieth that a part of the Text must be sung over again . As , Vecedetemi pur 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 bel╌la , bel╌la tiranna . A Tye is a crooked line , binding two or more Notes together , which to one Syllable are to be Sung. As , Gather your Rose-buds while you may , old Time is still a flying . CHAP. XXV . Of the signs of the Ornaments of Songs . SIgns of the Ornaments of Songs are also by Artists less carefully expressed , the Art of Singing with Graces and Orntments being left to Beginners , to attain to it by the imitation of those , who are perfect in it . Yet these few directions are commonly given , that the chiefest ornaments do consist in Exclamations , Trillo's , and Gruppo's . An Exclamation is a slacking of the Voice to reinforce it afterwards , and is especially used in Minims and Crotchets with a prick , whom shorter Notes do follow . A Trillo is a shaking of the Uvula on the Throat in one Sound or Note , as the Gruppo is in two Sounds or Notes , the one being by one degree higher than the other , and are commonly used in cadences and closes . These Ornaments are not to be used in Airy Songs , which require only a lively and cheerful kind of Singing , carried by the Air it self : but in Passionate Musick , wherein must be kept a command of the breath , by taking heed , that by spending much in one place it do not afterward fail in another when it is needful . Besides the ordinary measure of Time is here less regarded , for many times is the value of 〈◊〉 Notes made less by half , and sometimes more , according to the conceit of the words , with a graceful neglect . CHAP. XXVI . Of the second Mean to attain the Art of Musick . HItherto is treated of the frequent exercising of the voice , according to certain signs by which vocal melodies are represented , as the first Mean , whereby the Art of Singing is to be acquired : followeth now the other mean by which it is attained , the often exercising of the Vo●●e also , by the direction either of a well Tuned Instrument , or of an experienced Master . Because a Beginner cannot at first order his Voice , in rising and falling of the Sounds according to the several Degrees of the Scale of Musick , he must therefore guide his Voice in unity of the Sounds , either of an Instrument , especially of the Virginals which are well tuned , or of the voice of one , who in this Art is well experienced : a little practice by singing sometimes with , and sometimes without this help , will so estabiish his Voice , that he will be able to express by Voices all the Degrees of the Scale , and any Sounds of any plain Song according to them . But in the exercising of the Voice is this Order to be observed . First of all must a Beginner learn the Scale of Musick , that he may be able to express exactly in Or erall the Sounds of every Degree , in Ascending and Descending . After that he must learn to Tune a Third , a Fourth , a Fifth , a Seventh , and an Eighth , in Ascending and Descending from every Degree : which he will speedily attain , by Sounding at the first Tuning by Degrees all the middle Notes , and afterwards by leaving them out , as in Example . From the First Degree , &c. From the Second Degree , &c. After the same manner must they be Tuned from the rest of the Degrees . And being herein also exactly skilled , he must begin with any plain Song , consulting first the Cliffs whether it is in B sharp , or in B flat , naming it by its proper name , and then proceed from the Cliff to the first Note of the Song , giving it its name , and Tuning it so to the pitch of his Voice , that when he cometh to his highest Note , he may reach it without squeaking , and to his lowest without grumbling , so that his Voice may come always clear from the throat . Then he must sing over all the Song first with the syllables , till he can sing exactly : Afterwards leaving the syllables , he must sing it over with the Text or words underwritten , and that so often till he can sing it all , with all readiness . Having thus exercised himself in easier Songs , he must strive continually to exercise himself after this manner , by Degrees further in harder Songs , till he cometh to perfection , and can sing any Harmonical Song at the first sight , using this Art to his own Recreation , and the Glory of God , which are to Vocal Musick its subordinate and ultimate end . Twelve Most Usual TUNES OF PSALMS : IN THREE PARTS . TREBLE , MEAN , and BASS . Psalm 1. Cambridge Tune . Tho. Ravenscroft . B. of M CANTUS . THE man is blest that hath not bent , to wicked read his ear Nor led his life as sinners do , Nor sate in scorners chair . BASSVS . THE man is blest that hath not bent , to wicked read his ear , Not led his life as Sinners do , Nor sate in scorners chair . TENOR THE man is blest that hath not bent , to wicked read his ear , Nor led his life as Sinners do , Nor sate in scorners chair . 2. But in the law of God the Lord doth set his whole delight : And in that law doth exercise himself both day and night . 3. He shall be like the tree that groweth , fast by the River side : Which bringeth forth most pleasant fruits , in her due time and tide . Psalm 9. Windsor Tune . Tho. Ravenscroft , B. of M. CANTUS . WITH heart and mouth unto the Lord , Will I sing laud and praise , And speak of all thy wondrous works , And them declare always . BASSUS . BASSUS . WITH heart and mouth unto the Lord , Will I sing laud and praise , And speak of all thy wondrous works , And them declare always . TENOR . WITH heart and mouth unto the Lord , Will I sing laud and praise , And speak of all thy wondrous works , And them declare always . 2. I will be glad and much rejoyce , in thee O Lord most high , And make my Songs extol thy name , above the starry skie . 3. For that my foes are driven back , and turned unto flight . They fall down flat and are destroy'd , by thy great force and night . Psalm 23. Martyrs Tune . Simon Stubbs . CANTUS . THE Lord is only my support , and he that doth me feed , How can I then lack any thing , Whereof I stand in need . BASSUS . THE Lord is only my support , And he that doth me feed , How can I then lack any thing , Whereof I stand in need . TENOR . THE Lord is only my support , and he that doth me feed , How can I then lack any thing , Whereof I stand in need . 2. He doth me fold in coats most safe , the tender grass fast by : And after drives me to the streams , which run most pleasantly . 3. And when I feel my self near lost , then doth he me home take : Conducting me in the right paths , even for his own names sake . Psalm 45. London Tune . Tho. Ravenscroft , B. of M. CANTUS . MY heart doth take in hand , Some godly Song to sing , the praise that I shall shew therein , Pertaineth to the King. BASSUS . MY heart doth take in hhand , Some godly Song to sing : The praise that I shall shew therein , Pertaineth to the King. TENOR . MY heart doth take in hand some godly Song to sing : The praise that I shall shew therein , Pertaineth to the King. 2. My tongue oeall be as quick , his honour to endite , As is the pen of any Scribe , that useth fast to write . 3. O fairest of all men , thy speech is pleasant pure . For God hath blessed thee with gifts for ever to endure Psalm 34. York Tune . John Milton . CANTUS . I Will give laud and honour both , Unto the Lord always , And eke my mouth for evermore , Shall speak unto his praise . BASSUS . I Will give laud and honour both , Unto the Lord always , And eke my mouth for evermore , Shall speak unto his praise . TENOR . I Will give laud and honour both , Unto the Lord always , And eke my mouth for evermore , Shall speak unto his praise . 2 I do delight to laud the Lord , in soul and ekke in voyce : That humble men and mortified , may hear and so rejoyce . 3 Therefore see that ye magnifie , with me the living Lord , And let us now exhalt his name , together with one accord , Psalm 47. Lincoln Tune . William Harrison . CANTUS . YE People all with one accord , Clap hands and eke rejoyce , Be glad and sing unto the Lord , With sweet and pleasant voyce . BASSUS . Y E People all with one accord , Clap hands and eke rejoyce , Be glad and sing unto the Lord , With sweet and pleasant voyce . TENOR . YE People all with one accord , Clap hands and eke rejoye , Be glad and sing unto the Lord , With sweet and pleasant voyce . 2. For high the Lord and dreadful is , with wonders manifold : A mighty King he is also , in all the earth extold . 3. The people he shall make to be , unto our bondage thrall : And underneath our feet he shall the nations make to fall . Psalm 90. Winchester Tune . Tho. Ravenscroft , B. of M CANTUS . MY Soul to God shall give good heed , And him alone attend , For why ? my health and hope to speed , Doth whole on him depend . BASSUS . MY Soul to God shall give good heed , And him alone attend , For why ? my health and hope to Speed , Doth whole on him depend . TENOR . MY Soul to God shall give good heed , And him alone attend , For why ? my health and hope to speed , Doth whole on him depend . 2. For he alone is my defence , my rock , my health and aid : He is my stay , that no pretence shall make me be dismaid . 3. O wicked folk how long will ye use craft ! sure ye must fall : For as a rotten hedge you be , and like a tottering wall . Psalm 84. S. David's Tune . CANTUS . HOW pleasant is thy dwelling place , O Lord of hosts to me , The tabernacles of thy grace , How pleasant Lord they be . BASSUS . HOW pleasant is thy dwelling place , O Lord of hosts to me , The Tabernacles of thy grace , How pleasant Lord they be . TENOR . HOW pleasant is thy dwelling place , O Lord of hosts to me , The tabernacles of thy grace , How pleasant Lord they be . Psalm 100. French Tune . J. Dowland , D. M. CANTUS . ALL people that on earth doth dwell , Sing to the Lord with Chearful voice , Him serve with fear , his praise forth tell , Come ye before him and rejoyce . BASSUS . ALL people that on earth doth dwell , Sing to the Lord with chearful voice , Him serve with fear , his praise forth tell , Come ye be╌fore him and rejoyce . TENOR . ALL people that on earth doth dwell , Sing to the Lord with chearful voice , Him serve with fear , his praise forth tell , Come ye be╌fore him and rejoyce . Psalm 119. CANTUS . BLessed are they that perfect are , And pure in mind and heart , Whose lips and conversations , From Gods laws never start . 2. Blessed are they that give themselves , his Statutes to observe : Seeking the Lord with all their hearts , And never from him swerve . BASSUS . Blessed are they that perfect are , And pure in mind and heart , Whose lives and conversations , From Gods laws never start . 2. Blessed are they that give themselves his Statutes to observe : Seeking TENOR . BLessed are they that perfect are , And pure in mind and heart , Whose lives and conversations , From Gods Laws never start , Blessed are they that give themselves , His Statutes to ob╌serve , Seeking the Lord with all their hearts , And never from him swerve . BASSUS . the Lord with all their heart , And never from him Swerve . Psalm 150. Bangor Tune . Tho. Ravenscroft . B. of M. CANTUS . YIeld unto God the mighty Lord praise in his Sanctuary : And praise him in the firmament that shews his pow'r on high , BASSUS . YIeld unto God the mighty Lord , &c. TENOR . YIeld unto God the mighty Lord praise in his Sanctuary : And praise him in the firmament that shews his pow'r on high , Psalm 148. CANTUS . GIve laud unto the Lord , From heaven that is so high : Praise him in deed and word , Above the Starry Sky . And also ye , his Angels all , Armies royal , praise him with glee BASSUS . GIve laud unto the Lord , From heaven that is so high ; Praise him in deed and word , Above the Starry Sky . And also , ye his Angels all , armies royal , praise him with glee . TENOR . GIve laud unto the Lord , From heav'n that is so high , Praise him in deed and word , Above the Starry Sky , And also ye , his Angels all , armies royal , praise him with glee . Twelve Selected ENGLISH TUNES IN THREE PARTS . TWO TREBLES and a BASS . A. 3. Voc. Mr. William Webb . CANTUS PRIMUS . I wish no more thou should'st love me , My joys are full in loving thee , My heart 's too narrow to contain , My bliss , if thou should'st love again . BASSUS . I wish no more thou should'st love me , My joys are full in loving thee , My heart 's too narrow to contain My bliss if thou should'st love again . CANTUS SECUNDUS . I wish no more thou should'st love me , My joys are full in loving thee , My heart 's too narrow to contain , My bliss , if thou should'st love again . A. 3. Voc. Mr. Matthew Lock , CANTUS PRIMUS . Claris , it is not in your pow'r to say how long our love will last , it may be we within this hour may lose those joys we now may tast . The blessed that im╌mor╌tal be , From change in Love are one╌ly free . BASSUS . Cloris , it is not in your pow'r to say how long our love will last , It may be we within this hour may lose those joys we now may tast . The blessed that immortal be , From CANTUS SECUNDUS . Cloris , it is not in your pow'r to say how long our love will last , it may be we within this hour may lose those joys we now may tast . The blessed that im╌mor╌tal be , From change in Love are one╌ly free . BASSUS . change in Love are onely free . And though you now immortal seem , Such is the exactness of your frame , Those that your beauty so esteem , Will find it cannot last the same : Love from your eys has stoln my fire , As apt to wast , and to expire . A. 3. Voc. Mr. Matthew Lock . CANTUS PRIMUS . 'T is love and harmony , 't is Musicks melody , At this time joyns our hearts , to meet and sing our parts , and sing our parts . Then let no man disturb ' our delight , our content , Since we come , we come for merriment . BASSUS . 'T is love and harmony , 'T is Musicks melody , At this time joyns our hearts , To meet and sing our parts , and sing our parts , Then let no man disturb our delight , our content , Since we come , we come for merriment . CANTUS SECUNDUS . 'T is love and harmony , 'T is musicks melody , At this time joyns our hearts , To meet and sing our parts . and sing our parts . Then let no man disturb our delight , our content , Since we come , we come for meriment . A. 3. Voc. Leno . Hodemonte . CANTUS PRIMUS . In my sad thoughts I sat and Sigh╌ed , With which none was delighted . Yet was it still to me , A rejoycing , there to be in good Socie╌ty . Then farewel Sadness now , Then farewell Sadness now , Let 's all agree , To joyn in Harmony , To joyn in Harmony , To joyn , to joyn in Harmony . BASSUS . In my sad thoughts I sat and Sighed , With which none was delighted . Yet was it still to me A rejoycing there to be , in good Society , Then farewell Sadness now , Then farewel Sadness CANTUS SECUNDUS . In my sad thoughts I sat and Sighed , With which none was delighted . Yet was it still to me , A rejoycing , there to be in good Socie╌ty . Then farewel Sadness now , Then farewell Sadness now , Let 's all agree , To joyn in Harmony , To joyn in Harmony , To joyn in Harmony . BASSUS . now , Let 's all agree , To joyn in Harmony , To joyn in Harmony , To joyn in harmony . A. 3. Voc. Dr. Wilson . CANTUS PRIMUS . In a Season all oppressed , With sad Sorrow ; poor distressed , Troilos said unto his Cressed , Yield , O! Yield thee , Sweet ! and stay not ; O , no , no , no no , no , no , no , no , sweet Love I may not . BASSUS . In a season all oppressed , With sad Sorrow poor distressed Troilos said unto his Cressed , Yield , O! Yield thee , Sweet ! and stay not : O! no , no , no , no , no , no , no , no , sweet Love , I may not . CANTUS SECUNDUS . In a season all oppressed , With sad Sorrow , poor distressed Troilos said unto his Cressed , Yield , O! Yield thee , Sweet ! and stay not ; O! no , no , no , no , no , no , no , no , sweet Love , I may not . A. 3. Voc. Mr. Simon Ives . CANTUS PRIMUS . Now we are met , let 's merry merry be , For one half hour with mirth and glee , To recreate our Spirits dull , Let 's laugh and sing our bellies full . BASSUS . Now we are met let 's merry merry be , For one half hour with mirth and glee , To recreate our Spirits dull , Let 's laugh and sing our bellies full . CANTUS SECUNDUS . Now we are met , let 's merry merry be , For one half hour with mirth and glee , To recreate our Spirits dull , Let 's laugh and sing our bellies full . A. 3. Voc. Dr. Wilson . CANTUS PRIMUS . From the fair Lavenian Shore , I your Markets come to store Muse not though so far I dwell , And my Wares come here to sell. Such is the Sacred hunger of Gold : Then come to my Pack , while I cry , what d' ye lack , what d' ye buy , for here it is to be sold. BASSUS . From the fair Lavenian Shore , I your Markets come to store Muse not though so far I dwell , And my Wares come here to sell. Such is the Sacred hunger of Gold , Then come to my Pack , while I cry , what d' ye lack , what d' ye buy for CANTUS SECUNDUS . From the fair Lavenian Shore , I your Markets come to store , Muse not , though so far I dwell , And my Wares come here to sell. Such is the Sacred hunger of Gold : Then come to my Pack , While I cry , what d' ye lack , what d' ye buy , for here it is to be sold. BASSUS . here it is to be sold. I have Beauty , Honour , Grace , Fortune , Favour , Time and Place , And what else thou would'st request , Even the thing thou likest best . First let me have but a touch of thy Gold : Then come to me Lad , Thou shalt have , what thy Dad Never gave , for here it is to be sold. A. 3. Voc. CANTUS PRIMUS . Gather your Rose-buds whilst you may , old Time is still a flying , And that same Flower that smiles to day , to╌morrow will be dying . BASSUS . Gather your Rose-buds whilst you may , old time is still a flying , And that same Flower that smiles to day , to╌morrow will be dying . CANTUS SECUNDUS . Gather your Rose-buds whilst you may , old Time is still a flying , And that same Flower that smiles to day , to╌morrow will be dying . That Age is best which is the first , While Youth and Blood is warmer , Expect not then the last and worst , Time still succeeds the former . Then be not coy , but use your time , And whilst you may , go marry : For having once but lost your prime , You may for ever tarry ▪ A. 3. Voc. Mr. Nich. Lanneare . CANTUS PRIMUS . Silly Heart forbear , Those are murd'ring Eves , in the which I swear Cupid lurking lies : See his Quiver , see his Bow too , see his Dart , Fly , O! fly thou foolish Heart . BASSUS . Silly Heart forbear , Those are murd'ring Eyes , In the which I swear Cupid lurking lies . See his Quiver see his Bow too , see his Dart , Fly , O! fly , thou foolish Heart . CANTUS SECUNDUS . Silly Heart forbear , Those are murd'ring Eyes , In the which I swear Cupid lurk╌ing lies , See his Quiver , See his Bow too , see his Dart , Fly , O! fly , thou foolish heart . Greedy Eyes take heed , They are scorching Beams , Causing Heart to bleed , and your Eyes spring Streams : Love lies watching , with his Bow bent , and his Dart , For to wound both Eyes and Heart . Think and gaze your fill , foolish Heart and Eyes , Since you love your Ill , And your Good despise . Cupid shooting , Cupid darting , and his Hand Mortal Powers cannot withstand . A. 3. Voc. Mr. Henry Lewis CANTUS PRIMUS . How happy art thou and I , that never knew how to love , there 's no such Blessings here beneath , what e're there is a╌bove : 'T is liberty , 't is liber╌ty , that every Wise Man loves . BASSUS . How happy art thou and I , that never knew how to love , there 's no such Blessings here beneath , what e're there is a╌bove : 'T is li╌ber╌ty , 't is li╌ber╌ty , that e╌ve╌ry Wise Man loves . CANTUS SECUNDUS . How happy art thou and I , that never knew how to love , there 's no such Blessings here beneath , what e're there is a╌bove : 'T is li╌ber╌ty , 't is li╌ber╌ty , that e╌ve╌ry Wise Man loves . A. 3. Voc. Mr. Edw. Coleman . CANTUS PRIMUS . The Glories of our Birth and State , Are Shadows , not substantial things ; There is no Armour 'gainst our fate , Death lays his I╌cy Hands on Kings . Scepters and Crowns must tumble down , And in the Dust be equal laid , with the poor crooked Syth and Spade . BASSUS . The Glories of our Birth and State , are Shadows , not substantial things ; There is no Armour 'gainst our fate , Death lays his I╌cy Hands on Kings . Scepters and Crowns must tumble down , and in the Dust be CANTUS SECUNDUS . The Glories of our Birth and State , are Shadows , not substantial things ; There is no Armour 'gainst our fate , Death lays his Icy Hands on Kings . Scepters and Crowns must tumble down , and in the Dust be equal laid , With the poor crooked Scyth and Spade . equal laid , With the poor crooked Scyth and Spade . Some Men with Swords may reap the Field , And plant fresh Lawrels where they kill'd ; But their strong Nerves at last must yield , They tame but one another still . Early or late they bend to Fate , And must give up their murmuring Breath , Whilst the Pale Captive creep to death . A. 3. Voc. Mr. John Savile . CANTUS PRIMUS . Here 's a Health unto his Majesty , with a Fa , la , la , &c. Con╌ver╌si╌on to his E╌ne╌mies , with a Fa , la , la , &c. And he that will not pledge his Health I wish him neither Wit nor Wealth , nor yet a Rope to hang himself , with a Fa , la , la , la , la , la , la , la , la , la , with a Fa , la , la , &c. BASSUS . Here'r a Health unto his Majesty , with a Fa , la , la , la , la , la , la , Con╌ver╌si╌on to his E╌ne╌mies , with a Fa , la , la , la , la , la , la , And he that will not pledge this Health , I wish him neither Wit nor Wealth , nor yet a Rope to hang himself , with a Fa , la , la , la , CANTUS SECUNDUS . Here 's a Health unto his Majesty , with a Fa , la , la , &c. Con╌ver╌si╌on to his E╌ne╌mies , with a Fa , la , la , &c. And he that will not pledge his Health I wish him neither Wit nor Wealth , nor yet a Rope to hang himself , with a Fa , la , la , la , la , la , la , la , la , with a Fa , la , la , la , &c. BASSUS . la , la , la , with a Fa , la , la , la , la , la , Twelve Selected ENGLISH CATCHES A. 3. Voc. Composed by sundry AUTHORS . A. 3. Voc. Come follow , follow , follow , follow , follow , follow me , Whither shall I follow , follow , follow , whither shall I follow , follow thee , To the Willow , Willow , Willovv , to the Willovv , Willovv tree . Mr. John Hiliou . A. 3. Voc. Hey dovvn , dovvn , dovvn , a dovvn , hey dovvn , dovvn derry , shall I go vvith my true Love novv over the Ferry , and kiss her Rosy svveet Lips , until I am vveary , vvith a Mr. Edmund Nelham . A. 3. Voc. A Boat a Boat hast to the Ferry , For we 'l go over to be merry , to laugh , and sing , and drink old Sherry . Mr. Thomas Holmes . A. 3. Voc. Come follow me merrily , merrily , Lads , come follow me merrily , Ah! And we will sing Sol , fa , fa , sol , fa , fa , fa , sol , sol , fa , Put sol before la , and fa after mi , sol , la , mi , fa , mi , la , mi , fa Mr , Edmund Nelham . A. 3. Voc. Come , come away , to the Tavern I say , For now at home 't is washing day ; leave your prittle prattle , and fill us a Pottle , You are not so wise as Aristotle : Drawer come away , Let 's make it Holy╌day . Anon , anon , anon Sir , what is 't you say . Mr. John Hilton . A. 3. Voc. I drink this Cup to you , Sir heartily ; and drink your part with a Heart willingly , then so shall vve both agree merrily . Mr. Edmund Nelham A. 3. Voc. Ding , ding , ding , dong Bell , Ding , ding , ding , ding , dong Bell ; Oh cruel death ! that stopt the breath of him I lov'd so well ; A lack and well away , 't is a heavy day , as ever us befel , Then for his sake , some order let us take , that we may ring his Knell , ding , dong . Mr. Stoner . A. 3. Voc. Fa , la , la , la , la , la , Fa , la la , — Fa , la , la , — liro , Fa , la , la , — Fa , la , la , — Fa , la , la , — — liro , Fa , la , la. — la , — liro . Mr. Simon Ives . A. 3. Voc. Now my lads , now my lads , now let 's be merry , Here is old Charingo , Syder and Perry , Then let us dance , and sing , down , dovvn , dovvn , der╌ry . A. 3. Voc. The silver Svvan vvho living had no note , Till Death approch'd unlock'd her silent Throat , Leaning her Breast against the Reedy Shore , Thus sung her first and last , and sung no more : Fare well all Joys , ah ! Death come close my Eyes , more Geese than Swans now live , more fools than wise . Mr. John Smith . A. 3. Voc. Come follow , follow me , come follow , follow me , And we will to the Tavern go , with mirth and merry glee , we 'l each Man take his Cup , what ever us befall , and we will drink all up , all up , and for another call , Then let us merry be : be merry my noble hearts ; For a Cup of old Sherry , will make us merry , And we 'l sing well our Parts . Mr. Johu Hilton . A. 3. Voc. Have you any work for a Tinker , Mistress ? old Brass , or Pots , or Kettles , I 'le mend them all with a tink very tink , and never hurt your Metels : First let me have but a touch of your Ale , 't will steel me 'gainst cold Weather ; or Tinkers Freez , or Vintners Lees , or Tobacco , choose you whether ; But of your Ale , your nappy Ale , I vvould I had a Ferkin , But I am old , and very , very cold , and never vvear a Jer╌kin . Mr. Edm. Nelham . FOURTEEN ITALIAN SONGS COMPOSED BY GIOVANNI GIACOMO CASTOLDI DA CARRAVAGGIO . A. 3. Voc. Di Gio. Giac. Gastoldi . CANTUS PRIMUS . She that loves me for my self , For affections , not base pelf , Onely She , onely she , yea onely she deserves to be belov'd of me . BASSUS . She that loves me for my self , For affection , not base pelf , Onely She , onely She , yea onely she , deserves to be belov'd of me . CANTUS SECUNDUS . She that loves me for my self , For affection not base pelf , Onely She , onely She , yea onely She , deserves to be belov'd of me . She that loves me with resolve , Ne're to alter , till dissolve , Onely She , onely She , yea onely She , Deserves to be belov'd of me . A. 3. Voc. Di Gio. Gioc. Castoldi . CANTUS PRIMUS . Wert thou yet fairer then thou art , which lies not in the power of Art , Or hadst thou in thine eyes more darts , Then Cupid ever shot at hearts , Yet if they were not thrown at me , I would not cast a thought on thee . BASSUS . Wert thou yet fairer then thou art , which lies not in the power of Art , Or hadst thou in thine eyes more darts , Then Cupid ever shot at hearts . Yet if they were not thrown at me , I would not cast a thought on thee . CANTUS SECUNDUS . Wert thou yet fairer then thou art , which lies not in the power of Art , Or hadst thou in thine eyes more darts , Then Cupid ever shot at hearts , Yet if they were not thrown at me , I would not cast a thought on thee . I 'de rather marry a disease Then court a thing I cannot please , She that would cherish my desires , Must court my flames with equal fires , Would you know what that will be , I 'le then love you when you love me . A. 3. Voc. Di Gio. Giac. Gastoldi . CANTUS PRIMUS . Phillis why should we delay , Pleasures shorter then the day , Could we which we never can , Stretch our life beyond three span , Beauty like a shadow flies , And our youth before us dies BASSUS . Phillis why should we delay , Pleasures shorter then the day , Could we which we never can , Stretch our life beyond three span , Beauty like a shadow flies . And our youth before us dies . CANTUS SECUNDUS . Phillis why should we delay , Pleasures shorter than the day , Could we which we never car , Stretch our life beyond three span , Beauty like a shadow flies , And our youth before us dyes . Or would Youth and Beauty stay , Love has wings and vvill avvay , Love has svvifter vvings than time , Changing Love too oft does chime , Gods that never change their state , Very oft their love and hate . A. 3. Voc. Di Gio. Giac. Castoldi . CANTUS PRIMUS . Take O take those lips away , That so sweetly were forsworn , And those eyes that break of days Light that do mislead the morn , But my kisses bring a ╌gain , Seals of Love though seals in vain : But my kisses my kisses bring again . Seals of Love though seals in vain . BASSUS . Take O take those lips away , That so sweetly were forsworn , And those eyes that break of days , Light that po mislead the morn , But my kisses bring a ╌gain , Seals of Love though seals in vain , CANTUS SECUNDUS . Take O take those lips away , That so sweetly were forsworn , And those eyes that break of days Light that do mislead the morn , But my kisses bring a ╌gain , Seals of Love though seals in vain : But my kisses my kisses bring again . Seals of Love though seals in vain . BASSUS . But my kisses my kisses bring again . Seals of Love though Seals in vain . Hide , O! hide those hills of snow , That thy frozen blossom bears , On whose tops the pinks that do grow Are yet of those April wears . But first , set my heart free , Bound in icy chains by thee , But first , set my heart , set my heart free , Bound in icy chains by thee . A. 3. Voc. Di Gio , Giac. Gastoldi . CANTUS PRIMUS . Stay , stay , O stay that heart I vow 't is mine , ravish'd from hence by her whose parts divine , Inchanted it and sent the wosnl No : which took 't away , and fill'd it's place with woe . BASSUS . Stay , stay , O stay that heart I vow 't is mine , ravish'd from hence by her whose parts divine Inchanted it , and sent this fatal No : which took 't away , and fill'd its place with woe . CANTUS SECUNDUS . Stay stay , O stay , that heart I vow 't is mine , Ravish'd from hence by her whose parts divine Inchanted it , and sent this woful No : which took 't away , and fill'd its place with woe . O hold it fast , I come , yet let it fly , I cannot move 't is pity both should dye , Farewel , Farewel my heart I 've pleas'd mine eyes , Thou being lost , sees thee her Sacrifice . A. 3. Voc. Di Gio. Giac. Castoldi . CANTUS PRIMUS . Bright Aurelia I do owe , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 All the woe which I do know . To those glorious looks alone , Though y' are unrelenting stone , The quick lightning from your eye , Did with force me Sacrifice , My unweary harmless heart , and now you glory in my smart . BASSUS . Bright Aurelia I do owe , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 All the woe which I do know , To those glorious looks alone , Though y' are unrelenting stone , The quick lightning from your eye , Did with force me CANTUS SECUNDUS . Bright Aurelia I do owe , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 All the woe which I do know . To those glorious looks alone , Though y' are unrelenting stone , The quick lightning from your eye , Did with force me Sacrifice , My unweary harmless heart , and now you glory in my smart . BASSUS . Sacrifice , My unwary harmless heart , and now you glory in my smart . How unjustly you do blame , — That pure flame , which from you came , Vext with what your selves made burn , Your Scorns tinder dit it turn , The least Spark now Love can call , That doth fall as on the small Scorcht remainder of my heart , Will make it burn in every part . A. 3. Voc. Di Gio. Giac. Gastoldi . CANTUS PRIMUS . Ah! my fair , ah ! come behold me , How I pine away for thee , For too hard is me the horrible Smart , which you cause to my poor heart , You force me , you tye me , you wound me you vex me , you kill me , Ah! ah ! most cruel fair , Ah! I die in despair , Ah! ah ! most cruel fair . BASSUS . Ah! my fair ah ! come behold me , How I pine away for thee , For too hard is me the horrible Smart , which you cause to my poor heart . You force me , you tye me , you wound me , you vex me , you CANTUS SECUNDUS . Ah! my fair , Ah! come behold me , How I pine away for thee , For too hard is me the horrible Smart , which you cause to my poor heart , You force me , you tye me , you wound me , you vex me , you kill me , Ah! ah ! most cruel fair , Ah I die in despair , Ah ▪ ah ! most cruel fair . BASSUS . kill me , Ah! ah ! most cruel fair , Ah I die in despair , Ah! ah ! most cruel fair . A. 3. Voc. Di Gio. Gioc. Castoldi . CANTUS PRIMUS . Bring back my comfort and re╌turn , For well thou knowest that I in such a vig'rous passion burn , That missing thee I die , Return , return , insult no more , Return , return , insult no more , Return , return and me restore , To those sequestred joys I had before . BASSUS . Bring back my comfort and return , For well thou knowest that I , in such a vig'rous passion burn , That missing thee I die , Return , return , insult no more , return , return , insult no more , CANTUS SECUNDUS . Bring back my comfort and re╌turn , For well thou knowest that I in such a vig'rous passion burn , That missing thee I die , Return , return , insult no more , Return , return , insult no more , Return , return and me restore , To those sequestred joys I had before . BASSUS . Return , return and me restore , To those sequestred Joys I had before . Abscnce in most , that quencheth love , And cools this warm desire , The ardour of my heart improve , And makes the flame aspire , The Maxime therefore I deny , The Maxim therefore I deny , And term it though a Tyranny , The Nurse to Faith , to Love , to Constancy . A. 3. Voc. Di Gio. Giac. Gastoldi . CANTUS PRIMUS . Onely joy now here you are , Fit to hear and ease my care , Take me to thee , Give thee to me , No , no my dear let be , Let my wisp'ring voice obtain , Sweet reward for sharpest pain , Night hath clos'd all in her Cloke , Twink●ing Stars Loves thoughts provoke , Danger hence good care doth keep , Jealousie it self doth sleep Take me to thee , Give thee to me , No , no , my Dear let be . BASSUS . CANTUS SECUNDUS . Onely joy now here you are , Fit to hear and ease my care , Take me to thee , Give thee to me , No , no , my Dear let be , Let my whis'pring voice attain , Sweet reward for sharpest pain Night hath clos'd all in her Cloak , Twinkling Stars , Love thoughts provokes , Danger hence good care doth keep , Jealousie it self doth sleep , Take me to thee , Give thee to me , No , no , my Dear let be . BASSUS . A. 3. Voc. Gio. Gioc. Castoldi . CANTUS PRIMUS . O Sovereign of my joy , Triumpher of anoy , Star of my desire , And sweet fire , For in whose shining eyes , Are lights of Cupid's skies , And whose voice when it speaks , All sense asunder breaks ? Whose heav'nly voice is such , That hearts doth touch . BASSUS . O Sovereign of my joy , Triumpher of annoy , Star of my desire , And sweet fire , For in whose shining eves , Are lights of Cupid's skies , And whose voice when it speaks , All sense asunder breaks ? Whose heav'nly CANTUS SECUNDUS . O Sovereign of my joy , Triumpher of anoy , Star of my desire , And sweet fire , For in whose shining eyes , Are lights of Cupid's skies , And whose voice when it speaks , All sense asunder breaks ? Whose heav'nly voice is such , That hearts doth touch . BASSUS . voice is such , That hearts doth touch . And in whose body is , Each character of Bliss , Full of true delight , Pure and bright , My Dear when shall it be , That I thine eyes shall see , And that my greedy ear , thy heavenly voice may hear , Let be betwixt thee and me , A harmony . A. 3. Voc. Di Gio. Giac. Gastoldi . CANTUS PRIMUS . In the merry month of May , on a morn by break of day , Forth I walkt the Wood so wide , when as May , was in her pride . There I spyed all alone , Phillida and Co╌ri╌don , Much ado there was so hot , he did love , but she could not , he said his love was all true , she said none was false to you . BASSUS . In the merry month of May , on a morn by break of day , forth I walkt the Wood so wide , as May was in her pride . There I spied all alone Phillida and Co╌ri╌don , Much ado there CANTUS SECUNDUS . In the merry month of May , on a morn by break of day , Forth I walkt the Wood so wide when as May was in her pride , There I spyed all alone , Phillida and Cor╌ri╌don , Much adoe there was so hot , he did love but she could not , he said his love was all true , she said none was false to you . BASSUS . was so hot , he did love but she could not , he said his love was all true , she said none was false to you . He said he had lov'd her long , She said Love should take no wrong Thereupon he would kiss her , She said Maids must kiss no men Till they kiss for good and all , And for plighting Truth have call'd , Then with many pretty Oaths , Yea and nay , Faith and Troth , Love which long had been deluded , Was with kisses sweet concluded . A. 3. Voc. Di Gio. Giac. Gastoldi . CANTUS PRIMUS . Since Love hath in thine and my eye kindled a holy flame , What pity 't were to let it dye , What sin to quench the same , The Stars that seem extinct by day , Dis╌close their flames at night , And in a Sable sense , con╌vey , Their Loves in beams of Light. BASSUS . Since Love hath in thine and my eye , klndled a holy flame , What pity 't were to let it dye , What sin to the same , The Stars that seem extinct by day , Dis╌close their flames at night , And in a Sable CANTUS SECUNDUS . Since Love hath in thine and my eye , klndled a holy flame , What pity 't were to let it dye What sin to quench the same , The Stars that seem extinct by day , Dis╌close their flames at night , And in a Sable sense , con╌vey , Their Loves in beams of Light. BASSUS . sense , con╌vey their Loves in beams of Light. If thou perceiv'st thy flame decay , Come light thine Eyes at mine And when I feel mine wast away , I 'le take new fire from thine , Thus white we shall preserve from wast , the flame of our desire , No Vestal : shall maintain more chast , Or more immortal fire . A. 3. Voc. Di Gio. Giac. Gastoldi . CANTUS PRIMUS . If the quick Spirit of your Eye , Now languish and anon must dye , If every sweet and every grace , Must flie from that forsaken face , Then Ce╌li╌a let us reap our joys , E're Time such goodly Fruit destroys . BASSUS . If the quick Spirit of your Eye , Now languish and a╌non must dye , If every sweet and every grace Must flye from that forsakee face , Then Ce╌li╌a let us reap our joys , E're Time such good Fruit destroys . CANTUS SECUNDUS . If the quick Spirit of your Eye , Now anguisht and a╌non must dye , If every sweet and every grace , Must fly from that forsaken face , Then Ce╌li╌a let us reap our joys , E're Time such goodly Fruit destroys . Or if that golden Fleece must grow , For ever free from aged Snow , If those bright Suns must know no shade , Nor your fresh beauty ever fade , Then Celia fear not to bestow , What still is gather'd still must grow . A. 3. Voc. Di Gio. Gioc. Castoldi . CANTUS PRIMUS . Make hast , O! Nymphs and fly , From this bank , though dry , On this Rivers side , And near those Trees in th' air , To stay forbear , For if you not quickly , not quickly , not quickly are shnnning , And if you not swiftly , not swiftly , not swiftly are running , Cupid hunts in this dale , Be sure he will not fail , To wound your tender heart , But shooting once a dart . BASSUS . CANTUS SECUNDUS . Make hast , O! Nymphs and fly , From this bank , though dry , On this Rivers side , And near those Trees in th' air , To stay forbear , For if you not quickly , not quickly , not quickly are shnnning , And if you not swiftly , not swiftly , not swiftly are running , Cupid hunts in this dale , Be sure he will not fail , To wound your tender heart , But shooting once a dart . BASSUS . The Contents of this Book . Of the Synopsis of Vocal Musick . Chap. 1. Of Vocal Musick in general Pag. 1 2. Of the Notes 3 3. Of the Pricks 5 4. Of the Pauses 6 5. Of the Signs of the Common Time 7 6. Of the slower Triple 8 7. Of the swifter Triple 10 8. Of the swiftest Triple 12 9. Of the slower Sesquialtre 14 10. Of the swifter Sesquialtre 16 11. Of the swiftest Sesquialtre 18 12. Of the Systems 20 13. Of the Repeats 21 14. Of the Cliffs 22 15. Of the Cliffs in respect of Voices 24 16. Of the Cliffs in respect of Notes 25 17. Of the Syllables 26 18. Of the Scale of Musick 27 19. Of the Order of the Generation of the degrees . 30 20. Of the Intervals of the degrees 32 21. Of the agreeableness of the Cliffs with the degrees of the Scale of Musick . 34 22. Of the Generation of an Eighth in b flat 36 23. Of the lesser principal , and secondary contained signs 40 24. Of the signs of the breadth of Sounds of things 42 25. Of the signs of the Ornaments of Songs 43 26. Of the second mean to attain the Art of Musick 44 Of Twelve most usual Tunes of Psalms in Three Parts , Treble , Mean and Bass. Psal 1. The Man is blest that hath not bent Pag. 48 9. With heart and mouth unto the Lord 50 23. The Lord is only my support 52 45. My heart doth take in hand 54 34. I will give laud and honour both 56 58. Ye People all with one accord 58 90. My Soul to God shall give good heed 60 84. How pleasant is thy dwelling place 62 100. All people that on Earth do dwell 64 119. Blessed are they that perfect are 66 150. Yield unto God the mighty Lord 68 148. Give laud unto the Lord 70 Of the twelve selected English Tunes , in three Parts , two Trebles and a Bass. Tune . 1. I wish no more thou shouldst love me Pag. 72 2. Cloris , Is it not in your power 74 3. 'T is Love and Harmony 76 4. In my sad thoughts I sat and sighed 78 5. In a Season all oppressed 80 6. Now we are met , let 's merry , merry be 82 7. From the fair Lavenian Shore 84 8. Gather your Rosebuds whilst you may 86 9. Silly heart forbear 88 10. How happy art thou and I 90 11. The glories of our birth and state 92 12. Here 's a health unto His Majesty 94 Of the twelve selected Engl. Catch . A. 3. V. Catch , 1. Come follow , follow , follow , &c. Pag. 98 2. Hey down , down , down a down 98 3. A boat , a boat hast to the Ferry 99 4. Come follow me merrily 99 5. Come , Come away 100 6. I drink this Cup , Sir , heartily ibid. 7. Ding , ding , ding , dong bell . 101 8. Fa , la , la , la , &c 101 9. Now my Lads 102 10. The Silver Swan who living had no Note 102 11. Come follow , follow me 103 12. Have you any work for a Tinker 104 Of the Fourteen Italian Songs Composed by Giovanni Giacomo Castoldi da Carravaggio , in Three Parts , two Trehles and a Bass. Tune , 1. She that loves me for my self Pag. 108 2. Wert thou yet fairer then thou art 110 3. Phillis why should we delay 112 4. Take , O take those lips away 114 5. Stay , Stay , O Stay , that Heart I vow 't is mine . 116 6. Bright Aurclia I do owe 118 7. Ab , my fair , Ah! come behold me 120 8. Bring back my comfort and return 122 9. Onely joy now here you are 124 10. O! Sovereign of my joy 126 11. In the merry month of May. 128 12. Since Love hath in thine and mine Eyes 130 13. If the quick Spirit of your Eye 132 14. Make hast , O! Nymphs , and fly 134 ERRATA . ALthough the Fate of Books is as that of men Vitiis nemo sine nascitur : optimus ille est Qui minimis urgetur — Yet what 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of any moment have slipt , ought carefully be amended : especially in Musick , wherein they in no wise can be tolerated . In the Epist. Dedicat. pag. 2. lin . 2. r. gestienti : lin . 4. Momorum : pag. 3. lin . 6. diutissime , affatim . Pag. 24. Stav . 2. amend the Cliffs 3. and 4. thus Pag. 41. Stav . 1. after the the Notes 5. 13. and 23. put in stead of the b moll . or round , this b sharp , or quadrate ♮ . Pag. 66. before the Note 7. and pag. 67. before the Note 17. blot out the b cancelled ♯ Also Pag. 92. Stav . 4. after the Note 17. and Pag. 130. Stave 5. after the Note 3. blot out the single Bar. And Pag. 111. Stave 2. blot out this Repeat Add in Pag. 77. after the Note 10. this Note And in Pag. 89. after Note 20. add this Note Correct the Cliffs thus : Pag. Stav . Errat . Correct . 49 2 53 2 62 2. 3. 63 2 72 2 78 4 92 3 101 2 Correct the Notes thus : Pag. Stav . Not. Errat . Correct . 52 2 6 59 1 6 60 1 15 63 2 1 66 4 1 70 1 2 70 2 19 73 1 23 75 1 19 75 2 19 77 1 13 78 3 21 78 5 17 79 5 2 80 2 13 80 2 15 81 2 7 〈◊〉 〈◊〉 〈◊〉 86 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 5 17 〈◊〉 〈◊〉 13 〈◊〉 〈◊〉 〈◊〉 100 〈◊〉 〈◊〉 100 3 10 100 4 16 100 4 21. 22. 101 1 11 101 4 39 110 5 8 110 5 24 111 3 6 115 4 6 120 3 9 121 3 21 124 5 3 125 5 1 128 5 1 128 5 25 129 1 7 129 3 20 130 1 14. 15 130 1 20 FINIS . 
A42318	----	A philosophical essay of musick directed to a friend. Guilford, Francis North, Baron, 1637-1685. 1677 Approx. 68 KB of XML-encoded text transcribed from 19 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2005-03 (EEBO-TCP Phase 1). A42318 Wing G2216 ESTC R38780 18112159 ocm 18112159 106827 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A42318) Transcribed from: (Early English Books Online ; image set 106827) Images scanned from microfilm: (Early English books, 1641-1700 ; 1124:17) A philosophical essay of musick directed to a friend. Guilford, Francis North, Baron, 1637-1685. 25 [i.e. 35] p., [1] folded leaf of plates : ill. Printed for John Martyn ..., London : 1677. Attributed to Guilford by Wing and NUC pre-1956 imprints. "Feb. 3d 1676/7. Imprimatur, Guil. Sill." Folded plate not photographed. Page 35 numbered 25. Errata: inserted at end. Imperfect: cropped, with loss of print. Reproduction of the original in the Cambridge University Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. 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Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Music -- Acoustics and physics. Music theory -- History -- 17th century. 2004-10 TCP Assigned for keying and markup 2004-10 Aptara Keyed and coded from ProQuest page images 2004-11 Andrew Kuster Sampled and proofread 2004-11 Andrew Kuster Text and markup reviewed and edited 2005-01 pfs Batch review (QC) and XML conversion A Philosophical ESSAY OF MUSICK Directed to a FRIEND . Imprimatur , Feb. 3 d 1676 / 7 Guil. Sill. LONDON , Printed for John Martyn , Printer to the Royal Society ; at the Bell in Saint Paul's Church-Yard , 1677. SIR , HAving often tyred you with Discourses of several Parts of Musick , wherein you desired to receive satisfaction , without obtaining the Effect I proposed to my self ; I reflected upon the saying , That no man understands that which he cannot so express as to make another understand it , and doubted whether the Hypothesis I entertained were not founded upon Errours , which I had swallowed without any due examination . I resolved for tryal of it , to trace my Notions as near their Principles as I could , and set them down in method , that I might discover whether they were well deduced from one another , and from such Experiments as I had in memory . Having done this I send them to you , as the severest judge I know : It has not been your custome to flatter me , and now I desire your censure , if I may impose it upon you to give it in writing , wherein you will be obliged to quote what I say truly , before you object to it , and to stand to those Allegations and Inferences you will set down for your own , in both which respects I had great disadvantage in Discourse . I shall prevent you in condemning the stile , for being too contracted and obscure ; and you must take the fault to your self when you know it does not proceed from the aversion I have to Philologie , but that I thought it would be labour lost to enlarge , when writing to so great a Philosopher and Musician as you are , I cannot fail of being understood . In other things I expose it to you ; and if I shall receive plain Confutations , it will not much disappoint or mortifie me : for I have hardly in my whole Life made one set experiment upon this Subject , nor know many of the Instruments I have spoken of : But what I heard from others , or occasionally observed , I laid up in mind , and established this Systeme , which I shall be glad to lose , if I may improve my Knowledge by your Discoveries . This may seem strange to you , considering how fond men are of their own Inventions : At the worst , I hope for this fruit of my pains , that you will make such Experiments as your Curiosity will suggest whilst you read this , and let me know the success of them ; though I may thereby be driven out of his Hypothesis , perhaps I shall receive light towards another , which you may believe I shall take as much pleasure in making , as you , or any body else can to destroy . I am , SIR , Your most Faithfull Friend and Servant . Of SOUND . MY design being to explain the nature of Musick it will not be improper to enquire first , concerning the cause of Sound ; and here though I cannot hope to give full satisfaction , because our Senses want subtilty to discover the motions of the minute parts of the Air whereupon it depends , yet perhaps I may assign a possible cause for the producing of Sound , the knowledge whereof will give some ease to the wondring Philosopher ; and if I have the good fortune to shew a probable cause , the Curious will acquiesce from any farther enquiry , which is all the benefit they can have by speculations of this nature . The Phaenomena of Sound which I think considerable are these , 1. It may be produced in the Torricellian vacuity . 2. It causes motion in solid bodies . 3. It is diminished by interposition of solid bodies , and 4. If the bodies interposed are very thick , its passage is wholly obstructed . 5. It seems to come to the Ear in strait lines when the object is so scituated that it cannot come in a straight line to the Ear. 6. When the air is not in motion its extent is sphaerical . 7. When there is a wind , the sphaere is enlarged on that part to which the wind blows , and diminished on the contrary part . 8. That it arrives not to the Ear in an instant but considerably slower than sight . 9. That it comes as quick against the wind as with it , though not so loud nor so far . There are many other observable Appearances , and more will daily occurre to the Curious upon Experiments , but the consideration of these qualities of Sound and the visible actions that produce it , hath made me entertain the following Hypothesis . I suppose the air we breath in to be a mixture of divers minute bodies which are of different sorts and sizes , though all of them are so small as to escape our senses : the grosser of them are elastical , and are resisted by solid bodies , which are in no sort pervious to them ; the smaller parts pass through solid bodies , but not with that ease but that upon a sudden and violent start of them , they shock the parts of solid bodies that stand in their way , and also the grosser parts of the air ; and there may be another degree of most subtil Ethereal parts with which the interstices of these and all other bodies are repleat , which find freer passage every where , and are capable of no compression , and consequently be the medium and cause of the immediate communication of sight . The middle sort of these I esteem the medium and cause of Sound , and that at any time when the grosser air is driven off any space and leaves it to be possest by these and other more subtil bodies , and returns by its elasticity to its former place , then are these parts extruded with violence as from the center of that space , and communicate their motion as far as the sound is heard . Or when any solid body is moved with a sudden and violent motion , these parts must be affected thereby : for as these parts are so much resisted by solid bodies as to shock them , so on the contrary they must needs be moved by the sudden starting of solid bodies . So that sound may be caused by the tremble of solid bodies without the presence of gross Air , and also by the restitution of gross Air when it has been divided with any violence . We see a Bell will sound in the Torricellian space : and when the Air is divided with any sudden force , as by the end of a Whip having all the motion of the Whip contracted in it , and by a sudden turn throwing off the Air ; by accension , as in Thunder and Guns ; or by any impression of force carrying it where other Air cannot so forcibly follow , as upon compressing of Air in a bladder till it breaks , or in a Potgun , a sudden crack will be caused . I shall leave others to apply this Hypothesis to the afore mentioned Phaenomena ( which they may easily do ) and proceed to the discourse of Musick , where I am in its due place to shew how this action that causes sound is performed by the several instruments of Musick . Of a TONE . A Tone is the repetition of Cracks or Pulses in equal spaces of time so quick that the interstices or intervals are not perceptible to sense . The more quick the Pulses are , the more acute the Tone is . Where the intervals are not equal , nor in musical proportion , the sound is not in tone but an irregular noise . The compass of Musick extends from such tones whose intervals are so great that the several Pulses are distinguishable by sense , to those whose interstices are so very small that they are not commensurate with any other . In which compass the several tones are infinite in number as all space may be divided in infinitum . But the tones useful in Musick are those within the scale , which are not very many , and they are placed in the scale as they have relation to one another . Of the Relation of TONES and the Vnion of mixt SOUNDS . WHen the Pulses of tones are coincident one with the other , there is an Union of the sounds . For when any Sound is made , solid bodies within the sphaere of it are moved , and if the body moved stands upon a spring ( as all instruments producing tones do ) it will vibrate by intervals according to the measure of the spring until the force be spent . Now if the moving force be repeated , as it must be where it proceeds from a tone , and the terms of the force are equal to the terms of vibration , every new stroke strengthens the former impression , and after some continuance the vibration of a Body affected by Sound , may become so great as to be sensible to the Eye and Ear. But where the terms of Vibration are not commensurate with the terms of concussion , the following pulses destroy the motion begun by the former , and the Vibration will never augment beyond what it was upon the first impression . Upon this Reason a string tuned in unison to another will manifestly shake when its fellow sounds , and another string that has a discording Tone , though of the same bigness , will not appear to be moved . And for this Reason , wheresoever the vibrations of two sounding strings are equal , the pulses will be coincident : for although one should set out after the other , yet by this affection they would by the second or third pulse become coincident . Where the terms are equal , and the coincidence is at every pulse , it may be said the same Sound though proceeding from several Instruments : for the mixed Sound has no alteration , but by being more loud and full by the addition . Where the Termes are 2 to 1 , or 4 to 1 , or 8 to 1 , or 16 to 1 , there will be coincidence to every pulse of the Base , and between those termes the treble is heard alone without any mixture : so that the Sound is not changed but augmented by the addition of stronger pulses at proportionable intervalls , which makes the pulses superinduced appear of the same nature , though more grave or acute ; this is the case of Octaves . Where the Termes are as 2 to 3 , every third pulse of the Treble , and every other pulse of the Base are coincident , but the intermediate pulses , sc. 2 of the Treble , and 1 of the Base are not so , but keep certain distances , which makes the mixture produce an alteration : but the coincidences being so frequent , and the distances of the intermediate pulses proportionable , the mixture is very pleasing , and is the principal Chord called the fifth . Where the Termes of coincidence are further off , as when they are but the fourth , fifth or sixth pulses of the Treble that are coincident with the third , fourth and fifth pulses of the Base , yet the mixture is pleasing , and produces Chords : which Chords are more or less perfect , according as they are more or less coincident . Coincidence upon every fourth pulse of the Treble is the fourth . Every fifth pulse is the third sharp . Every sixth pulse is the third flat . When the fifth pulse of the Treble goes with the third of the Base , it is a sixth sharp : the eighth pulse of the Treble going with the fifth of the Base makes a sixth flat . That these Chords have their pulses in such proportionable line is demonstrable by the division of the Monochord , which being stopt in ½ gives an Octave , in ⅓ gives a fifth , in ¼ gives a fourth , in ⅕ gives a third Sharp , in ⅙ gives a third Flat , ⅕ gives a sixth Sharp , ⅜ gives a sixth Flat : This is agreed by all that ever treated of Musick , therefore I shall speak no more of it . It may seem strange that a Coincidence in this manner should unite Sounds , and that the fifth and fourth pulses that are disagreeing should not hinder more , than the sixth coincident pulse could reconcile : and that a coincidence between the eighth pulse of the Treble with the fifth of the Base should make the Sounds agreeable , notwithstanding the variance of those which are intermediate . But this will be very clear , when it is observed that the intermediate pulses do not at all hinder , for they are all placed in such manner , in relation to one another , that where any of them distract the pulses of the concording string on the one hand , there are others that by being just as much on the other hand , set them right again : they are in balance one against another , so that it is as if there were no intermediate pulse at all , as to any effect of hindring the Coincidence . And the intermediate pulses being at such symmetrical distances a new proportion arises from the mixture of them , which makes the joined Sounds pleasing to the sense . Where the coincidences are more remote , and all the intermediate pulses disagreeing , as 7 to 6 , 8 to 7 , 9 to 8 , 10 to 9 , the by pulses are too many to be kept steddy , and the pulses on one hand prevail too far before those on the other hand come to set them right , so that the Sounds will not maintain their coincidences , but produce jarring and discord . When Sounds are in discord , the concussions caused by them are in opposition one to another ; and the Organ of Sense cannot be affected by both together , but they will appear ragged and jarring , and extream noisome . Nay some sounds will be so contrary to one another , & so hard a match , that they cannot sound both together , but each hindering the other will take turnes . Thus do they imitate the Drum in an Organ , by joyning two deep discording Notes , that rumble in that manner sounding by turns . And in tuning Organ-pipes it may be observed , that the Sounds of two Pipes whilst in discord will flutter , but when the discording Pipe is brought to the others Tone , the Sounds will as it were jump into Tune , as if they had attracted one another , and afterwards one clear and entire Sound will be produced . Upon this Relation of Tones depends the Scale of Musick , of which I shall shew the Degrees , and the reason why they are so placed , when I come to speak of Schismes . Before I leave this Head I must observe , that Octaves not altering the manner of Sound , but giving a fulness in duple proportions , which are comprehended in the same time , it follows , that all Octaves are easily brought in mind , and are as it were included in any Tone . This being considered , it will appear , that there can be no other variety of coincidence within the compass of seven pulses that is not allowed in Musick , and produces some Chord : For , ⅓ is as ⅔ 2 being the Octave to 1. ⅕ is as ⅘ 4 being in Octave to 1. ⅖ as ⅘ , 2 / 6 as ⅔ , ⅙ as 4 / 6 , as ⅔ . And the eighth coincident pulse in a sixth flat , comes in upon this contemplation , but as the reverse of a third sharp , ⅝ being the reverse of 5 / 4 , and the other sixth ⅗ is the reverse of 6 / 5. So that there can be no other coincidences under the distance of the seventh pulse , but what have the names of Chords , or the Octaves ; and we are not to wonder why there are no more concording Notes . How TONES are produced , and of assistances to the SOUND by Instruments . WHerever a Body stands upon a Spring that vibrates in equal Termes , such a Body put into motion will produce a Tone , which will be more grave or acute , according to the velocity of the returns . Therefore strings vibrating have a Tone according to the bigness or tension of them ; and Bells that vibrate by cross ovals , produce Notes according to the bigness of them , or the thickness of their sides : and so do all other bodies whose superficies being displaced by force , results by a spring which carries it beyond its first station . It is easie to comprehend how every pulse upon such vibrations causes Sound , for the gross Air is thrown off by the violence of the motion , which continues some moment of time after the return of the vibrating Body , whereupon some space must be left to that subtil matter , which upon the result of the Air starts as from a Centre ; which action being the same I supposed to be the cause of Sound , is repeated upon every vibration . It is more difficult to shew how Tones are made by a Pipe , where there are no visible vibrations . I will consider the frame of a Pipe , and the motion of the Air in it , and thereby attempt to find the cause of the Tone of a Pipe , and the pulse that gives the Sound . There is in any Pipe a Cavity of a certain gage or bigness which is exposed to the outward Air , but in some parts of it , and according to that Cavity is the Tone of the Pipe. The Air in any Cavity being capable of being compressed by outward force , if the Cavity be large , easily yields to a compression ; but if it be small , is more hardly compressed . When the compressing force ceases , the Body that was compressed with difficulty flies out with sudden violence ; that which is more easily compressed restores it self not so soon : whereby it happens , that every Cavity has a certain Tone according to the measure of the vibrations of the Air in it , which it will keep what way soever the force comes to it : As the water in a Shallow or Greek moved by the large waves of the Sea , retains not a motion in such huge waves , but in waves proportionable to its own bigness and depth . Hereupon I conclude , That any Pipe , whether made of Wood , Stone , Glass or Metal , has a certain and determinate Tone , according to its Gage and Cavity , which is the natural Tone which will be produced by blowing it . If the Cavity be small , the Sound will be acute , and may be made more acute by apertures , whereby the Cavity is diminished , and the inclosed Air exposed to the outward Air in greater measure . When I say , the Tone is according to the proportion of the Cavity , let the Pipe be made of what it well ; I do not deny but that if the materials of the Pipe be soft and yielding , it may give some small alteration to the Tone from what it would be if they were of a substance hard and firm , where the impelling Air would find a more brisk resistance : but the difference is inconsiderable , and the spring of the Air depending mainly upon the greatness of the Cavity , I take no notice of it . To shew how the pulses are caused , whereby the included Air is put into this motion , it is necessary to observe the frame of a Pipe , which chiefly consists in having a long slit through which the Air is blown in a thin film against or very near a solid edge that is at some distance opposite to it , in such manner that the intermediate space is covered by the stream of Air. This film of Air on the one side is exposed to the outward Air , and on the inside is defended from it by the sides of the Pipe , within which the Air inclosed in the Pipe stagnates , whilst the outward Air is by the blast put into a vortical motion . The vortical motion or Eddy on the outside is so strong , that there not being a balance to that force on the inside , the film of Air gives way , and the Eddy bears into the Pipe , but is immediately overcome by the blast , which prevails untill the Eddy overcomes it again ; and so there is a crossing of streams by turns and pulses , which causes the voice of the Pipe , the gross Air of one stream being thrown off by the interposition of the other . These vicissitudes or termes will answer the Tone of the Pipe according to the gage of its cavity : for the spring of the included Air helps toward the restitution of the blast and eddy in their turns , which causes those turns to comply with the Tone of the Pipe ; and therefore the same blast will cause several Tones , if the gage or measure of the included Air be changed by apertures in the side of the Pipe. But there must be some proportion between the mouth , ( so I call that part of the Pipe where the voice is ) and the gage of the Pipe : for though the pulses will be brought to comply with the Tone of the Pipe in any reasonable degree , yet when there is great disparity it will not do so ; as if the Pipe be too long for the proportion of the diameter , the pulses at the mouth cannot be brought to so slow termes as to answer the vibrations of the included Air , therefore the Pipe will not speak unless it can break into some higher Note . If the filmy stream of Air be too thick , the Pipe will not speak , because the eddy cannot break through ; if the opposite edge be too remote , the stream cannot entirely cover the aperture , for it mixes with the outward Air , and is more confused the farther it is from the vent or passage , whereby some outward Air may have communication to make an opposite eddy on the inside of the stream . For the same reason , if there be the least aperture in the region of the mouth of the Pipe , it will not speak at all . Hence is it , that the voice of Organ Pipes is so tender and nice : but shrill whistles depend not upon this ground ; for they are made in any small cavity where the blast is so applyed , that the erumpent Air must cross it , whether the stream be thick or thin . Therefore the bore of a Key , a piece of nutshell , or any other cavity will make a whistle , whose Tone will be according to the quantity of the included Air , for the less that is , the harder it is to be compressed , and the quicker and stronger it must break forth . Another kind of Whistle is , when a hollow body with a small cavity is perforated by opposite holes , a blast either way will cause a Tone , which seems to be made in this manner . The Air that is violently drawn or thrust through these holes is straitned at the passage by the swiftness of the motion , and within the cavity is somewhat enlarged , and consequently its force is directed , and it presses beyond the compass of the opposite aperture , whereupon it bears of all sides into the cavity ; hereby the Air within the cavity is compressed untill it breaks forth by crossing the stream , which being done by vicissitudes causes a Tone : this kind of action , as I imagine , is performed when men whistle with their lips . In some Pipes the pulses are caused by springs , as the Regoll stop of an Organ , which is commonly tuned by shortning the spring whereby it becomes stronger , but the Note will be changed by the alteration of the cavity ; and therefore to make them steddy , some that stand upon very weak springs have Pavelions set to them . A rustick instance may be given of the compliance of a Spring , in taking such vibrations as are proportionable to the Cavity ; It is a Jews-harp , or Jews-trump , the tongue whereof has natural vibrations according to strength and length of the Spring , and so is fitted to one particular Tone : But Countrey-men framing their breath and their mouth to several Notes make a shift to express a Tune by it . In a Shawm or Hautboys the Quill at the mouth is a kind of Spring , but so weak and indifferent that it complies with any measure , and therefore the Tone will be according to the apertures of the Pipe. The fluttering and jarring of discording Sounds , which I before did observe , is so regular , and the Sounds take their turns with equal interstices , which makes the joyning of them produce a harsher Sound than either had before : whereby Organ-makers imitate the Hautboys or Trumpet , without any Spring or Quill , by joyning discording Pipes . In a Sackbut the Lips of a Man do the same office as a Quill does in a Shaume or Hautboys ; when the included Air is lengthned , the Tone varies : nevertheless they can produce several Notes that are in Chord to the Tone of the Instrument , by strengthning the blast without lengthning the cavity : And in a Trumpet , which is the same kind of Instrument , ( only not capable of being lengthned ) they can sound a whole Tune , which is by the artificial ordering the blast at the mouth , whereby the Sound breaks into such Notes as are to be used . This depends upon the consideration of the varying and breaking of Tones into other Notes , whereof I am to speak particularly in my next Chapter , to which I hasten . Having shewed how Tones are produced by Instruments of Musick , I must take notice of other assistances Instruments give to the Sound . In Violins and Harpsechords the Tones are made wholly by the vibrating strings , but the frame of the Instrument adds much to the Sound : for such strings vibrating upon a flat rough board would yield but a faint and pitifull Sound . The help that Instruments give to the Sound , is by reason that their sides tremble and comply with any Sound , and strike the Air in the same measure that the vibrations of the Musick are , and so considerably increase the Sound . This trembling is chiefly occasioned by the continuity of the sides of the Instrument with the vibrating string : therefore if the bridge of a Violin be loaded with lead , the Sound will be damp ; and if there be not a stick called the Sound-post to promote the continuity between the back and belly of the Instrument , the Sound will not be brisk and sprightly . Such a continuity to the nerve of hearing will cause a sense of Sound to a man that hath stopped his ears , if he will hold a stick that touches the sounding Instrument between his teeth . The Sound of it self without such continuity would occasion some trembling , as may be seen by the moving the Vnison strings in the Instance before given ; but this is not considerable in respect of the other , though it be all the assistance that the structure of a Chamber can give to Musick , except what is by way of Eccho . This tremble of the Instrument changes with every new Sound ; the spring of the sides of the Instrument standing indifferent to take any measure , receives a new impression : but a vibrating string can take no measure but according to its tension . Therefore Instruments that have nothing to stop the sounding strings make an intolerable jangle to one that stands near , as Bells to one that is in the Steeple , and hears the continuing Sound of dissonant Tones ; such is the Dulcimer : but the Harpsechord that hath raggs upon the jacks by which the vibration of the string is staid , gives no disturbance by the sonorousness of the Instrument , for that continues not the Sound after the vibrations determined , and another Tone struck , but changes and complies with the new Sound . Of the varying and breaking of TONES . TOnes will by accident vary and break into other Tones , which are Chords to the natural Tone of the Instrument : which in Pipes is so regular , that the compass of the Musick depends upon it ; upon Strings it will happen , but not so gratefull to the ear , nor much in use . I will endeavour to explain how it is caused in Strings , and speak of Pipes afterwards . A perfect string produces a clear Sound by entire and equall vibrations , there being no inequality to hinder the motion from being uniform from one end to the other , according to the Laws of a Pendulum : but if the string hath any inequality towards one end , it will yield a jarring and distracted Sound ; for the resistances are not only at the ends of the string , but there are cross tugges that alter the course of the vibrations ; which is evident in the manner whereby Musicians try if their strings be true : for if the string be true the vibrations will appear as a clear filme ; but they will appear with cross threads if the string be false . If there be a long string Pendulum , the motion will be uniform and synchronous from the bottom to the top : but if there be a weight fastned to the string towards the top , it will hinder the regularity of the motion ; for the upper weight will be put into motion , and will have vibrations of its own , which will be mixed and confounded with the vibrations of the lower weight . In the same manner in a false string two or more sorts of vibrations are blended , which are not in proportion , but casual and discording , and therefore instead of a Tone produce an horrible jarr . Now as a string by such small accidents is brought to vibrations of several parts of the string that hold no proportion one to another , much more easily may it be imagined to have vibrations of uniform parts , that shall be synchronous , and produce one single Sound , as if the parts that vibrate severally are half parts , seconds or thirds of the string : and how this may be caused , I will enquire . If a string Pendulum be very long , and the weight at bottom be not sufficient to cause the whole string to divide the Air ; at first the Pendulum will be sustained by the resistance of the Air , and afterwards it will put the whole string into motion : but not that of a streight line , for the Pendulum will return before the direct motion performed at the top . This will occasion thwarting of motions , which being balanced between the force at the bottom and the check at the top , the crossing point will settle in such a division of the string , that they will continue uniform till the force be spent . I imagine , that if a musical string be so struck , that the whole string is not removed out of its place to cause the greatest vibration in the middle , there must be a crossing of vibrations : for before the motion communicated to the farther end , the part of the string that was struck may have restored it self to its first place . This crossing of vibrations , if the string be true , will be upon equall parts , and produce an Octave fifth , or some other Chord . It is common experience , that a great string struck near the Bridge with a Bow where the Rosin takes but small hold , will whistle and break into chords above ; which if it were struck by the thumb that removes it out of its place , would give the true Tone . The Trumpet marine that sounds wholly upon such breaks , is a large and long monochord play'd on by a Bow near the end , which causes the string to break into shrill Notes . The removing the thumb that stops upon the string gives measure to these breaks , and consequently directs the Tone to be produced . The jarr at the Bridge takes the same measure and makes the Sound loud , in imitation of a Trumpet , which otherwise would be like a Whistle or Pipe. The touch of the Thumb less hinders the Sound of the string when it is upon the point where the vibrations cross , than when it is in any other part : for we see when any great string has an entire vibration , such a touch would immediately extinguish the Sound . This makes the Trumpet Marine , with the Thumb placed upon it , take to such a Note , as that the division of vibrations shall lye just under the Thumb . Speaking of the counterfeit Trumpet , I must observe that the true one seems to give all its Notes by way of breaking , which causing the metal to jarr gives so loud a sound . I fancy the true gage of the Air included in a Trumpet , in comparison of its bore would fit an eight below the Note they call the Note of the Trumpet , because a fourth below it is so easily sounded , which is a fifth to the true Tone , in case it be placed eight Notes lower : As it easily divides into three to give a fifth , so it may well treble that division , and give a second to the Trumpet Note . And for the rest of the Notes which a Trumpet will easily produce , they are the third ♯ , fourth , fifth and sixth sharp , which arise upon the most easie divisions of the monochord , and therefore most readily produced by breaking , when the strength of the blast and the action of the lips direct it . The Trumpet not being able to answer a flat Key , the Sackbut as I observed before is made in such manner that it may be lengthned to supply this defect , whereby it will give any Note at the pleasure of him that plays : but when he is to Sound an eighth or fifth above , he never lengthens the Instrument , for without any remove of his hand , the Note easily breaks into those higher Chords . The Trumpet is of the nature of Pipes , and therefore properly leads me to speak of the varying Notes upon Pipes , which is so regular , and so much in use , that the compass of the Musick depends upon it . I have shewed that Sound does cause a motion not only of solid bodies , but of the grosser parts of Air within the sphere of it . Now if the Air that is moved by being inclosed stands upon such a degree of resistance to compression , that it has a spring vibrating in the same measure with the sound that puts it into motion , there will be the same effect as when two strings are tuned in unison , that is , the motion will be so augmented by succeeding regular pulses , that the enclosed Air may be brought to ring and produce a Tone . Vitruvius in his Architecture advises , that in making a Theatre there should be vases or hollow pots of several sizes to answer all the Notes of Musick placed upon the Stage in such manner , that the Voice of them which sang upon the Stage might be augmented by the ringing of them : And he mentions divers ancient Theatres where such were , in some of Brass , in some of Earth . An Organ-pipe of a very deep Base will not speak suddenly when it is alone ; but if an Octave be in play at the same time , it will answer the quickest touch : because the Tone of the lesser Pipe being in chord causes a motion of the Air included in the greater Pipe , and the vibrations of the included Air being coincident with those of the Tone of the Pipe , promote its speaking by putting the pulses at the mouth into a regular motion , or at lest assisting thereto . These instances shew the manifest effects of Sound : and certainly Sounds in discord are in contrariety , and offer violence one to another ; but Sounds in Musical Chords are consistent , and united together , and promote each other , as I have before shewn in what I said concerning the Relation of Tones . The synchronous motion of the pulses at the mouth of the Pipe with the vibrations of the included Air promote the Sound of the Pipe , and it is hard for a Pipe to speak where those motions are in opposition : but if by strengthning the blast the pulses at the mouth are so quickned that they bear a Musical proportion to the vibration of the Air enclosed , as 2 to 1 , 3 to 2 , 4 to 3 , 5 to 4 , &c. there will be no hindrance but some advantage ; so that it may be easily imagined that the pulses at the mouth in such case will receive no interruption by the included Air , but may maintain their stations , and produce a Tone varying in the same proportion from the Tone of the Pipe. It may be objected , that if it were so , there would be a mixture of Sounds ; and not only the Tone that is in chord to the Tone of the Pipe would be heard , but also the Tone of the Pipe with it . To which it may be answered , that the vibration of the included Air is not so considerable as to be heard distinctly , though it may give alteration to a Sound ; as we see , that when a Pipe gives the true Tone , it speaks more in the belly than when it breaks into an Octave . But to wave that answer , perhaps when the Note breaks , the column of included Air divides into proportionable parts , by reason that the vibrating force at the mouth , and the resistance at the aperture meet one another in the middle , or upon other divisions , which will make the vibrations of the included Air coincident with every pulse at the mouth of the Pipe : which is the more probable , because a very small aperture in the middle of a Pipe will make it break into an eighth above , which seems not to happen by any diminution of the included Air , but interrupting the intireness of the Column . Of the nature of Keys in MUSICK , and of a single TUNE . BEfore any Note struck the Ear is indifferent to all sounds , but when any Tone is heard , that indifferency is determined , and the mind taken up with the present sound . If the second Note be not of relation to the first , the imperssion made by the first will be wholly obliterated and forgotten , the sounds will be disjoynted and incoherent : But if the second Note be of relation to the first , it is confistent with the memory of the first : if the third Note be more in chord to the first , then is that remembrance continued and strengthned : if succeeding Notes are in discord ▪ or of less relation to the Key Note , the mind and fancy is drawn from the Key Note by the present Sound ; but by repeating the Key Note and its relatives with loudness and emphasis , the memory of the Key Note may be restored again . Thus in passing to and from the Key , by Notes that have relation to the preceding Notes may a Tune proceed to any length , and amuse the hearer : but when the fifth , which is the principal chord to the Key , and most strengthens the memory of it , comes in play , nothing can be more perfect and satisfie expectation but the Key Note it self , which gives a perfect acquiescence to the hearer , and a conclusion to the Tune . For this reason all Tunes end in the Key Note , and the next preceding Note is the fifth above . In the progress of a long Tune other Notes may gain so great impression in the mind by dwelling upon the relatives to them , that the first Key may be forgotten , and the same way new Notes may gain possession , so that the Key may change many times . Thus it is in long Fancies and Preludes , and it is no matter in such case what Key the Tune concludes in : but in short Airy Tunes there are but small digressions , leaning to the fifth or third , or other relative Notes , and sometimes suddenly closing upon them , which does not destroy the memory of the first Key Note , and therefore the Ear is not satisfied with such close , but expects another strain , which ending in the Key Note concludes the Song . Generally speaking , a Tune must begin and conclude in the Key Note , because that Note takes possession of the Ear ; but this is not such a Rule but that sometimes a Tune begins or ends upon Notes relative to the Key ; and the Key is shown by them , though it be not struck : as in the progress of a Tune the Key is to be traced by the relatives to it , as well as by the Note it self : Hereby it appears that any Note may be the Key Note , as to the pitch : As to the species or sorts of Keys they are two , viz. Flat and Sharp . When a Tune begins with a Flat third it must continue so ; for the third being a relative to the Key Note , is joyned with the memory of it , and become as it were part of it , and a third Sharp being discord to it would disjoynt the Tune , though it be a better chord to the Key Note ; it being necessary that the Tune should proceed with regard to the preceding Notes : for the same reason a third Sharp when once taken into play must be continued . When the third is Flat or Sharp the sixth must be so likewise , else the third to the Key which is of principal regard and relation to the Key , and sometimes hath closes upon it , will have neither a fourth above , nor a fifth below in the Scale , but a false fifth , which could not set it off in that lustre it ought to have . There is no natural difference betwixt the Musick in one Key Note or another ; accidental differences there are : for in some Keys the emphatical Notes lying high are more sprightly than in others . Upon some Instruments , by reason of holdings , or open strings the emphatical Notes are of a mellow and durable Sound , which gives advantage to the Key . Upon most Instruments the emphatical Notes are not in Tune , by reason of the Schismes of Musick , ( whereof I am presently to speak ) therefore such Keys are not in use , and when play'd upon yield but a harsh Tune . But these differences are but accidental , and relating to the advantages or imperfections of Instruments . I shall collect from what hath been said , That the Musick of a single Tune consists in the succeeding Notes having a due relation to the preceding , and carrying their proper emphasis by length , loudness and repetition , with variety that may be agreeable to the hearer . This is called the formality of a single part , wherein Musick is so copious , that it has afforded to every Age and Nation a several fashion , and to every Musician a particular stile . Graces in Musick depend upon the same reason with the formality of a single Tune , and skilfully applyed do much advance it , by strengthning the memory of preceding , and the expectation of succeeding Notes , the doing whereof is left to every Player . Of SCHISMES , and the Scale of MUSICK . THere are Schismes in Musick , because the Scale is naturally fitted to one Key ; and though it will indifferently serve to some others , yet it will not to all . The Scale of Musick is not set out by any determinate quantities of whole Notes or half Notes , though the degrees are commonly so called ; but the degrees in the Scale of Musick are fixed by the Ear in those places , where the pulses of the Tones are coincident , without any regard to the quantity . I shall endeavour to show how all the Notes come into the Scale by their relation and dignities ; and then it will be obvious why for easiness of instruction and convenience the Scale of degrees of Musick is made as the Musicians now exhibit it . The Key Note being given , the first Note in dignity is the fifth above , which must have its true place ; for whilst the Tune is in the Key , it has the greatest emphasis ; and upon any digression from the Key , this Note is nearest to usurp it : and therefore when the Chords to the Key Note are placed , the Chords to this Note are to begarded , for without them there cannot be any variety , this being the first step from the Key . The other Chords to the Key are the third ♭ and ♯ , the fourth and the sixth ♭ and ♯ . The Chords to the fifth above the Key are the 5 / 2 d , and 3 / 7 th ♭ and ♯ , which are the fifth and third ♭ and ♯ to that Note . When the fifth has usurped the Key , the fifth above that must have the same emphasis , and will bring in the sharp fourth , or false fifth , which is its third sharp . The half Note above the Key is farthest from the Keys relatives , and therefore the Sound of it removes the dominion of the Key Note farther off than any other ; the nearest way of bringing it in request is when the fifth below has usurped the Key , to which it is a sixth flat : The fifth below taking the Key makes an ingratefull remove , for it is not a Chord comprehended in the Key Note , but the Key Note is comprehended in that , and so it diminishes the regard to the Key Note more than any other , making the transition to the Key Note , not as a restitution , but as a digression to a secondary Key , which should not continue . These are all the Notes of the Scale within the compass of an Octave , and by this method should they be Tuned , viz. Third ♭ and third ♯ , fourth , fifth , sixth ♭ , and sixth ♯ , by the Key Note , second and seventh ♭ , and seventh ♯ by the fifth above the Key or its Octave ; false fifth or fourth ♯ must be third ♯ to the second , and the ½ Note above the Key must be a sixth ♭ to the fifth below the Key . An Instrument thus tuned will be exact to that one Key , and serve to play Tunes in that Key ; but when the Musick turns to other Keys that are not relative to it , the divisions and degrees that fitted the first Key will not sute with the others , but must be removed , and thereby the Schismes appear , without which the Notes which ought to be principal and most perfect Chords to the new Key , will be manifestly out of Tune . This will best appear upon view of the division of the Monochord , which I have set down in the plainest manner I could frame . A Monochord . 540 fourth below 360 second 270 180 fifth below 480 Key 320 fourth Octave . The Key Note is 360 , whose division gives all the Chords . The fourth below is 480 , whose division gives the 7 th and second . The 5 th below is 540 , whose flat 6 th is the half Note above the Key . The second is 320 , whose third sharp is the false fifth . The Divisions appear thus : 3 / 8 of 540 = 202 ½ half note above the Key Semitone is 22 1 / ● sc. 360 / 16th part of the string . 480 / 3 = 160 the second above the Key Semitone is 17 ½ sc. 3371 / 1922 / 7 tone is 40 sc. 360 / 9th p t , of the string . 360 / 6 = 60 the third flat Semitone 20 sc. 320 / 16th part of the string tone is 32 sc. 320 / 10th p t. 360 / 5 = 72 the 3 d sharp Semitone 12 sc. 360 / 25th part of the string 360 / 4 = 90 the fourth Semitone is 18 sc. 288 / 16th part of the string tone is 30 sc. 300 / 10th p t. 404 320 / 5 = 104 the false fifth Semitone is 14 sc. 2707 / 192ths of the string tone is 32 sc. 288 / 9th p t. 360 / 3 = 120 the fifth Semitone is 16 sc. 256 / 16th part of the string tone is 30 sc. 270 / 9th p t. 3 / 8 of 360 = 135 the 6 th flat Semitone is 15 sc. 240 / 16th p t of the string tone is 24 sc. 240 / 10 2 / 5 of 360 = 144 the 6 th sharp Semitone is 9 sc. 225 / 25th p t of the string 480 / 5 = 96 seventh sharp below semitone below the Key is 24 sc. 384 / 16 th part of the string tone is 40 sc. 400 / 10 480 / 6 = 80 seventh flat below Semitone is 16 sc. 400 / 25th part of the string tone is 24 216 / 9th Semitone betwixt sixth sharp above seventh flat is 16 sc. 216 / 13 ½ p t of the string Which is better represented to the view by the following Scheme , being an Octave divided into Semitones , the whole string being 360. places of the Semitones   22 1 / 2   40   60   72   90   104   120   135   144   160 168   180 quantity of the several semitones 22 1 / 2   17 1 / 2   20   12   18   14   16   15   9   16   8 12   what proportionable part of the string each semitone takes up 16   19 2 / 7   16   25   16   19 2 / 7   16   16   25   13 1 / 2   25 16   what part of the string each tone takes up   9 th   9 th   10 th   10 th   9 th   9 th       10 th   9 th   9 th   10 th     flat Key A la mi re B fa b mi   C sol fa ut       Da la sol         E la mi   F fa ut       G sol re ut     A la mi re The degrees of an Octave in a flat Key .   9   16     10       9       16     9       10     sharp Key C fa ut D sol re       E la mi   F fa ut         G sol re ut   A la mi re       B fa b mi     C sol fa ut           1●   1●       9       10     9       1●   By these divisions it appears , that the Tone above the Key , and that between the fourth and fifth , and that between the sixth and seventh , whether flat or sharp , are ninths of the string , which is called the Tone Major ; the other Tones are tenths of the String , and the natural Semitones are sixteenths . Other Semitones which are placed in the Scale , by the Rules before mentioned have other porportions , because neither Tone Major nor Tone Minor can he divided into sixteenths : therefore if one Semitone be a sixteenth in a Tone Major , the other will be 19 2 / 7 , and if one Semitone be a sixteenth in a Tone Minor , the other will be a 25 th , which is the Somitone that naturally lies between a third ♭ , and a third ♯ . If a Tone Minor be so divided , that one Semitone is 25 th of the string , the other will be 13 1 / 2. These unequall Tones and Semitones having their proper places in relation to the Key Note must needs produce Schismes upon displacing the Key Note . I shall give one instance : Suppose the Key Note a Tone lower , which is at 400 upon the Monochord in the first Scheme , then by the present Scale the fifth should fall upon the fourth to the former Key , which is 270 , but by the division of the Monochord 400 / 3 produces 133 ⅓ , whose complement is 266 ⅔ , so that the Schisme there is three and ⅓ , which makes a vast difference , and is occasioned , because , whereas there should be two Tones Major , one Tone Minor , and a Semitone to make a perfect fifth ; this consists of two Tones Minor , one Tone Major , and a Semitone . It will be easie , by turning the Octave Line divided into Semitones into a Circle , and supposing the Key Note upon other Semitones , to find the differences of the Tones and Semitones , that lye in order above it , from what they are in relation to the true Key Note , which will show more gross Disproportions or Schismes . Quarter Notes have been invented , which placed in those parts where these Schismes are the greatest , make the Instrument serve those Keys to which otherwise it would not be in tune . Organs and Harpsechords that have no quarter Notes are tuned with allowances , so that there is but one perfect fifth in the compass of an Octave , the rest bear on the one hand or the other , and so are indifferently well in tune to all Keys , but exactly in tune to none . Harpes , Lutes , and Lyra Viols , that are tuned to a particular Key , will be well in tune without any regard to this . Pipes may be helped by the strength of the blast , and fretted Instruments by a favourable stopping . The Violin has a great advantage by not being confined to frets : but above all , the Voice is most excellent , because it is not any way confined , but carried by the ear to those degrees which make exact Harmony . Of MUSICK consisting of several Parts in Consort . MVsick in Consort consists of Harmony , Formality and Conformity . Harmony is the gratefull sound produced by the joyning of several Tones in Chord one to another . I shewed before , that Tones in Chord one to another will joyn and give one entire sound , whereas discording Tones will jar ; and also that some Chords were more perfect than other , according as the coincidence of their pulses was more frequent : It will be proper here to say something concerning the several natures of the Chords in conjunction , and the qualities of conjunct sounds . In all conjunct sounds the Base is according to its name the foundation , and all the upper Chords are gratefull as they have relation to that , because it comprehends all the rest , and its pulses are according to Nature bigger and stronger than those of the other parts , and so of more effect to maintain the coincidence ; and for this reason , where a Tune begins with conjunct sounds , the Base is always the Key Note . Octaves as I have shewed before do not at all alter the sound , but only swell and fill it : for the sound has its quality from the terms of the interstices between the pulses ; which if they are larger makes the sound more grave , if they be less , the sound is more acute : Now as in Division , the mode of the time is never alter'd by doubling the number of Notes in the same space of time , but the mind or memory couples them and comprehends them in the same space as if they were whole Notes ; so is it by Octaves , being they increase by duplication of the pulses , in the same space of time it produces no alteration of the sound : And though there be Octaves above which are more acute , and Octaves below which are more grave , so that they differ from unisons ; yet as to appearance they are the same , in respect of such difference as there is between other sounds ; as if a man looks upon a Dye with the naked eye , and after should look upon it with a magnifying glass , though it appears bigger , yet by the figure and scituation he judges it the same . Therefore the Musick is not changed but filled by adding Octaves above the upper parts : but Octaves below the upper parts that should come below the Base , would change the Musick , by changing the foundation and basis of it , to which all the Chords would have other relations than they had to the former . A fifth is the principal Chord ( for the Octave cannot properly be called a Chord ) in which there is an acquiescence ; there being no other sound to which it can change to a more grateful one , and therefore is allowed in the close to fill the sound . A fourth by its coincidence of pulses should stand in the second place , but it is not allowed in Musick , according to the sweetness of its sound , because its Octave below the Base mends the Harmony so much , that it cannot be kept out of mind , but will be desired and expected : and therefore a fourth is a binding Note that strongly induces a close in the fifth below . So that a fourth is not for its sweetness allowed to be a Chord by most Musicians , because it is not stable but subservient to a change , which change is more induced , because only a sixth can be joyned with it , which will be a third to the fifth below , and so increases the expectation of a change . A third sharp is a Chord so gratefull that it is allowed in the close to fill the sound ; it being in Chord to the fifth bears it company , and its Octave to reverse would change the Musick into a sixth flat , which is the least pleasing of all Chords , and therefore is not at all regarded ; but the mind acquiesces in the third sharp . A third flat , nor the sixth flat nor sharp , claim not any place in the close , because they are in discord to the third sharp and fifth , so that both cannot be allowed , and the other are preferred : but they are in the body of a Tune very gratefull Chords that never offend the ear , nor do they invite any change by their Octaves below the Base , but afford a stable and pleasant Harmony . I shall not speak of discording Tones which are often conjoyned in Musick , because they are not allowed for their own sake , but for reasons which will appear in what I have further to say concerning Consort . Wherein the second requisite is Formality , which every part ought to have , though not to that degree of pleasantness that is expected from a single Tune , yet in a reasonable degree . The formality of a single Tune must be exact , because the Composer is not confined , but may follow his fancy ; but in Consort the Composer must consider the harmony of the Parts conjunct , and therefore is not at liberty . And there are allowances which the nature of the Parts require ; the formality of the Treble must be airy and brisk , that of the Base slow and robust , the inner parts are generally employed to fill the Musick with Chords , and have little curiosity of formality , except upon following a point : but these allowances considered , an expert Musician will give a competent share of formality and sweetness to every part , making the Treble move in a grave pace , and the Base rest , that the beauty of the inner parts may be discerned . The third requisite of Musick in Consort is Conformity of all the parts : as the Formality of a single part requires , that the succeeding Notes should be agreeable to the former ; so Conformity requires that each part should have the like tendency to the succeeding Notes . Which tendency is many times so regarded , that the present Harmony must yield to it : for if the succeeding Notes are of great relation to the Key , and the formal way to them in the several Parts is by discording Notes ; nevertheless that way which gives so good expectation must not be balked , but rather the discords will be allowed , whose harshness is taken off by the expectation of the succeeding Chords , and the Harmony of the following Notes is the more welcome for the badness of the passage . Discords are allowed in Musick upon this score , and they are also in other respects of excellent use ; as when the mind is to be carried from any particular Note , it may be affronted by a discord ; or if a Note in small esteem be to be favoured , some other Note may come in that agrees with that , and is discord to the rest , and so may draw the mind to the regard of that Note which it strengthens and supports . Infinite other instances may be made , but my business being only to illustrate the Reasons I go upon , and not to teach Rules , these shall suffice . From what I have said , it appears , that when each part has its kind and proportion of formality , and the parts are in Chord to the Base , and not in discord to one another , but carry all the Chords to fill the Harmony , when they have a like tendency to their respective succeeding Notes , when they imitate one anothers measure ; then is the Consort compleat : for the ear is pleased with the Harmony , and the mind is amused and entertained to observe the particular Parts how they dance to and from the Key , and from one Key to another , how they hunt one another , and in a manner imitate humane passions . To the end the hearer may the more indifferently observe the contexture of the Parts , it is necessary that they be fairly interwoven , one Part must not cling to another , by moving together in eighths or fifths which would draw the attention too much : for the same reason they may not jump into eighths , which I have heard called , hitting an eighth in the face ; but an equall hand should be held over all the Parts , and the sweetness distributed amongst them . I will not go about to describe Excellent Musick , which would require a Poet as well as a Musician ; I am only in the part of a Philosopher , to show what is allowable Musick , in order to make the Reasons upon which their Rules are founded understood . And that I have done , as it were by a glimpse , knowing the difficulty of being exact upon such a Subject ; He that desires to be more fully informed concerning it , may have recourse to other large Treatises that have been written of Musick by Authors of our own , as well as other Nations . There are tricks in Musick , as Fugues , Points , Descant upon plainsong Cannons , &c. the former , scil . Fugues and Points are extream delightfull , and embellish the Musick , carrying the attendance of the mind from one part to another , and restrain not the fancy of the Composer , but advance it . The other tricks that are more elaborate , are to teach or shew mastery in Composing , rather than to please ; for such fetter'd Musick is alwayes worse , and the hearer shall not observe the Art till he be told of it : it is like Acrostick Verse , or rhithm in Plays , which shew skill or labour , but serve not those ends for which the pieces were designed . Of TIME , or the measures of MUSICK . AS the Musick and Harmony of Tones depends upon the regular distance of the pulses , though the interstices are not perceived , nor can be measured by us : So when the interstices are so large that they can be measured by our sense , the observance of a regular proportion of Time affords great pleasure ; as in the beating a Drum , or striking a pair of Castanets . The due observance of time is gratefull for the same reason that I gave for the formality of a single Tune , because the subsequent strokes are measured by the memory of the former , and if they do comprehend them , or are comprehended by them , it is alike pleasant , the mind cannot chuse but compare one with the other , and observe when the strokes are coincident with the memory of the former . Therefore the less the intervals are , the more grateful is the measure , because it is easily and exactly represented by the memory , whereas a long space of time that cannot be comprehended in one thought , is not retained in the memory in its exact measure , nor can abide the comparison , the time past being alwayes shortned by so much as it is removed from the time present . The modes of Time are very few , being only in duple or triple proportion , and the diminishing is alwayes in Geometrical proportion , as two , four , eight , sixteen ; that it might serve not only to the Basis of the Time , but also to the other intermediate degrees of diminution , which are in memory , if not in play . The triple can give two spaces to one , the duple can give three spaces to one , and although the duple or plain Time seems to have spaces of even length , yet there is loudness and briskness given to every other pulse , which makes it eminent , and alwayes happens upon coincident strokes : this difference is between the fore-stroke and back-stroke in Musick , where the Notes are marked to be of an even length . These disparities of even and odd , and of two to one , and three to one are necessary , not only where Time alone is regarded , as in a Drum , or upon a Horn , to show the coincident strokes ; but in respect of Musick , for thereby length and loudness is given to the Key Notes , and such other Notes as should bear an emphasis : and the other Notes that have the short or odd foot , seem but steps and passages to them , and indeed are so little regarded , that whether Chord or Discord they must be taken if they lye in the way . In the same manner , in all shaking graces the hovering is unequal betwixt two Notes , the advantage is given to the true Note , and the other has but faint touches , to make preparation for that which is to succeed . It is now time to put bounds to this Discourse , which by reason of the Method I engaged my self in , is become much longer than I intended ; I will only add these Two Observations : 1. It appears plainly how Musick comes to be so copious : for considering the species of Keys , the number of them , the variety of Chords , the allowable mixing of Discords , the diversity of measure , it is not to be wondred at , that it should like Language afford to every Age , every Nation , nay , every ▪ Person , particular stiles and modes . 2. It appears that Tones or Modes of Musick in antient time could not be of other kinds than are now ; for there can be no other in Nature : therefore the great effects it then had , if truly related , must be imputed to the rarity of it , and the barbarity of the People , who are not transported with any thing after it becomes common to them . FINIS . MISTAKES . PAge 9. l. 18. for line read time : l. 25. for fifth and fourth read five and four . Pag. 24. l. penult . for 5 / 2 d and 3 / 7 th ♭ read 2 d and 7 th ♭ Pag. 30. l. 13. for Octave to reverse read Octave or reverse . Pag. 15. l. 12. so regular dele so . Pag. 26. It must be observed that the Monochords are not divided as they ought to be ; the Reader therefore is to regard only the Figures , and not the length of the Lines . 
A58211	----	A sermon delivered in the Cathedral Church of Canterbury, concerning church-musick by John Reading ... Reading, John, 1588-1667. 1663 Approx. 37 KB of XML-encoded text transcribed from 12 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2003-03 (EEBO-TCP Phase 1). A58211 Wing R452 ESTC R6076 13693967 ocm 13693967 101433 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A58211) Transcribed from: (Early English Books Online ; image set 101433) Images scanned from microfilm: (Early English books, 1641-1700 ; 848:10) A sermon delivered in the Cathedral Church of Canterbury, concerning church-musick by John Reading ... Reading, John, 1588-1667. [4], 18 p. Printed by Tho. Newcomb, London : 1663. Reproduction of original in Cambridge University Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. 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Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Bible. -- O.T. -- Kings, 2nd, III, 15-16 -- Sermons. Music in churches -- Sermons. Music in churches -- Early works to 1800. 2002-10 TCP Assigned for keying and markup 2002-11 SPi Global Keyed and coded from ProQuest page images 2003-01 Judith Siefring Sampled and proofread 2003-01 Judith Siefring Text and markup reviewed and edited 2003-02 pfs Batch review (QC) and XML conversion A SERMON Lately delivered in the Cathedral Church OF CANTERBURY , CONCERNING Church-Musick . By JOHN READING , D. D. Prebend of the same Church . LONDON : Printed by Tho. Newcomb . 1663. Imprimatur , M. FRANCK . S. T. P. R. P. Ep. Lond. à Sac. Dom. Mar. 13. 1662 / 3. A SERMON lately delivered in the Cathedral Church of Canterbury , concerning Church-Musick . 2 KING . 3.15 , 16. — And it came to pass when the Minstrel played , that the hand of the Lord came upon him ; And he said — I Come to you this day ( as Iacob to Padan-Aram ) to remove the Stone and Rock of Offence taken at our Church-Musick , that the Flock may be watered . My endeavour shall be ( by Gods assistance , and your wonted . patience ) to shew why we use it , and you should joyn with us therein ; and my desire is your serious attention , left the loss of one point beget a misunderstanding in others . God mercifully indulgeth to mans infirmity , omitting no means to save him , as'tis written — What could have been done more to my Vineyard , that I have not done in it ? Whereas therefore mans innate affections bear a great part in good or evil , much byassing the Will and Understanding to either ; God , not willing to destroy , but to correct the Affections , that they may be necessary hand-maids to Virtue , faith not , Thou shalt not hope , but , Hope thou in God : Neither , Thou shalt not fear , but , Thou shalt fear the Lord thy God : so , — Thou shalt love the Lord thy God : and Ye that love the Lord , hate evil : and Delight thy self also in the Lord , and he shall give thee the desires of thy heart . The Holy Ghost , seeing mankinde hardly drawn to Virtue , and that Righteousness is less esteemed , by reason of our Affections proneness to that which delighteth ; in his Wisdom , mingled Heavenly Mysteries with pleasing Melody , that by the Ear he might secretly convey the Treasure of Divine good into the Soul : To which purpose were those melodious Hymns and Psalms appointed for us , in God's service , that we might at once be both delighted , and profited . To the words of the Text ; It came so pass when the Minstrel played , Et suit secundumm modulari modulantem : Thus it came to pass by Gods Providence so appointing it . The LXX , give the Hebrew 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 in the Greek , by 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , the Singer , or Musician : The word is of that which signifieth to sing or make musick ; and here signifieth any kind of Musician skilfull in singing , or playing on Instruments , Lute , Harp ; Organ , or other like : the fence is , When the Prophet heard the Musick , the hand of the Lord came upon him , that is , a Divine motion , or influence of Gods Spirit : and he said — or spake the words of the following Prophecy . Here are two Causes of the Effect following . The 1. Subordinate , or minus principalis — it came to pass , when the Minstrel played . 2. Principal , chief , and supream , efficient , producing the effect ; He said , Thus faith the Lord. I. That such a Cause as a little Musick should open the Archives of Gods secret counsel , concerning things to come , in matters so dubious and unexpected , of such high consequence and concernment , as the saving of three Kings , and the lives of all the Israelites , and much other auxiliar Forces present ; and by means so improbable to carnal wisdom , as filling that dry valley with water , to relieve them and their cattle , when neither wind should be perceived , nor rain seen ; that such an occasion as Musick should come within the verge of Causes thereto subordinate , Could be by no other means , or others appointment but his , who by his unlimited power produceth the most difficult effects by what causes he pleaseth . He created this Universe of nothing praeexistent ; Dixit & facta sunt . He appointed that Naamans leprosie should be cleansed by his washing seventimes in Iordan ; and that Iericho's deathfull Waters should be cured by casting into them a new cruse of salt ; and that the Widows Oyl should increase in the barrel , by pouring out so long as there was a vessel to receive it ; and that Israel should march into the Red Sea , to be saved ; that it might be to them a type of Baptism , wherein the water toucheth the body , to cleanse body and soul from all sin , by the blood of Iesus Christ. 1 Joh. 1.7 . He commanded Moses to smite the Rock at Horeb with his Rod , that the waters might flow , to relieve the numerous Hoste of Israel , with their herds and flocks : He , to supply the want of Wine at the Canamarriage , commanded the Waiters to fill their water-pots with water to the brim . It were too long to pursue the Examples of this kind , which demonstrate God the most free Agent , not bound to the use of any second causes , but producing what he will , how he will. Fear not whatever work or estate God assigns thee to ; He is Almighty who provides for his Agents : Fear not thy abilities ; but remember that thou art in Gods service , who by a sufficient measure will enable thee to that which he enjoyneth thee . Were it thine own work , thou mightest reasonably require probable and apparent means to warrant thy undertakings ; but if God command thee , thy sufficiencie shall be of him ; so that thou shall not need to say , with Gideon , — O my Lord , wherewith shall I save Israel ? Behold , my family is poor in Manasseh , and I am the least in my fathers house : if God be with thee , who can be against thee ? If there remained but wounded men , they should be enabled to do that which God will have done . Thou needest not say , as Moses , Send , I pray thee , by the hand of him whom thou wilt send : While he looked not toward the power of God , but his own abilities , diffident of the success , he said , — O my Lord , I am not eloquent — I am slow of speech : and Isaiah said , Wo is me , for I am undone , because I am a man of polluted lips ; and Ieremy — Ah , Lord God , behold , I cannot speak , for I am a child : they remembred not , at present , that God could touch their lips , to enable whom , and to what he will. In Gods service , to forget his power is so dangerous , that Ionah will rather be miching toward Tarshish , then obey Gods command at Nineve : And good Ananias willing to decline the service , will say , Lord , I have heard by many of this man , how much evil he hath done to thy Saints at Ierusalem . But to come to the intended point , we must necessarily consider the coherence of these words with the rest of this History . Moab , after the death of Ahab , rebelled ; Iehoram his Son implored aid against them , of Iehoshaphat King of Iudah ; he consented ; they agree to fetch a compass by the Desert of Edom ; in seven days march they are distressed by want of water ; they are enforced to consult the Lord by Elisha : they come to meet him ; he sharply greeteth Iehoram ; What have I to do with thee ? get thee to the Prophets of thy Father , and to the Prophets of thy Mother . At his further presentation of their imminent destruction , the Propher subjoyneth , As the Lord of Hosts liveth , before whom I stand , surely were it not that I regard the presence of Iehoshaphat the King of Iudah , I would not look toward thee , nor see thee : But now bring me a minstrel ; and it came to pass , when the minstrel played , that the hand of the Lord came upon him , and he said ; that is , he prophesied . It may here be demanded , Why Elisha , so great a Prophet of the Lord , being to prophesie , to so serious and so grave a work , would seem to require so youthfull an expedient , as a minstrel , and musick ? Concerning which , here are several probable Reasons assigned . 1. It was necessary to lift up and comfort his mind , at present perplexed and troubled with bitterness of sudden passion , as indignation at the presence of the idolatrous Iehoram , so also for sorrow and sympathy in the distress of good Iehoshapat , and the people of Israel with him , in so evident a danger of destruction by the Enemies of God. 2. To revive and chear up his drooping spirit , that it might be enabled and fitted to prophesie ; as also the hearts of the people to attend unto the same . 3. This Musician was probably a Levite , skilfull in singing Psalms and Hymns to Gods glory , and Services thereto appertinent , and playing them on Lute , Harp , Organ , Viol , or other like Instrument . So had the people of God , in those days , solemn Musick at their Sacrifices , to quicken them up to prayer and praises of God. So at that great Solemnity , 2 Chron. 7.6 . performed by Solomon — The Priests waited on their offices , the Levites also with instruments of musick of the Lord , which David the king had made to praise the Lord , because his mercy endureth for ever ; and the Priests sounded trumpets before them . So Hezekiah set the Levites in the house of the Lord , with Cymbals , with Psalteries and Harps , according to the commandement of David — for so was the commandement of the Lord by his Prophets . Now David having excellent skill in Divine Poetry and solemn Musick , knowing that both of these were accommodate and necessary for the service and House of God , left behind him many Psalms , and , as some learned Divines observe , was the Author of joyning Melody to Poesie in publick Prayer , for the raising up of mens hearts to attention ( without which , he well knew , all our service would be but vain and fruitless ) and also by vocal and instrumental musick , for the sweetning of humane affections towards God , that men might delight in the Worship of God. So the Church of Christ still reteineth these as an ornament in Gods service , and for an help to Devotion . 4. Thus the Prophets used to have Musick , when they were to prophesie . So Saul , according to the word of Sàmuel , met a company of Prophets with a Psaltery , and a Tabret , and a Pipe , and an Harp before them , and they prophesied , and Saul also prophesied with them . From all which it may appear , That Musick ( where it can be conveniently had ) is of excellent use in relation to prophecy , and other parts of Gods service , publick or private . Now Musick is either Instrumental , Vocal , or mixt of both . Concerning the First and Third of these , some School-men make scruple ; Whether Instruments with Voices , in the Churches , and Gods publick service under the Gospel , be lawfull ? Concerning vocal Musick , or singing Psalms , no sober Christian makes any question ; we say , both Vocal and Instrumental are here , respectively , both lawfull and convenient : For which we offer these following Reasons . 1. Musick ( whether vocal or mixed ) is scientia benè modulandi ; or , of high and low sounds a due proportionable disposition : Therefore they who acknowledge the one still necessary and lawfull , ought to shew cause , why the other is not ; or in what part of Holy Scripture , that which all know was once commanded as necessary , is since forbidden , as no longer necessary , or unlawfull . 2. Mixt Musick is as an ancient in Gods service as the Temple , or Tabernacle , ( whose Structure , Rites , and Services the Lord himself appointed ) yea , before the Ceremonial Law was given , Moses and the people of God did sing unto him ; and Miriam the Prophetess — took a timbrel in her hand , and all the women went out after her with timbrels , answering them — Sing ye to the Lord. Mixed Musick therefore , in Gods service and praises , seems not a branch of the Ceremonial Law , that it should thence be concluded abrogated , but , as subordinate to Gods service , and fitting mens minds thereto , of the ever-binding Moral Law , which faith in the Gospel , Thou shalt worship the Lord thy God ; wherein are comprehended all things thereto subordinate , and necessary for Gods service , as is all that which conduceth to edification in Christ. 3. As Musick was appointed by God , to praise him in his Tabernacle and Temple , to which Christ in the days of his flesh often resorted ; so was it used by Christ , as at his last Supper , and institution of that great Mystery appointed by him to represent and shew his death and passion till he come ; wherein Christ sung his pare with his Apostles , ( for we may not think , that he sat by them onely to keep time , or as an Auditor . ) Add hereto , that even under the Gospel , Musick is expresly commanded , for edification in Christ , and therefore must still be lawfull and necessary : of which the Apostle faith , Ephes. 5.19 , 20 — Be filled with the spirit ; speaking to your selves in psalms and hymns , and spiritual songs , singing and making melody in your heart to the Lord : giving thanks always for all things unto God , and the father , in the name of our Lord Jesus Christ. So Colos. 3.16 . Let the word of Christ dwelt in you richly in all wisdom , teaching and admonishing one another , in psalm , and hymns , and spiritual songs : ( this could be no Iewish ceremony ; ) How is it then , brethren ? when ye come together , every one of you hath a psalm , hath a doctrine — Let all things be done unto edifying . 4. Musick hath such natural proportion with the reasonable soul , that some defined the soul it self by harmony . It is remarkable , that Solomon , the wisest of meer men , and the worlds greatest Philosopher , made a thousand and five Songs , wherein he excelled all the children of the East-countrey — as in that Song of Songs , Solomon in deep mysteries excelled Solomon . And David , the man after Gods own heart , and sweet Singer of Israel , composed many Psalms to divers musical Instruments , as may appear in the Titles of many of his Psalms , which have ever been in use in the Church of Christ , as to the matter and substance , though not always to the same manner and circumstances , which the Exigents and times of persecution could not at all times permit the Christian Churches not then constituted , as may appear in Plinies Epistle unto Trajan , reporting the custome of the Christians , then used to sing Hymnos antelucanos Christo. 5. The Soul much depending on the temper of the Body , it must needs be , that according to the right composure or distemper thereof , a man is more or less apt to Divine Offices ; which the subtil Adversary well knowing , that he may hinder us from right performance of our Duties in the service of God , complieth with all second Causes , to discompose us by sundry passions and perturbations of mind , in whose storms we cannot steadily and duely perform our parts . Now solemn Musick , by reason of its native affinity with the Soul , excellently accommodates it , by calming and appeasing the boisterous storms and distempers thereof with a pleasing allay , gently drawing it to a sweet mediocrity , carrying it up for a time above it self in an holy rapture and extasie , as S. Paul into the third Heaven , to the contemplation of unutterable things : It excellently composeth distempered minds , which S. Basil and S. Ambrose seem to note , in Pythagoras commanding the Musicians Dorion canere , which changing the mood , S. Ambrose interpreteth by molliora canere . It draws out tears of Devotion , as Augustine confesseth of himself , — I often wept in the hymns and songs of thy sweet-sounding Church ; the affections of piety thereby enflamed , my tears ran down . I could easily be perswaded , that those monstrous vails of morals , not contemptible , related hereto , concerning the strange effects of Terpander's Musick , so famous among the ancients ; and Amphion's drawing stones together , to build the Walls of Thebes , by his Musick ; and Orpheus , charming wilde beasts and pale ghosts with his Harp ; Arion carried on a Dolphins back ; Herodutus , &c. Doubtless melody doth admirably compose the distracted mind , which it formeth to holy attention , as hath been seen in the sudden lucid intervals , and abundant tears of mad-men , hearkening a while to the Churches solemn Chores . Neither need this seem strange to any that reade Saul's History , — When the evil spirit came upon Saul , David took an harp , and played with his hand , and Saul was refreshed and eased , for the evil spirit departed from him . Not that Musick of it self hath such vertue to drive away soul spirits ; but it came thus to pass then , by Gods providence , forelaying all the consequences hereof relating to David : yet I doubt not , but that Satan ( making use of all advantages to destroy men , by hindering them in holy Duties ( as Preaching , Hearing , Praying , aud Thanksgiving , and praising God ) hath less power to hurt , by how much more the Body and Soul of Man are freed from turbulent obstructions thereto . Nor can I wonder that solemn Musick should put moody Saul's Devil to flight , when . I consider , 1. That the same now drives so many Congregation-men from our Church . 2. That all that which tendeth to edification and praise of God , is destructive to Satan's Kingdom , whose Fottifications ( like the Walls of the beleaguered Iericho ) fall down at the sounding of the sacred Trumpets , whereof he faith , Cry aloud , spare not , lift up thy voice like a trumpet , and shew my people their transgressions , and the house of Jacob their sins . Indeed when Christ's seventy Disciples preached the Gospel , Satan like lightning fell from Heaven . 3. Considering the Tempters amusical disposition , whose usual descant is impious discord , and setting division amongst Brethren , and his whole endeavour to afflict mans soul , and to barr it from all comfortable help to devotion , and assistance in the service of God ; therefore although he hath sometimes been transformed into an Angel of Light , yet we reade not that he did ever sing , or play upon any musical Instrument , except in the obscene lips of Catamites and impious Libertines ; and once in the Pope's Chore , when ( as Cyprian de Valera , a grave Author , writeth ) he got into the Organ , and roared out so prodigious a Diapason , that it made the earth tremble under them . 6. The Custome of God's Church ( in S. Paul's Logick , thus disputing , 1 Cor. 11.16 . — We have no such custome , neither the Churches of God ) is very considerable . It was S. Ambrose Rule , To whatsoever Church ( of Christ ) ye shall come , observe the Custom thereof , if you will neither take , nor give offence . S. Augustine gives the Reason ; In those things concerning which Divine Scripture determineth nothing certain , the Custom of Gods people , or determinations of our Ancestors , are to be held for a Law. Therefore , we must beware , lest by the storm of contention ( about matters less then Fundamental ) the calm or serenity of Charity be clouded . Now concerning the Custom of Gods Church herein , David faith , They have seen thy goings , O God , even the goings of my God , my King , in the sanctuary . The singers went before , the players on instruments followed after ; among them were the damsels playing with timbrels , bless ye God in the congregations . Therefore did Moses write that Song , Deut. 31.19 , 30. for Israel and their posterities . And David composing many Psalms , appointed singers and players on instruments in the sanctuary , to prophesie with harp , with psalteries , and with cymbals . Whether the Heavenly Orbs ( in their regular motions , the certain measures of time ) do make a melodious harmony , I leave to others disputes ; sure I am , that the Heavens declare the glory of God , and the firmament sheweth his handy-work ; and that we reade of heavenly Citharists and Harpers , and of holy Angels and happy Spirits , singing their Hallelujahs and praises to Christ , Rev. 5.8 , &c. Rev. 14.2 , 3. & 15.2 , 3. For the better understanding whereof , consider with me , what he , who had a divine rapt into heaven , faith , Hebr. 10.1 . The Law had a shadow of good things to come . Now you know , that the shadow holdeth a proportion to the body that casts it . And again he saith , Hebr. 8.5 . that the Priests that offer gifts according to the Law , serve unto the example and shadow of heavenly things , — what things ? 't is presently expressed — as Moses was admonished of God , when he was about to make the Tabernacle — See , saith he , that thou make all things according to the pattern shewed to thee in the mount . These Reasons laid down , I hope will , in this controversie , satisfie the moderate : If we cannot gain others to our party , who , like that Gadaren Herd , are violently carried with spirits of contention unto that desperate precipice of Schism , it shall not be my labour lost , if it shall confirm our own : Could we bring an hundred Arguments more from Heaven , yet some would dislike Church - Musick . 1. Because , say they , we cannot edifie by it , 't is a scandal to us , irksom and odious also . I answer , So doth the Feverish Palate distaste sweet and wholsom meats : where must the Cure be made ? in some contrary season of those Meats , or the disaffected Palate ? The sacred Word of God , ( unto holy David , sweeter then honey ) is a favour of death to death unto the wicked ; they find no comfort in it , but are embittered thereby to the death of those who preach it to them . I hate him , said Ahab , he prophesieth no good , but evil to me . That sweet Oyntment should kill Vultures and Scarabes ( which delight in carrion and filthy stench ) it must needs be in the indisposition of the receivers ; for good savours are very pleasant and comfortable to others 2. They are offended because we sing some Prayers . And are not many parts of David's Psalms excellent Forms of Petitions to God ? and did not he , and the Church of God , with , and after him , in every Age since , sing the same ? Was it then lawfull and expedient to sing holy Elegies , solemn Prayers , and Doxologies to God ? If so , how cometh it since to be unlawfull ? 3. They say , they cannot understand what is sung . On whom is their not understanding to be charged ? Aquinas , after S. Augustine , answereth hereto — All the affections of our souls , as they are divers , have their proper Moods in the voice and singing , by whose secret familiarity they are stirred up : so in hearers , among whom , though some understand not those things which are sung ( by others ) yet they understand why they are sung , to wit , to the praise of God ; and this ( faith he ) is enough to stir up devotion . Give me leave to doubt , whether if these pretenders to so much knowledge were presently taken up into Paradise , as S. Paul was , and admitted to hear those ineffable words there sounding , they would understand , &c. though , &c. all to the praise of God , &c. 4. They say , Musick is abused to superstition , and corruption of good manners . I answer , so have the best things been ; meat , drink , and the spiritual food of souls , Gods holy Word and Sacraments not excepted . Can you reasonably think , that impious abuse by some , concludes a necessary abolition of an holy use of these , to all others ? I say , of things so excellently serving to our necessary use in the worship and praise of God , keying and tuning of holy Chores , so much approved by the Prophets , Apostles , and Martyrs , the wisest and best of the sons of men ; as also by the continual practice of heavenly Chores of Saints and holy Angels ; above all , by Iesus Christ , daily hearing therewith their Prayers , and accepting the same as sweet odours of incense ? what , is this lawfull in Heaven , but not in Christ's Church on earth ? May we not , in imitation of such patterns of sanctity , with sacred musick , heighten our dull minds to speak , hear , pray ; and , in the praises of God , as it were , tune at the door , until we be admitted into the full Chore in the Church triumphant ? Doth not our Saviour Christ teach us to say , and do we not accordingly say — Thy will be done in earth , as it is in heaven ? Must we pray to be enabled to do that which ( however enabled ) we may not do ? Let the most bitter-spirited Antagonist ingenuously say , Is not the whole Book of Psalms ( so often avowed , cited , and used by Christ ) Sepher-Tehillim , a Book of Praises , composed for the Churches use unto the end of time ? or think you that this so excellent a part of Scripture was written , onely to inform us what the Saints of God did before us , but not what we also must do by their example ? As for the abuse of Musick , we abominate it ; but affirm , that holy melody is accommodate to every estate and condition ; the Apostle saying without exception , Is any merry ? let him sing . There may here be a fault in defect : for some , like those curious Solar instruments , make sweet musick , and bless the Lord , so long as the Sun of prosperity shines on them ; but no sooner is that clouded , but they are silent , and then Musick is to them as — the Lords Song in a strange land : But David , in his affliction , called to remembrance his song in the night : And Paul and Silas , laden with stripes , and in strict durance , did sing and pray at midnight , with admirable effect , to their own comfort and others . It is above all dispute , that we have as much need to have our minds and affections calmed and lifted up from worldly thoughts , deviations , and distractions in God's service now , as his Israel had of old time , when he prescribed them both singing and instrumental Musick , to prepare and fit them to his Worship ; and why we may not now use the means thereto expedient and formally commanded , I challenge all gain-sayers to shew us any good Reason . So come I to the Principal Cause of the specified Effect , — The hand of the Lord came upon him ; that is , the power and influence of Gods Spirit ; which Metonymical manner of speaking is frequent in Scripture : as Ezek. 3.22 . The hand of the Lord was there upon me . Judg. 6.34 . The Spirit of the Lord came upon Gideon . So on Iephtah ; so on Sampson : So Elisha said to Elijah , I pray thee , let a double portion of thy spirit be upon me ; that is , of Gods Spirit , wherewith thou hast been assisted . The sum of all amounteth to thus much ; The Spirit of the Lord enableth his servants to prophesie : Holy men of God spake , as they were moved by the Holy Ghost . His hand and power is still upon them in their Ministration , as 't is written — The spirits of the Prophets are subject to the Prophets . And our Saviour Christ faith to his Apostles , — I am with you alwayes , even unto the end of the world : and — He that heareth you , heareth me . And now the time admonisheth me , that the remainder of this Discourse be like a natural motion , swiftest near the end : I must tell you therefore , that the Apostle makes our Application , 1 Thes. 5. 20. Despise not prophesyings . He gave the reason before , 1 Thes. 4. 8. He that despiseth , despiseth not man , but God , who hath also given unto us his holy Spirit : and — He that despiseth you , despiseth me . Let the Grecians , in their profane levity , account Preaching of the Gospel foolishness , and the Pharisees reject the counsel of God against themselves ; they shall once ( though too late ) know , who now neglect so great means of salvation , undervaluing this Heavenly Treasure , because we have it in earthen vessels , that it is the power of God to salvation , to every one that believeth . Consider therefore , before it be too late , That he that despised Moses Law , died without mercy , under two or three witnesses ; of how much sorer punishment , suppose ye , shall he be thought worthy , who hath trodden under foot the Son of God — and hath done despite to the Spirit of Grace ? Which secure sinners do , when they undervalue the Word and Ordinance of God. If thou so do , there will be , in thine own Conscience , not onely two or three , but a thousand unavoidable Witnesses , which can neither be withdrawn by favour , nor silenced by reward : If thou hast been a careless or negligent Hearer , yet seriously repent thee , and henceforth more diligently frequent holy Assemblies , and more attentively hear the Word of God : It is as the Eastern Star , to lead Wise-men to Christ ; as 't is also written — Psal. 107.43 . Who so is wise , and will observe those things , even they shall understand the loving kindness of the Lord. O Lord God , who hast the Key of David , which opens , and none shutteth , open our Hearts and Affections ; lift up these everlasting doors , that the King of Glory may come in , and cause us to understand thy loving kindness in Christ : breathe into our divided parts the Spirit of Life and Peace , that we may live to Thee in this world , and live with Thee in the world to come , through Iesus Christ our Lord and Saviour . AMEN . FINIS . Notes, typically marginal, from the original text Notes for div A58211-e180 Gen. 29.3 , &c. Isa. 54. Psal. 42 5. Deut. 6.13 Deut. 11 1. Psal. 97.10 , Psal 37.4 . Mr Hooker Eccles . Pol. post Basil. delectatio ordinat animam . Augustin . de mus . l. 6. c. 11. Ar. Montan. à 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 psallit , manu pulsavit fides . Shindl. pent . Note . 2 Kin 5.14 . 2 Kin. 2 21. 2 Kin 4.4 . Exod. 14. 1 Cor. 10.2 . 1 Pet. 3.21 . Augustin . J●h . 2 . Judg. 6 15. Rom. 8.31 . Jer 37.1 . Exod. 4.10 , 13. Isa. 65. Jer. 1 6. Jon. 1.3 . Act. 9.13 . Iunius in loc . 2 Chron. 29.25 , 27. 1 Sam. 105. D. 1. Aquin. 22● . q. 91. a. 1. 4 Augustin . de music . l. 1. c. 2. Exod. 15.1 , 22. Matth. 4.10 1 Cor. 11.24 , 25 , 26. Matth. 26.30 . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Lyr. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , & laudes dixerunt , & . 1 Cor. 14.26 Pythagoras , & c. 1 Kin. 4.30 , 31 , 32. 2 Sam. 23. 1. Psal. 60. & 61. & 62. & Psal. 64. & 67 . & 69 , &c. — quod essent . soliti stato die ante lutem , ronvenire , carmenque Christo quasi Deo dicere secum invitem &c. Plin. sec. ep . 5.lib . 10. 2 Cor. 12. Basil ad Nepo tes de legend . l. Gent. Ambros. l.3.de Virg. ( si sit ejus liber . ) Confes. l. 1. c. 6. Plutarch . de music . Cael. Rhod. lect . Antiq. l. 9. Srab . geogr. l. 13. 1 Sam. 16.23 . Of which Iosephus also writeth , Antiq . Iud.l. 6. c. 9. in fin . As 1 Cor. 14.25 . Isa. 58.1 . Luk. 10.18 2 Cor. 11.14 . De vit . Pontif. Ad quamcunque Ecclesiam veneri is , ejus ino●em servate , si pati scandalum non vultis , aut facere . Aug. epist. Casulan . in fire . In his enim rebus quibus nihil certi statuit scriptura divina , mos populi Dei , vel instituta majorum pro lege renenda sunt : — utique cavendum est , ne tem pestate contentionis , serenitas charitatis obnubiletur . Augustin . ep . Casulano . Psal. 68 24 , 25 or , in holiness . Hebr. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . 1 Chro. 25.1.6 , 7. Macrob. &c. Psal. 19.1 . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , &c. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Use. Matth. 8.32 . Nostrostamen confirmabimus . Lactant. l. 5. c. 1. Psal. 19.10 . 2 Cor. 2.16 . Amara sunt vitiosis , ac malè viventibus praecepta justitiae . Lactant. l. 1. c. 4. Vid 1 Kin. 22. 8. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Clem Alexand. Poed . l. 2 5.8 . ●2 . q. 91. a. 1.5 . Confess . l. 10. c. 33. — quorum occulta familiaritate excitantur : sic in auditoribus , in quibus etsi aliqui non intelligunt quae cantantur , intelligunt tamen propter quid cantantur . scil . laudem Dei ; & hoc sufficit ad devotionem excitandam . Rev 8.3 , 4. Matth 6.10 . Jam. 5.13 . Psal. 137.4 . Psal. 77.6 . Psal. 42.8 . Acts 16.25 . II. Iunius in loc . Ezek. 1.3 . & 8.1 . & 33.22 . & 37.1 . Judg. 11.29 . Judg. 15.14 . 2 Kin. 2.9 . D , 2 , 2 Pet. 1.21 . 1 Cor. 14.32 . Matt. 28.20 . Luke 10.16 . Luke 10.16 . 1 Cor. 1.23 . Luke 7.30 . 2 Cor. 4.7 . Rom. 1.16 . Heb. 10.28 , 29. Rev. 3.7 . Psal 24.7 , 9. 
A47361	----	An answer to Mr. Marlow's Appendix Wherein his arguments to prove that singing of psalms, hymns, and spiritual songs, was performed in the primitive church by a special or an extraordinary gift, and therefore not to be practised in these days, are examined, and clearly detected. Also some reflections on what he speaks on the word hymnos, hymnos: and on his undue quotations of divers learned men. By a learned hand. By B. Keach. Keach, Benjamin, 1640-1704. 1691 Approx. 85 KB of XML-encoded text transcribed from 29 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2005-12 (EEBO-TCP Phase 1). A47361 Wing K43A ESTC R223737 99834022 99834022 38501 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A47361) Transcribed from: (Early English Books Online ; image set 38501) Images scanned from microfilm: (Early English books, 1641-1700 ; 1834:22) An answer to Mr. Marlow's Appendix Wherein his arguments to prove that singing of psalms, hymns, and spiritual songs, was performed in the primitive church by a special or an extraordinary gift, and therefore not to be practised in these days, are examined, and clearly detected. Also some reflections on what he speaks on the word hymnos, hymnos: and on his undue quotations of divers learned men. By a learned hand. By B. Keach. Keach, Benjamin, 1640-1704. 55, [1] p. printed for the author, and sold by John Hancock in Castle-Alley on the west side of the Royal-Exchange, and by the author at his house near Horselydown in Southwark, London : 1691. The first occurrence of "hymnos" in the title is printed in Greek characters. Also issued as part of Keach's The breach repaired in God's worship. A reply to: Marlow, Isaac. Appendix (unpublished?). Reproduction of the original in the British Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). 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Keying and markup guidelines are available at the Text Creation Partnership web site . eng Marlow, Isaac. -- Appendix -- Early works to 1800. Music in churches -- Early works to 1800. 2005-04 TCP Assigned for keying and markup 2005-05 Aptara Keyed and coded from ProQuest page images 2005-07 Emma (Leeson) Huber Sampled and proofread 2005-07 Emma (Leeson) Huber Text and markup reviewed and edited 2005-10 pfs Batch review (QC) and XML conversion AN ANSWER TO Mr. Marlow's Appendix . Wherein his Arguments to prove that Singing of Psalms , Hymns , and Spiritual Songs , was performed in the Primitive Church by a Special or an Extraordinary Gift , and therefore not to be practised in these Days , Are Examined , and clearly Detected . Also some Reflections on what he speaks on the word ὑμνοσ , Hymnos : And on his undue Quotations of divers Learned Men. By a Learned Hand . Psal . 119. 141. I am small and despised : yet do not I forget thy Precepts . 1 Cor. 14. 22. Wherefore Tongues are for a Sign , not to them that believe , but to them that believe not : but Prophesying serveth not for them that believe not , but for them that believe . By B. KEACH . London , Printed for the Author , and sold by John Hancock in Castle-Alley on the West side of the Royal-Exchange , and by the Author at his House near Horselydown in Southwark . 1691. To all the Saints and Churches of Jesus Christ , Christian Salutation . Honoured , and Beloved ; IT grieves me I have further occasion to trouble you after this manner : I know not what should move Mr. Marlow to write his Appendix , just at a time when he was told I was writing an Answer to his first Discourse : he might have had a little Patience , and have staid till my Treatise was published , whereby he might the better have perceived , whether what he wrote the last Year would abide the Test or Trial of God's Word or not : This is therefore his second Attempt in publick against God's holy Ordinance of singing of Psalms , Hymns , &c. before any body appeared visibly to oppose , or put a stop to his undue Proceedings . For what Call he had to begin this Controversy at such an unseasonable time , I know not ; but since he has done it , certainly none can see any just cause to blame me for standing up in the Defence of that Truth of Jesus Christ , which I am so well satisfied about , and established in , and that too as it is practised by the Church , to whom I am related as an unworthy Member , and above twenty Baptized Congregations besides in this Nation . Tho before I went about it , I offered my Brethren ( him or any other ) a sober and friendly Conference in the Spirit of Meekness , which I could not obtain , tho I did not give such a publick Challenge as my Brother intimates in that strange Epistle he hath wrote to me ; but upon the coming forth of his Book , I was troubled , and would have had it been discoursed in the General Assembly , but that was not consented to ; and then I told my honoured and Reverend Brethren my purpose was to give an Answer to his Book , but did not enter upon it till I was urged by several , and particularly by Mr. Marlow himself , before divers Witnesses , in such kind of words as these , i. e. Answer me like a Man. Whether he is answered like a Man , or but like a Child , is left to your Consideration , 't is done according to that Light and Ability God hath been pleased to bestow upon me . But if he , or any of his Helpers , do see cause to reply , they must answer such Persons who have wrote upon this Truth , like Men , and Men too of great Parts , Learning and Piety , or let them not trouble me nor the World any more . As touching his Epistle to the Churches , I shall take but little notice of it , nor of that he hath writ to my self , sith in my Judgment , neither of them signify much ; you are Men of greater Wisdom than to be frightn̄ed out of an Ordinance , or deterred from seeking after the Knowledg of it , with these scurrilous Names of Error , Apostacy , Human Tradition , prelimited Forms , mischievous Error , Carnal Forms , Carnal Worship , &c. These are hard Words , and do not bespeak a trembling Heart , nor a humble Spirit , and better becomes a Man that pretends to Infallibility . But what some Men want of sound Arguments , they think to make up by hard Words and Confidence ; but this will never do with you . How hath our Practice of baptizing Believers , &c. been branded with the reproachful Name of Error ? and 't is very observable how some Men of far greater Parts and Ability than my Brothers or mine , either have cried out against the Reign of Christ , Conversion of the Gentiles , and calling of the Jews , as a gross Error , as witness Mr. Richard Baxter particularly of late . 'T is Arguments I know you look for , and if you find those of Mr. Marlow's to prevail against what I have said , do not regard what I have wrote in the least ; for I would have your Faith ( as the Apostle speaks ) to stand in the Power of God , and not in the Wisdom of Men. The smallness of the Number of our Churches who are in the Practice of this Ordinance , I also know will signify nothing with you , provided it be proved to be a Truth of Jesus Christ : What tho there was not one of our Churches that had Light in it , it would certainly the more concern them to enquire after it . And tho he hath so coursly saluted me , &c. yet I am not concerned at it further , than to bewail his Confidence and Ignorance , to say no worse , I know no Men in any Age , who appeared first to vindicate a Truth , which others call an Error , but have met with the same Usage I meet withal from our Brother ; who , I hope , is a good Man , and means well , yet is he strangely beclouded . As I have been a Preacher up of Spiritual Worship ( as he says ) and that too more than thirty Years ( tho a poor and unworthy one ; ) so through the Grace of God , I hope shall continue to do unto the end of my days ; and 't is only Spiritual Worship , you may perceive , I plead for , in contending for singing of Psalms , Hymns , and Spiritual Songs , none of which three can be without their special and particular form . But must they needs be therefore carnal and humane Forms which appertain unto them ? I see 't is time to stand up for the Form of Ordinances , for the Form of Doctrine , and for the Form of sound Words ; for if we must part with singing of Psalms , Hymns , &c. from his pretended Arguments about Forms , all external Ordinances must go as well as that of Singing : In a word , we must give up our whole visible Profession , and wait for those extraordinary Gifts of the Spirit that were in the Primitive Time , if we must not sing till we have that extraordinary Gift to do it , which some had in the Apostles Days , and the like in discharge of every Gospel-Ordinance , which were to abide in the Church to the end of the World. He may as well therefore say , I do but counterfeit that excellent Gift in Preaching ( when I preach ) which was in the Primitive Gospel-Church , as thus to charge me in the case of our singing by the ordinary Gifts of the Spirit : Read his Epistle to me , Append. p. 15. It seems to me as if my Brother does not understand the nature of Moral Duties , or natural Worship , but mistakes , and thinks natural or moral Worship must needs be carnal , tho we never plead for the performance of any Duties that are moral naturally in themselves , without the help and assistance of God's Spirit , and the Graces thereof in our Hearts . Is it not part of natural Religion and Worship , to fear God , to love God , and trust in God , and that too with all our Hearts , and with all our Souls , and with all our Strength , and love our Neighbours as our selves ? &c. These Duties appertain to natural Religion ; yet without the divine Help and Influences of the Spirit , we can do none of them in a right manner ; no more , say I , can we pray , nor sing the Praises of God , which are Duties comprehended in our fearing , honouring , worshipping , and loving of him . And whereas Mr. Marlow reflects on me , as if I singled out my self more than others in London , in pushing on this practice of Singing . I must tell him , I have abundance of Peace in my Spirit in what I have done therein : And if our People ( I mean , the Church to whom I belong ) are one of the first Churches of our Perswasion in this City , found in the practice of this Sacred Ordinance , I am satisfied it will be to their great Honour , ( and not to their Reproach ) and that not only in succeeding Ages , but also in the Day of Jesus Christ . But , blessed be God , the greatest number of our worthy London-Elders are as well satisfied in this Truth as my self , and many of their People too , and will generally , I doubt not , in a little time get into the practice of it . Our Reverend Brother Knowllys 't is known is clear in it , and has practised it for some Years , though at present 't is not used in his Congregation . He told me lately , he is about to write in Vindication thereof , which he intends to publish in a short time , if the Lord please to spare his Life . And whereas Mr. Marlow affirms , as if I had brought Singing into our Congregation , to the grief and trouble of many of our Members ; it is false , for 't is known the Church hath been in this practice near twenty Years after Breaking of Bread , and near 14 Years on Thanksgiving-days in a mixt Congregation . And what was done of late in bringing it in after Sermon on the Lord's Days , was done by a regular Act of the Church in a solemn manner : And though some of our worthy Brethren and Sisters are at present somewhat dissatisfied with it , yet I doubt not but will in a little time see their Mistakes , if such busy Men as he do not in an undue manner blow up Coals of Contention amongst us . Can any sober Christian think he hath done well to publish the Private Affairs of a Particular Church to the whole World ? It seems to some as if he has hopes there will be a Breach in the Church , upon the Account of our Singing the Praises of God ; but I hope he will find our worthy Brethren understand themselves better than to go about to impose on the Church or Consciences of their Brethren , or to strive to pull down that which the Church and themselves too , have been a building for so many Years . Can there be a Man so left of God as to countenance any Persons to make a Schism in a Congragation , because they cannot forgo a Duty they have so long been satisfied in the practice of , and so the whole Body to submit to the Sentiments of a few Persons , as if they had Power over our Faith ? We do not say our dissatisfied Brethren shall sing with us , or we will have no fellowship with them ; no , God forbid we should impose on their Consciences . We do not look upon Singing , &c. an Essential of Communion ; 't is not for the being , but for the comfort and well-being of a Church . We have told our Brethren ( since we sing not till after our last Prayer ) if they cannot sing with us , nay , nor stay with the Church whilst we do sing , they may go forth , and we will not be offended . Should any countenance , through a hot and unaccountable zeal , such a Schism , it would make strange Confusion in our Churches . And since he thus publickly hints at this private Case amongst us , I had I thought a clear Call to open the matter plainly as it is , to clear my self and the Church , to all who may read his Epistle and this my Answer , for we have done nothing we have the least cause to be ashamed of , or unable to justify in the sight of God or Man. I shall add one word to the consideration of the Brethren of our Church , I doubt not but they will consider it . 1. If they look upon us as equal in Knowledg and Uprightness towards God with themselves , they may see we have the same ground to be offended with them in diminishing from God's Word , as they may be with us , for adding ( as possibly they think ) to God's Word . 2. And let them consider 't is a horrid Evil to break the Bond of Spiritual Union , and unawares to wound the Body of Christ . Whose Work is it thus to do , but the Devil's ? and what a reproach doth it bring upon the Truth ? and how grievous is it to all truly Godly Ones , and grateful to the Enemies of our Sacred Profession ? Besides , upon such a trifle , can it be so hainous a Crime to be found often in that Duty , which they with us have so often and long been in the practice of , and in a mixt Assembly too , many and many times ? Besides , brought in by almost an unanimous Agreement in a solemn Church-Meeting , there being not , above five or six that shewed any publick dissent , nor they neither signifying any such dissatisfaction , i. e. that if we sang at such Times , they could not bear it ; nor do I hear they do desire us now to decline the said practice . Love will cover a greater Fault than this , for they may see cause to believe 't is not Self-Interest , but the Glory of God we wholly aim at . But to return . The truth is , I wonder any should be taken with his Book , for I never saw any thing come out in Print upon any controvertible Truth , that has less of Argument in it , or more of Confidence . And 't is not my Thoughts alone , nor more destructive Mediums made use of to the whole of the external Parts of Religion . Nay , one told me very lately , that one of our dissatisfied Members intimated to him , as if our Bible was not truly or rightly translated ; and it seems to rise from what Mr. Marlow hath asserted in his Book about the word Hymnos . I fear'd that would be the Effect of his Attempt , if any Body regarded what he hath said upon that account . But , pray , what Call has he to rebuke me , after this publick manner , especially before the whole World ? If I had done any thing amiss in his Judgment in that Matter , I could wish he had had more Wisdom and Prudence , or else lest the Controversy to some more discreet and abler Pen. I cannot forget the two Brethren that oppoposed Singing the Praises of God , and would not comply with the Church , ( though they did not separate themselves from the Church ) when first the practice of it was received amongst us near twenty Years ago . One of them soon after brought a great Reproach upon Religion by immoral Actions , and came to nothing , and the other sometime after turned Quaker , and to my Face denied the Resurrection of his Body , &c. As to that way Mr. Marlow speaks of praising of God in Prayer , without singing of Praises , as being more suitable ( as he thinks ) to the ordinary Gifts of the Spirit . I must tell him , God's Word is our Rule ; and since God doth require his People to celebrate his Praises by singing Psalms , Hymns , &c. doubtless that suits as well with the ordinary Gifts of the Spirit , as such Gifts suit with Prayer , Preaching , &c. And I fear one day he will not be found able to give any good account of himself in his bold Attempt , in seeking to rob God of his glorious Praise by singing to him , as he hath enjoined us to do ; nor do I fear , but through the Help and Authority of God's Word , I shall , in the Day of Christ , stand with Joy and Confidence before him , upon this respect , when possibly he may be ashamed , if he has not sincere Repentance for what he has done . Is it not a false Assertion for him to say as he doth , ( in his Epistle to me ) That as to our way of Vocal Singing together , there is neither Command nor Example for it , either in the Old or New Testament ? I shall leave it to the Consideration of all wise and sober Men. Certainly all will conclude the Man is strangely left of God , especially considering he builds his main Confidence from a remote and indirect signification of a Greek Word , and yet , as I am told , understands not that Language neither . My Portion is , I perceive , to undergo hard Censures from Men ; but 't is no more than my Blessed Master met with ; and what am I that I should complain ? One said , He was a good Man : but others said , Nay , but he hath a Devil , and deceiveth the People . John ● . 12 , 20. The Lord increase Love among all the Saints , and a bearing and forbearing , a gentle and Christian Spirit . We all know but in part . And O that the Lord would be pleased to deliver Men , who profess the Gospel , from that horrid Sin of backbiting of their Neighbours , and from that bitter and unaccountable Spirit of Prejudice that seems to be gotten into the Hearts of some ; from whence they seem to tear the Names of their Brethren to pieces through undue Offences . These thnigs are matter of Lamentation , and I fear the forerunner of a dismal Hour that is coming upon us . Cannot Christians have the Liberty of their Consciences from their Brethren , to practise a Truth according to their Light , without being charged and censured after this manner , with Carnal Forms , and mischievous Error ? &c. I shall not retain you longer , but desire you , whoever you are , impartially to read and well weigh my sober Reply to my Brother's Appendix : I am glad it came forth before all my Treatise was printed off , though it is true it makes the Price more than I intended . There is a Reverend and Learned Friend , who meeting with Mr. Marlow's Appendix , finding him quoting learned Authors in an undue and unaccountable manner , to little purpose , ( which because , it might possibly amuse the Unlearned and more unwary Reader ) he has , in love to this Sacred Truth , and to deliver the Souls of Men and Women from Mistakes , made some Reflections on what he has wrote on that account , at the close of this Reply . If the Lord please to bless what I and my Reverend Friend have said to the further clearing up the Truth , I shall not be troubled at my Pains nor Charge . I have been forc'd to repeat some things twice or thrice , by reason of his leading me in such an unusual Path. This is all at present , From him who is your unworthy Brother in the Gospel and Service of Jesus Christ , B. Keach . AN ANSWER To Mr. Marlow's APPENDIX . FIrst of all you tell us , That to praise God , or praising of God , is not confined to Songs of Praise ; but that there are other ways and manner of praising of him than such melodious Singing . Answer . We never yet asserted there was no other way or manner to praise God , than by singing of his Praise . Nor is there a Man who affirms any such thing that I know of ; but it is one thing to own those other ways of praising of God , and another thing for you utterly to deny this way , or the way we use in singing his Praise . But I must tell you , most Learned Men , nay , all that I have met with , do conclude , the Disciples , or those Children you speak of Matth. 21. 16. Luke 19. 37. did sing those Hosanna's to the Son of David , as I have shewed in the first Chapter of the foregoing Treatise . I perceive you have now at last raised the Auxiliaries against this Blessed Truth of Jesus Christ . But as a worthy Brother hinted the other day , Dr. Owen is a press'd Man , and as forced in so , he doth you no service at all , as will appear by what follows ; but more especially by what my worthy Friend has wrote at the close of this our Answer . The Doctor , from Heb. 2. 12. from the Greek word Hymneso se , I will hymn thee , i. e. I will praise thee ; saith , ( 1. ) what Christ will do , viz. He will sing Praise to God. ( 2. ) Where he will do it , i. e. in the midst of the Congregation . The expression of both these ( he saith ) is accommodated unto the Declaration of God's Name , and praising of him in the Temple . The singing of Hymns of Praise unto God in the great Congregation , was then a principal part of his Worship , &c. 2. That chearfulness and alacrity of the Spirit of Christ in this Work , he would do it with Joy and Singing . These are the Doctor 's words , as cited by you , Appendix , pag. 4. And thus did Christ sing with his Disciples , in that great Representative Church , as our Annotators call it . Now what is this to your purpose ? the Doctor tells you , that Hymneso se is Singing Praises to God : And how do you know but Christ might also often sing in the Temple , and in other great Congregations , though we do not read of it , since 't is said , that many other things did Jesus that are not written ? Joh. 21. 25. 1. Especially considering , since it was prophesied of him , that in the great Congregation he should sing God's Praise . 2. Because , as the Doctor observes , Singing in the Temple was one great part of God's Worship ; from whence 't is not likely our Saviour should neglect that part . Moreover , he positively affirms , Christ did , with chearfulness and joy , give Praise to God by Singing . 'T is well known Dr. Owen owned no other Singing than what we do ; he doth nowhere talk of the Essence of Singing in our Spirit , and so exclude vocal or proper Singing . 1. He acknowledges Singing , is Praising of God , so do we ; and say , 't is one of the highest ways of Praising him too . 2. He intimates there are other ways of praising of God , besides Singing his Praise ; though it clearly holdeth forth that our Saviour would praise God that way , namely , by Singing . And you would do well to observe what our late Learned Annotators speak upon that of Heb. 2. 12. these are their words . Christ and they are of one Father , ( that is , the Saints are here called his Brethren ) he by Nature , and they by Grace , and from one Humane Parent , Luke 3. 23 , 38. and both of one Flesh ; He solemnly sung and Praised his Father with them ( say they ) at his Supper , Matth. 26. 30. in that Representative Church , Mark 14. 26. Yet we , as I said before , do readily grant , as the Doctor intimates , those other ways of Praising of God , and that Prayer , the Word of Faith , and the Fruits of Obedience , hath a tendency to the Praise of God : But if the Doctor , and some other Learned Men , should intimate , that that Greek word Hymnos should in a remote sence signify Praising of God without Singing : we ask , Whether any of them say those ways of Praises , without Singing , is the immediate , genuine , direct and primary signification of the word ? All your Helpers will fail you here . There are other Greek words to express those other ways of Praise to God besides Hymnos . You are upon a dangerous Rock ; you make it your Business to trouble our People with the signification of the Greek word Hymnos , a Hymn , ( though you understand not that Language ) just after the same manner that the Pedobaptists do with the word Baptizo ; say they , it signifies washing , as well as dipping , which learned Fisher grants . But how ? Take his words , 'T is ( saith he ) so taken improperly , indirectly , collaterally , by the by , or remotely , it so signifys , viz. a washing : But ( saith he ) the direct , immediate genuine and primary signification of the word Baptizo , is Immersion , Dipping , or to dip , &c. You , it seems , take the same way to destroy the Ordinance of Singing God's Praises , as they take to destroy the Ordinance of Baptism : But this will do your business no better than that will do theirs ; Dipping is Washing , but every Washing is not Dipping . Theirs is ( as Mr. Fisher observes ) an improper , remote , or indirect Baptism , that they infer from the improper Signification of the Greek word Baptizo , and so no true Baptism at all . So you , asserting from those Learned Men , that the Greek word Hymnos signifies a meer or common praising of God in Prayer : 't is , say I , but an improper , indirect and remote sort of Singing of God's Praise , that the Word will admit of in that sense , and so no Singing at all . If you discourse with learned Persons , they will tell you , that some Greek words do , in an improper or remote sense , bear several Significations ; but the direct , genuine , and proper signification of the Word is Singing , or , they sung . And now do you not think you are greatly to blame to make such a stir upon a word you understand not , after the manner you have done , and thereby cause Doubts to arise in the Minds of poor weak Christians about the Translation of the Holy Bible , and render our Famous and Learned Translators unfaithful ? But I hope our People will not regard or mind what you unadvisedly have wrote and said upon this Account . Have not the Translators , ( who compared divers Greek Copies together , ) been more faithful to give the proper , genuine and direct signification of the Word , they hymned , they sung an Hymn , than from the remote sense , they said Grace , or gave Thanks ? We read he gave Thanks when he took the Bread , &c. the word there in the Greek is , he Hymned . I have often said , to sing to God in aright manner , is praising of God , but all praising of God is not singing his Praises ; therefore they that translate the word , they praised God , speak the Truth , but they do not speak all the Truth . But if our Saviour and his Disciples did no more than in an ordinary manner give Thanks , as we do after Supper , our Translators do affirm a false thing , to say they sung an Hymn , as elsewhere I have more fully demonstrated ; because Singing is more , and a different thing from saying of Grace , as you hint an old Dutch Translation reads it . But not to muster up a multitude of learned Men , as I might do , who exactly agree with our Translators on that word , take ( once again ) what Dr. Du-Veil doth affirm , ( who understood , as I am informed , all the Oriental Tongues ) in his literal Explanation of the Acts of the Apostles , Acts 16. 25. ( tho I quoted him before ) citing Ruff Presbyter of Aquilia , in the Title of the 72d Psalm saith , Hymns are Songs which contain the Praise of God : If it be Praise and not of God , it is not a Hymn ; if it be Praise , and of God , if it be not sung , it is not an Hymn ; it must therefore ( saith he ) that it may be an Hymn , have these three things [ Praise ] [ and of God ] [ and a Song ] : therefore Paul and Silas , saith the Doctor , sung Praises to God for the Honour put upon them , in that they suffered innocently for promoting the Glory of Christ . Many of the Learned Men you quote , say Hymnos is Praise , you need not say any more to that , we all own and grant it ; but yet also say the proper and genuine Signification of it , is praising of God by Singing . Now this being so , you basely abuse the Translators , ( Append. p. 12. ) in saying , Surely it must be granted that the word sung and sing in those four Scriptures were imprudent Additions to those sacred Texts . These are your words . 'T is a shame a Man of your Learning should ( to defend your own Fantasy ) charge the faithful and renowned Translators after this sort . These things being so , What Authority have you to say our Saviour and his Disciples did not sing ? or , what reason has any sober or Godly Christian to believe you , if you so boldly affirm it ? Therefore I , upon good Authority , in opposition to what you say , p. 12. that therefore from the Signification of the word Hymnos , there is a good and sacred Foundation or Warrant for such vocal melodious singing at or after the Lord's-Supper , seeing the word doth bear that as the direct and proper Signification of it . And also we say that what Christ did was a Rule for us in that of Singing , as well as in taking the Bread and breaking it , and blessing it , and taking the Cup , &c. Must not we sing the Praises of Christ who have the Spirit but in measure , because Christ had the Spirit without measure ? And because the Primitive Gospel-Church had the extraordinary Gifts of the Spirit in Prayer , Preaching , and Singing also , must we not pray , preach , nor sing ? if we must not do one of them , we must do none of them : And therefore in opposition to what you say , Pag. 13. of your Appendix , If the Practice of Christ and the Primitive Church , doth not bind us to the Observation of one Ordinance , viz. that of Singing , it binds us to the Observation of none ; 't is time to look about us , for your manner of arguing , I do declare , ( as 't was intimated to me the other day by my Reverend Brother Knowles ) tends to the overthrow of all Gospel-Ordinances whatsoever ; therefore I warn all my Brethren to take heed how they hearken to you in this matter , as they tender the Glory of God , and the Establishment of all Gospel-Worship and Ordinances . But to proceed : 'T is an easy thing ( for any wary Reader , who is not willing to be deceived ) to perceive the Man hath a bad Cause in hand , and that he reasons not like a wise and enlightned understanding Christian . Which doth fully appear , if we consider the false and preposterous Mediums or Ways he takes to make out what he pretends to prove . 1. For one while he seems to assert , that the Essence of Singing , which is ( he says ) in our Spirit , that will serve our turn in discharge of the Duty of singing forth God's Praises , without imploying our Tongues or bodily Organs in it , which , as I have again and again said , doth as well exclude vocal Praying and Preaching , &c. as Singing . See Pag. 8. of his first Treatise . 2. Then again at another time , because there are other ways to praise God besides singing of his Praises , we must not sing his Praises at all . Appendix , p. 4 , 5. 3. At another time he seems to exclude all Singing out of the Bible , from an improper Signification of a Greek word , and strives to make it out 't was only common Praises or Thanksgiving in Prayer . See the Epistle to me , and Appendix , p. 1 , 2 , 3 , 4 , 5. And so quarrels with the Translators of the holy Bible , as if they wanted Skill in the Greek Tongue , or else Faithfulness in rendring the Word , they sung an Hymn , which he tells you they should have rendered , they gave Thanks , or said Grace . But further , to clear our Godly , Learned and Pious Translators of the Bible ; let it be considered how carefully they were in other Cases , particularly in respect of the word Baptizo , which they never ventured to translate Rantizo , sprinkling , to favour their own Practice , but rather chose to leave the word in the Original Tongue , and not translate it at all , than to give a false Signification of it . 4. But lest all these Tricks and Shifts should fail him , he flies to another broken Refuge , viz. intimating that the Ordinance of Singing doth not belong to us now , but may be practised by the Saints hereafter in the thousand Years Reign , or seventh thousand Years of this World. Which is a very doubtful Point , I mean , whether there will be such a thousand Years Reign or not , in his sense ; and yet this Duty lies amongst other Gospel-Ordinances and Precepts given out by the Spirit , and enjoyned on the Churches , which is enough to shake the Faith of our People in respect of other Ordinances , which they have as much reason to say , may not belong to us , but shall be practised in time to come , when the Church ( as the Seekers say ) shall attain its first or original Purity . See Pag. 27. of his Discourse . 5. And lastly , like a wary and fore-seeing Man , to be sure to carry his Cause , he retires to his last Fort and Strong-hold , and affirms , That the Ordinance of singing of Psalms , Hymns , &c. was only in the Primitive Time performed by an extraordinary Gift ; and unless we have such a Gift , we must not sing the Praises of God now in these days . Tho I have said enough to detect this fond Conceit , yet since he leads me in this Path , I must , I perceive , reply again , as I have already done , that this Objection lies equally against Prayer , Preaching , and interpreting the Scripture , &c. sith all these Gospel-Duties and Ordinances in the Primitive and Apostolical Days , were performed by the said extraodinary Gifts of the Spirit . If he could make this appear , there was no need for him to trouble us with the Greek word , nor with any of his other Mediums he uses to exclude Gospel-Singing ; it cannot but appear by this last shift , he acknowledges that Singing is somewhat more than that Praising of God he speaks of : But these things betray the Man's Integrity , or rather his Weakness , and shew he doth not argue , but plays the part of a Sophister , though not a cunning One , because his Nakedness plainly appears to the meanest Capacity , through his pittiful threadbare Covering . For if he had thought his other Mediums would have served his turn , or held the Test , we should not have , I am perswaded , heard any of this : But however , we will come to examine his pretended Arguments he brings to prove this Assertion . His first Argument , to prove Singing was always performed from a special Gift , is in Appendix , pag. 14. For as the Grace of Joy is the Fruit of the Spirit , ( saith he ) and as God had promised the Oil , viz. the Spirit of Joy for Mourning ; so the Primitive Church had some earnest of it , and did rejoice in hope of the Glory of God ; and through the abundance of the Spirit wherewith she was baptized , her Ministers delivered the Word of God in extraordinary ways and manners , viz. by Prophesying , Tongues , and melodious Singing . Answ . 1. Have not Believers now the Holy Spirit , as well as they had it then , though not in such an extraordinary manner ? And have not we the Fruit of it , i. e. Joy , Peace , &c. in believing ? Also you mistake your self , Joy doth not appertain to the Gifts of the Spirit , but 't is a Fruit of the Graces of the Spirit . Do not the Saints now rejoice in hope of the Glory of God , as well as they did then ? There is no such cause or ground from the Reception of Tongues , or the extraordinary Gifts of the Spirit , ( as you intimate ) to sing the Praises of God ; For many ( our Saviour saith ) shall say in that Day , We have prophesied in thy Name , and in thy Name have cast out Devils , and in thy Name have done many wonderful Works . To whom he will say , Depart from me , I know ye not . And the Apostle saith , Though I speak with Tongues of Men and Angels , and have not Charity , I am become as sounding Brass , or a tinkling Cymbal , 1 Cor. 13. 1. From whence it appears that inward Joy and Peace of which you speak , as the Cause of Singing in the Apostles Times , did not flow from that extraordinary Gift of the Spirit , but from the saving Graces of the Spirit ; either it flows from the consideration of common or external Mercies and Blessings , wherein all are concerned to sing the Praises of God , who gives them fruitful Seasons , filling their Hearts with Joy and Gladness ; or else it flows from those special and internal Blessings which only concern the Saints , viz. Union with God , Communion with God , Faith , Love , &c. Tongues were for a Sign , not for them who believe , but for them who believe not , 1 Cor. 14. 22. Extraordinary Gifts were to convince Unbelievers of the Truth , and not for the Joy and Comfort of such who did believe . Men that have the Gift of Tongues , may be graceless , and so without Christ , and perish eternally in Hell ; therefore the extraordinary Gift of the Spirit fits not , tunes not the Heart nor Tongue to sing the Praises of God. You may as well deny the Saints may not , ought not in these our Days rejoice in God , nay , not praise him in any other manner of ways , as well as not sing , from this Argument you make use of here on this account . Therefore it follows that you strangely mistake , pag. 15. Appendix , in intimating , when Paul exhorts the Saints to covet after the best Gifts , he means the extraordinary Gifts of the Spirit ; for certainly those are the best Gifts that most tend to the edification of the Church , which Tongues could not be said to do . And in the very next words he speaks of a more excellent way , viz. that of Charity or Love , which refers to the Graces of the Spirit . And of so little use were those special or extraordinary Gifts to the Church , that if there were no Interpreter , they were to be silent , and not use them in the Church at all who were that way gifted . 2. You confound Tongues ( which did appertain to all sorts of Gifts ) with Prophecy and Singing : He that had a Doctrine , might have the Gift of Tongues to bring it forth ; so might he that had the Gift of Prophecy , and he also that had the Gift to Interpret ; and so might he also that had the extraordinary Gift to bring forth a Psalm . And , pray , why must ordinary praising of God be now admitted ? and Preaching , Prophesying , and Interpreting the Scripture by the ordinary Gifts of the Spirit be still allowed , and yet Singing by the same ordinary Gifts must not be admitted ? What Reason do you give for this ? Is not this to darken Counsel with words without Knowledg ? I have demonstrated , that the End of those extraordinary Gifts that were then in the Church in the Administration of every Duty and Ordinance , was to confirm the ordinary practice of all those Ordinances , and so to continue them in the Church to the end of the World. And God hath equally honoured and confirmed Singing of Psalms , &c. to continue , and the practice thereof to abide , as of any other Ordinance . You need not therefore spend your time to prove the Apostles Prayed , Preached , Prophesied , and also Sung by an extraordinary Gift ; we acknowledg it , but say , this is no more against our Singing , than against our Praying , &c. who have not now those special Gifts . 2. He that had a Psalm of David , might bring it forth in an unknown Tongue , as well as he that had a Doctrine , and so not to the Edification of the Church : For if he brought out a Psalm of David in an unknown Tongue , who could sing with him ? But if he had been to sing alone , the Melody might have refreshed those who sung not , as some say they have been in hearing the French Protestants sing , who understand not their Language . But to prevent this , the Apostle Paul resolved when he sung , he would sing with the Spirit , and with the Understanding also , because 't is the Matter sung that is fruitful to the Understanding : and what is the Melody without that ? Your third Reason or Argument is taken from that in Ephes . 5. 18. Be ye filled with the Spirit , speaking to your selves , &c. Answ . Doth not the Apostle pray that God would fill all the Saints with Joy and Peace ? Rom. 15. 13. And pray , that they might be filled with the Fruits of Righteousness ? Now singing flows from that Joy that all the Saints ought to labour after ; and also from the Fruits of Righteousness , we have an equal need to be filled with the Spirit , to pray , to meditate , to praise God , and to preach and hear the Word , as well as to sing Psalms and Hymns , &c. But you say , pag. 18. That the Gifts of the Holy Spirit were not given alike to every Member of the Church . Answ . 'T is granted : But doth it follow , because some had the extraordinary Gift of the Spirit to pray , must not the others who had not those Gifts , no more than we have them now , not pray at all ? Brother , I am grieved to see how you are deceived , and would ●eceive others : But as they who had not the extraordinary Gift of the Spirit to pray , were , notwithstanding , to pray ; so they who had not the extraordinary or special Gift to sing , were , nevertheless , to sing the Praises of God. What you speak , pag. 18. about the diversity of Gifts , but the same Spirit , from 1 Cor. 12. is rather more against the performance of those other Duties and Ordinances than Singing , because Singing is not there mentioned . But all that you say there , has been answered already ; so is what you infer from Col. 3. 16. Ephes . 5. 19. For to think the Apostle refers to the special Gift of Singing in those places , is of a pernicious tendency ; for you may as well say the same of all other Precepts enjoined on the Churches , and so free us from all Gospel-Obedience for want of such Gifts . Why must not Spiritual Songs be allowed , as well as Psalms and Hymns ? What do you mean in pag. 23 ? Brother , you were better be silent till you can distinguish better between Psalms , Hymns , and Spiritual Songs , and the manner of the bringing of them forth by a special Gift . A Doctrine may be as Spiritual that is precomposed , as that which was brought forth by a special Gift ; so may an Hymn , or Spiritual Song , though 't is by the ordinary Gifts or Help of the Spirit precomposed ; there cannot be an Hymn , nor Spiritual Song , without its Form ; but if it be a Spiritual Song , it has a Spiritual Form. The very word may convince yo● of your Error ; if the Song be taken out of Christ's Spiritual and Sacred Word , the Form is Spiritual ; and if it be sung with a gracious Heart and Tongue , 't is doubtless Spiritual Worship and acceptable to God. I shall conclude this Section of yours with one honest and plain Argument . That Assertion or Notion against Singing the Praises of God , that hath a natural tendency in it to overthrow the practice of all Gospel-Ordinances , as well as singing the Praises of God , is a vile and pernicious Assertion or Notion . But for a Man to assert , the Saints and People of God now in these days , ought not to sing Psalms , Hymns , and Spiritual Songs , because we have not that special or extraordinary Gift of the Spirit to do it , hath a natural tendency in it to overthrow the practice of all Gospel-Ordinances in these days . Ergo. That Assertion is vile and pernicious . The Major cannot be denyed : the Minor I have abundantly proved in this Treatise . In Sect. 4. You seem to Answer what we say about Singing being a moral Duty . Which you say , Is the refuge of some who cannot maintain their practice of formal Singing by Gospel-Institution . Append. pag. 27. Answ . You mistake ; we need no Gospel-Institution , 't is as clear a Precept in these Scriptures , Ephes . 5. 19. Col. 3. 16. as any we have in the New-Testament . But we say Singing the Praises of God is more than a mere positive Duty . What you further say under this Head , doth but betrary your own Ignorance about moral Precepts , and needs no Answer , I having fully explained it in this Treatise . Is it absurd and irrational for us to make the Moral Law , or Light of Nature , a Rule to exert the Worship of God ? see Append. p. 28. 'T is not so much the matter of Moral Duties , as the manner of the performance of them , that renders them Spiritual ; and for the more orderly and spiritual performance of such Duties , that are in their own nature Moral , they are brought under Gospel-institution , as Prayer , Preaching , and Singing the Praises of God are ; and therefore all Moral Duties must be discharged by the help of the Spirit , and with Grace in the Heart , if accepted of God. In pag. 33. of your Appendix , you repeat your former Objection against Womens Singing in the Church , because the Apostle saith , he suffered not a Woman to teach , nor usurp Authority over the Man , but to be in silence . So that Christ ( say you ) makes it an usurpation of Authority , for a Woman to teach , or to speak , or any ways to break her Silence in the Church . But then ( say you ) 't is objected , These Scriptures that forbid Womens teaching and speaking in the Church , do intend only that they should not be the Mouth of the Church , as in Prayer and Doctrine , &c. To this Objection against your Exposition of these Scriptures , you give your Answers . 1. That such a sense as this we speak of , is against the Letter of these Texts . 2. By asserting that in Singing together , there is Teaching , Instruction and Admonition , pag. 34. Answ . This kind of arguing against Womens Singing we have all ready fully refuted ; but for the sake of our good Women , and to detect this falsity , I shall add a word or two further in way of Reply . 'T is a hard case that Women should be debarred to speak in any sense , or any ways to Break Silence in the Church , as you affirm through a mistake of the Text. 1. For then they must not ask a Friend how he or she doth when in the Congregation . 2. She must not be suffered to be an Evidence in the Church against any Offender , in the case of Discipline . 3. Then she must not ask , where the Text is , if she comes too late , for that is in some sense a speaking and breaking Silence . 4. Nor must she then say Amen at the close of Prayer , for that 's a breaking Silence . 5. Which is worst of all , she must not in the Church give an account of her Conversion , or declare how the Lord was pleased to work upon her Heart : for I have shewed in that Act there is much instruction , nay , 't is so full of teaching to others , that what some pious Women have spoke in the Church upon this account , God hath blessed to the Conversion of Sinners , as well as it has refreshed and sweetly comforted divers Believers ; and therefore herein you abuse the sense of the Holy Ghost , and indeed are not , I fear , fit to be a Teacher of others , but to learn in silence your self . 2. The way therefore to understand this as well as other Scriptures , is to have recourse to the main drift or purport of the Spirit of God therein . And evident it is , the main thing the Apostle drives at in both these places , or doth intend , is this , viz. That Women ought not to be allowed to take part in the ordinary Ministration of preaching the Gospel , or ministerially , or authoritatively to preach the Word : because he that has received a just Call so to do , may and ought to exhort and command in the Name of our Lord Jesus with all Authority , Tit. 2. 15. and this Work therefore Women should not take upon them , because they must be in Subjection , and not usurp Authority over the Man. To take the bare letter of the Text , without shewing the scope and drift of the Spirit of God in it , would make sad work , as I might shew from many Scriptures , and has occasioned many abominable Errors , any Heresies , to abound in the World. 3. As to that teaching which is in Singing , it doth not lie in a Ministerial way , and therefore not intended by the Spirit of God here ; Preaching or Teaching is not Singing , nor Singing Preaching or Teaching , though there is a Teaching in it . You must learn better to distinguish between different Duties and Ordinances , before you take upon you to teach others . Read what I have before said , and also what Mr. Cotton , Sidenham , &c. have said , as you will find it repeated in this Treatise , in respect of the Nature of Teaching and Admonition that is in the Ordinance of Singing , and you may further see how you miss and abuse these Scriptures : for he or she that reads the Scripture may be said in some sense to teach , there is much teaching in it ; yet sure a Woman may be suffered to do this , as a case may present it self , both in the Church , or at home either , in her Husbands presence , and not be deemed to usurp Authority over him : for the Usurpation the Apostle speaks of , respects a Womans own Husband ( if not chiefly ) as well as others ; and therefore if she must not sing in the Church , so by your Argument she must not sing nor read the Scripture at home in the presence of her Husband , because there is a kind of teaching in both those Duties ; and if she should , as you intimate , she would not only break Silence , but usurp Authority over the Man , i. e. her Head and Husband , which is forbid . The Lord deliver poor Women , and Men too , from such kind of Doctrine as this . 4. 'T is evident the Apostle lays no other restraint upon Women than what the Law laid them under , they are to be silent , or 't is not ( saith he ) permitted unto them to speak ; but they are commanded to be under Obedience , as also saith the Law , 1 Cor. 14. 34. And 't is as clear , they were always under the Law suffered to sing in the Congregation as well as the Men , therefore it was not such a Speaking or Teaching as is in Singing , that Paul intends in those Scriptures . 5. Whereas you affirm , that Women were not admitted to pray nor prophesy in the Church neither in the Old nor New Testament , is doubless false , as our late Annotators well observed on 1 Cor. 14. 34. which is the very Text you mention , take their words ; This Rule must not ( say they ) be restrained to ordinary prophesying : for certainly , if the Spirit of Prophesy came upon a Woman in the Church , she might speak . Anna , who was a Prophetess in the Temple , gave Thanks to the Lord , and spake of him to all them that looked for the Redemption of Israel : and I cannot tell how Philip's Daughters prophesied , if they did not speak in the presence of many . The reason given why Women should be silent , is , because they are commanded to be in Obedience . A Woman ( say they ) might say , Amen , to the publick Prayers , and also sing with the Congregation to the Honour and Glory of God , but for her to speak in an ordinary course of Prophesy to instruct People , &c. she is forbidden . The Apostle , saith a Friend ( in a Manuscript ) doth not prohibit all manner of speaking , for that is directly contrary to 1 Cor. 11. 5 , 6. where Women are admitted to pray and prophesy : for Prayer , they may say , Amen to the publick Prayers of the Church : and for Prophesy they may sing Psalms , the Apostle using the Expression according to the Ideum of the Jews , 1 Sam. 19. 20 , 21. 1 Sam. 10. 5. they shall prophesy ; and for they shall prophesy , the Cald. Paraphras . reads , they shall sing , and thou shalt praise with them . Vid. Wilson's Dict. Dr. Hammond's Annotat. on 1 Cor. 11. 5. and so it 's used 1 Chron. 25. 1 , 2 , 3. The Prohibition , saith he , is not restrained only to Church-Assemblies , but holds good in all places , and at all times , and intends a Subjection of Women to their Husbands , as plainly appears by comparing 1 Cor. 14. 35. with 1 Tim. 2. 12 , 13. with the occasion and scope of the Text , and is of no greater Restraint now , than lay on them under the Law , 1 Cor. 14. 34. where they were permitted to sing . Object . But say you , If we should say such a vocal Singing together is for a Teaching , then where are the Hearers , if all be Teachers ? &c. Appendix , p. 35. Answ . We have shewed you Singing is a distinct thing from that which is called Teaching or Preaching , tho in Singing there is a Teaching , but chiefly we speak to our own selves , as the Apostle exhorts , in Psalms , &c. and the matter of the Psalm or Hymn is full of Teaching and Admonition , yet 't is the Matter sung which teaches , rather than the Singers may be said to do it : nor is it any Contradiction to say when I teach others , yet I am thereby taught and admonished my self . So that if it were admitted to be a common or ordinary Teaching , which must not be allowed , and all might be said to teach , &c. yet nevertheless all are Hearers also , and are in a sweet manner taught , admonished and instructed in singing the Word of Christ , in Psalms , Hymns , and spiritual Songs , as elsewhere I have shewed : Nor is it any Contradiction to say , according to the sense of the Apostle , Women must keep silence in the Church , and yet suffer them to sing , &c. no more than it contradicts their Silence , when they speak at other times , which they are allowed to do . In Sect. 6. You speak of those prophetical places of the Psalms , &c. urged by us for Singing under the Gospel-days , where all the Earth is exhorted to sing unto the Lord , Psal . 96. 1. Psal . 95. 1 , 2. Psal . 100. 1 , &c. 1. This you would have refer to the preaching of the Gospel , i. e. as the Apostles sound went forth into all the Earth , Rom. 10. 18. confounding Preaching and Singing together one time , and Prayer and Singing at another . 2. You would have it chiefly to refer to the seventh thousand Years of the World , or Reign of Christ ; hinting in your first Part as if then there shall be a Singing , besides the Essence of it in their Spirits : but if that thousand Years you speak of , shall be before the end of the World , or Gospel-Dispensation , pray where lie those Precepts that will authorize them in those days to sing , and yet do not authorize , or warrant us to sing now ? Shall they have a new Bible for those Times ? But if the Precepts for Singing then are contained in our holy Scripture , and yet do not belong to us ; 't is good for us to consider , whether other Precepts written therein , do not wholly refer to those Times too , nay , all Ordinances , till the Spirit comes down in an extraordinary manner ; and so now we must throw off all Gospel-Administrations , and turn Seekers . I am sorry to see such Stuff as this published to the World. But what I have said or cited from the Writings of other Godly Men , in respect of those Prophetical Psalms , and other places of Scripture that enjoin the Gentile-Churches to sing the Praises of the Lord , I would have you and others consider well of , before you write again . In Sect. 7. you heap up a company of confused words to no purpose , about premeditated Matter for Prayer , to oppose premeditated Hymns , &c. Append. pag. 38 , 39 , 40 , 41 , 42 , 43 , &c. Answ . 1. The Form of Prayer Christ hath left us , is a Rule for us in Prayer ; and we may premeditate what we intend to lay before the Lord , it appears from thence ; and so is the Word of Christ our general Rule , by which we must premeditate and precompose our Spiritual Hymns and Songs . 2. But Prayer and Singing differ the one from the other ; we may use other words in Prayer than what we premeditated , as the Spirit of God may help us . But we are limited by God's Word to sing David's Psalms , or else Hymns and Spiritual Songs , composed out of the Word of God. Now let them be either , they must be so many words and no more , or else none can sing with him that has the Hymn . Now we say , the extraordinary Influences for Singing , Preaching , Interpreting , &c. are gone ; therefore every Ordinance must be performed by the ordinary Gifts and Influences of the Spirit , or else we must have none at all . Was Singing , or any other Ordinance performed in the Gospel-Days by an extraordinary Spirit , not performed then also , and afterwards as well and as acceptable to God by the ordinary Gifts ? Shew , if you can , that other Ordinances which had such special Gifts then to attend them as well as Singing , do notwithstanding remain Ordinances , and yet Singing of Psalms and Hymns doth not so continue . If therefore a Man should premeditate every word of his Sermon by the Assistance of the Spirit , who dares to say he speaks not by the Help of the Holy Ghost , or that his Sermon is not part of Spiritual Worship ? 'T is no matter whether we have our Sermons or our Hymns , mediately or immediately , composed and brought forth , provided they be Spiritual , and done by the help of the Spirit . But to close all , Are not David's Psalms part of Spiritual Worship ? and are not the Churches exhorted to sing them ? In Sect. 8. Appendix , pag. 43 , 44 , &c. in answer to what we say , That our Psalms and Hymns are Spiritual , though precomposed , you say , 1. That such Forms are not Spiritual Worship , because Singing in the Primitive Gospel-Times , was from the special Gift of the Spirit . 2. Though ( say you ) the Matter of precomposed Forms of Singing be Spiritual yet the Heart must be Spiritual too , or Grace and Melody must be in exercise in performing of them : The Grace of Joy must be raised in the Soul to the heighth of Melody , and so break forth ; Or to that purpose you speak , pag. 44 , 45. Answ . 1. We need no more the special Gift in Singing , to render our Singing Spiritual , than those special Gifts in Preaching to render our Sermons Spiritual . 2. As to have Grace in our Hearts , not only in the Habit , but also in the Exercise in Singing , we acknowledg it is necessary to a right performance of it : And so 't is in Prayer , Preaching , and all other Spiritual Duties of Religion . And let me tell you , we need no greater assistance of the Spirit in Singing , than in Praying or Rejoicing ; therefore what signifies that which you say pag. 45. Viz. The least exercise of true Grace in our Hearts in Prayer , gives Essence or Being to Prayer ; so the least exercise of gracious melodious Joy , gives Essence to inward Singing ? And ( say you ) as we ought not vocally to pray in the Publick Worship of God in the Church , without a sufficient Gift of the Spirit ; so also we ought not vocally to sing in the Church , unless it be by a sufficient Gift of the Spirit . And seeing we have not such a Gift , we are not capable of vocal Spiritual Singing . And so we must be contented , as you intimate in pag. 46. with the Essence of it in our Spirits only . Answ . By this way of arguing you may lay Godly Christians under Temptations about Prayer , especially in the Church , because they may plead they have not the Gift ; whereas the Grace of Prayer , viz. a broken Heart , is that which God chiefly looks at , and so should we too . This makes no more against Singing , than it doth against Praying . And thus I must argue upon you , If I have not the special Gift of Singing , I must content my self with the Essence of it in my Heart , and yet ( as I have shewed ) the essence of it is not in the Heart as it is in the Voice ; and so since if I have not the special Gift of Prayer , I must be contented with the Essence of Prayer , only Heart-Prayer , and not pray vocally at all . But you intimate , that none ought to sing but such who are in the full assurance of the Love of God. But you might as well say , none ought to rejoice in the Lord , nor to praise him , but such only , as well as to say what you do here against their Singing who want that assurance . But you hint , in pag. 46. as if we must be satisfied with your Essence of Singing , viz. inward joy in the Heart , till we come to the primitive perfection of Divine Worship , &c. Answ . We doubt not , through Grace , but we are come to such perfection of Divine Worship , as to know what Gospel-Worship is , and also that we ought not to neglect one Ordinance more than another ; because we are not arrived to the height of Perfection . I am sure the way you would lead poor Souls in , is not to bring them forward towards perfection in Worship , but to keep them back , and hinder them in pressing on to that which some have not yet attained unto . Moreover , your folly appears too much in calling our Singing , an Irregular way of Worship , unless you had more strength of Argument to convince your Reader what you say is true . May be , if you had Truth on your side , you might have answered like a Man : But I am satisfied , all wise Men will say , there appears nothing less than Argument . In both parts of your Book there are many words indeed , but little else as I can see . If what I have said have no more strength of Argument and Scripture , and good Sense in it for Singing of Psalms , &c. than appears in your Book against it , I do intreat my Reader to reject what I have said , and esteem it as worth nothing ; but if it be otherwise , viz. upright , even words of Truth , O then ye Saints receive this Ordinance , and let what I have said by the assistance of God's Spirit , be as Goards , and as Nails fastened by the Master of Assemblies , which are given from one Shepherd , Prov. 12. 10 , 13. One word more to those Texts in Paul's Epistles , Ephes . 5. 19. Col. 3. 16. where he enjoins those Churches to admonish one another in Psalms , Hymns , and Spiritual Songs , &c. Can any Man suppose in these words the Apostle exhorts Ministers to preach , and so sing in Preaching , or to admonish one another to pray , and so to sing in Prayer ? How absurd would it be to affirm either ? Why then , say I , he can mean nothing else but this Ordinance of Singing , &c. Object : But say some , Did not the Lord's People of Old in their Captivity , say , How can we sing one of the Lord's Songs in a strange Land ? Psal . 137. 4. Answ . 1. Under that Dispensation , the Lord's People had a special and peculiar Right to Temporal Blessings ; and when they were deprived of them , and in Exile , they might not see they had that cause to sing the Praises of God. But our Promises and Privileges are better and more inward , and Spiritual : And therefore under the Gospel-Days , we find the Saints sung in the midst of their greatest Sufferings ; for as our Sufferings do abound in us , so our Consolation also aboundeth by Christ , 2 Cor. 1. 5. 2. I know not but we nevertheless might see cause to refuse , as they did to sing the Lord's Song , at the taunting and reproachful Requests of an insulting Enemy ; the Lord's People are not to do the Lord's Work at the Devil's Instigation . 3. But blessed be God , we are not in Exile , we are delivered like Men that dreamed ; our Liberty and Mercies are great , if we do not sin them away . In the last place , consider how acceptable and well-pleasing to God his Praises are in a Song ; read Psal . 69. 30. I will praise the Name of God with a Song ; and will magnify him with Thanksgiving . Vers . 31. This also shall please the Lord better than an Ox or Bullock that hath Horns and Hoofs . Two things you may observe from hence . 1. That to sing God's Praises , is acceptable to him . 2. That 't is no Ceremonial Rite , but in it self a Moral Duty . Sacrifices appertained to the Ceremonial Law , and though acceptable to God in their Nature and Design , yet Moral Duties have always had the preference . He hath shewed thee , O Man , what is good , ( i. e. that excells , that which God most delights in ) to do justly , love Mercy , &c. Mic. 6. 8. And this of praising God in a Song , seems from hence to be a Duty of the same Nature ; 't is not only acceptable , but very acceptable , it pleases God better than shadowy Ordinances , or the Offering of an Ox or Bullock . The●● few things , Brethren , I thought good to add at the Close , that you may stick close to this Heavenly Ordinance , and not be removed by the subtil opposition of any Men whatsoever . Remember there is no Truth of Christ but has met with its Opposers ; but though we can't as yet agree to sing the Praises of God together , yet let us love one another , and let not the practising or non-practising of this Duty ( for want of Light ) break our Communion one with another , nor make a Breach in our Affections . Let us walk as we have attained ; If any be otherwise minded , God may reveal it to them , Phil. 3. 15. Let us live holy Lives ; and not sing God's Praises , and soon forget his Works ; that so though we can't all sing together on Earth , yet may so walk to the Praise of his Glory , that we may sing his Praises together in Heaven . FINIS . Some Reflections on Mr. Marlow's undue Citations of several Learned Men ; shewing the genuine and proper Signification of the word Hymnos . By another Hand . THE Foundation of Singing Psalms , Hymns , and Spiritual Songs in the Publick Assembly of the Saints , is too firmly laid in Scripture , and in the Judgment and Practice of Christians in general , to be shaken by the New Notions of some few amongst us , whom I hope the Lord in his time will lead into the knowledge of this Truth , and make them sensible of their injurous Attempts to overthrow and remove it , particularly Mr. Marlow in his late Book and Appendix , which are answered in the preceding Tract ; and no more is intended in these few Pages , but some short Remarks on the two first Sections of the Appendix . In the first whereof he would not have Praising God , confined to Songs of Praise , or Vocal and Melodious Singing . For my part I know not where he will find an Antagonist in this Point ; for without Controversy it will be generally granted , that all Creatures , according to their Natures and Capacities , are obliged to praise their great and bountiful Creatour ; and the allowance hereof doth not in the least injure the Duty , which he strenuously pleads against . As for his long Citation out of the Learned Dr. Owen on Heb. 2. 12. to me seems very little for his purpose , for the Doctor , after he had made some Reflections on the Translation of the former part of the Verse , saith , in the rest of the words , viz. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , i. e. in the midst of the Church I will sing Praise unto thee : the Original Heb. Psal . 22. 24. is expresly render'd ; for though 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 be render'd simply to Praise , yet it s most frequent use , when it respects God as its Object , is to praise by Hymns or Psalms , as the Apostle here 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , sibi hymnos canam , I will sing Hymnes unto thee ; or , te hymnis celebrabo , I will praise thee with Hymns ; which was the principal way of setting forth God's Praise under the Old Testament . Here the Doctor shews the genuine and proper signification of the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 ; and although the Doctor in his Exposition of this place , extends the sense of the word to its utmost latitude , that it might include all ways whereby our blessed Mediator was to Praise the Father : yet certainly he never intended to exclude that particular way principally pointed at both in the Hebrew and Greek word , which we find in the evangelical History so directly and expresly accomplished , Mat. 26. 30. Mark 14. 26. as were also all other things prophesied concerning him ; yet I grant that the Prophecy had not its full and compleat accomplishment therein ; for the Design of Christ in the whole Administration of his Mediatorial Kingdom , is to set forth the Praise and Glory of his Father ; and every Member of his Mystical Body should concur with him in this Work , in all the Modes wherein it can possibly be performed ; because God is to be served with all our strength and might . Moreover , it is evident that the Doctor never intended to undermine or overthrow the Duty of Singing ; for herein he would have opposed his own Judgment , which he hath published to the World in the account he gives of the several parts of Gospel-Worship , where he makes Singing one , though he terms it a fond Imagination for any to think that God cannot be praised in the Church without it ; and I doubt not but that all sober Christians agree with the Doctor therein . I shall now pass to ●he second Section , and consider some parts of it , which I was desired to take notice of . Mr. Marlow begins with the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which , whatever he pretends concerning the generality of its signification , most properly denotes a Song of Praise ; And what he cites out of the Learned Ainsworth on Psal . 3. to favour his Purpose , will not serve it at all ; for he there intends nothing less than a Song of Praise , which is fitly composed to be sung , as will appear to any one who considers the whole Paragraph without Prejudice ; and this import of the word is agreeable to the common sense of Learned Men , notwithstanding what is cited to the contrary . His first Citation is out of Constantin's Lexicon , whence he tells us that Hymenaeus is a Nuptial Song . And what if it be , it is altogether impertinent in the present Enquiry ; for this is a word of another Family , and descends from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , a word well known amongst Learned Anatomists . And if he consults any of them , he may soon know the full meaning of it , and also the reason why Hymenaeus is used for a Nuptial Song . This word being thus dismist , as foreign to our present Purpose ; we may consider 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which according to Constantine , as cited by him , primarily and chiefly signify an Hymn or Copy of Verses , made to Praise , and to sing such an Hymn or Verse . And as for the latter word , he says also , it is used for saying or pronouncing such an Hymn ; and the reason may be , because saying or pronouncing is necessarily included in Singing : for Singing is but a particular Mode of saying or pronouncing . And if it was not thus , I might say it is the common fate of all Words to be stretched beyond their prime and most proper Signification ; and who can help it , seeing that the Wit and Fancy of Men , are such luxuriant things , that will make bold sometimes , not only with Words , but Persons too . The Object of an Hymn , and Hymning , according to their usage in prophane Authors , hath been extended , with the like liberty , both to Men and Things , though the primary Object was their Gods. Now I shall pass by two or three lines of unintelligible stuff , Viz. Hymno , etiam Kateuphemismon pro conqueror , i. e. hymno ; also Kateuphemismon is put for Conqueror , to complain , Only with this Caution to the Author , that when he makes his next Essay to shew his Scholarship in Print , he would take better care , lest he meet with a more severe Observator . As to what he further saith of the use of the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , to reproach , to accuse , to complain , &c. I readily allow ; but then he must take notice that all this was done in Verse , composed and sung to these ends ; and the use of the word to these ends , doth not at all prejudice its primary signification , which is to Praise with Songs . And whatever the quick-sighted Author thinks he sees in Constantine or Sympson concerning its signifyng simply to Praise , for my part I can see no such thing , either in them or other Authors , which I shall now inspect . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is render'd by Scapula , Carmine celebro , praise in Verse , Hymnis decanto , I sing in Hymns : and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 celebratio quae fit hymnis ●el carmine , i. e. praising by Hymns or Verse ; ●ecantatio laudum , a singing of Praises , Greg. Naz. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is render'd by Scap. Hymnus , Carmen , i. e. Hymn or Verse , and sometimes peculiarly signifies carmen in honorem Dei , Verse composed for the honour of God. Thus we find 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . i. e. a Hymn to the Praise of Apollo . Hymnus est cantilena conti●ens laudem Dei , i. e. an Hymn is a Song containing the Praise of God. Minsh . The same Author derives it from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which Hesych varies by 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which properly signifies to sing . Vid. Mart. Lex & Gl. Cyril . Isid . lib. 6. 19. Now I shall enquire into the usage of this Word in the holy Scripture , and shall follow his Method therein . The first Instance which he gives as serviceable to his Design is , Psal . 78. 63. where he supposes the LXXII Translators were not acquainted with 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , as a Song of Praise , or Marriage-Song , which is more than he can tell ; for it is very probable they mistook the Radix 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , he grieved , or rather 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 he lamented , for 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and so translated 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , did not lament . Of this you see more in Musc . on the place . But such as took the Radix 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 have translated the words otherwise , as Jun. and Term. Non Epithalami● celebratae sunt , i. e. were not honoured with a Wedding-Song ; and to this sense the words are render'd in six or seven Translations more Here the Antecedent is put for the Consequent ▪ viz. Praising or honouring with a Nuptial-Song for Marriage it self . Hence appears the Unskilfulness of this Author , and his Ignorance in imposing upon his Reader . Next he comes to Mr. L. in his Critica Sacra , where you will find Mr. L. giving this sense of the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , that it is Carnem sed peculiariter in honorem Dei , i. e. Verse , but peculiarly designed for the Honour of God. This is agreeable to what was said before from other Authors . And further to confirm this sense of the word , I might here add , Zanch. Daven . Beza , &c. Then he proceeds to the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which he renders Hymnum cano I sing an Hymn ; this word is used Mat. 26. 30. Mark 14. 26. Acts 16. 25. Heb. 2. 12. and in all these places is rendred by Beza ( who was eminently skilled in the Greek Tongue ) after the same manner , and on Mat. 26. 30. he commends Erasmus for correcting the vulgar Latin , in changing dicto Hymno , the Hymn being said , to cùm cecinissent Hymnum , i. e. when they had sung an Hymn . On ver . 20. he gives an account out of Josephus of the Jews manner in eating the Passeover , and closing it with an Hymn , consisting of Psalm 113. and the five immediately following , which the Jews call their Magnum Hallelujah , their great Song of Praise to God ; and it is the Opinion of many Learned Men , that Christ sang this with his Disciples , tho Grotius thinks that Christ made another on that occasion . Now as to the three Authors Mr. M. mentions out of Mr. L. who differ in their version of these words , we may justly suppose that by Praises , they mean Praises in Verse , and by saying Praises , they mean such a saying as was accompanied with singing , otherwise their rendering may be censured as improper . Now Mr. M. proceeds to 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Isa . 25. 1. which is derived of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , and in the Conjugation Hiphil , signifies hath praised , or confessed ; and , as it is in other words , the sense must be governed by the Context ; and so in this place the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 tho render'd by Arias Montanus , I will confess , yet if he doth not mean such a Confession as was to be made by singing the Song of Praise to God , for his manifold Benefits bestowed upon his Church , his Version is not so agreeable to the Context , as that of the Septuagint , who render it 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , I will sing Praise ; and the like may be said of his Version , Isa . 12. 4. What is said in the third Paragraph , and beginning of the fourth , concerning the rendring those words before mentioned , and some others , is of little importance in clearing the present Controversy , seeing it is granted already that God may be praised without Singing , tho Singing is a principal way of setting forth the Praise of God , as Dr. Owen saith . And certainly that which is the principal way of praising God , ought not to be excluded by Christians ; neither can we think that these Translators had any design to do it , seeing they use such words as include this as well as other ways of praising God. And whereas Mr. M. thinks he hath got clear and undeniable Evidence for his simple praising God only , he hath got none at all , unless three be not contained in the number four , because one is . Solomon saith , The wringing of the Nose brings forth Blood ; and straining the words of these Translators , may bring forth a sense which they never intended . I see no such restrictive terms used by them , which may reasonably be thought to restrain the Duty of Praising God to the particular mode of this Author ; but if they did intend it , I could ( if the Bounds of my Paper would admit it ) produce six or seven Translators who are generally esteemed by learned Men very accurate , who have render'd the words for that way of praising God which is pleaded for in the foregoing Treatise . The Author which Mr. M. cites out of Marlorate on Mat. 26. 30. pretends it is uncertain with what words they praised God ; that is , whether it was with the common Passeover-Hymn , or some other of Christ's own , which might be more sutable to the occasion ; and whether they sang this Praise , or spake it simply , the following words of the Author not being well render'd by Mr. Tymme , I shall set down , they are these , Graecum verbum laudem quidem , maxime quae Deo debetur , includit ; non autem necessario evincit , quòd cecinerint , i. e. the Greek word indeed includes Praise , chiefly that which is due to God. But undoubtedly it doth evince , that they sang , 1. From the genuine Signification of the Original Word . And , 2. From the current of Learned Men who go this way . To conclude ; I sincerely desire that the Lord would make this Friend sensible of the Evil and Vanity of this Attempt , to remove out of the Church this part of Religious Worship , which hath been kept up so many Ages , both under the Law , and under the Gospel . FINIS . ADVERTISEMENT . THere is in the Press , and will be published next Week , a Treatise Intituled , Spiritual Melody , containing some hundred of Sacred Scripture-Hymns , chiefly on Metaphorical Scriptures , as they lie in a Book Intituled , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , A Key to open Scripture Metaphors , ( formerly published by this Author , with many others on several Occasions ) as they have been sung in divers Congregations . Composed and now published by B. Keach , at the earnest Request and Desire of several Christian Friends . Printed for J. Hancock , and to be sold at his Shop in Castle-Alley , on the West side of the Royal Exchange in Cornhil . THere is almost ready for the Press , an Exposition on all the Parables , and express Similitudes in the Four Evangelists . It will be above one hundreed Sheets : The PROPOSALS whereof , with a Specimen , which will contain two Sermons , ( an Exemplar of the whole Work ) will be on the Parabolical Saying of our Saviour in Mat. 12. 43. When the unclean Spirit is gone out of a Man , &c. Written by the foresaid Author ; and will ( God willing ) be published in a very short time . 
A59892	----	A sermon preach'd at St. Paul's Cathedral, November 22, 1699 being the anniversary meeting of the Lovers of Musick / by W. Sherlock ... Sherlock, William, 1641?-1707. 1699 Approx. 31 KB of XML-encoded text transcribed from 16 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2004-05 (EEBO-TCP Phase 1). A59892 Wing S3363 ESTC R4275 12019048 ocm 12019048 52602 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A59892) Transcribed from: (Early English Books Online ; image set 52602) Images scanned from microfilm: (Early English books, 1641-1700 ; 878:19) A sermon preach'd at St. Paul's Cathedral, November 22, 1699 being the anniversary meeting of the Lovers of Musick / by W. Sherlock ... Sherlock, William, 1641?-1707. [2], 27, [1] p. Printed for W. Rogers ..., London : 1699. Reproduction of original in Huntington Library. Advertisement: p. [1] at end. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. 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Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Church of England -- Liturgy. Bible. -- O.T. -- Psalms LXXXI, 12 -- Sermons. Music in churches -- Early works to 1800. Sermons, English -- 17th century. 2003-11 TCP Assigned for keying and markup 2003-12 SPi Global Keyed and coded from ProQuest page images 2004-02 John Latta Sampled and proofread 2004-02 John Latta Text and markup reviewed and edited 2004-04 pfs Batch review (QC) and XML conversion A SERMON Preach'd at St. PAUL's Cathedral , NOVEMBER 22. 1699. BEING The ANNIVERSARY Meeting OF THE Lovers of MUSICK . By W. SHERLOCK , D.D. Dean of St. Paul's , Master of the Temple , and Chaplain in Ordinary to His MAJESTY . Published at the Request of the Stewards . LONDON : Printed for W. Rogers , at the Sun against St. Dunstan's Church in Fleetstreet . MDCXCIX . PSALM LXXXI . 1 , 2. Sing aloud unto God our strength , make a joyful noise unto the God of Iacob . Take a Psalm , and bring hither the Timbrel , the pleasant Harp , with the Psaltery . TO Praise God is acknowledged by all men to be the most Excellent part of Divine Worship ; it is the Religion of happy Creatures , and the Natural Homage due to Infinite Goodness , which is the most Glorious Perfection of the Deity . It exercises the best Passions of our Souls in the most perfect manner , Love , Ioy , Reverence , Admiration , which are the proper Passions of Devotion , made for God , who is their last Object ; and made for the Praise of God , which is their most perfect Exercise . We cannot well conceive , What other Acts of Religion can be proper for Heaven ; when we shall be advanced to the utmost perfection of our Natures ; when we shall have put off Mortality and Corruption , and all other Wants with them ; When a Complete and Consummate Happiness shall leave no more place for Desire ; When we shall have nothing more to ask of God , nothing more to expect , but the secure Possession and Enjoyment of those Pleasures which fill , but never satiate ; which are Eternally repeated , and are Eternally New and Fresh : I say , in such a State as this , as Faith will be turned into Sight , and Hope into Enjoyment ; so Prayer also , which is so great a part of the Worship of Sinners , and indigent Creatures , will be all turned into Thanksgiving and Praise . Now as for this reason St. Paul prefers Charity before Faith and Hope ; because , though they are admirable Graces for the State of Christians in this World , and absolutely necessary to carry us to Heaven ; yet they cannot enter into Heaven themselves , where Charity attains its greatest Glory and Perfection ; so by the same reason it appears , That Praise and Thanksgiving is the most excellent part of Worship , because this is the Religion of Heaven , and therefore ought to be the chief Delight and Entertainment of those who hope to go to Heaven . But what is it to praise God ? Is it only to sing aloud , and to make a joyful noise to God ? Does it consist merely in the Harmonious Melody of Voices , and Musical Instruments ? Does he praise God best , who composes the best Anthems , or Sings them best ? Or do we think , that we then praise God best , when we feel our selves the most Transported and Ravished with Excellent Musick , performed by the best Voices , the choicest Instruments , and the greatest Masters ? This is a very easy and a pleasant way of praising God , if this would carry us to Heaven ; but this is only to praise the Musick , the Composition , or the Performance , when we think of nothing else , come for no other End , and mean no more by it . I would not have you mistake me ; I do not appear in this place at this time to decry or disparage the use of Musick in the Worship of God , which would neither become this Presence , nor my own Character ; but to persuade and direct you to turn the Delights and Charms of Musick , into the Raptures of Devotion , which would the most effectually silence all the Enemies of Church-Musick , and Cathedral-Worship , while as a Divine Poet of our own Sings , This would visibly turn Delight into a Sacrifice . Now since Musick , whatever it be , and how well soever performed , is of no Use or Value in Religion , but as it serves the true Ends of Devotion ; we must Enquire , What that Harmony and Melody is , which is so acceptable to God ; How fit External and Sensible Melody is to promote this ; And how it may and ought to be improved to that purpose . 1. As for the first , I need not tell any Man , who understands the Nature of Christian Worship , That it is only the Melody of the Heart , as St. Paul speaks , that pleases God ; All True Christian Worship , whatever the Externals of it are , is the Worship of the Mind and Spirit . This alone is that Worship which it becomes a reasonable Creature to pay to his Maker , his Sovereign Lord and Saviour , as the Blessed Virgin Sang , My Soul doth magnify the Lord , and my Spirit hath rejoiced in God my Saviour . For it is the Mind only that can praise God , though the Tongue must Sing his Praises . The Best Composed Hymns , the Most Musical Instruments , the most Charming Voices , are but Lifeless Mechanical Sounds , till they are Animated and Inspired by the Devotion of the Heart ; And God takes no more pleasure in the Best Voices , than in Bodily Strength or Beauty . Now the Melody of the Heart , is the Consent and Harmony of all the Powers and Passions of our Souls in the Praises of God. When Love , and Joy , and Admiration , and the profoundest Reverence bear their several Parts , and offer up our whole Souls as a Living Vocal Hymn of Praise : Then we Sing aloud in our Hearts to God , when we feel the greatest Transports and Extasies of these Divine Passions , which Swallow us up in God , and Unite us to the Heavenly Quire : Then we Sing with True Melody in our Hearts to God , when these Divine Passions , which are Essential to Praise and Thanksgiving , Charm all our Earthly Passions into a Calm ; Quiet all their Storms and Tumults ; Leave no jarring Discords , no Discontents , no Solicitous Cares , no Jealousies , no Envyings , to discompose the Harmony of our Souls , which must be all Peace , all Love , all Joy , to Sing with a True Divine Melody the Praises of God. This , and nothing else , is the true Praise of God , when our Minds are filled with such bright Ideas of his Glory and Perfections , with such a lively Sense of His Majesty , Wisdom , Goodness , Power , discover'd in his Great and Wonderful Works of Creation , Providence , and the Redemption of the World by our Lord Jesus Christ , as Transport us with Love , Admiration , and Joy. A Heart thus full of God , will break forth into Songs of Praise ; When the Fire is kindled within , as the Psalmist observes from his own Experience , we shall then speak with our Tongues ; Here our Praises ought to Begin , to be sure here they must always End , in the Heat and Fervour of our Affections , and an inward feeling of the Divine Praises , if we would have them an acceptable Worship of God. As far as the Harmony of Voices or Musical Instruments serve this End , they are Excellent Helps to Devotion ; but it is only their Subserviency to the Devotion of the Mind , which gives them any Value , or allows them any Place in Religious Worship . 2 dly . Let us then consider of what Use Musick is to Excite and Quicken our Affections , and to give a New Life and Spirit to Devotion . Man is not all Soul and Spirit , but a Compound Creature , consisting of Soul and Body ; And while our Souls are Vitally united to Bodies , they receive most of their Passions from them ; at least feel the most Strong and Vigorous Motions from those Impressions which our Senses make ; And Sight it self does not more variously affect our Minds than Hearing does ; Words and Sounds have very powerful Charms , and give as quick a turn to our Thoughts and Passions , as Sight it self ; and not only Words , but even a Diversity of Sounds , are fitted by Nature to Express , and to Excite very different Passions . Love , Joy , Admiration , Desire , Fear , Sorrow , Indignation , Revenge , give some distinguishing Notes and Accents to the very Voice , which no Art , but Nature Teaches , and which betrays the Passion without speaking a Word ; And such different Notes will also as forcibly imprint such Passions on our Minds , as they naturally represent , and that many times whether we will or no ; which is a great secret in Nature , and shows an unaccountable Sympathy between Sounds and Passions , which are by turns the Natural Effects and Causes of each other : and there needs no other Proof what the Natural Power of Musick must be , to Raise and to Calm our Passions ; And the Experience of all Mankind tells us , that thus it is ; When the Composer knows how to fit Notes to Passions , which the Knowledge of Human Nature , not the meer proportion of Sounds must teach him . Without this , a Fine Piece of Musick is like a Company of Fine Words put together , without any great Sense or Meaning ; they make a Fine Sound , and that is all . Now if there be a Natural Sympathy , and Mutual Causality between Sounds and Passions , there is no doubt , but True Devotional Musick will Excite or Heighten our Devotional Passions , as we daily see and complain , that Wanton and Amorous Aires are apt to kindle Wanton Fires ; For Nature will act like it self , whether you apply it to Good or to Bad Purposes . If there be no force in Musick to give a Good or Bad Tincture to the Mind , Why do any men complain of Wanton Songs ? They may then blame the Poet , but neither the Composer nor Singer ; For the Musick , it seems , does no hurt : if there be , Why do they Condemn Church-Musick , which will have as good an influence upon a Devout Mind , as the other has a Bad One ? Why then should any Man think Musick improper for the Worship of God ? It is a Natural Power , though improved by Art , as most other Natural Powers are ; and all Natural Powers are made for the Worship and Service of God , as far as they are capable of serving him ; which Musick is in a very high Degree , if it have such a Natural Power over our Passions , as to Increase and Actuate , though it can't Create Devotion . Both Poetry and Musick were Originally used to Celebrate the Praises of God ; lost their Glory , when they descended to meaner Subjects , but were Prophaned by a Prostitution to mens Lusts and Vices . The first Account we have of Singing , is the Song of Moses , Exod. 15. when God had made the Children of Israel to pass through the Red-Sea on dry Ground , and had Drowned the AEgyptians ; and we can't have a more Ancient Account than this , which is the most Ancient History in the World. And throughout the Old Testament , both Vocal and Instrumental Musick , was not only used in the Worship of God ; but this was the Chief , if not the only Use of it . This is acknowledged by all ; but some will not allow it to be a Pattern for Christian Worship . They reckon Musick among the Ceremonies of the Iewish Law , sitted to the Carnal State of that People , and Abrogated with the other Legal Ceremonies , by the more perfect Dispensation of the Gospel , which requires a more Spiritual Worship . But a few Words will shew , how unreasonable this Pretence is . The Song of Moses and Miriam was before the giving of the Law , and therefore no part of it ; and though this is the first time we Read of Singing , there is no Reason to think , That this was the first beginning of it . We Read of no Institution of Singing , though we do of Singers ; that Singing seems as Ancient and Natural , as Publick Worship . But suppose Singing had been part of the Mosaical Law ; the Gospel of our Saviour Abrogates nothing of that Law , but such Types as receive their Accomplishment in Christ , or such Appendant Ceremonies as were meer Signs and Figures of an Evangelical Righteousness : But what is Singing a Type of , any more than Speaking ? For it is only a more Harmonious and Emphatical way of Speaking ; and I see no Reason , Why men may not reject Vocal Prayer , as well as Vocal Musick , because they were both used by the Iews . Whatever Objections are now made against Church-Musick , which I have not now Time particularly to Examine , were as good Objections in David's Time , as they are now ; and yet then Prophets Composed Hymns , and Prophets set the Tunes ; for so the Chief Musicians to whom David directs his Psalms , as the Titles of some of them Express , were Prophets as well as Musicians ; and methinks Men should speak more favourably of such Practices as were under the Direction and Government of Inspired men . In the Vision of the Prophet Isaiah , 6 Ch. 1 , 2 , 3 , v. The Scraphims are represented crying one to another , Holy , holy , holy , is the Lord of Hosts , Heaven and Earth are full of his Glory . This is acknowledged to be a great Example of Antiphonal Singing , in which One Answers another . But then they say , this plainly refers to the Ancient Temple-Worship , and must not be admitted a Precedent for Christian Practice . But if the Temple-Worship be a fit Precedent for the Worship of Angels , Why may it not be a Precedent for the Worship of Christians ? Whose Worship , as Pure and Spiritual as it is , falls vastly short of Angelical Worship . But do not the Angels then thus Worship God in Heaven ? This would be a New Objection against our Liturgy , never thought of before , which in the Te Deum teaches us to Sing , To Thee all Angels cry aloud , the heavens and all the powers therein . To Thee Cherubin and Seraphin continually do cry , Holy , Holy , Holy , Lord God of Sabbaoth . Heaven and Earth are full of the Majesty of thy Glory . And if the Angels thus Sing in Heaven , surely the Precedent is not unworthy of the Christian Church on Earth . The like Representation we meet with of the Four Beasts , and Twenty four Elders , Rev. 4. And the same Answer is given to it , That the Images in the Apocalyptick Visions are fetched from the Law , and not from the Gospel . But whence soever these Images were Originally taken , this Book was Directed to the Christian Churches , and therefore was a Rule and Precedent for them . It all along describes the State of the Christian , not of the Iewish Church , and therefore their Worship too : And if we look into the Fifth Chapter , we shall find these Four Beasts , and Twenty Four Elders were Christians , who were Redeemed by the Blood of the Lamb , and Sung the Song of the Lamb ; Thou art worthy to take the Book , and to open the Seals thereof ; for thou wast Slain , and hast Redeemed us to God , out of every Kindred , and Tongue , and People , and Nation , and hast made us unto our God Kings and Priests , and we shall Reign upon the Earth , Ver. 9 , 10. This I take to be a Christian Hymn , and therefore a Pattern for Christian Worship . And as much as some Smile at the Conceit , I can't but think , That the General Exhortations in the New Testament , to Sing to God , To admonish one another in Psalms , and Hymns , and Spiritual Songs , Singing and Making Melody in our Hearts to the Lord ; Though they are not an Apostolical Institution of a Quire , nor do prescribe the particular Forms of Cathedral Worship ; yet they justify it all , as far as it is fitted to the True Ends of Devotion ; for the Apostles knew after what manner they Sung in the Iewish Church ; and had this been so unfit , as is pretended for Christian Worship , they would not have Exhorted Christians to Sing , without giving them a Caution against Iewish Singing . And now it does not seem to me much to the purpose , to Enquire whether this Practice was for any time intermitted in the Christian Church ; and When , and upon What Occasion it was Restored ; For if what I have now Discoursed hold good , it justifies the Use of Musick in Religious Worship , whenever it can be had ; though there may be some Times and Circumstances , which will not allow it . Though it could be certainly proved , That this was disused for the First Three Centuries in the Christian Church , while they were under a State of Persecution : This would be no greater Argument to me against Cathedral-Worship , than it is against Cathedral-Churches : The Poverty and Afflicted State of the Church at that Time would allow neither ; but Prosperity by Degrees restored them to both . We may as well Argue against the Use of Musick in the Iewish Church , because under the Babylonish Captivity they hung their Harps upon the Willows , and refused to Sing the Songs of Sion in a Strange Land , to those who carried them away Captives . The Primitive Christians in those Days never declared their dislike of this way of Worship , but their Condition would not bear it . No Christian will deny , That Singing the Praises of God and their Saviour , was always a Principal part of Christian Worship , and therefore was the Worship of the Primitive Christians , unless they were Defective in a Principal Part of Worship ; so that the only Dispute can be about the manner of Singing ; and the Chief thing Objected , is the Antiphonal way of Singing ; which is acknowledged to have been used in the Iewish Church , and therefore has the same Authority that Singing has : But yet I will yield the Cause , if any Man can give me a good reason , Why it should be very Lawful , and an Excellent Part of Religion , for a hundred Men , suppose , to Sing a whole Psalm together ; but very Unlawful and a Corruption of Religion , to Sing it Alternately ; Fifty to Sing One Verse , and Fifty the Next ; when by their Answering each other , they mutually Excite each other's Devotion , and signify the Consent and Union of their Prayers and Praises in the Whole . But setting aside the Afflicted State of the Christian Church , the Profess'd Enemies of Cathedral-Worship allow us as Great and Early Authorities as we desire . St. Basil , St. Ambrose , and St. Chrysostom , always will be Venerable Names . The Church was restored to Peace but in the Fourth Century , and then this Worship revived , and that by the Authority and Example of as Great and Good Men as any the Church had . That Erasmus himself , and many Reformers , were great Enemies to this way of Worship , as it was then Practised in the Church of Rome , is no great Wonder , when their Hymns , as well as their Prayers , being performed in an unknown Tongue , all their Singing was meer Noise , which could contribute nothing to Devotion . But this is no greater Argument against our English Hymns and Anthems , than against our English Prayers . If they meant any thing more , we must demand their Reasons ; For as for Authority , our own Reformers , and Reformation have , and that deservedly , a much greater Authority in the World. But I must hasten to a Conclusion , Which brings me to the Third Thing I proposed , How Musick may and ought to be improved to the Purposes of Devotion : And here I must beg leave to speak something briefly to Three Sorts of Men ; Composers , Singers , and Hearers ; which will serve for the Application of the Whole . First , As for Composers , Those who set our Hymns and Anthems to Musical Notes . I do not pretend to Skill in Musick , much less to be able to Teach such great Masters as this Age hath Bred ; but I hope in some Measure I do , and may be allowed to Understand and Teach Devotion , which is all I intend in This ; for that which according to all the Rules of Art must be allowed for Excellent Musick , may not always be proper for Devotion . It is a great Mistake in Composing Hymns , and Anthems , to consider only what Notes are Musical , and will Delight and Entertain the Hearers ; The true Rule is , What Notes are most proper to Excite or Quicken such Passions of Devotion , as the Words of the Hymn or Anthem Express . This indeed can't be done without Skill in Musick , but true Devotion is the best Directer of that Skill ; for a Devout Mind will judge of the Devotion , as a Skilful Ear does of the Musick of Sounds : That the most certain way for the greatest Masters to Compose such Hymns and Anthems as are fit for the Worship of God , and may best serve the Devotions of Christians , is to work their own Minds first into all those Heights and Flames of Devotion , which they are to Express in Sounds : which they will find a double Advantage in ; it will make them Good Christians , and Admirable Composers of Church-Musick . A Devout Ear without any great Skill in Musick , soon finds the want of this . A Grave , Serious Mind , which is the true Temper of Devotion , is disturbed by Light and Airy Compositions , which disperse the Thoughts , and give a Gay and Frisking Motion to the Spirits , and call the Mind off from the Praises of God , to attend meerly to the agreeable Variety of Sounds , which is all that can be expected from such Sounds as have nothing of Devotion in them : Which is so much the worse still , when , ( as is now grown very common in such Compositions ) they are clogged with Needless and Endless Repetitions . A Repetition serves only to give an Emphasis , and it requires a great Judgment to place it Right ; and is very Absurd , when it is placed Wrong ; but we often see , that there is too little Regard had to this ; The Skill of Altering Notes is the whole Design , which , when there is not very great occasion for it , is like School-Boys , Varying Phrases , or like Ringing the Changes ; which how Entertaining soever it be , when we have nothing to do but to attend to Sounds , is yet very Nauseous and Offensive to Devout Minds in Religious Worship . I thank God , the Ordinary Service of our Church is very Grave and Solemn , and well fitted to Devotion : And as for more Modern Compositions , the Governors of Churches ought to take care to receive nothing into the Worship of God , but what is fitted to serve Devotion ; and this would Effectually Answer the greatest Objections against Church-Musick . Secondly , As for those who are Employed in Singing the Church-Service and Anthems , to assist the Devotions of the Congregation , it certainly becomes them to behave themselves very Devoutly in it . Musical Instruments , which have no Life and Sense , may Minister to our Devotions , though they are capable of none themselves ; but it gives great Offence and Scandal , to see those who are daily Employed in the Singing Praises to God , to shew no Signs of Devotion in themselves , much more by an irreverent Behaviour to betray great Symptoms of want of Devotion . I thank God we have no great reason to make this Complaint in this Church , and , I hope , shall every day have less ; but this is a good occasion to mind all such Persons , how Devout they ought to be , ( if Musick be a help to Devotion ) ; who have this Advantage from Art and Nature , first to Excite their own Devotions , and then to Assist the Devotions of others ; which last must be a very tasteless uneasy Employment , if they have no Devotion of their own . And a great Reproach also to their Art , when they themselves are Witnesses , how little Devotion it Teaches . But there is one thing , which I believe is not so well considered , which yet is just matter of Scandal ; for those who Sing Divine Hymns and Anthems at Church , and whose Profession it is to do so , to Sing Wanton and Amorous , Lewd , Atheistical Songs out of it . Men , who have enter'd themselves into the Service of the Church , have Consecrated their Voices to God ; not so , as never to Sing any thing else but Hymns and Anthems , but yet so as never to Sing any thing to the Reproach of God , Religion , or Virtue . This unbecomes any Man , who calls himself a Christian , much more those whose peculiar Employment it is to Sing the Praises of God. Thirdly , As for Hearers , they ought also to consider , That their business at Church is , not meerly to be Entertained with Musick , but to Exercise their Devotions , which is the true End of Church-Musick ; to Praise God with the more fervent Passions . It is a Contempt of Religion , and of the House of God , to come only to please our Ears , to hear Better Voices , and more Curious Compositions , and more Artful Singing than we can meet with in other places . This I have reason to fear is the Case of very many who Resort hither ; who , especially on the Lord's-Day , Crowd into the Church to hear the Anthem , and when that is over , to the great Disturbance of the Worship of God , and the Scandal of all good Christians , Crowd as fast out again . Though there is this good in it , that they make Room for Devouter People , who immediately fill up their Places , to attend the Instructions of God's Word . But I hope this will not be charged upon the Service of our Church , that Men who have no Devotion , come only for Musick : For Church-Musick can't Create Devotion , tho' it may improve it where it is . But indeed we ought all to be aware that the Musick does not Emply our Thoughts more than our Devotions ; which it can never do , if as Common Sense Teaches us it ought to be , our Minds be in the first place fixt and intent upon the Praises of God , which are Express'd in the Hymn or Anthem ; which when conveyed unto us in Musical Sounds , will give Life and Quickness to our Devotions ; not first fixed on the Musick , which most probably will leave the Devotion of the Anthem behind it . Those who find that Musick does not Assist , but Stifle their Devotion , and many such there may be , had much better keep to their Parish-Churches , and prefer Devotion before Musick . For to come to Church without any intention to Worship God in his own House , or to pretend to Worship him without Devotion , are great Affronts to the Divine Majesty . In a word ; Those who profess themselves Lovers of Musick , ought to consider , What the true End of Musick is ; and to improve it to the Noblest purposes . The meer Harmony of Sounds is a very pleasant and innocent Entertainment : Of all the Delights of Sense , this is in it self the least sensual , when it is not abused to recommend Vice , and to convey impure Images to our Minds : But yet meerly to be delighted with Charming and Musical Aires , does not Answer the true Character of a Lover of Musick : For it is the least thing in Musick to please the Ear ; its proper , natural Use , and the great Advantage and Pleasure of it , relates to our Passions : To Compose , Soften , to Inflame them ; and the Diviner Passions it inspires us with , the more it is to be admired and valued ; and then Musick must attain its greatest Glory and Perfection in true Devotion ; That the Lovers of Musick ought to be very Devout Men , if they love Musick for that which is most valuable in it , and its last and noblest End. To Conclude ; It concerns the Lovers of Musick to vindicate it from all Prophane Abuses ; not to suffer so Divine a thing to be prostituted to Mens Lusts : To discountenance all Lewd , Prophane , Atheistical Songs , how admirable soever the Composition be : To preserve Musick in its Virgin Modesty , and without confining her always to the Temple , make the Praises of God her Chief Employment , as it is her greatest Glory . Thus I have spoke my mind very freely ; showed you the Use , and the Abuses of Musick , which was one great Inducement to me to comply with the desires of those Honourable and Worthy Persons , who imposed this Office on me ; that I might have an Opportunity of saying that which I thought fit should be said at one time or other , and for saying of which , there could not be a more proper Occasion than this . And I hope this may plead my Excuse with all good Christians , if it have drawn my Sermon out to too great a Length , and given too long an Interruption to the Entertainment of those , the least part of whose business it was to hear a Sermon . To God the Father , God the Son , and God the Holy Ghost , be Honour , Glory , and Power , Now and Ever . Amen . FINIS . Books Published by the Reverend Dr. Sherlock , Dean of St. Paul ' s , Master of the Temple , and Chaplain in Ordinary to His Majesty . Printed for W. Rogers . AN Answer to a Discourse , entituled , Papists protesting ●gainst Protestant Popery . 2d Edit . Quarto . An Answer to the Amic●ble Accommodation of the Differences between the Representer and the Answerer . Quarto . Thirteen Sermons preach'd on several Occasions . Quarto . A Vindication of some Protestant Principles of Church Unity and Catholick Communion , from the Charge of Agreement with the Church of Rome . Quarto . A Preservative against Popery , in Two Parts ; with the Vindication , in Answer to the Cavils of Lewis Sabran , Jesuit . Quarto . A Discourse of the Nature , Unity , and Communion of the Catholick Church . First Part. Quarto . Case of Allegi●nce due to Sovereign Powers , Stated and Resolved , according to Scripture and Reason , and the Principles of the Church of England . Quarto . A Vindication of the Case of Allegiance due to Sovereign Powers . 4 to . A Discourse concerning the Divine Providence . Quarto . Second Edition . Price 5 s. A Vindication of the Doctrine of the Trinity . 3d Edit . 4 to . A Modest Examination of the Authority and Reasons of the late Decree of the Vice-Chancellor of Oxford , and some Heads of Colleges and Halls , concerning the Heresy of Three Distinct Infinite Minds in the Holy and Ever Blessed Trinity . Apology for Writing against Socinians . Quarto . A Vindication of the Sermon of the Danger of corrupting the Faith by Philosophy ; in Answer to some Socinian Remarks . Quarto . A Defence of Dr. Sherlock's Notion of the Trinity . Quarto . The Distinction between the Real and Nominal Trinitarians examined , in Answer to a Socinian Pamphlet . Quarto . A Practical Discourse concerning Death . In Octavo . Tenth Edition . Price 3 s. A Practical Discourse concerning a Future Judgment . The Fifth Edition . Octavo . Price 3 s. 6 d. The Present State of the Socinian Controversy , and the Doctrine of the Catholick Fathers concerning a Trinity in Unity . 4 to . Price 5 s. An Answer to the Animadversions on the Dean of St. Paul's Vindication of the Trinity . By I. B. A. M. Quarto . A Defence of the Dean of St. Paul's Apology for Writing against Socinians . Quarto . 
A87955	----	A song in the Taming the Shrew or Sawny the Scot, sung by Mrs. Ciber set by Mr. Purcell and exactly engrav'd by Tho: Cross Lacy, John, d. 1681. 1699 Approx. 1 KB of XML-encoded text transcribed from 1 1-bit group-IV TIFF page image. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2008-09 (EEBO-TCP Phase 1). A87955 Wing L147A ESTC R231027 99899716 99899716 134688 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A87955) Transcribed from: (Early English Books Online ; image set 134688) Images scanned from microfilm: (Early English books, 1641-1700 ; 2430:15) A song in the Taming the Shrew or Sawny the Scot, sung by Mrs. Ciber set by Mr. Purcell and exactly engrav'd by Tho: Cross Lacy, John, d. 1681. 1 sheet ([1] p.) s.n., [London : 1699?] Entirely engraved. Attributed to John Lacy by Wing (CD-ROM edition). Place and date of publication from Wing (CD-ROM edition). Reproduction of original in the Folger Shakespeare Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org). The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. Anyone can now take and use these texts for their own purposes, but we respectfully request that due credit and attribution is given to their original source. Users should be aware of the process of creating the TCP texts, and therefore of any assumptions that can be made about the data. Text selection was based on the New Cambridge Bibliography of English Literature (NCBEL). If an author (or for an anonymous work, the title) appears in NCBEL, then their works are eligible for inclusion. Selection was intended to range over a wide variety of subject areas, to reflect the true nature of the print record of the period. In general, first editions of a works in English were prioritized, although there are a number of works in other languages, notably Latin and Welsh, included and sometimes a second or later edition of a work was chosen if there was a compelling reason to do so. Image sets were sent to external keying companies for transcription and basic encoding. Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Songs, English -- 17th century. Music -- England -- Early works to 1800. Broadsides -- England 2007-09 TCP Assigned for keying and markup 2007-11 Aptara Keyed and coded from ProQuest page images 2007-12 Mona Logarbo Sampled and proofread 2007-12 Mona Logarbo Text and markup reviewed and edited 2008-02 pfs Batch review (QC) and XML conversion A Song in the Taming the Shrew or Sawny the Scot , Sing by M rs Ciber Set by M r. Purcel and exactly engrav'd by Tho : Cross . Beyond the desart-Mountains , beyond the desart Mountains , for 〈…〉 Rocks cold Bosome co — ld Bosome laid a proper cold a proper cell for grie — f a : S : proper cell for greif and dark Dispair : Thus thus to her Self thus , thus to her Self re-pe — ating Caelia Said Farewel the Thoughts of Sin full Love whose tempting Ioys our ruine prove the fleeting pleasure in a moment past but oh ! the pains but oh ! the pains the pains of guilt for ever ever last but oh ! the pains but oh ! the pains the pains of guilt for ever ever last 
A60946	----	Musica incantans, or, The power of music written originally in Latin by Dr. South, translated ; with a preface concerning the natural effects of musick upon the mind. South, Robert, 1634-1716. 1700 Approx. 40 KB of XML-encoded text transcribed from 15 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2003-07 (EEBO-TCP Phase 1). A60946 Wing S4737 ESTC R37974 17156975 ocm 17156975 106000 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A60946) Transcribed from: (Early English Books Online ; image set 106000) Images scanned from microfilm: (Early English books, 1641-1700 ; 1623:8) Musica incantans, or, The power of music written originally in Latin by Dr. South, translated ; with a preface concerning the natural effects of musick upon the mind. South, Robert, 1634-1716. [10], 18 p. Printed for William Turner ... and are to be sold by John Nutt ..., London : 1700. In verse. Errata: p. [10] Reproduction of original in the Harvard University Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org). The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. Anyone can now take and use these texts for their own purposes, but we respectfully request that due credit and attribution is given to their original source. Users should be aware of the process of creating the TCP texts, and therefore of any assumptions that can be made about the data. Text selection was based on the New Cambridge Bibliography of English Literature (NCBEL). If an author (or for an anonymous work, the title) appears in NCBEL, then their works are eligible for inclusion. Selection was intended to range over a wide variety of subject areas, to reflect the true nature of the print record of the period. In general, first editions of a works in English were prioritized, although there are a number of works in other languages, notably Latin and Welsh, included and sometimes a second or later edition of a work was chosen if there was a compelling reason to do so. Image sets were sent to external keying companies for transcription and basic encoding. Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Music -- Poetry. Music, Influence of. 2003-01 TCP Assigned for keying and markup 2003-02 Aptara Keyed and coded from ProQuest page images 2003-04 Mona Logarbo Sampled and proofread 2003-04 Mona Logarbo Text and markup reviewed and edited 2003-06 pfs Batch review (QC) and XML conversion Musica Incantans : OR , The POWER of MUSICK . A POEM . Written Originally in Latin by Dr. SOUTH . TRANSLATED : With a PREFACE concerning the Natural Effects of MUSICK upon the Mind . Semel insanivimus omnes . LONDON , Printed for William Turner , at the Angel at Lincolns-Inn Back Gate , and are to be Sold by Iohn Nutt , near Stationer's-Hall , 1700. THE PREFACE . THO the following POEM was at first Translated for my own Diversion , and has lain by a great while , without any other Design , yet having consented to the Publication of it , I thought it might deserve the Ceremony of a short Preface to Introduce it . The Original was Writ in Latin many Years ago , and having been always esteem'd an Extraordinary Poem . This Consideration , I presume , may be a sufficient Plea for any One , whose Fancy might incline him to Translate it . I must confess , that tho' the Fiction is very well Contriv'd , and contains abundance of Wit , yet being design'd in Praise of Musick , it may be thought an Unhappiness , that the very Foundation of the Story seems tacitly to oppose the Reputation of that Noble Art : For here Musick is represented as of dangerous Consequence , in occasioning the Distraction and Death of a Young Man ; whereas it may be objected that this Art seems rather Adapted and design'd , for quite contrary Effects , viz. not only for Recreating and Refreshing the Spirits , when depress'd and languishing , but also by a Charming Efficacy composing and restraining them from all Extravagant Excursions , and by this means , according to the Opinion ( if not Experience ) of the Antients , by degrees effecting a Serious Conformation of the Mind to the right Notion of Things , and consequently an Aptitude and Inclination to the Practice of Moral Vertues . All this must certainly be granted , and yet that Musick might by chance have as ill Effect as is described in the following Poem , may be no ●reat Derogation from the Excellence of the A●t ; but only represents to us , that like a Good Medicine , tho' it is of great efficacy , yet still it may be injudiciously apply'd . That different Sorts of Musick may be contriv'd so as to have contrary Effects , our own Experience may convince us ; for as the Grave Air does by a powerful Sympathy depress us to Sadness , so Quicker and more Sprightly Strains , with a proper Rythmus do equally excite the Spirits to a chearful and delightful Temper . And in like manner Antient Philosophers , particularly the Platonists and Pythagoreans inform us , that it was in the Power of the Musick , us'd in their Time , to incline the Mind either to Vertue or Vice. And thus tho' They greatly esteemed , and recommended this Art in General , yet still it was with this Caution , that some sorts of Airs were dangerous to Morality . And thus also we meet with some Instances recorded by Antient Authors , that this Art has been so managed , as both to Cause and Cure Madness . The Story of Alexander and Timotheus is commonly known . Jamblicus in his Life of Pythagoras , Chap. XXV . and Boethius , in Presat . Mus. both speak of a Young Man , who by the Phrygian Kind of Musick became Distracted , and afterwards by Doric Measures was reduc'd again to his Right Senses . And Galen from the Testimony of Posidonius writes to the same Effect , that Damon of Miletus happening to come where a Musician by Phrygian Airs had Incens'd his Hearers to Madness , directing the Artist to change his Hand and play a grave Doric Strain , they were thereby charm'd into a Tranquillity and Composedness of Mind . Saxo Grammaticus , an Ancient Historian , Lib. XII . Historiae Danicae . tells us of a certain Danish King , who by the Power of Musick became Distracted . The Story may seem more remarkable if we consider the Particulars , as they are there related , which are to this Effect . It happen'd , that among several Musicians that attended the King at Supper , there was One most Eminent Artist , who , upon a Dispute about the Force of Musick , being ask'd whether it was in the Power of his Art to Provoke a Man to Rage and Fury , affirm'd it possible , and being afterwards question'd , whether he knew the Way or Method of such a Performance , confess'd he did : Whereupon the King , being curious to Try the Experiment , desired , and at last by Threats compell'd Him to use his utmost Endeavours to perform what he pretended to . The Musician perceiving no way of Declining the Undertaking , order'd that all Arms and dangerous Instruments should be remov'd out of the Room , and that several Persons , placed out of the Sound of his Musick , as soon as they heard any extraordinary Noise , should break open the Doors , to prevent what Mischief might happen . And this being accordingly done , he began so Grave a Strain , that it presently fill'd the Hearers with Sadness , and lull'd their Spirits into a deep Supefaction : After he had thus play'd a convenient Time , by a Brisker and more Sprightly sort of Musick ; he rais'd them from their . Dullness to a chearful Temper , so that being cured of their Melancholy they were now Dancing for Joy : At last running over a confus'd Division with a most Violent quickness , he made them so Impatient , that they fill'd the House with Clamours ; such an absolute Power had the Variety of Sounds over the Affections of their Mind . When those therefore that were without , understood that the King , and they that were with him , were grown Furious ; they broke open the Doors , and took hold of the King , to secure him from doing himself a Mischief . But He , being incens'd and strengthen'd with Passion , threw himself out of their Arms , and having got a Sword , presently Killed Four of his Guards , that were next him , and by a greater Number of Them , not without their great Danger , was at last over-power'd . This strange Relation our Historian confirms by this memorable Instance , that it occasion'd a Revolution in the Goverment . For the King , when reduced to his Senses , being very Sorry for the Ill he had done ; for the Expiation of his Crime , enjoyn'd Himself a Religious Pilgrimage , designing to visit the Holy-Land : And accordingly having Committed the Administration of the Goverment to his Son Haraldus ; in his Travels he dy'd , and was Bury'd in the Island of Cyprus . I must leave the Reader to his own Liberty , whether he will believe this to be matter of Fact , or no ; I shall not Vouch for the Historian . Tho' I might Expostulate in his behalf , what Interest he could have to mention such an Vntruth , and to confirm it by such Remarkable Circumstances . But , what is most to our present Purpose , I shall offer some Reasons for supposing that the Musick of the Antients might possibly be so managed as to cause Madness . And first of all , it is not to be imagin'd how great Command of this Art they might have arriv'd to , by long Practice , and those Improvements which so many Learned Men , for several Ages , must successively have added ; especially considering the vast Scope of the Antient Musick , when compar'd to the Modern . 'T is probable , that the Art of Composing in Parts , may now be better Understood and Practic'd , than it was in their Time : But it must be supposed that while they neglected this Part of Musick ; they might improve their Art to a greater Influence over the Fancy by a long Study and Practice in the several Kinds of Musick : And this will appear more Probable , if we consider that the Chromatic and Enharmonic Kinds , ( which are not much us'd by Modern Musicians , ) seem to be adapted to affect the Imagination with greater Force and Efficacy , than the Diatonic Genus , which is now chiefly practic'd . And Dr. Holder , in his Treatise concerning the Natural Grounds and Principles of Harmony , confirms the same Opinion in these Words . This way of theirs , seems to be more proper ( by the Elaborate Curiosity , and Nicety of Contrivance of Degrees , and by Measures , rather than by Harmonious Consonancy ; and by long study'd Performance ) to make great Impressions upon the Fancy , and Operate accordingly , as some Histories relate : Ours more sedately affects the Understanding and Judgment from the Judicious contrivance and happy Composition of Melodius Consort . The One quietly but powerfully affects the Intellect , by true Harmony : The Other chiefly by the Rythmus , violently attacks and hurries the Imagination . Having thus considered the Art of Musick in General ; if we inquire into the Nature and Properties of Sounds , we may with greater Certainty guess their Effects . That they Cure the Sting of the Tarantula , is a Truth so generally receiv'd , and confirm'd , by several Persons , that have been Eye-Witnesses of it in some parts of Italy , That it may be no unworthy Employment of our Thoughts , to enquire into the manner of this their Operation , And in the first place we may reasonably suppose , that this Malady does partly proceed from a great Effervescence of the Animal Spirits of the Insect , actuated by a Violent Intention , as it is in Mad Dogs , and Communicated by the Sting to the Patient . Secondly , by the Effects we may perceive , that the Poyson receiv'd chiefly affects the Spirits , the Symptom discover'd being only a Frenzy . And lastly , considering the Quantity of the Poysonous Matter compar'd to that of the whole Mass of Blood , we may conclude that It is neither proportion'd nor qualified to Disorder , any thing but the Animal Spirits , and that this Disorder , as in all other Fermentations , chiefly consists in a too Violent and Preternatural Motion . Now if Musick Cures this Distemper by Actuating the Spirits so as to oppose the Incursion of the Poyson , It may be , as it is in Women , in a longing Condition , when the Imagination directs the Animal Spirits to collect and compose out of the Blood of the Parent such Particles as come nearest to the Thing long'd for , in outward appearance ; the Imagination always acting according to the Sense that informs it ; these Particles being thus muster'd up to supply the Foetus with what Nature seems to Want ; they are fix'd by the Spirits and Mark the same Part of the Child's Body , as the Mother chances first to think of , or touch of her own , this Accident determining and directing the Operation of the Spirits , by the resemblance of the Parts to the Imagination . And thus possibly Musical Sounds may strengthen and empower the Imagination to employ the Spirits so as to gather out of the Blood such Principles as may resist and oppose the Contagion . But since we suppos'd that the Sting of the Tarantula only causes an extraordinary commotion of the Animal Spirits , it seems most probable that Musick by such an Influence as that whereby it inclines us to Sadness , may be adapted to allay or restrain that unnatural Effervescence , till Nature has disperst or wrought off the Fermentative Matter ; and thus it seems most reasonable to believe , that the Cure of the Bite of the Tarantula is effected . Now from this Consideration of Musical Sounds , we may infer , that they may be also capable of producing contrary Effects : For if They can thus allay and moderate the Motion of the Spirits when in a high Frenzy , 't is equally probable that by contrary measures they may excite Them to as great a Distraction . Nay , the Musick of the Antients , as we have before represented it , seems more adapted to Cause than to Cure Madness , not only upon the Account of its Variety , but even from our own Observation that the sprightly Air more powerfully elevates the Spirits , than the Grave Composition depresses and restrains Their Motion . And it may appear an unreasonable Suspicion to distrust the Concurring Testimony of Antient Authors concerning the Wonderful Operation of Musick upon the Mind , if we reflect upon the Exquisiteness of the Sense , which it affects . For the Objects of the Visive Faculty are so Imaginary and Intellectual , that they produce in us rather a Perception than a Sensation ; and on the other Hand , the Inferiour Senses are Gross and Material ; whereas Harmonious Sounds Act with greater and Nobler Force upon the Ear ; for Insinuating themselves into the Affections , by co-operating with the Motions of the Animal Spirits , they gain a great Influence both over Soul and Body . Thus we have taken a short and Transient View of the Natural Effects of Musick upon the Mind , as far as might be pertinent to our present Purpose , as well for the Curiosity of the Subject , as to advance the following Poem , by making the Fiction appear more Probable . ERRATA . PRef . p. 3. l. 23. read Stupefaction . Po. p. 2. l. 12. r. Loves . l. 19. r. Night the Day . p. 7. l. 9. r. his Eyes . Musica Incantans : OR , The POWER of MUSICK . The ARGUMENT . A Young Man having , at his own Request , heard a Performance in MUSICK , growing thereby Distracted , drowns himself in the Sea : The Musician thereupon Apprehended , and Accused of Homicide , undertakes to Plead , Defends himself , and is Acquitted . NO Royal Fight , No Hero's conquering Arms , But nobler Vict'ries by Harmonious Charms We Sing : Th 〈…〉 od , that animates the Lyre Will our bold Song , in its just Praise , inspire . But what nice Hand can Sounds pretend to paint , And to our Eyes soft Ecchos represent . On some great Themes did Antient Poets wish An Hundred Voices to inform ; on This As many Ears and Tongues we want , t' express A Song , like Musick , justly various . A Lyrist in Arcadia liv'd , so skill'd , His Fame and Musick all the Country fill'd ; Him some great Neighbours Nuptial Feast invites , With other Youth , to celebrate the Rites , The mirthful Entertainments to pertake , And the Reward of Those his Art could make : Such was their Custom : Thus the Nuptial Ioys The Muse , tho still a Virgin , love to Solemnize : And should she not assist ▪ the Festival Of Love and Wine would soon grow Dull and pall . And who but Lyrists should those Rites attend . Whose Art o're Birds and Beasts has such Command , That they the Treat not only can advance , But the whole Feast supply by their Attractive Strains . The Nuptials done , when Night 〈◊〉 Day invades , Returning homeward ore the Verdant Meads ; ( Like Orpheus Walking in th' Elysian Shades , ) He sees a Youth , who in a Neighbouring Field , Lookt , as the Evening was , sedate and mild : Walking towards him , ignorant of his Fate : ( Thus who does not Misfortunes sometimes meet ) Much pleas'd to See him , whose Harmonious Art Could to his Ears such soft Delights impart : Unconscious , that this Orpheus with his Lyre , Could Life destroy , as well as Life Inspire . They meet ; and after Salutation past , The Youth his love of Musick strait exprest , To hear its Charms employs his Eloquence ; And from the Lyrist for Rewards obtains His future Damage in the Fatal Strains . The Artist takes his Lyre , and strait begins With broken Strokes , to Tune the trembling Strings , Thus All he does with their just Sound supply He tries , and knows when sweetly they agree , Tho' diff'rent each , in universal Harmony . Then with a careless Touch , his Fingers fly O're the just Order of some tuneful Key , And unawares he joins his Chanting Voice , And thus unthinkingly his Art betrays . Thus he at once explores his Lyre , and shows That from most skilful Hands th' Harmonious Prelude flows ▪ And while the Strings , and his own Nerves he strains , Both for the future Song become intense . By Artful Methods thus his Art he trys ; Then boldly strikes , and equally his Voice Does , like the mounting Lark , with Singing rise . No sooner thus the Strings began to move , But the Youth's trembling Heart within him strove , With tunelike Pulses to compose a Dance , As if its Fibres felt th' affecting Strains . Such Pow'r has MVSICK , that with slender Threads ▪ It thus the noblest Minds , as Captive ▪ leads . O're the Charm'd Youth the Lyrist thus begins At once his Conquest , and the Triumph Sings . The speaking Strings confess the powerful Hand That , making those soft Melodies ascend , Did even the Tongue it self in Vocal Skill transcend . Such Harmonies the Youth not only heard , But they are to each alter'd Limb transfer'd : He Blushes , then turns pale again , and thus His Colour , as the Sound , grows various : His Feet would in Harmonious Measures move , But that they more th' attentive Station love : His sparkling Blood within his glowing Vei●s Strives to ferment into a Circ'lar Dance : And tho' the Limbs cannot the Musick hear , Their Parts of Passion all in Consort bear : Such universal Transports he receiv'd , As if new Life he from that Harmony deriv'd . Thus , wondring at the strange and powerful Skill ▪ With trembling , like the Strings , he seems to feel Each Stroke the Artist plays ; and every Sound , As by some Magick , seems t' inflict a Wound : And yet so pleasant all appear , that still His sooth'd tho' suff'ring Mind , at once they wound and heal . The Song was various , which , if told , might please : In gentle Warblings first the Strings express The sad Affecting Fate of Philomel , More mournful than her Needle could reveal . Then of the Gods the Rapes he sung , and Ioves Innumerable and lascivious Loves : But still unmov'd , the Youth 's Harmonious Breast No Love , but that of the soft Lyre , possest : He feels its charming Violence within , And thinks no other Rape can be Divine : With th' Artist's Hand , his Heart in Consort Beats , And with a timely Pulse each Stroke repeats . And thus the Eyrist does his Passion raise , And thro' his Listning Ears his Soul decoys : But when th' Effects , his Art produc'd , he spy'd , He rais'd his Voice , and bolder strains essay'd , Uniting Nature's Powers with those his Art supply'd . O're various Notes the Lyre and Lyrist run , While in soft Groans the Youth strikes only One : And when such Harmonies in Consort joyn , To bear the powerful Sounds he strives invain : While Vocal Skill conspires with Artful strains , A quick Distraction o're his Senses gains : And with such Force the Artist rais'd his Breath , That with soft Air it Wounds , and Speaks resistless Death : As if within his Mouth there did ferment Contagious Fury , such as Dogs in Madness vent , And with such Artful Rage the Notes invade , Th' Attentive Youth grows Emulously Mad ; While to his Brain his vanquish'd Sense transfers Sounds that too much oppress his ravisht Ears : And such strong Charms attend the Powerful Lays , As mov'd the Brain out of its proper place . Now Madness in odd Freaks begins to play ; His Blushes , swimming Eyes , and Looks betray Confusion in his Mind : his Senses quit , In a disorder'd Flight , their tott'ring seat . Sometimes he shakes his Head , as if his Brain Th' Ideas of those lasting Sounds within Labour'd to Eccho out — sometimes Eyes To Heaven he lifts , and , in wild Blasphemies , Those lofty Regions rashly he forswears , Where MUSICK reigns in vast revolving Spheres . Thus he in Passion — starting then in haste With furious Rage towards the Sea he past , While all its Labours strive within his Breast : Like Stormy Waves , his Thoughts tumultuous rise , His Face with Foam grows White as raging Seas : To the vast Main at length approaching near , Which happen'd then in Ebbing to retire , Thus , in its usual Course did Trembling seem , As Careful to decline the future Crime . Here stopping , in his looks his Madness lowrs , ( As Ajax frown'd on the Sigean Shoars ) And since the Sounds invain he would forget , Invain to Lethe's dormant Pool commit , He in the spacious Main resolves to try The pertinacious Notes to wash away , And hopes eternal Peace amongst the Silent Fry. He views the Waves , and to the troubled Seas Compares his Mind — Now for strange Voyages He 'd fain Embark , and give the Wind his Cares , Nor any Danger of the Deep he fears , Secure from Harmony — Now his Disease Ferments so high , he knows not where he is : In Frenzy's Whirlpool hurry'd round he seems , And his Head swims at sight of distant Streams — Now Death he fears — now wishes for ; and thus Like Waves , his doubtful Mind still ebbs and flows — At length he on a sudden leaps away , And plung'd himself in the less raving Sea : And thus the Waves now swell with double Rage , While adverse Floods the striving Youth engage ; Who , tho' he tempted his untimely Death , Now struggles to preserve his fleeting Breath : But he invain resists th' o'rewhelming Seas , Then Farewel , Fatal , Charming Lyre , he cries : Sinking the bubbling Waves his Ears drink in , And in this Death his Eye-balls truly swim . As fam'd Nancissus did from Eccho fly , And in the flatt'ring Flood distracted Dy , This Youth more charm'd an equal Fortnne had , Striving those Softer Ecchoes to evade ; Like His , the Fate that did this Youth engage , Equally strange was his destructive Rage : And while he gaz'd on the Tempestuous Flood , Narcissus ne're his juster Image view'd . And thus he fell , whose Birth the Birds of Fate With inauspicious Songs did celebrate . Severely sweet the Muses tun'd the Lyre , And thus the Nine did all against One Youth conspire . The Lyrist thus display'd his Siren Art , Not only that he did such Sounds impart , But that , by force of powerful Harmony , He to the fatal Waves did the fond Youth decoy . And thus the Artist did such Skill express As equall'd great Amphion's charming Lays , And as He sooth'd wild Beasts , did fiercer Passions raise . Ah Grief ! to think that such sweet Strains as these Should Mortal prove , and the Three Destinies Should String with Fatal Threads the warbling Lyre ! But if such gentle Notes can Death inspire , How Dreadful then is every Tuneful Sound , That can with Softness pierce , and Trembling wound . Then let Apollo quit his Shafts and Bow , The String alone can all their force out do . The Trumpet seems , while MUSICK thus Destroys , It self to Conquer : And no wonder 't is , The Lion trembles at the Cock's shrill Voice . O Cruel Breath ! to Speak the Mortal Blow Was more than Barbarous Nero e're could do : He in such Tuneful Strains his Tyrannies Might Celebrate : But this Destructive Voice Ev'n in the Fatal Act it self employs . If e're Empedocles had heard those Strains , He ne're had perisht in th' Etnean Flames ; But might reverse his Fate , escape the Fire , And in the Watry Element expire . Or had this Lyrist been a Rural Swain , Thus o're the Listning Herd his Notes would gain , And they 'd be forc'd into the Waves to stray By tuneful Charms , And Phrixus might survey Whole Flocks of Sheep all swimming in the Sea. If when the World was from the Flood retriev'd , This Lyrist had the Common Fate surviv'd , And for Deucalion had this Song prepar'd , To sooth his Cares , when He those Sounds had heard ▪ He too would hasten to the Ebbing Sea , And even in th' expiring Deluge Dye . Apollo thus , without Celestial Fire , Bold Icarus , that did too high expire , Might sooner plunge by his more powerful Lyre . If Sounds can Kill , and Notes the Sword supply , Achilles , when he ceas'd to war with Troy , Consulting the sweet Force of Lyrick Charms ▪ Did only change , not truly quit his Arms. But now Loquacious Fame the News had spread Of the strange Fatal Notes , the Lyrist play'd , As Eccho would those Notes reiterate , She did the aggravated Crimes repeat Both of the Lyrist , and his Murd'rous Strains ; And to the Magistrate at length complains . And now a Council does himself apply , With Bawling , to condemn the Charms of Harmony : And first he does for the great Cause prepare , Then turns himself to the Tremendous Bar , And thus against the Lyrist does Declare . The Council against the Lyrist . My Lord , I move , that a few things You 'd hear , Before the Criminal's Voice enchants your Ear , Who here stands Charg'd with a strange Murd'ring Skill In Musick : 'T is no more with him to Kill , Than play a Tune ; and thus on Land have we A Syren-Monster greater than the Sea. Musick is sweet — but Murder louder cries , Nor with the Sounds their Crime can quickly cease . And he himself by his own Words betrays , While this Harmonious Art he durst profess , For which we see Amphion justly fear'd , And Orpheus was compell'd with Brutes to herd . If Birds were thus Harmonious , soon would they Ev'n to each other's Song become a Prey . Now this Infernal Orpheus , with his Lyre , Charm'd an unhappy Youth ev'n to admire The Sea , as That some Venus did contain , And now ev'n sweet he thinks the Briny Main . What should he do , whose Sense was thus engag'd ? Ev'n Daedalus , with such soft Notes enrag'd , Had plung'd , unless with Wax he 'd stopt his Ears : But here with Land the Criminal Sea conspires , And while the guilty Waves are stain'd with Blood , They spread their Crime o're all the weeping Flood : Invain they strive to Sink the Fatal Deed , Which in their Blushing Face too plain we read : The Watry God begins to rage and Foam , That no just Punishments the Crime attone , Murm'ring to see Vindictive Iustice slow — But if sweet sounds can Drown , I wonder how Arion o're the Sea so safely past : And when the Lyrist plung'd the Youth , at least His Art might there for him a Dolphin Draw , But now he no Defence can make , the Law Proclaims him Guilty ; Statutes all agree , And that of Iustice is the Legal Harmony . He said . And all the Court , with silent Fear , Did of the Criminal's Answer strait dispair . But 't would be strange should MUSICK silent be In its own Cause , should Eccho ne'er reply . The Cryer having Proclamation made , The unharmonious Voice the Lyrist strait obey'd , With fault'ring speech and trembling he begins ; And yet ev'n Musical that Trembling seems , For artfully he shook , as when he sung , His charming Lyre o're his Left Shoulder hung , While for his Life he Speaks a good Defence , Which he had almost lost by Vocal Strains . As Learned Gracchus , when he was to plead , Instructed by his Harp the Lyrist made A Various Speech : The silent Court attends , While thus he Answers , and himself Defends . The Lyrist in his own Defence . My Tuneful Voice , charg'd with another's Fate , I beg , my self from Death may vindicate . Invain I would the Fatal Strains recant , Or if with Tears I should the Youth lament , I should but add vain Waters to the Main : The Fact I may defend , but would recall in vain . With Songs the Dying Youth to celebrate , Was to Bewail , but could not Cause his Fate . And having seen the God of Harmony . Each Ev'ning safely plunge the willing Sea , Where thus each Night the Lord of Song remain'd , I thought , that this Harmonious Youth might find Himself with equal Favour entertain'd . Suppose he flung himself into the Seas , Charm'd by my Strains , there 's no Great Crime in this : Who e're for Hellebore to cure his Brain , Could without ventring thus explore the Main : Besides , since I 've oft heard the Learned say , Our Souls are all made up of Harmony , If this Youth Dy'd by the too charming Lyre , 'T was with Excess of Life he did expire . But how could the soft Notes of Musick Kill ? Since Death with empty Sounds alone could ne'er prevail . The Criminal Seas their self-attoning Fault With Lustral Water soon may expiate , And thus the Waves , that caus'd , will purge from Guilt the Fate . And let those Cruel over-whelming Seas Now also drown my Crime in endless Peace . But if I Dye , who shall my Death attone ? If my Charm'd Trees should fatal Spears become , Invain they 'd strive thus to revenge my Fate , As Vengeance oft o'ertakes the Crime too late . Or shall the Stones , once softned by my Lyre , Rudely involve me in a Sepulcher . If MUSICK be the Crime for which I dye , How well the Tuneful Swan resembles me , Since thus I sung my own prophetick Elegy . The Crime , that 's charg'd , does still unprov'd remain : For the Youth 's Drowning must I plunge the Main ? Was I the Cause , that while I sung , he drown'd ? If at that time a Star fell to the Ground , Would You then think my Strains the Stars from Heav'n drew down . 'T is Madness , thus to charge me with his Rage , Or think the Muse could with blind Fate engage Against the Youth , or that by Art he dy'd ; No guiltless Blood my Voice did ever shed : Lords of the Law ! 't is your Sententious Breath , That can with Words alone speak certain Death . Thus he — Then justly grant a Wretch , he cry'd , Your Pardon . Pardon Eccho strait reply'd . He said . The Iudge to Favour much inclines , And this the Criminal's Punishment enjoyns , That since in Skill thus Orpheus he exceeds , He shall descend to the Elysian Shades , And thence compel , by a like Artful Strain , The Youth , he thither sent , back to return again . If Any ask , what could my Thoughts engage In this Mad Theme ; 'T was some Poetic Rage . Forbidding me the Heliconian Spring , That led me thus in Seas to Bath and Sing . Poets an Artful Fury must inspire , And thy True Sons , great Patron of the Lyre , May pass like Orpheus to th' Elysian Shades : Thy glorious Flight the lofty Skies invades . But I , without th' Harmonious Quil and Voice Of the Dircean Swan , can't sing thy Praise ; And those , tho' fam'd , can only cantivate Th' inferiour Wood , but Laurels on Thee wait : And justly thou doest thy own Fate Survive , Like Memnon's Vocal Status , still to give Thy self that Praise thou only canst make live . And hast inscrib'd , since thus thy Art was try'd , Soft MUSICK's lasting Praise ev'n in the fluid Tyde . But while for thy just Praise , I thus prepare , In the vast Main , I dread to venture far , So large an Ocean does my thoughts engage , I must strike Sail , and check my forward Rage ▪ FINIS . 
A25223	----	Templum musicum, or, The musical synopsis of the learned and famous Johannes-Henricus-Alstedius being a compendium of the rudiments both of the mathematical and practical part of musick, of which subject not any book is extant in our English tongue / faithfully translated out of Latin by John Birchensha ... Elementale mathematicum. VI, Musica. English Alsted, Johann Heinrich, 1588-1638. 1664 Approx. 141 KB of XML-encoded text transcribed from 55 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2005-03 (EEBO-TCP Phase 1). A25223 Wing A2926 ESTC R1493 12306028 ocm 12306028 59254 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A25223) Transcribed from: (Early English Books Online ; image set 59254) Images scanned from microfilm: (Early English books, 1641-1700 ; 198:9) Templum musicum, or, The musical synopsis of the learned and famous Johannes-Henricus-Alstedius being a compendium of the rudiments both of the mathematical and practical part of musick, of which subject not any book is extant in our English tongue / faithfully translated out of Latin by John Birchensha ... Elementale mathematicum. VI, Musica. English Alsted, Johann Heinrich, 1588-1638. Birchensha, John, fl. 1664-1672. [15], 93 [i.e. 94] p. : ill., music. Printed by Will. Godbid for Peter Dring ..., London : 1664. A translation of one part, Elementale musicum, of: Elementale mathematicum. Frankfort, 1611. "Imprimatur, Feb. 5. 1663. Roger L'Estrange" Errata: p. [15]. 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Keying and markup guidelines are available at the Text Creation Partnership web site . eng Music theory -- History -- 17th century. 2004-10 TCP Assigned for keying and markup 2004-11 SPi Global Keyed and coded from ProQuest page images 2004-12 Andrew Kuster Sampled and proofread 2004-12 Andrew Kuster Text and markup reviewed and edited 2005-01 pfs Batch review (QC) and XML conversion To Musicks sacred Temple , Mercurie . And Orpheiis dedicate their Harmonie From thence proceeding . Whose faire Handmaids an Myster'ous Numbers : which , if you compare . The Rat'on of proport'ons you will find . These please the Eare , and satisfie the mind . For nothing , more , the Soule and sense contents . Then Sounds express'd by voice , and Instruments . Io. Dir. Iohn Chantry ● sould by Peter Dring at the Sun in the Poultry : TEMPLVM MVSICVM : OR THE MUSICAL SYNOPSIS , OF The Learned and Famous Johannes - Henricus - Alstedius , BEING A Compendium of the Rudiments both of the Mathematical and Practical Part of MUSICK : Of which Subject not any Book is extant in our English Tongue . Faithfully translated out of Latin By John Birchensha . Philomath . ●mprimatur , Feb. 5. 1663. Roger L'Estrange . London , Printed by Will , Godbid for Peter Dring at 〈◊〉 Sun in the Poultrey next Dore to the Rose-Tavern . 1664. To the Right Honourable EDVVARD Lord MONTAGU Earl of Sandwich , &c. Knight of the most Noble Order of the Garter , and One of His Majesties most Honourable Privy-Council . SIR , WHen I considered the Excellency of the Subject of this Book , and deserved Fame of the learned Author , I thought it not necessary to crave a Protection for this Treatise by a Dedication of it unto any : being in it self far above the reach of detracting Calumniators . Yet I have made bold , humbly , to present it to your Honour as a pleasant and delightful Divertisement from your many and great Imployments . In all Ages Musick hath been acceptable to the wisest , greatest , and most Learned men , of whom many have been famous for their great Ability and Knowledge in this Science and Art. It was no dispraise to David that he plaid skilfully on the Harp , and Sang well : the Compositions of divers German Princes are extant : neither is it the least of those Virtues which are eminent in your Lordship , that you are both a Lover of Musick , and a good Musician . The renowned Alstedius in this Compendium ( not much differing in his Judgement from the Opinion of the Generality of modern musical Classic's ) does present the world with a great Light and Discovery of this Art , with the Subject , Principle and Affections thereof , with the curious Symmetry of Proportions : the proportional Dimensions of Sounds : the Variety of Diastems : the admirable Series of musical Voices : the usefulnesse of Tetrachords : the several Genus's of Musick : and harmonical Moods , which being expressed by Voice or Instrument or both , do operate ineredibly upon the Affections . Wherefore I hope that this Book will be accepted both by your Honour , and all ingenuous Lovers and Professors of this Art , and the Errors thereof favourably pardoned by your Lordship and them . The Reason which moved me to undertake this Translation , was , because I desired a Discovery might be made of some Principles of the Mathematical part of Musick , unto those ingenuous Lovers of this Science , who understand only our own Language , to the End that by this means the transcendent Virtue and Excellency that is comprehended in the due proportions of musical Sounds may be known unto them ; which will give Satisfaction unto their Reason aswell as to their Sence . I do not think this unworthy my labour , because that many skilful Musicians have not thought it any Disparagement to publish their Translations of the Works of famous Men , who did write of the Art which they themselves professed . As Meibomius Translated some Fragments of Baccheus , Alyppius , Nichomachus , and others : the never to be forgotten Franchinus , the Commentaries of Briennius , Aristides , Ptolomy , and others : and our English Douland , the Introduction of Ornithoparcus . In the Author's last Edition of his universal Encyclopaedia , I met with an Appendix to his Musical Synopsis , taken out of the writings of Erycius Puteanus ; but not finding any thing new in it , only an ABCdary Repetition of the first Elements of Musick , formerly but more judiciously and largely handled in this Compendium : and also some few Questions started by Cardanus , which are , for the most part more fully and Satisfactorily resolved by the Author ; I did forbear the Translation thereof ; not being willing to weary the Reader with the unnecessary recital of those things , nor your Lordship with too tedious an Epistle , which I here conclude , humbly craving pardon for my boldnesse , and your Honours favourable Acceptation of this Mite from your Lordships Most humble and devoted Servant , JOHN BIRCHENSHA . To all ingenious LOVERS of MUSICK . GENTLEMEN , IT was for your Profit and Benefit that I undertook this Translation : and that you might thereby understand the Rudiments and Principles both of the Mathematical and Practical Parts of this Science . We know that there is some light into the Mathematical Part of all other Arts ; but little discovery of that Part of the Theory of Musick hath been made in our Language ; therefore I did suppose that this work would be gratefully accepted by you , the Author having more fully discovered the Precepts , Rules , and Axioms of this Science , then any other whose Works I have seen . Since the Rumour of this Translation hath been spred abroad , I have by diverse been demanded , What Benefit and Advantage the Knowledge of the Mathematical Part of Musick does contribute to the completing of a Musician ? To which I answer , That it is as necessary for a perfect and complete Musician to understand the Proportion of Sounds , as for a curious Painter , exactly to know the Symmetry of every part o● a Body : that so he may rightly understand the ground and foundation of the Art he does profess , which is , the nature of Sounds , and their due Proportion , in respect of their Ration , Habitude , Quality , Difference , Excess , Dimension , and Magnitude . For this I dare boldly affirm , and if ●ccasion be offered : undertake to prove it : That such Rules may be yet further , and are already , in part , contrived ( drawn from the Mathematical Principles of Musick , by which , musical Consonants and Dissonants ( artificially applied and disposed , according to the nature of their Proportions , and by the forementioned Canons ) may afford , in 2 , 3 , 4 , 5 , 6 , 7 , or more parts , as go●d Musick , that is , as agreeable , artificial , and formal , as can be composed by the help of any Instrument . Yet until such Rules be known , it is commendable in any to use such helps as may Advantage their Compositions . But for any Musician to unde● value or speak slightly of the Mathematical part of Musick , is to repro●ch the Common Parent from whom the Art h● professeth rec●ived a Being . I k●ow that all Ingenuous persons who are Artists , will acknowledge that it is a more noble way to work by Rules and Pr●c●pts in any Art , then mechanically ; And so to work in this Art. i. e. to compose regularly , will be found m●re advantagious then any other way in these Respects . For by such a way of Operation the Composer shall work more certain●y , firmly , readily , and with more facility then by any other way . If Musick be an Art , then it may be contracted and collected into certain Rules which may discover all those Mysteries that are contained in that Science , by which a man may become an excellent Musician , and expert , both in the Theorical and Practical Parts thereof . To the Completeing of such forcible Rules I have contributed my Mite , whose Certainty and Reality has been Experienced by divers , and may likewise be further known unto others , if they please or desire to understand them . I know that all Virtuoso's will encourage those things which conduce to the Improvement of any ingenious Art : but what shall be spoken against such things by persons rude , envious , or that do pass their Judgement rashly upon things which they know not , having neither seen , heard , nor understood them , is not to be valued . And I do assure my self that there is not any person in this Nation , that is a true Lover of this Science ; or a Professour thereof , who does truely honour and understand this Art , but could cordially wish such an Improvement thereof , that those things which in Musick are concealed and mysterious , might be fully discovered : those which are imperfect , completed : those which are doubtful and disputable , cleared by evident Demonstration : those which are not to be done without great trouble , facilitated : those many Observations which burthen the Memory , made few and plain : and those whose Operation and Experience do's require the study and Expence of many years , might be performed without any difficulty in a few Weeks , or Months at the farthest . And that this way is found out and effected in a great measure , I say , many persons of Worth and Quality are able experimentally to testifie . Musick hath already flowed to a great ●eighth in this Nation , for I am perswaded that there is as much Exc●llency in the Musick which hath been , and is now c●mposed in England , as in any part of the World for Ayre , variety and Substance . ●ut I heartily wish , that af●er this great Spring and ●lood , there be not in our succ●eding Generations ) as low an Ebb. For if the serious and substantial part of Harmony be neglected , and the mercurial only used : It will prove volatile , evaporate , and come to nothing . But , Gentlemen , I woul● not willingly weary your patience , and sinc●●he Temple is so small , I will not make the ●ate too bigg ; But subscribe my self as it is known I am ) a true Lover of Musick , and Your Servant J. B. I Have endevoured fa●thfully to translate the Origin●l , in wh●ch I find some mistakes , which I dare not impute to the Author , of which I would have thee take no●ice . And also one Erratum in this Impression . 1. Fol. 20. the greater Sem●tone exceedeth the lesser by the lesser Diesis : whereas it exceedeth it but by a Comma , as appeareth fol. 18. where the Author saith thus , The Comma is the difference between the Semitone m●jor and minus . 2. Fol. 31. almost ten parallel Lines ; the Word almost should be left out , for the greater System is ten parallel Lines . 3. Fol. 44 for d moll . read b moll . TEMPLUM MUSICUM . CHAP. I. Of the Subject of MUSICK . PRECEPTS . MUSICK is the Science of Singing well , otherwise called Harmonical : and Musathena . The parts thereof are two : the general and the special . The general part doth treat of the Subject of Musick ; and both of the Principles and Affections of the Subject . The Subject of Musick is an harmonical Song . And this is the Subject of Tractation . The Subject of Information , is the Faculty of Singing : and the Subject of Operation , is the matter to which harmonical Musick may be applied . RULES . 1. Musick is a Mathematical Science , subalternate to Arithmetick . For as Arithmetick doth treat of Number , so Musick of the number of Sounds : Or as others of numerous Sound . For as the Optick Science is called a certain special Geometrie , so Musick may be called a certain special Arithmetick : But whereas some contend that Musick is both a Science , Prudence , and Art , because it doth instruct both skilfully , or scientifically , and prudently , and artificially to compose an harmonical Song , it is not so accurate . For it is not here Queried , whether Science , Prudence , and Art may concur in Practise : but whether Musick being considered as a Discipline either habitual or systematical , be a Science , Prudence , or Art. But that it is a Science it doth thus app●ar , because it hath Subject , Principles , and Affections ; which three thin●s are required unto the complete Ration of a Science . 2. An Harmonical Song , is a concinnous multitude of Sounds , rightly composed according to the Text. The Subject of Explication in Musick is a Song , whose chief Force lieth in this , 〈◊〉 accommodated to the Text and Affections 〈◊〉 But if the same Sound may be accommodated to divers and contrary things and Affections , then the Musick is inept and irrational ; because it is contrary to the Scope and Principle of that most laudable Discipline , which will , That Melodie be applied both to Things and Affections . If therefore v. g. in any Psalm of David , three Parts do occur , viz. Lamentation , Consolation , and giving of Thanks : there , three Tones ought to be . 3. The Subject of Operation in Musick are Things sacred and liberal . By which it appeareth that the usefulnesse of it is very great . Things sacred , as the Psalms and Songs in the Bible , and of other things wholly Divine . Things liberal , as pathetical matters in things Philosophical , and which doth altogether concern the common Life of Man. For Musick doth penetrate the In●eriors of the mind , it moveth Affections , promoveth Contemplation , expelleth ●orrow , di●solveth bad Humours , exhilerateth the animal Spirits : and so is beneficial to the Life of Men in general , to the Pious for Devotion , to the Contemplative Life for Science , to the Solitary for Recreation , to the domestick and publick Life for Moderation of mind , to the Healt● 〈◊〉 the temperament of their Body , and to the 〈◊〉 for Delight ; As excellently saith that famous Musician Lippius in his Musical Synopsis . Hence it is that the Divel hateth Musick liberal , and on the contrary is delighted with filthy Musick and illiberal , which he useth as his Vehicle , by which he slideth himself into the minds of men , who take Pleasure in such Diabolical Musick . On the contrary , the holy Angels are delighted with Musick liberal , not because corporal Harmony doth affect them , but because all Harmony , especially that which is conjoyned with the Affection of a pious Will , is grateful to those chast Spirits . Hence it is , that the Heroes , holy Men , and Lovers of Virtue of all times , have magnified Musick : as appeareth by these Scriptures ; Exod. 15. Judg. 5.1 . 1 Sam. 16.23 . 2 Sam. 6 5. 2 Kings 3.15 . 1 Chron. 23.5 . Judith 16.1 , 2 , &c. Syrach 23.5 , 6 , & 39.20 . & 44.5 . Matth. 26.30 . Luke 1.46 . & 2.13 . Eph. 5.18 , 19. Col. 3.16 . Apoc. 5.9 . & 14.2 , ● . CHAP. II. Of the Principles of Cognition in Musick . PRECEPTS . THE Principles of an Harmonical Song are those things upon which it doth depend : And those are either the Principles of the Cognition or Constitution thereof . Those are complex : these incomplex . The Principles of Cognition are those by which an harmonical Song is known . And they are either internal or external . Those are taken from the Science it self , these from Philosophy , partly theoretical , and partly practical . RULES . 1. The internal or domestical Principles of Cognition are here and there spread through the whole Body of Musick . Wherefore it were not worth while to treat of them in this place . 2. The theoretical Principles which Musick doth use , or is built upon , are either remote or proximate . The remote are such as are taken from the Metaphysicks and Physicks . And indeed from the Metaphysicks , there are taken Principles of Unity , Goodnesse , Pulchritude , Perfection , Order , Opposition , Quantity , Quality , and the like . And from the Physicks , tho●e that treat of the Quantity , Quality , Motion , Place , and Time of a natural Body : Al●o of Air , an● Sound , and of its propagation , multiplication , differences , and perception : And lastly of Affections , as Love , Joy , Sorrow , and the like . The proximate principles are Axioms , Assumptions , Questions , Theorems , Problems , and Consectaries mathematical ; and those pa●tly arithmetical , partly geometrical : but chiefly a●ithmatical ; especially those which concern the Proprieties of Simple Numbers , and also their proportion ; viz. dupla , tripla , sesquialtera , and the like , of which in my Arithmeticks : But here let these Axioms be observed . 1. That Proportion of Equality is radically between one and one : And this is the Radix of all Proportion . 2. Dupla Proportion is radically between two and one , tripla between three and one , quadrupla between four and one , and so forward . Obse●ve , that radical proportio●s are in Nine Simple Numbers , from 1. to 9. because these are the Radixes of all Numbers . 3. Sesquialtera Proportion is between three and two , Sesquitertia between four and three , Superbipartiens tertias , is radically between five and three , and Supertripartiens quintas is between eight and five . And these are simple proportions , in which such an order of perfection is observed , that after a proportion of Equality , a proportion of inequality followeth : First Dupla , afterward Sesquialtera , then Sesquitertia , afterward Sesquiquarta , and Sesquiquinta , then Superbipartiens tertias , an● Supertripartiens quintas . To these succeed com●ound●d P●opo●tions , as Dupla-Sesquialtera b●tween 5 , and 2. 〈◊〉 Sesquitertia between 10 , and 3. Dupla-Superbipartiens tertias , as between 8 , and 3. and so forward . 4. Proportions are numbred by Division logistical , as the proportion which is between 3 , 2. appeareth by Division . For if 3. be divided by 2. it will produce 1. ½ . 5. Proportions are added by vulgar multiplication , as 3 / 2 : 2 / 1 : make 6 / 2 : 2 / 1 : 6. Proportions are substracted by Multiplication crucial ; as 7. Proportions are multiplied or coupled when they are written without Intermission , and the antecedent number of the latter proportion is multiplied into the Consequent of the former , or contrarily . Also when the Consequent of the former is multiplied into the Consequent of the latter . Or lastly , when the Antecedent of the former is multiplied into the antecedent of the posterior . As 2.1 , 3 , 2. Here , once three , give three : and once two , give two , and twice three , give six . 8. Proportions are radicated in greater numbers , and in numberss compounded one with another by Mediation logistical ▪ as 16-8 . First they are reduced to 8-4 . then to 4-2 . lastly to 2-1 . And thus radical Proportions by course are easily reduced to their greater Terms by logistical Duplation ; as 1-2 . to 2-4 . thence to 4-8 . then to 8-16 . and so forward . 9. Every Dupla Proportion doth consist of a Sesquialtera and Sesquitertia . 10. If a Sesquialtera be taken away from a Dupla , a Sesquitertia will only remain , and so consequently . 3. Practical Principles which Musick useth , are chiefly taken from the Ethicks , Oeconomicks , Politicks , and Poeticks . From the Ethick● are taken Principles of Virtue , and moral Beatitude ; from the Oeconomicks of Act●ons domestick ; from Politicks Principles of virtue , and civil Beatitude ; and from Poetrie Principles concerning Rhyme and Verse : which have ●uch Affinity with Musick , that by some Mus●ck is divided into Harmonical , Rhythmical , and Metrical . CHAP. III. Of the Efficient and End of an Harmonical Song . PRECEPTS . THE Principles of Constitution are those by which an harmonical Song is constituted . And they are either external or internal . The external are the Efficient and End. The Efficient Cause of a Song is either the first or second . The first Cause is GOD the Author of all Symphony . The second is partly Nature , the Mother of all Sounds : partly Art perfecting the Rudiment of Nature . The ultimate End is GOD that Archetype of Harmony . The subordinate End is Motion , and the impulse of Man to the hatred of Uice , and study of Uirtue . RULES . 1. God is the Author and Maintainer of all Harmony , Seeing Harmony is Order , and tendeth to Unity ; for God is the Author and Maintainer of all Order , and the greatest Unity . Furthe●more , God is the chief and unspeakable Joy , therefore they who rightly rejoyce come nigher unto God. Hence the Rabbins say , the Holy Ghost doth sing by reason of Joy. And Philosophers say , That the Soul of a Wise man doth alwayes rejoyce ; For joy as it is pure Harmony cannot but be excited and maintained by Musical Harmony . 2. The Exemplary Cause of Harmonical Musick ; is that Musick which is called mundane . This is discerned in the Order , Disposition , and admirable proportion which doth occur in the Celestial , and ●ubcelestial Region ; partly among the St●rs , partly among the Elements , partly among all things compounded of the Elements ; and lastly , among all tho●e things which are compa●ed one with another : of which Musick and Harmony we have spoken in our Physicks . This Harmony being such and so great , when ancient men did diligently consider it , they supposed that there was the like Proportion not only in Numbers and Lines , but also in the Voice ; especially when they did discern that Proportion in the various Sound of various Bodies . 3. Musick receiveth his greatest Perfection from the End. That Perfection doth not only depend upon matter and Form , but also upon the ●nd we have formerly shewn in our Metaphysicks and Logicks . In Musick certainly this is most manifest : for unlesse it be referred to the Glory of God , and the pious Recreation of Man it cannot but equivocally be called Musick . Hence it is apparent that those simple men who abuse Vocal and Instrumental Musick to nourish the pleasures of this World , whilst they si●g Songs highly obscene , are nothing lesse then Musicians . For although the Form of a Song occur there , yet the End which perfecteth the Instrument , is not there discerned : The●efore in such Musick there is the first perfection but not the ultimate ; which necess●rily is ●equired in an Instrument , because the Virtue ther●of is placed in the use . CHAP. IV. Of the quantity of a Musical Song . PRECEPTS . THE internal Principles of an harmonical Song are Matter and Form. Matter comprehendeth the integral parts of which an Harmonical Song is made . Of the parts thereof , the one is Simple , and the other is compounded . The simple part is called Sound : also a Musical Monad . in Greek Tonos . A Musical Sound is considered in respect of his Quantity and Signs . The Doctrine of that is called theoretical Musick , and of this Signatory . Quantity is threefold , Longitude , Latitude , and Crassitude . The Longitude of a Musical Sound , is that which is discerned in the motion and duration thereof : and measured by a Musical Touch or Tact. The Latitude of a Musical Sound is that which is discerned in the tenuous and asperous spirit . The Crassitude of a Musical Sound is that which is discerned in the Profundity and Altitude thereof . By reason of this Crassitude a Musical Sound is equal or unequal . The equal Sound is the Simple Unison . The unequal Sound doth bring forth a Distance or an Interval of a sonorous Crassitude : which is called a Musical Interval . A Musical Interval is seen in Proportion and Intention . By reason of Proportion , an Interval is simple or compounded : that is called radical , this radicated . A Simple Interval is either Just , or not Just. A Just Interval is that which is neither defective nor redundant : as an Octave Fifth , &c. An Interval not Just is that which is defective or redundant : as a Semioctave , &c. A compounded Interval is that which doth consist of simple Intervals : as a double Octave , a triple Octave , a quadruple Octave , and so ad infinitum . By reason of Intention it is a Scale , called Musical ; and it is the various disposition of acute and grave Sounds . RULES . 1. Every Sound is Quantus . For in every Body that hath Quantity , there is an audible Quality . That Quantity is numbred by Division , and not barely considered , as it is a magnitude . So that the most accurate Lippius might rightly say , every Sound is continual or discrete , or explainable by number . But a Sound is Quantus , by complete Quantity . i. e. So that it have a trine Dimension , and therefore Longitude , Latitude , and Crassitude . 2. Every Sound is long numerably . For seeing every Sound doth continue so long , or not so long , this temporal duration thereof may be numbred . And it is numbred by a Musical Touch , which , according to the motion of the Heart , in this Science ought to be observed . This Touch doth consist of Depression and Elevation , according to a certain Proportion , but especially a Dupla : And it is either more simple , more natural , and more ●ommon , which is finished in two equal parts , and may be called Spondaic , as 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 : or lesse simple , and more unusual , which doth consist of unequal parts , th● one greater , and the other lesser , and may be call●d Tr●chaic . as 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 3. Every Sound is numerably broad . For every Sound besides the length thereof , is also tenuous or gentle , flat , submi●s , small ; or sharp , ha●sh , clear , full , as consisting of a tenuous and a●perous Spirit . 4. Every Sound is numerably thick . Besides the length and breadth , every Sound is al●o thick ; and so it is either deep or high . That , is called grave , and this , acute . And we measure this magnitude of a Sound by Proportions of numbers , especially ra●ical , as they are applied to the Monochord . 5. The Simple Vnison is the Principal and Radix of all Musical Intervals . As in numbers there is one proportion of Equality , and another of Inequality : So also in Sounds , one is equal , and another is unequal . And again as in numbers , the Proportion of ●quality is the Radix of all the rest : So in Sounds , the Simple Unison is the principal and Radix o● all Musical Intervals . For the Simple Uni●on doth consist of a proportion of Equality , which is radical●y between 1. and 1. as may be seen in a Mon●ch●rd . Therefore a Simple Unison is not a musical I●terval , but the original thereof . 6. Vnequal Sounds do make a Musical Intervall . Unequal Sounds do make a Diastem or Distance , which is called a Musical Intervall , in which the grave Sound is profound and greater : and the acute , high and lesser . Of this Intervall these Theorems are noted . 1. He that knoweth a simple Intervall , may easily know a compounded Intervall . That , as they say , is radical : this , radicated . 2. There are seventeen simple Intervals or Diastems in this order . The first , an Octave , to wit , a voice , in Greek a Diapason , which is of a Dupla Proportion , between 2. and 1. where one Sound as the greater and graver , doth contain another , as the lesser and acuter , twice in it self ; Therefore is the Unison composed from Letter to Letter , v. g. from G. to g. &c. The second , a Fifth , or Diapente , which is of a Sesquialtera Proportion ; between 3. and 2. The third , a Fourth , or Diatessaron , which is of a Sesquitertian Proportion between 4. and 3. The fourth , a greater Third or Ditone , which is of Sesquiquarta Proportion , between 5. and 4. The fifth , a Third minor , or Hemiditone , which is of Sesquiquinta Proportion , betwe●n 6 a●d 5. The sixth , a ma●or●or ●or greater Sixth ] or fourth with the greater thi●d , which is of a Superbipartiens tertias Proportion , as between 5. and 3 7. A Sexta minor or fourth with the lesser Third , which is of a Supertripartiens quintas Proportion , between 8. and 5. The eigth , is the major Second , or whole Tone , which is of a Sesquioctave Proportion , between 9. and 8. The ninth , is the minor Second , or minor Tone , of a Sesquinona Proportion , between 10. and 9. The tenth , is the major Semitone , of the Proportion of 16. and 15. The eleventh , is the minor Semitone , of a Sesquivicefima quarta Proportion , between 25. and 24. The twelfth , the Diesis minor , of a supertripartiens centesimas vigesimas quintas Proportion between 128. and 125. The thirteenth , a Comma which is the difference between the Semitone majus , and minus , of a Sesqui●ctogesima Proportion , between 81. and 80. The fourteenth , a Schisma which is the half of a Comma , or half of the Difference between the Semitone majus and minus . The fifteenth , is the fifth with a tertia major , or greater Seventh , which is of a Superseptipartiens octavas Proportion , as between 15. and 8. The sixteenth , is the lesser Seventh , or quinta cum tertia minore , which is a Superquadripartiens quintas Proportion , between 9. and 5. The seventeenth , are Intervalls not just , which are either deficient or redundant , chiefly by the lesser Semitone , or Comma , or both together : as the Semioctave deficient and abounding Fifth : the minute and superfluous fourth which is named a Tritone , and such like . 3. Intervalls compounded of simple Diastems may be infinite . But it is proper to Musick to bound that Infinity of gross Sounds . ( which is such only potentially . ) Notwithstanding let us take notice of certain compounded Intervalls . First , such as are once compounded , as a Disdiapason , double Octave , or Fifteenth , which is of a quadrupla Proportion , between 4. and 1. Also a Diapason with a Diapente , an Octave , with a Fifth , or Twelfth , of a triple Proportion , between 3. and 1. Also a Diapason with a Diatessaron , an Octave with a Fourth , or Eleventh , of a dupla superbipartiens tertias Proportion , between 8. and 3. Al●o others are twice compounded , as a Trisdiapason , Triple Octave , or two and twentieth of an Octupla Proportion , between 8. and 1. &c. Thirdly , others are thrice compounded , as a Tetradiapason , quadrupla Octave , or nine and twentieth of a sedecupla Proportion , between 16. and 1. Others are four times compounded , and so ad infinitum . 4. An Octave is the most simple , perfect , and prime musical Intervall . 5. An Octave divided be gets all other simple Diastems . Therefore from the Division of the 0ctave , the Harmonies of every Genus do flow . For every Octave being divided two wayes , begetteth two Moods of it self . 6. An Octave is first divided into a fifth and fourth , of which it doth consist : and that either by harmonical or arithmetical Division . That is called the harmonical Medium of an Octave , when the fifth is beneath the fourth : and that the arithmetical , when the fourth is beneath the fifth . Let this be the Example of Harmonical Division . But I suppose the Author meaneth thus : Division Arithmetical is thus : Therfore in the harmonical Division of an Octave the fifth remaining immoveable , the fourth is placed above the fifth : in the arithmetical Division , the fifth remaining immoveable , the fourth is put beneath the fifth . 7. If a Fifth be taken from an Eighth , there remaineth a Fourth , and so on the contrary . 8. A Fifth is divided into a Ditone , and Semiditone . 9. A Ditone is compounded of the greater and lesser Tone 10. The Tonus major is disp●sed into the Semitone majus and minus . 11. The D●tone is more then the Semiditone by the Semitone minus . 12. A Fourth exceedeth a Ditone by the major Semitone . 13. A Fifth is more then a fourth by the greater Tone . 14. The lesser Tone is excceded by the greater by a Comma . 15. The greater Semitone exceedeth the lesser by 〈…〉 . 16. A Sixth is made of a Fourth and a Th●rd , the greater of the greater , and lesser of the lesser , or the greater of a fifth and lesser Tone , and the lesser of the Semitone major . 17. The seventh major , is made of a Fifth and greater Third , the minor , of the minor . 18. The greater Tone doth contain almost ten Comma's , the lesser almost nine ; the greater Semitone almost five , and the lesser a most four . 19. A fifth doth contain two greater T●nes , one lesser , and the Semitone majus : A fourth one greater and lesser Tone , and the Semitone majus . Therefore an Octave hath in it self six Tones three major , and three minor , with the lesser D●esis : to wit , five Tones , three greater , and two lesser , with two major Semitones , and so it doth comprehend more then fifty Comma's . 20. Compounded Intervalls do imitate the nature of their simple . A Disdiapason ariseth from two Octaves , an Octave with a Fifth comprehendeth eight Tones , five major , three minor , and three greater Semitones . A Trisdiapason is divided into three Octaves , and so of the rest . These Propositions are demonstrated by propositions arithmetical of proportions added , substracted , coupled , &c. v. gr . An Octave is of a dupla proportion , a Fifth of a Sesquialtera , a Fourth of a Sesquitertia . Therefore an Octave doth consist of a Fifth and a Fourth . This whole matter is demonstrated in a Monochord : How these things may be vulgarly propounded , you may see hereafter in the last Chapter and last Rule . 7. The Scale of Musick is explained in these Theorems . 1. The Series of Intension and Remission : or of Ascension from a grave Sound into an Acute , and of the Descension from an acute into a grave , is called the Scale of Musick . 2. The Scale of Musick doth vary both according to ancient and modern Musicians . For the Scale of the most ancient Musicians , was only of one Diapason for radical Simplicity . The Scale of the Pythagorians was of a Disdiapason , for the keeping of Mediocrity . And now it is of a Tris , and Tetra-Diapason , for the grateful variety of vocal and Instrumental Musick . The Scale also is either Simple : and that either old as the enharmonic , chromatic , and diatonic ; or new as the Syntonic : or mixed , which is compounded of simple [ Intervalls ] Of these the enharmonic and chromatic , in respect of their Difficulty and imperfection are not used in Solitary Musick . 3. The Syntonian Scale is of all others the most harmonical , to which the Diaton Scale may aptly be mixed : as it may be seen in a Clavichord , and wind Instrument , i. e. an Organ ; where the white Keyes do proceed in the Syntonian Scale ; which is somewhat moderated by the Diaton . The Syntonian Scale proceedeth by the great Tone , the lesser Tone , and the greater Semitone which ariseth from the minor Tone : the diatonic or diaton proceedeth by two Tones and a Semitone . To these the enharmonic Scale is added , proceeding by two Dieses , the greater and lesser , and an immediate Ditone in his Tetrachords . Also the chromatic proceedeth by two Semitones , the greater and the lesser , and an immediate Semiditone . So the black Keyes proceed with the white in the chromatic : from whence they are called fict in the Syntonian . Hence also ariseth the Scale irregular or flat , which differeth not from the regular or dural , but by accidental Transposition , or by the fourth above , or by the fifth beneath . And this is the Disposition of the old diatonic Scale . 1. The greater Tone . 9.8 . 2. The greater Tone . 9.8 . 3. The lesser Semitone from the greater Tone 256.243 4. The greater Tone . 9.8 . 5. The greater Tone . 9.8 . 6. The greater Tone . 9.8 . 7. The lesser Semitone . 256.243 . 8. The greater Tone . 9.8 . and so on through the Octaves below and above . But the Disposition of the new and perfect Syntonian Scale is as followeth ; 1. The greater Tone . 9.8 . 2. The lesser Tone . 10.9 . 3. The greater Semitone . 16.15 . 4. The greater Tone . 9.8 . 5. The lesser Tone . 10.9 . 6. The greater Tone . 9.8 . 7. The greater Semitone . 16.15 . 8. The greater Tone . 9.8 . And so on through the Octaves above and below . Compare these things with the antecedent Rule , and following Chapters . CHAP. V. Of the Signs of a Musical Sound . PRECEPTS . THE Signs of a Musical Sound do follow . And those are of a Sound either broad , long , or thick . The signes of a long Sound do note the duration thereof : and they are either principal or lesse principal . The principal Signes are a Note and a Pause . A Note is a signe of a present and positive sound : and containeth Touch , and that either whole or not whole . It containeth the whole Touch either eight times as a Large , or four times as a Long , or twice as a Breve , or once as a Semibreve . The rest do contain not the whole , but part of a Touch , and that either the half part as a Minim , or the fourth part as a Crotchet , or the eigth part as a Quaver , or the sixteenth part as a Semiquaver . A Pause is the Index of a privitive or absent Sound , that is of silence : and it answereth either to a Large , or Long , or Breve , &c. Signes lesse principal are a semicircle with a Center , Custos , or the like . Signes of a broad sound , are a prick of Augmentation , breathing , and Syncope : of which , Syncope , is a certain loosing of the Touch ; Notes , or Pauses ; breathing answereth a Semi Minim . The Signes of a Crasse Sound are parallel Lines , whereof the place and name do occur . The place is a Musical System , and that greater or lesser . The greater System for the most part doth consist of ten Lines : and serveth for the Composing of a Song , called otherwise a conjoyned System . The lesser System doth consist of five Lines , and serveth chiefly to a Song pricked out . This is otherwise called a simple System . The Name is aswell a Letter as a Uoice , or as others will , a Musical Syllable . A Letter is as a Key by which the Song is opened , therefore called Clavis . Such letters are seven . A. B. C. D. E. F. G. The musical Uoices or Syllables are six , ut , re , mi , fa , sol , la. These are found in a Musical Scale either continued or discontinued . There , there is no need of Mutation : but here otherwise . RULES . 1. The most certain and ready Signs of Sounds are Cyphers of Numbers . Because a Sound can neither by any Man be written in Paper , nor kept in his Mind , neither only nor alwayes ; therefore it standeth in need of certain Signs , by which the Quantity and Quality thereof may be represented . For because in the Numbers and Proportions of these , all the Dimensions of Sound have their assigned Essence ; the most sure and ready Signs are Cyphers of Numbers placed according to their Longitude , Latitude , and Profundity . For according to Longitude . 1.2.3.4.8 . ½ 1 / 3 ¼ may note the stay of one Touch , two , three , or four , &c. According to Latitude in like manner ; and according to Crassitude the g●eater Numbers may signifie the grave Sound ; and the lesser Numbers , the acute Sound . But it behoveth here to retain vulgar Signs , because they are most used . 2. The Doctrine of Notes is contained in these Rules . 1. Notes are either simple or compounded . And those are either whole or broken . These are called bound . Simple Notes are placed without any joyning of either : Compounded , contrarily . Whole Notes are measured by whole Times ; broken Notes , by parts of Time. Whole Sounds consist either of one Time , as a Semibreve : or of more , and those either of two , as a Breve : four , as a Long : or eight , as a Large . The broken Notes do contain either the second part of a Time , as a Minim : or the fourth , as a Crotchet : or the eighth , as a Quaver : or the Sixteenth , as a Semiquaver . According to the following Scheme . Names . Figure . Value . Large . 𝆶 Excessus . 8. Long. 𝆷 Excessus . 4. Breve . 𝆸 Excessus . 2. Semibreve . 𝆹 Medium . 1. Minim . 톹텥 톹텥 Defectus . ½ Crotchet . 톺텥 톺텥 Defectus . ¼ Quaver . 톼텮 톼텮 Defectus . ⅛ Semiquaver . 톼텯 톼텯 Defectus . 1 / 16 Although more Notes of Longitude may be given , as well greater or lesser , potentially infinite : yet the●e notwithstanding do suffice , which were invented by Musicians of former Ages . 2. Notes are varied according to the Augmentation or Diminution of their value , or according to both together . Either all or some are augmented by the half part ; and truely , all are augmented either by the Opposition of a Semicircle . 𝇋 . 𝇍 . and a Prick , of which this is the Rule : A Prick put after Notes doth add the half part of the time above their proper value , as 12. 6. 3. 3 / 2 ¾ 𝆶 . 𝆷 . 𝆸 . 𝆹 . 톹텥 . Thus a Prick after a 𝆸 . is a Monotone , or 𝆹 . after a Semibreve is a Minim , or 톹텥 . Some Notes are only augmented by prefixing a Circle 𝇈 . as a Large , Long , Breve . Notes are diminished by a Trochaic Touch in a certain proportion , either Tripla or Sesquialtera . Where the Signs are either Number or Colour : as 3 / 1 is tripla , 3 / 2 is sesquialtera . Notes are partly augmented and partly diminished , chiefly by the ligation and obliquation of a Breve , which is done for the extending of one Syllable . And a Long also with a Breve is counted for a Semibreve ; and also in like manner a Breve with a Breve . But this kind of ligation and obliquation is now wholly omitted , as not necessary in the least . 3. Pauses measuring Silence do answer to those musical Notes whereof they are Privations . For a Pause ( which is noted by a little Line ) doth answer either to a Large , or Long , or Breve , or other Note : as in the Type . 8. 4. 2. 1. ½ ¼ A double Breathing doth answer to a Quaver : a Triple to a Semiquaver . Hitherto do pertain the Neuma , Custos , and the like . As Neuma . Custos . 4. Signs of a broad Sound are by Artists expressed less carefully . The Sign of a broad Sound ought to shew the Latitude of it according to the asperous , harsh , clear , full , soft , flat , and small Spirit thereof , as the nature of the Text requireth . But Musicians do less weigh the Latitude of a Sound , and do leave it to the Text , and to the things themselves that are to be sung , and are content with few Signs , chiefly using breathing and Syncopation . Breathing doth answer to the Crotchet : Syncope or Syncopation is a certain Luxation , that is , a fraction , and Contraction of Touch , Notes , and Pauses . e. gr . 5. The Sign of a Crass Sound is a crossed Line , as they call it . The Sign signifying Crassitude of gravity and acutenesse measurable by proportionable Numbers , is a perpendicular Line , which a right line doth cut ; thus , + . The●e Lines are called Seats of crass Sounds or Musical Intervalls . Also a Musical System which is twofold , the greater and the lesser . In both there are perpendicular and parallel Lines ; indeed in the greater there are 〈◊〉 ten parallel Lines , in the lesser alwayes five . The greater serveth for the composing of a Song ; where the perpendicular Lines are cut by the distance of one or two Touches : But the lesser doth serve for Melody , which is to be extracted and noted . Let this be the Type of the greater System . Let this be the Type of the lesser System . Both these Systems are put in a Chart , or Melopoetick Abacus , or Compositary as they call it . The first is convenient to a young Beginner : the latter , for a longer Practitioner : but others would rather draw more simple Systems in an Abacus ; Thus , 6. Of Letters and Voices Musical , as they call them , these are the Theorems . 1. The radical Letters are seven , in this order , a. b. c. d. e. f. g. which do moderate Sounds in the Diato●ic Scale of a Diapason . These are usually called Keyes , because that by them a ●ong is , as it were , opened . They were invented by Guido Aretine ; at this time they are insufficient . 2. Letters or Keyes are either capital , minute , or geminate . Capital are they which are written with Capital , that is with great Letters . Thus Γ. A. B. C. D. E. F. G. of which Γ. A. B. C. are called grave , because they emit a grave Sound in respect of the rest : the rest , as D. E. F. G. are called finals , because every Song regularly doth end in these Keyes . We have only Γ from the School of the Greeks . The minute Keys are in number seven , so called because they are written with little Letters . Of these a. b. c. d. are called asfinal , because in these Keyes the transposed Song doth end : oth●rwise call●d acute , because they do emit a more acute Sound . The other are called Superacute because they are put above the acute , as e.f.g. The geminate Keyes are commonly five in n●mber . aa bb . cc. dd . ee . So called because they are written with double Letters . Otherwise called excelling ; because in their Sound they transcend all others . But because the number of Keys is not sufficient ; therefore latter Musicians under the great Latin Letters have put seven German Letters : and the double Letters they do fully recite , and more-over they add unto them triplicated Letters . Thus 1. A B C D E F G. 2. A B C D E F G. 3. a b c d e f g. 4. aa bb cc dd ee ff gg . 5. aaa bbb ccc ddd eee fff ggg . 3. Keyes are signed , or understood , or not signed . The signed Keyes are three which are distant one from another by a Fifth , and they are g. c. f. thus These in the conjoyned System are thus put , and are distant from one another by a Diapente . In a simple System they are variously placed by reason of the Profundity and Altitude of a Song ; As , But Keyes not signed are known by the signed . 4. Out of these seven Keyes there is a double b. viz. flat and sharp . These two Letters in the signing are distant by the lesser half Note . So that the regular or dural Scale beginneth in C. and the irregular or flat Scale in F. b dural is thus marked ♯ and is called b. quadrate . 5. Besides b. molle , as they call it , there is need of Cancells ♯ . and cis , dis , fis , gis : which are called fict Letters by instrumental Musicians . But David Mostar● so accommodateth the Musical Keyes to ●even n●w Vo●ces . Four Keyes in the whole are here to be held . The first is C. in which he will alwayes have bo sung . The second is G. five Tones below and four above G , he alwayes singeth bo . The third is F. and four above , and five Tones below F. bo . is alwayes sung . Also five Notes above B. molle , and four under B. molle , bo . is alwayes to be sung . 6. Musical Voices are one way rehearsed by the Ancients , and another way by later Musicians . The ancient Musicians did constitute these six ut , re , mi , fa , sol , la. To these six Voices some do add the seventh Si , lest there should be need of some Mutation . Concerning this thing Erycius Puteanus in his Musathena doth so for the most part play the Philosopher . Guido Aretine ( lived under Henry the third Emperour ) for his Skill in Musick among the prime of his Age , and delighted with the perfection of the Senary Number , introduced these six Syllabic Notes , ut , re , mi , fa , sol , la. which he borrowed and translated out of the Hymne . Ut queant laxis Resonare fibris , MIra gestorum FAmuli tuorum , SOLve pollutum LAbij reatum . Sancte Johannes . These six Notes so invented , do shew their use every where among Musicians , but very slow and difficult . For what impediment is there of Mutations , confusion of Keyes , substitution of Voices ? You may see most ( whether with Indignation or no ) to have spent a good part of their Age upon this Art , and yet to have profited very little , though perfect many years before in the Lection thereof . But the D●fficulty doth hinder , and make it a remora to most . Which some do thus take away by joyning si . to the●e six received Not●s . For which Note you may put Bi. out of the ●aid Hymne . Solve polluti la BI . i. reatum . This therefore shall be the order of Notes , ut , re , mi , fa , sol , la ▪ bi , for th●s Heptade these following Rea●ons are brought . 1. Whereas Notes are the Index's of Vo●ces , and as certain Signs , it is of necessity that there should be as many Notes as Voices . But there are seven distinct voices stablished in that half verse septem discrimina vocum . Therefore there are seven Notes . For by voices are understood those sev●n Sounds , which are distinguished by certain Intervalls . Those Intervalls or Diastems are called Tones . Therefore a Sound , and Tone or Intervall do differ . A Sound is the Voice it self , which being formed by the Mouth , is brought by the Air to the Ears . A Tone is a Space circumscribed by two Sounds : or , the distance of a grave and acute Sound : So that Tones are tho●e Intervals , which are placed between the first and secon●●ound , the second and third , the third and fourth , the fourth and fifth , the fifth and sixth , the sixth and seventh . But this Hep●ade of Voices , Ptolomy in his eleventh Book concern●ng Musick doth confirm ; saying , that by nature Voices can be made neither more nor fewer then seven . 2. The Aegyptians and Grecians have approved the seven Voyces by the number of seven Vowells . For the Egyptians as Demetrius Phalereus doth testifie , did commend their Gods by the modulated enunciation of seven vowels . And Plutarch doth accommodate the Greeks seven Vowels to so many Voices of Musick . 3. The Lyre , Cithren , and certain other musical Instruments which are strung with strings , were anciently of seven strings , without doubt , by reason of the seven Voices . The Chords of the Lyre were of old in this order , and by these Names , Hypate , Parhypate , Hypermese , Mese , Paramese , Paranete , Ne●e . The first is called Hypate , not only for the acutenesse of the Voice , but for a certain excellency and virtue . For Hypatos as it were Hypertatos , doth signifie a degree of Eminency and Dignity . Nete , as Neate , that is , the last or ultimate . Neither have the Chords been only by these Names , but also the Sounds themselves , nigh this manner . Hypate hath to himself Bi. and soundeth acutely : Parhypate , la , and doth lullaby : Hypermese , sol , and doth sound sweetly : Mese , fa , and doth sound temperately : Paramese , mi , and doth delight pleasantly : Paranete , re , and doth grate tremulously : Nete , ut , and doth , as it were low hoarfly . Furthermore the Ancients did attribute the seven Planets to so many Chords of the Lyre , in this Order . To Saturn , Hypate : to Jupiter , Parhypate : to Mars , Hypermese : to Sol , Mese : to Venus , Paramese : to Mercury , Paranete : and to Luna , Nete . In which Comparation the acutenesse and gravity of the Chords and Planets do respond exactly . Although others invert the order , and attribute to Saturn Nete , and to Luna Hypate . Which Comparation although it may consist : Yet notwithstanding the first is more allowed : because Saturn doth proceed in a mundane motion most quickly , Luna most slowly . Look Cicero in his Dream . From the Chords to the Notes we transfer this Comparation , and ascribe to Luna , vt ; to Mercury , re ; to Venus , mi ; to sol , fa ; to Jupiter , la ; to Saturn , bi . For surely as the Planet's do run round the Week , or the Septenary Circle of dayes in their Term or gliding Course , and each of them by a certain diurnal vicissitude of Government do's obtain the primacy : So these seven Notes do complete the universal harmonical Lection , divided by Musicians into seven Types . These Types are certain and appointed Progressions of Notes , distinguished by iudicial Letters . 4. These seven Voices do render all Musick very facile , aswell in the Theory as in the Practise , thus . All Musick is accomplished by Voices . The Voices being known , Notes are adhibited : To the Notes Characters of Letters ; as appeareth by this Diagram . In a Flat Song . Between A and B also mi and fa Hemiton● B C fa sol Tone C D sol la Tone D E la bi Tone E F bi vt Hemitone F G vt re Tone In a sharp Song . Between A and B also la and bi Tone B C bi vt Hemitone C D vt re Tone D E re mi Tone E F mi fa Hemitone F G fa sol Tone Therefore in a Flat Song , A hath mi conjoyned with it , B fa , C sol , D la , E bi , F vt , G re . In a sharp Song , A hath la ascribed to it , B bi , C vt , D re , E mi , F fa , G sol . Which difference the variated Disposition of the Hemitones hath begotten . Moreover of these Letters only four are expressed , B , C , F , G. Nor yet those together or conjoynedly , but one or two in the beginning of Lines . The other Letters not noted , you may know by these four . If you ascend from the Index Letter , number the first seven according to the Order of the Alphabet , but if you go further , then iterate the same : but if you descend , proceed by a retrograde Order , from the Line to the Intervall , and from the Intervall to the Line . Then you may rightly find out the Letters ; by the Letters , the Notes ; by the Notes , the Voices ; which is the Summe of Musick . Therefore see that you be most exactly skilled in the ascending and descending Order of the Notes : and that the Tones and Semitones being observed , you may rise and fall with your Voice . After that , a Song being proposed , you may pass from the Sign and Letter noted , to the Note answering it : from hence , omitting the ●etters , to the other Notes . And this tr●el● is easie in a flat Song , when B. is marked in the begining of the Lines , there it sheweth that ●a is ●o be sung . But in a sharp Song the difference is of these three Letters , C. F. G. of which by that you may know Sol , by that fa , lastly b● this Sol Ther●fore every where con●ult the Signed Letter , find out the Note , and call it by its proper Vo●ce , and so proceed from thence by ascending and d●scen●ing : but if in Singing a Note do occur , which hath a peculiar Letter prefixed , the Tone is to be changed , and the Note of the Letter sung . Therefore if you have rightly accommodated the seven Notes , you may mixe any Concent , or read any Melody that you would , whether it be the simple Aeolian , or the various Asian , or the querulous Lydian , or the religious Phrygian , or Warlike Dorian . But you will say that Songs are not concluded in those Seven Voices , but rise higher . The Answer is ready ; As in numbers when we rise from the Monade to the Denary , the first is the chief of numbers , and by iterating and compounding them we proceed in infinitum . So in these Voices after every seventh Sound , it returneth to the first , but more subtile ; and after every seventh Note the first : and so also afterward the second of Notes doth agree with the ninth ; the third , with the tenth ; the fourth , with the eleventh ; the fifth , with the twelfth ; the sixth , with the thirteenth ; the seventh ▪ with the fourteenth , &c. Of Sounds there is the same Judgement . From a Musical Instrument , which by way of Eminency is so called , you may take the Experience of your Ears . But in these Notes observe a double order of Intension and Rem●ssion . Intension ( by the Greeks Epitasis ) is the commotion of the Voice , from the graver place to an acute : Remission ( by the Greeks Anesis ) from an acuter to a grave . But it is worth the pains , that here some Director or Ruler of the Voice ( as Tertullian speaks ) go before and lead . Hitherto Puteanus , with whom worketh David Mostart in his Introduction of Musick , as indeed he proveth the Septenary of Voices . But he doth substitute other Voices in this manner , bo , ce , di , ga , lo , ma , ni . But so that in C of a sharp Song bo is sung . Also in F. of a flat , bo . e. gr . But let Mostart himself be heard . Who saith thus , It is worth our labour seriously to invent such Musical Voices as exhibite unto us a perfect Octave , so that it be the Consequence of eight Tones or Notes : by which Connexion and Series the perfection of any Melody may be performed , without any Mutation : which indeed is the torture of tender wits . And the Series is this , bo , ce , di , ga , lo , ma , ni . bo Which Abridgement if it should be admitted , those old vulgar Keyes should be abolished , the Letters of those seven Syllables being only retained in every Song , viz. b. c. d. g. l. m. n. For Example sake . Therefore Mostart rejecteth the six Voices of the Ancients ; becau●e they complete not an Octave , and for that Cause require Mutation , which is the torture of the Ingenious : and also the seven Voices of latter Musicians , because they do not respond to the seven Letters or Keyes . But because those Voices of the Ancients be much used in Schools , therefore let us see their use . For 1. Some of those Voices are superiour , by which a Song descendeth , viz. la , sol , fa , and others are inferiour , by which it ascendeth , as ut , re , mi. 2. All those Voices are equally distant one from another by a Tone , besides mi and fa which are distant by a Semitone . 3. Of these Voices , vt and fa sound flatly ; mi and la sharply ; the rest , meanly . But concerning this thing others speaks thus , vt and sol denote Sweetnesse , re and la gravity , mi Lamentation , fa threatnings . Lastly , others consider these Voices thus . Vt and fa are flat Voices by b moll , because they emit a flat and effeminate Sound : re and la natural , because they afford a natural and middle Sound : mi and la b durales , because they make a sharp and manlike Sound . According to these Verses ; Vt cum fa mollis vox est ; quia Cantica mollit : Mi cum la dura est , Nam duras efficit odas . Sol naturalis ( quoniam neutras facit ) & re . 4. Certain Voices do answer all Keyes . Thus A la mi re B fa mi   C sol fa vt D la sol re E la mi   F fa vt   G sol re vt 5. These Voices are circumscribed in certain parallel Lines , so that in a Song we may ascend and descend ; and that in a progression either continued , or discontinued . Continued Progression is that which observeth the natural Order of Voices , and is called a natural Song ; As , Discontinued Progression is the Mutation of a Voice , which is considered either in the minor or greater System . Mutation in the lesser System , is made for the Paucity of Voices : and it is either Vocal or mental . That is called explicite , this implicite . And both is diverse in a flat Song , and in a sharp . In a flat Song Mutation is made in d. a. g. whose memorial Note is dag . In a sha●p Song Mutation is made in d. a. e. Whose Voice of remembrance is dea . In the greater System Mutation is made according to the triple Scale . The first is b dural Scale ; which is the Progression of Musical Voices , rising from a. into b. sharply , that is , by the Voice mi. The second is b moll ; which is the progression of Musical Voices , rising from a. into b moll , that is the Voice fa. The third is the fict Scale , which in every Key admitteth a strange Voice . And hence it is called fict Musick : because modulated by feigned Voices . i. e. by such as are sung in any Key , in which essentially they are not contained . As vt in e. re . in f. and so on . This is the Type of the Triple Scale . 5. Tetrachord ee b             la dd             la sol cc             sol fa bb             fa mi 4. Tetrachord of excellents . aa b         la mi re g           sol re vt f           fa vt   e b       la mi     3. Tetrachord of Superiors . d       la sol re     c       sol fa vt     b b     fa mi       a     la mi re       2. Tetrachord of Finals . G     sol re vt       F     fa vt         E b la mi           D   sol re           1. Tetrachord of grave Sounds . C   fa vt           B b mi             A b re             Γ   vt             In this Table musical Sounds are so contained , that first there is the Simple Vnison . 2. The Tonus minor . 3. The Tonus major . 4. The greater Semitone . 5. The Semiditone . 6. The Ditone . 7. The Fourth . 8. The Fifth . 9. The lesser Sixth . 10. The greater Sixth . 11. The lesser Seventh . 12. The greater Seventh . 13. The Octave . And this is the Cyclus or Compass of the Diapason . Concerning the Proportions of all these Sounds , look into the former Chap. thus v. gr . To the Octave ascribe 1.2 . to the Septima 8.15 . and so of others : So that the lesser number be applied to the upper Note in the Scale . The significates of the Letters . B. L. b.l.bb. are a little before called bo . ce.di.ga.lo.ma.ni . CHAP. VI. Of the Musical DYAS . PRECEPTS . HItherto of the simple part of an harmonical Song : the compounded part thereof followeth ; whose tractation is called practical or Melopoetical Musick , if the form of the Song be added . The compounded part of an harmonical Song , is that which ariseth from musical sounds or Monads conjoyned according to three Dimensions . And it is either primary or secondary . The primary is called harmony and consonancy , which doth arise from grave and acute sounds united by such a proportion , that it may delight the hearing . The secondary is dissonancy or Anarmosty , which ariseth from such a proportion of grave and acute Sounds , that it offendeth the hearing . And this double part is either a musical Dyas , or Tryas , of which the one is perfect , and the other imperfect . A musical Dyas , is that which ariseth from two sounds : consonant and harmonical from Consonants , and dissonant from Dissonants . And it is more simple , or more compounded . That is called radical , this radicated . The simple Consonant Dyads , are seven , viz. An Octave , Fifth , Fourth , Ditone , Semiditone , greater Sixth , and lesser Sixth : the dissonant Dyads are the other simple Intervalls , as the Tone major and minor , the Semitone greater and lesser , the Seventh greater and lesser ; and lastly , all sim●le Intervalls not Just , as the Semioctave , Semififth , &c. The Dyas more compounded is that which ariseth from the simple Dyas : and that again is either consonant or dissonant : and both compounded either once , twice , thrice , or so forward . In Dyads once compounded the double Octave , also the Octave with a Fifth , the Octave with a Fourth , and Octave with a Ditone do consonate : but the Octave with both tones , with a Semitone , and with an Intervall not just doth dissonate . In Dyads twice compounded the triple Octave , and double Octave , with a Fifth do consonate : but the double Octave with both tones , with the Semitone , and so forwards ; doth dissonate . RULES . 1. There are two Arbiters of congruous and incongruous Proportions . The first is superior , which doth judge of Proportions à priori , to wit , Logos : the other is inferior , which doth exactly judge of Sounds à posteriori , to wit , the Hearing . And there is a necessity that both these Judges should concur , as Ptolomy doth rightly teach : but falsly Pythagoras , who doth think that nothing here is to be attributed to the hearing ; and falsly Aristoxenus , that supposeth nothing here is to be attributed to Ration . But the nature of Proportions is demonstrated by the Monochord : for that in it all Musical Diastems are contained . 2. The Simple Vnison is the Radix of all Consonancy and Dissonancy . Vulgarly they imagine that the Unison doth both consonate and dissonate . But they erre ; for the Unison doth equisonate only , because it hath the proportion of Equality , and is the principal of every Interval . e. gr . Rightly therefore the simple Vnison is made the Radix of Consonancy and Dissonancy . 3. The Simple Consonant Dyads are in number Seven , and may be called Simple Concordancies . Vulgarly they thus rehear●e the Simple Concordancies . There are twelve Concordancies , the 1.3.5.6.8.10.12.13.15.17.19.20 . And these are divided two waves . First , there are Simple , replicated or triplicated . The Simple Concordances are the 1.3.5.6 . which are also called primary . The Replicated are such as are equisonant to the former , conceived by a double Dimension , as the 8.10.12.13 . Otherwise called Secondary . For in Sound the Octave doth associate with the Vnison , the tenth with the third , the twelfth with the fifth , and the thirteenth with the sixth . The triplicated Consonants are the 15.17.19.20 . otherwi●e called tertiaries . Of these the 15. is coequated in Sound with the Octave and the first : the seventeenth with the tenth and third , and the nineteenth with the twelfth and fifth , and the twentieth doth equisonate with the thirteenth and sixth , According to this Type . 1. 3. 5. 6. 8. 10. 12. 13. 15. 17. 19. 20. Lastly , There are Concordances perfect , or imperfect . The Perfect are those which can stand by themselves , that is , begin and terminate a Song : as the 1.5.8 . The imperfect are those which may concur in Counterpoint , as the 3.6.10 . The Discordances are nine , viz. the 2.4.7.9.11.14.16.18.21 . Others also do number the perfect Concordances thus , the 1.3.5.8 . because they respond to the Pythogorical Quaternary . But it behoveth them to play the Philosophers of Concordances more acurately . There are seven Concordances or simple Consonances . Of which the Octave is the first , which is of a dupla proportion between 2. and 1. In his Terms the most simple Conveniency is diverse , as is between the whole and the half . The Fifth doth obtain the second place ; then followeth the fourth ; then the Ditone or third in a sharp Song ; then the Semiditonus , which is the third in a flat Song ; in the last place save one is the Sexta major in a sharp Song ; and in the last place , the Sexta minor in a flat Song . And this is the Order of Perfection . For although every Simple Consonancy is perfect in his degree ; yet notwithstanding in respect of another , it is either more perfect or imperfect ; yet so as the first and most perfect is the Octave , that compounded Unison ; the most imperf●ct and last , is the lesser Sixth ; the intermediate are measurably as the most perfect or most imperfect are nearer . Here Musicians do wonder , why the Septinary begetteth no Consonancy , when as it numbereth all simple Consonances . And this is the Scheme of those seven simple Consonances . Of these the first three are perfect , the four latter are imperfect . And indeed principally the Octave , in respect of his excellent perfection doth equisonate and unisonate after the Vnison an●●imple Equison . After it the Fifth for its perfection doth consonate by his most grateful , firm , and masculine Sound . After it the Ditone or greater Third by his sweet Imperfection doth concent but more cheerfully , strongly , and lively . Then the Semiditone or lesser Third also by his sweet Imperfection doth concent more softly , remisly , and heavily . Then the greater Sixth by his Imperfection doth circumsonate as it were more high and pleasantly . Last of all the lesser Sixth doth also so circumsonate but more slowly , flatly , and weakly . These four latter Consonances were not used by the Ancients in their Diatone Scale : but now they are used most chiefly , naturally , and artificially in the Syntonian Scale . And this is the Order of Perfection in the seven simple Consonances . The Order of the Crassitude of Sound , or of Intension and Remission is this , which is firmly contrary to the first . After the simple Unison is the Semiditone , then the Ditone , then the Fourth , Fifth , Sixth minor , Sixth major , and Octave . From these it is an easie thing to Judge of Simple Dissonances , to wit , because they are all Tones placed without the Septinary of Consonances ; as the greater and lesser Tone ; the greater and lesser Semitone ; the greater and lesser Seventh , and lastly Intervalls not just deficient . For in these are disagreeing Proportions , whose extreme Sounds do but ill agree , and therefore if they be put together , they offend the Ears . 4. Compounded Dyads do imitate the nature of Simple . This is true both of compounded Concordances and Discordances , according to that elegant Axiom of Musicians . Of Octaves there is the same and like Judgement . And that for the essential Similitude of dupla , quadrupla , octupla , and sedecupla Proportion , as 16.8.4.2.1 . Also of compounded Dyads the Order of perfection and Crassitude , is like unto the Order of their simple Dyads . Otherwise although the Composition of perfect Concordances might proceed in infinitum : yet notwithstanding because they are not the same Terms of Sound and Hearing ( which thing therefore obtaineth in the rest of the Senses ) it is necessary that we be mindful of Mediocrity , lest we create trouble to the Eare , by any Sound too great or too acute . 5. It behoveth us alwayes to have in our Eye the Radixes of Simple Dyads . As it is very compendious , to observe simple only and radical Dyads both consonant and dissonant , and then by those to judge of compounded Dyads : so also it is very compendious to consider the Roots of those simple Dyads , according to this Type . Bo. ni . ma. lo. ga . di . ce . 90. 96. 108. 120. 135. 144. 160. 1.2.4.8 .     3.6 .   5.   See before in the Syntonic Table . Here , between the Consonances of the Octave and fourth , the Radix is the Fifth : of both Sixes , both Thirds . Therefore the Octave and fourth may be reduced to the Fifth ; and the sixth to the third . The Root of simple Dissonant Dyads is the second , to which both Sevenths may be reduced . CHAP. VII . Of the Musical TRIAS . PRECEPTS . THE Musical Trias is that which doth arise from three sounds and as many Dyads : otherwise called the unitrisonous Radix . And it is either consonant or dissonant . The consonant Trias is that in which a third and a fifth doth concur , yet so as that it ariseth from two thirds . The dissonant Tryas is that which ariseth from seconds . RULES . 1. The Harmonical Tryas is the Root of all the Harmony that can be invented , And may be called the unitrisonous Radix : because it doth consist of three Monads or Sounds , and as many Dyads : all of them in that whole Tryas , and every one most sweetly concenting one with another , because they are joyned together in a certain Order by just Proportions . Those Sounds or Monads being three in number , and as many Dyads , making this Trias , are these . First , the two Extremes are distant one from another by a Diapente , which is of a Sesquialtera Proportion . Then there is one middle , which by his softer sweetnesse doth joyn those two Extremes , concenting together by a perfect and masculine Sound , and is distant from one of them by a Ditone , and from the other by a Semiditone . There is the Proportion of a Sesquiquarta , here of a Sesquiquinta . e. gr . Here 4. and 5. then 4. and 6. then lastly 5. and 6. do conspire . This unitrisonous Radix is the Rule and Measure of all Consonances , and is alwayes in one manner . Yet this only is the difference , that in a flat Song it is more imperfect and soft , but in a sharp Song , more natural , perfect , nobler , and sweet . The first hath the Ditone above the Semiditone , the latter hath the Ditone beneath the Semiditone . Moreover this Radix is either increased or diffused . The increased , is that which hath the Octave for his Companion , to excite the more various and fuller Harmony . The diffused is that , who●e radical parts or voices are not so near unto one another , because dispersed into various Octaves . For the nearer the Voices are one to another , the more excellent is the Symphony . The best Disposition of all look above Chap. 5. Rule 6. where I do write of signed Keyes . 2. The Musical Trias doth arise both from Arithmetical and Geometrical Proportion . Proportion is threefold : First arithmetical , which is , when the numbers are distant one from another by an equal Difference , and that either continued ; as 1.2.3.4 . or dis-joyned , as 3.6.8.11 . The●e the Difference is an unity , here a ternary . Secondly , Geometrical ; which is , when there is the same Ration of more Terms compared with one another : and it is either continued , as 4.8.16 . or dis-joyned , as 2.4.8.16 . Thirdly , musical or harmonical Proportion , ariseth from arithmetical and geometrical : and it is no other , then a Symmetry of Concents , which is discerned in the most perfect musical Triade ; which Lippius therefore calleth the chiefest , sweetest , and plainest Compendium of Melopoetical Musick . But let us pursue these things further . Musical or Harmonical Proportion is the Symetry or Equality of Concents which doth arise from Proportion arithmetical and geometrical ; so that three Terms being put , even as the greatest is to the least , so is the Differ●nce of the middle , and the greatest to the Difference of the middle and least . As 3.4.6 . Here , as Six are the Duplum to three : so two ( which is the Difference between 4. and 6. ) are the Duplum to the Unity , which is the Difference between 3. and 4. Such is the proportion in the unitrisonus Radix . 1.3.5 . Also between 6.8.12 . For three Terms musically proportional are found from three arithmetically proportional , if the first arithmetically proportional be multiplied into the second and third , and the second into the third . So from these three arithmetically proportional 2.4.6 . are found these three musically proportional . 8.12.24 . But that numbers are musically proportional , is hence manifest , if in them those three Proportions are found , on which all Musick doth depend : to wit , Dupla , or Diapason , which doth constitute an Octave : Sesquialtera , or Diapente , which doth constitute a Fifth : and Sesquitertia , or Diatessaron , which doth constitute a Fourth . So in these Numbers 6.4.3 . between 6. and 3. is dupla : between 6. and 4. sesquialtera : between 4. and 3. sesquitertia . I say , three to four , are in the sesquitertian Ration , as the Diatessaron System : four to six are in the Sesquialtera Ration , as the Diapente : three to six are in the dupla Ration , as the Diapason System . And of these the rest a●e compounded , viz. the Disdiapason , &c. This also is of force in Organical Musick . For if two Strings equally thick and stretched differ in Longitude by a Sesquialtera Ration , benig struck , they will equally Sound the Harmony of a Diapente : if they differ in Longitude by a Sesquitertiae Ration , a Diatessaron : if by a dupla , a Diapason , which vulgarly they call an Octave , as a Diapente a fifth , and a Diatessaron a Fourth . The same is in Hollownesse , or in Whistles . From this Operation alwayes except the unitrisonous Radix , because it is the foundation of other musical proportions . CHAP. VIII . Of the Forme of an Harmonical Song . PRECEPTS . THus much concerning the matter of an harmonical Song : now of the Forme thereof , which is the artificial disposition of Musical Monads , Dyads , and Tryads , according to the Text , and this is called Melodie . Melodie is simple , or compounded . That is called Monodie , this Symphony . Simple Melodie is that which is content with one onely Series of musical voices : as is discerned in Choral Musick , called Unicinium . Compounded Melodie is that which doth conjoyne more simple Melodies between themselves : and is usually called Counterpoint ; as is discerned in figural Musick . To which appertaine Songs of two , three , and four voices , &c. Counterpoint is either simple or coloured . Simple Counterpoint is that which hath least of Artifice : and may be called pure Composition , whose Rules or Ornaments are the Sounds of Longitude , Latitude , or Crassitude . Counterpoint coloured is that which hath more of Art : and may be called adorned Composition , whose Rules or Ornaments do respect the Longitude , Latitude , and Crassitude of a Sound . RULES . 1. A Musical Text doth give as it were a Soul to an Harmonical Song , as to the Image thereof . Wherefore seeing the Image is such as is the Archetype , the practical Musician or Composer as they call him , is to take care that he understand aright the nature of his Text , in respect of things and words . For an Harmonical Song ought to be accommodated both to things and words . The things may be all divine and humane matters , but chiefly practical , which concern the active felicity of man ; the mean to acquire which , is virtue moderating the Affections , which do depend upon things or objects either great , or low , or mean : and those again either pleasant or delightful , or unpleasant and sorrowful , or moderate . Words may be either of prose or verse , yet so as that they be like unto things practical , even , and congruous . So that he ought to know the nature of all Letters , ( of which in my Rhetoricks . ) Moreover , an harmonical Song will rightly express the Text , if the Musician give heed to the trine Dimension of Sound , viz. Longitude , Latitude , and Crassitude . For things grave are rightly expressed by long and profound Sounds : light things by short and acute Sounds : Masculine things by sharp Sounds : soft things by flat ●ounds : pleasant things by lively and quick Sounds : Sad things by languid and slow Sounds : and mean things by mean Sounds ; as we see it falleth out in Poesy . 2. More Simple Melody , which is called Monadie , is first to be composed . A young Composer should first compose the most simple Melodies , which arise not from Musical Dyads and Tryads , but from Monads , or a simple Disposition of musical Voices . e. gr . Let this be the Subject , Laudate Dominum , which may be sung with this Melodie . Or after the new manner , which Lippius hath , which dependeth upon the Syntonick Table , in the 5 Chapter before mentioned . 288. 320. 288. 270. 270. 288. Lau da ●e do mi num . 2. 1 1 / 2 ½ ½ ½ 2. Here the Numbers placed above the Text do shew the Notes of the Syntonic Table : and the numbers underneath do expresse the measure of the Touch. Therefore such will be the Series according to this new Mode . 3. Compounded Melodie doth respect either two , three , or four Simple Melodies , cardinal and radical . Of these the Composition and Connexion of four Melodies is most perfect . For as a body mixed of four Elements , is a temperament of four humours : So every harmonical Polyphony doth arise from four simple Melodies . Of these two are extreme , the Bass which is the gravest ; and the Discantus which is the acutest : and two are intermediate ; the one is nearer to the Bass , which is the Tenor ; and the other is nearer to the Discantus , which is the Altus , according to the Disposition of the four Elements , Earth , Water , Air , and Fire . Of which , two are extreme , and as many Median , as is noted in our Physicks . And this is the Musical Tetras , in which the Melody of the Bass is fundamental ▪ whence its name is from Basis a foundation : or Bassus profound : the Melodie of the Tenor and Discantus ( whose vicissitude is very elegant ) is principal or regal . Lastly the Melodie of the Altus is explemental . This Tetras , or Song of four voices , doth comprehend both musical Monads , Dyads , and Tryads , aswell Simple as Compounded , and is the Radix of all perfect Musical Composition . This therefore is the Order in Musicks . The Musical Monade is the Radix of one Melodie , or Song of one Voice : the Dya● of two : the Trias of three : and the Tetras of four : Moreover this Composition is called Counterpoint , because point is put against point . 4. Pure Composition , or Simple Counterpoint ; hath this Artifice . 1. Pure Composition doth make the four Melodies , more simple , plain , and easie : yet so that it keepeth the trine Dimension of Sound . 2. This is the Rule of the Longitude of a Sound . Every one of the four radical Melodies doth so proceed by his Monads , that Notes of more simple value may be added , the Touch being every where equal . 3. The Rules of Latitude is this . 1. All the members of all the Melodies do make a Consonancy ; which doth depend upon that unitrosonous harmonical Radix , of which mention is made in the foregoing Chapter . And because the parts and productions of that Triade are various , the Consonancys may be mingled among themselves , yet so as that the peculiar Ration of the perfecter of them be kept : for in every Genus that which is most perfect is the measure of the rest . 2. All melodies should be compared with themselves most diligently . viz. The Bass with the Tenor , the Tenor with the Altus , the Altus with the Discantus , the Bass with the Altus , the Tenor with the Discantus , lastly , the Bass with the Discantus . Or more briefly , the Tenor with the Bass , the A●tus with the Tenor and Bass , the Discantus with the Altus , Tenor , and Bass. For so every one compared with another will make six times an excellent Song of two Parts : So that every part of the Melody will be adorned with some harmonical Dyade . And also in those Dyades , varietie is to be used , yet so that the perfecter do rule . 3. Consonant Dyades by ascending and descending together may all mutually antecede and follow one another , if they be of divers species : but if of the same , as the three perfect Consonancies with the simple unison , they may not , but the other imperfect Dyads may . But more briefly , two simple Unisons may not be put together ascending or descending : nor two Octaves , nor two Fifths , nor two Fourths . 4. Those Dyads which are nearer in Crassitude , will better precede and succeed , then those which are more remote . To which purpose is that saying of Musicians , By how much nearer Voices are to one another , by so much they make the better Symphony . 5. Monads should be applied so in all Melodies , that every one should elegantly walk in his own Region , and commonly of one Octave , or Diapason . 6. Let the Bass always take the lower part or foundation of the harmonical Triade in the place of the gravest : but the Tenor in the place of the graver , the Altus of the acuter , and the Discantus of acutest Monads : So let them take all three parts of the harmonical Triade , viz. The lowest or first , the middle and last . But in augmentation and multiplication the first of the Triade is chiefly to be repeated , the last more rarely , the middle seldomest . 7. ●et Melodies associate by gradual , not by skipping motion . For if every Melodie do proceed rather by degrees , then flie violently by greater Intervalls and Leaps , it will be more grateful to the Ears ; yet the Bass is allowed to move by Leaps . 8. Let the Bass be first composed . Because it is the foundation of the Triads . Hereto belongeth th●s Rule . Better is that harmonical Triade who●e Basis is lowest , then those whose Basis is in an hi●her place . But now let us see an Example . Let the Text be Laudate Dominum . And this you may thus express in a pure Song . Go to the Syntonian Table , and from thence pick out Consonancies after this manner .   2. 1 1 / 2 ½ ½ ½ 2. Discantus . 180 192 180 180 180 180.   Altus . 240 240 240 216 216 240.   Tenor. 288 320 288 270 270 288.   Bassus . 360 480 360 540 540 720.   Lau da te do mi num . These Consonancies you may thus transfer into the great System . Lau╌da╌te — do╌mi╌num . Or if you had rather you may thus write the several * Touches in several Cells . * Touch is that which Musicians call Tactus , or the stroke of the hand by which Time is measured . Or it is the successive Motion of the hand , directing by equal measure the Quantity of all Notes and Pauses in a Song , according to the variety of Signes and Proportions . The parts thereof are Elevation and Depression ; or the Fall and Rise of the hand . Be╌ne dic╌a╌ni╌ma╌me╌a — Je╌ho╌vae . In the latter Example you may observe the Tenor to have the same Voice with the Bass in the first Cell : and in the Sixth and Seventh , two Minums put for one Semibreve . V. Adorned Composition , or Coloured Counterpoint , is contained in these Rules . 1. Adorned Composition doth constitute a Song ●armonical more broken , florid , and coloured , there●ore more difficult and effectual . Therefore this doth as it were garnish these three Dimensions of a Song with various Gems and flowers : so that pure Composition may rightly be compared to Grammer , which teach●th to ●peak purely : and adorned Composition to Rhetorick , which teacheth to speak Elegantl● . 2. Artificial Licenses are used in adorned Compos●tion . For as there are allowed Poetical Licenses , which do beautifie Art , and not destroy it : so also there are Melopoetical Licenses , by which the pure and simple Dimensions of a Song are beautified . 3. These are the Orn●ments of Longitude . 1. An harmonical Song is adorned with the varietie of a Spondaic , and trochaic Touch : and of unequal Notes , especially Syncopated . So the Bass doth move more slowly , and the other Melodies with coloured celeritie ; which is that in Musick , as flourishing is in Writing . 2. An harmonical Song according to the Nature of the Text , is distinguished by Rests and Closes . For even as Speech is distinguished by Comma's , Colons , and due Periods ; so ought an harmonical Song , according to the nature of the Text , to be distinguished by greater and lesser Rests ; also by Closes native , primarie , secondarie , tertiarie , peregrine , more perfect , or more imperfect . A perfect Close doth consist of three Voices ; the antepenult , penult , and last : by which the Close is chiefly known , and which is to arise out of an harmonical Triade . e. g. The Primarie Close is that whose last is the first ; the secondary , the supreme ; the tertiarie the middle of the Triade ; but of these in the following Chapter . 4. The Ornaments of Latitude are these . An harmonical Song should be so expressed by Voice or I●strument , or both together ; that according to the Condition of the Text , an asperous , sharp , swift , full , gentle , flat , submiss , or small Spirit , &c. should be heard . 5. The Ornaments of Crassitude have these Axioms . 1. Varietie should chiefly rule in an harmonical Song ; I say varietie of Dyad's and Triads , more grave , more mean , more acute , simple and compounded , diffused and augmented , more perfect , and more imperfect , natural and fict . Hence is a various Licence : for in the Bass it is lawful to use the last and middle Monade of an Unitrisonous Radix : and Dyads prohibited , may antecede and follow one another ; and a Dias and a Trias also anarmonical may be used . All which things are done either covertly or openly . Covertly , either by greater Rests , or by Sounds not offending by reason of their swiftnesse , or by contrary made Sounds ; or by an excuseing Polyphonie , or by Syncope . Openly for the texts sake , and singular Artifice . v. gr . If the Text command , and as it were compel to manifest some Discord . According to that of the Logicians ; Contraries placed nigh themselves are the more clearly illustrated . When therefore in Singing some harsh sound is heard , which presently passeth into a sweet harmony , the hearing is therewith more affected , than if there were a current of perpetual Harmony . 2. When the whole harmonical Song is rendred more beautiful by the ornament of Celerity and Syncope ; then chiefly the Close should be artificial . 3. Polyphony or multiplication of cardinal melodies do very much ●dorn Singing . e. gr . As if there be two , three , or more Basses , Tenor 's , Altus's , Discant's , and those placed in certain Quires , according to the Text and Circumstances . 4. The various manner and motion of ascending and descending , is granted to principle Melodies and sometimes out of their Proper Regions ; as for the Bass to invade the Confines of the Tenor , or the Tenor of the Altus . 5. The ornament of musical ornaments is that which they call a Fuge . This Ornament at this day is most excellent , difficult , ingenuous , efficacious , and full of Liberty . And this Fuge is nothing else then a more artificial repetition and imitation of certain Parts : to which a more Simple Repetition and Imitation is opposed , which also hath his Commendations amongst Musicians . And this is the Example of a Fuge in the Unison after two Times . Unum est necessarium . * I suppose that this Example was mistaken or rather mis-placed by the Printer or some other , for I cannot imagine that the Learned Authour would give the Reader Four parts of Simple Counter-point , for an Example of a Fuge in the Unison after two Minims . Of which let this be an Example . And thus the Composer may continue his Fuge as long as he pleaseth . 6. The Exercise of a Fuge is to begin in an Harmonical Tryade onely . For so other forms and species of Fuges may more easily be apprehended . And for Examples you may look amongst those Principal and Heroick practical Musicians , as Orlandus and Marentius . Of which two , the one in his Mottets , and the other in his Madrigals , hath brought Melopoesie to his highest pitch . There are latter Imitators of these principal Melopoets , who notwithstanding ought to have their due praise . CHAP. IX . Of the Affections of an Harmonicall Song . PRECEPTS . IN the last place the Affections of a musicall Song do follow , wherewith it is affected and perfected . And they are either material or formal . The material Affection of a Song , is that which floweth from the matter thereof . And it is a certain Genus of Modulation . The formal Affection of a Song , is that which floweth from the Form thereof : and is called a musical Trope or Mood ; which is a Rule , according to which we direct the course of a Song . Otherwise called Nomus and Tonus . And it is the same in Musick , as a certain kind of verse is in Poetry . A musical Mood is either simple or compounded . The simple is primarie or secondarie . That is called Authentick , and this Plagal . The primarie mood is either legitimate or spurious . The legitimate is either more natural in a sharp Scale , or more soft in a flat Scale . And both is threefold ; the Ionick , Lydian , Mixolydian , Dorian , Phrygian , and Aeolian . The spurious , bastard , ●or illegitimate Mood is the Hyper-Aeolian , and Hyper-Phrygian . The secondary or Plagal Mood is also called remisse and submisse : and it is Hypo-Ionic , Hypo-Doric , Hypo-Phrygian , Hypo Lydian , Hypo-Mixolydian , and Hypo-Aeolic . The compounded or connex Mood , is that which doth arise from simple Moods : when the Authent is joyned with the Plagal Mood : whence it is called the Plagiosyntactical-Trope . RULES . 1. The mixed Genus of Modulation is now for the most part in use . The Genus of Modulation is certain , according unto which the Song doth proceed in his Melodies in a certain Musical Scale . Therefore as the Scale of Musick is simple , or mixed , and that old or new : ( also the old Scale is either Enharmonic , or chromatic , or diatonic : the new , Syntonic ) So also the Genus of Modulation is simple , or mix'd , or compounded : the simple is old or new : Again the old is enharmonic , chromatic , or dia●onic . And is also called Enharmonisme , Chromatisme , and Diatonisme . The new is Syntonic or Syntonisme . The mixed Genus of Modulation is that which is variously compounded of the Simple . Of the Simple , at this Day , Enharmonisme and Chromatisme ( to wit alone : ) partly for their Imperfection , partly for their Difficulty are not in use ; but the Syntonian-Diatonisme , or Diaton-Syntonisme , yet so , that chromatisme be often mixed , and sometimes also Enharmonisme , if there be need , according to the force and acuracy of the Text. 2. A Musical Mood is the most certain Rule of a Song . A musical Mood is that , according to which a musical Song is limited , and without it would be too ample and wandring . The Mood therefore doth contain Melody with certain Limits , and as it were Bounds of an ha●mon●cal Trias , in the Compass of an Octave or Diapason ; so that wholly it doth continually proceed in a due order , from the beginning , by the middle , to the end , for the artificial expressing unto , and imprinting upon the hearers the virtue of the Text. 3. The Doctrine of Moods is contained in these Rules . 1. We cannot moderate or modulate any Song , unlesse we first know the Tone thereof . The Tone is known by the end , according to Rule : in the end it is seen of what Tone it is . The end also of a Song is judged by the musical Mood , which therefore by some is called a Tone , according to this Diversity of Tones , there are also divers Melodies . For as one Tone is in vt , and another in re : So also are the Melodies . Yet here you must remember , that every Tone or ●ood may not only be known by the end , but also by the beginning , and middle or Division thereof : al●o by his skipping . 2. A musical Mood , is an Octave mediated by his neighbouring voice . Otherwise it is defined to be the Species of a Diapason , which is made up of a Diatesseron and Diapente . 3. The Simple Mood is that in which one harmonical Triade only doth rule with his Octave , in respect of the Text and more simple Affection . 4. All the Moods are six , even as there are six voices . vt . re . mi. fa. sol . la. The Ancients had only four Moods , the first , second , third , and fourth : to which now the four final Voices do respond . re . mi. fa. sol . These four Moods the Grecians call Authentic , and the Latines herile or Clamous . For they have , as I may so speak , a greater Authority of ascending then the rest . But the Latines more narrowly considering the ascension and descension of every Tone , have constituted to every Mood a subjugal Mood ; and those four they call Plagal ; also subjugal , servile , and the like . And these descend more then the first . And hence arise the eight Moods , by which every Song is governed per Arsin & Thesin , by rising or falling . But our Latter Musicians more diligently considering the variety of Tones , have constituted twelve legitimate Tones . viz. six Authent , and as many Plagal . For as there are six Voices . vt . re . mi. fa. sol . la. so also there are six Authent , and as many Plagal , which are vulgarly named by strange Names of Nations : I say , of those Nations who commonly were delighted with them . And to these twelve legimate Tones , two illegitimate were added . Unto all which , various mixed Moods may be added . 5. An Authent Mood is primary , the Plagal secondary , and this doth not differ from that , but in respect of subjection , when it is called Hypotropus , remiss and submiss , because the harmonical Mediation of the Octave , which doth agree with the primary , is changed into the arithmetical , by the inversion of the fourth beneath the fifth with the Triade . 6. Concerning the Excellency and Efficacy of the musical Moods , there are diverse opinions . Casus in politicis lib. 8. chap. 5. saith thus , Musick is various and manifold . One kind is humble and remiss , as the Lydian ; another is vehement and more moved , as the Phrygian ; another is more moderate and mean which is called the Doric ; and a little after , that grave , divine , and oraculous Musick , called the Doric , allureth the mind to the study of Wisdome and true Piety . This , both the heathen of old used in their Synagogues , and Christians now use in their Churches . For in it there is a certain imitation of Celestial Harmony , by which as by a sweet and wholsome Medicine , the Diseases of the mind are cured , Vices are dissipated , Cares are lessened : and th● Dew of Divine Grace is leisurely , and by little and little distilled . And in the end of the Chapter , he saith , that the Doric Musick hath respect unto Virtues , and divine Inspiration ; and that it forceth men into Extasie of mind , and oblivion of the world ; so that it driveth away evil Spirits , which he proveth by the Example of Saul . Lippius in his musical Synopsis , saith thus : the most natural and chief of all the Moods in these times , is the Ionic , with his secundary the Hypo Ionic . ( against which many ancient and modern Musicians do speak . ) But let us look upon the nature of the Moods in Specie . 7. The nature of the Authent Moods is this . The Authent Mood hath his final Key in the Diapente below , and is divided harmonically . And that is called harmonical Division , where the Octave hath the Fifth beneath the Fourth , thus ; First the Ionic doth occur , which is by Lucian called Glaphyrus . i. e. pleasant : and by Apuleius wanton . And now it is much used . It runneth between C. and c. is divided in G. and endeth in c. In a flat Song it runneth between F. and f. and is divided in C. and endeth in f. It is most agreeable to Iambic's and Trochaic's . Then the Dorian Mood runneth between D. and d. and is divided in a. ending in d. but raised , or in a flat Song , hath his course between g. and gg . and is divided in d. and endeth in gg . By Lucian it is called grave , and by Apuleius warlike . It is most fit to sing to heroick Verse : for it hath wonderful Gravity with Alacrity . The Phrygian Mood hath his course between E. and e. and is divided in mi which is in b. ending in e. In a flat Song it runneth between a. and aa . and is divided in e. and endeth in a a. Lucian calleth it Entheus , Apuleius religious . For it hath the severe Insultation of an angry man , whence it is called Scolius . It is impetuous , accommodated to warlike Affairs . It is also Iambic and tragic ; distracting and ravishing the mind , putting it as it were out of it self , as Aristotle saith , 8. pol. c. 5. and Plato 3. de Instit. The Lydian Mood doth take his course between F. and f. is divided in c. and endeth in f. in a flat Song it runneth between b. and bb . and is divided in f. and endeth in bb . It is harsh , threatning , and merry . As Plato 3. dial . de rep . who condemneth the Lydian and Ionic Harmony as sottish . This Mood is sharp , and according to Apuleius , threatning : and to Lucian Bacchicus . q. raging . The Mixolydian Mood runneth between g. and gg . and is divided in d. and endeth in gg . In a flat Song it runneth between c. and cc. and is divided in gg . And endeth in cc. It moveth the Affections , and rendreth them sorrowful and contracted ; because it is mingled with the Dorick gravity . Lastly , the Aeolian Mood runneth between a. and aa . and is divided in e. and endeth in aa . being raised up , it runneth between d. and dd . and is divided in aa . and endeth in dd . It is mild and very sweet , being sung to Lyrick Verses . 8. The nature of the Plagal Moods is this . This Mood is called Plagal , as if we should say oblique or inver●ed ; which hath its final Key in the lowest part of the fifth , but above the fourth : and is divided arithmetically . That Division is by Musicians called arithmetical , Where the Octave hath the fourth beneath the fifth ; which is the more unpleasant . This Mood borroweth his name from the Authent , Hypo being prefixed thereunto . First the Hypoionic Mood runneth between Γ. and g. and divideth and endeth in C. being raised up , it runneth between C. and c. it is divided in F. In this Mood , the Molity of the Ionic Mood is rectified . The Hypodorian Mood runneth between A. and a. is divided and endeth in D. being raised up between D. and d. is divided and endeth in g. It hath a harsh kind of Gravity , and flattereth not . The Hypophrigian Mood runneth between B sharp , and b sharp , is divided and ended in E. being raised up , it runneth between E. and e. is divided and ended in a. This Mood is humble , and inclineth to weeping , as making a sorrowful Complaining and pitiful Lamentation . The Hypolydian Mood runneth between C. and c. is divided and ended in F. being raised up it runneth between F. and f. is divided and ended in b flat . It expresseth a kind of sorrowful Continency , and is called the pious , and as it were puling Mood ; and stirreth up tears . The Hypomixolydian Mood runneth between D. and d. is divided and ended in g. being raised , it runneth between G. and g. is divided and ended in c. In it there is a certain natural jollity . The Hypo Aeolian Mood runneth between E. and e. is divided and ended in a. being raised up , it runneth between a. and aa . and is divided in d. 9. This is the nature of the illegitimate Moods . An illegitimate or bastard Mood , is that , which cannot aptly be divided into the fifth and fourth : but into the Tritone and Semidiapente . And it is eithe● the Hyper Aeolian Mood , or the Hyperphrygian . The Hyper Aeolian Mood is the illegitimate of the Authent ; which runneth between b. and bb . having below a Semidiapente , and above a Tritone . The Hyperphrygian is the Bastard of the Plagal Mood , which runneth between F. and f. having a Tritone below , and a Semidiapente above . 10. Every simple Mood , out of his own proper harmonical Triade , doth give to every harmonical Song , peculiar Ornaments . To wit , Fuges and Closes proper , primary , secundary , and tertiary . Unto which , strange Closes from a strange Triad may be added ; if they be well taken . The primary Fuge , and also the Close is from the first of his proper ●riaede : the Secondary from the highest : and the ●ertiat from the middle . 11. Every Mood in respect of his Effect and Affection , doth follow his Radix . i. e. his Monads , Dyads , and Trias of which he doth consist . Hence it is ( saith Lippius ) that one Mo●d is very cheerful and lively ; as the Ionic very much , the Lydian devoutly ; the M●xolydian moderately ; another flat , soft , sorrowful , and grave , as the Doric meanly ; the Aeolian lesse ; and the Phrygian exceedingl● . 12. A compounded Mood doth proceed from simple Moods , and from it a Song is called mixed . A Mood is compounded of Moods neer unto him , as the Ionic and Hyper-Ionic which is often seen : or of Moods wholly diverse , as the Ionic and Doric ; which is lesse used . This mixture dependeth more or lesse upon the affected Text. 13. The Mood in instrumental Musick , by the Mediation of Chromatisme , is transposed either to the fourth above ; or , which is the same , to the fifth beneath . Hence , from a regular or sharp Mood , an irregular Mood is made , which is called mollis . It is transposed also to the second , third , or other Interval : So that one Mood is changed into the nature of another ; as the Lydian , into the Ionic : the Hypolydian into the Hypo-Ionic . 14. Alwayes the two proximate Moods ( the Authent with his Plagal ) have the same fifth , and the same fourth . Thus , 1 & 2. Quartam . re sol . Quintam . re la. 3 & 4. Quartam . mi la. Quintam . mi mi. 5 & 6. Quartam . vt fa. Quintam . fa fa. 7 & 8. Quartam . re sol . Quintam . vt sol . 9 & 10. Quartam . re sol . Quintam . re la. 11 & 12. Quartam . vt fa. Quintam . vt sol . But here let us place Schemes to illustrate this thing . Authent Moods in a sharp Song . Authent Moods in a Flat Song . Plagal Moods in a Sharp Song . Of the Plagal Mood in a Flat Song . By these Tables it doth appear that the Plagal Mood differeth not from the Anthent but by remission into the fourth : when in the Authent here is an Elevation into the fi●th v. g. if in the Ionic Mood it be vt , sol , in the Hypolonic , it will be vt . fa. hence also the Compass of all Moods may easily be found . v. gr . the Compass of the Ionic Mood in a sharp Song , is sol . vt . in a flat Song fa. vt . the Compass of the Dorian Mood in a sharp Song is re . la. in a flat Song re . sol . and so of the rest . CHAP. X. Of Special Musick . PRECEPTS . THus far of the general part of Musick : the special remaineth , concerning the various kinds of Musick , which are taken eith●r from the matter : or the Character of the matter : or the Organical Cause : or Artifice of Musick . First , From the Matter , Musick is either sacred or civil . Secondly , From the Character , Musick is either great , or mean , or humble . Thirdly , From the Organical Cause , Musick is vocal , instrumental , or mixed . That is made by the voice of man , the next by divers Instruments , and this by the Uoice and Instrument together . Fourthly , From Artifice , Musick is either Choral or Figural . That doth in his Notes observe an equal measure , and from the Author is called Gregorian : and this is either old or plaine . This is such whose unequal Notes do vary their measure , and from the Author is called Ambrosian . Also mensural , and new Musick . RULES . 1. The asper Artery [ or Windpipe ] of a man , Vocal by the Tongue , is the Law of all Musical Instruments . Lively or Vocal Musick as they call it , seeing it is the Cause of Instrumental Musick , without Controversie is the noblest of all . And if it be joyned with instrumental Musick , it is an incredible Means of moving the Affections and Sences . Also Vocal Musick is called the Exemplary or paradigmatical Cause of Instrumental Musick : whatsoever they talk of Pythagoras , that he found out Musick by the striking of divers Hammers upon an Anvile . 2. A Song which may be sung both by Voice and Instrument , is various . To this belongeth a Mottet , Madrigal , Intrade , and bound Fuge : and this of one harmonical Triade only , or of more . Also the unisonous Simply , or multisonous , and that through the eight , fifth , third , &c. Also to these may be referred Songs of one , two , three , four , or five Voices , and likewise Songs of many Voices , or Polyphoniacs : which for their perfection may swell to forty or more Melodies . Of these the Song for one Voice is an harmonical Song potentially : the Song for two Voices , is the first harmonical Song , in Act ; but more imperfect : but the Song for three Voices is perfecter : and the Song of four voices most perfect . 3. Musical Instruments may conveniently be reduced to these two kinds . For some are called Pshelaphetus : and others are called Pneumatic : and these are called Crosta's , which only by striking do make a Concent , and by others are called Entata . These are also called Empneusta , and they are moved with the Fingers and Wind. Various kinds of Instruments are comprehended under these . As the Whistle , Pipe , Cornet , Sackbut , Trumpet , Bagpipe , and the like , which are blown . Also the Clavichord , Psaltery , Pandore , Cithren , and the like , which are struck with strings : So also the Lute , Harp , Lyre , Tabor , and other Instruments struck with strings . The Cymbal , great Bell , and others struck with Brass . Also the musical Triangle struck with Iron or Steel . Or the Wooden Craticle ( by the Germans called einstrofiedel ' item ein holtzerngelachter ) struck with Wood. And lastly the great Wind Instrument or Organ which is both blown and struck together . And here it will be necessary to lay down certain Aphorismes concerning musical Instruments . 1. The Canon , Mother , and Radix of all Instruments , is the Monochord : which is an Instrument most simple , and intire , made of one or more unisonous Chords ; and may be divided into how many , or how great parts you please , according to radical numbers by the bipartition , tripartition , quadripartition , &c. thereof . And we may observe fully in this Instrument , all the proportions of all musical numbers . And this will be the most simple Example of a Monochord , if you shall put one Chord upon a fit pe●ce of Wood ; into so many parts as you shall divide the Wood , certain Notes being added , so many distinct Sounds there will be , if you apply your finger to the Chord . 2. The Wooden Craticle is next in plainesse unto the Monochord . This is made ready without any trouble , if a Wooden stick being very drie , be proportionably divided into many parts ; which according to the Order of Proportions , being bound together by links made of a string , do afford harmonical Sounds , if they be struck with a stick , and put to straw bound together . 3. The Lute is the chiefest of all Instruments of Musick . For no Invention of ancient or modern Musicians did ever make a more grateful concent . 4. In Clavichords and the like Instruments there is the most evident Reason of the Scale of Musick . Those Instruments do consist of certain Tetrachords , which are double , ordinary , and extraordinary . The ordinary Tetrachords are four . The first is called Hypaton i. e. of greater and gravest Chords : from B. to E. and this is the Bass. The Second is Meson , i. e. of Means : from E. to a. and this is the Tenor. It is called Meson , because in old time when there were only three Tetrachords , ( the Tetrachord Hyperboloeon not being added ) it was in the midst . The third is Diezeugmenon of distinct Chords , which is disjoyned from a. by a Tone , which is from b. to e. and this is the Altus . The fourth is Hyperboloeon i. e. of excellent or most acute Chords : from e. to aa . and this is the Discantus . The extraordinary Tetrachord is Synemmenon . i. e. of connexed Chords ; so called because it is joyned with a. and it extendeth from a. to d. There is also a threefold progression of these Tetrachords , viz. diatonic , enharmonic , and chromatic . The diatonic progression is by a Ditonus and lesser Semitone . The enharmonic by a Ditonus and two Dieses , viz , the greater and lesser Diesis . i.e. the half of the lesser Semitone . And the chromatic progression is made by the Semiditone , and greater and lesser Semitones . ( vide triple Scale chap. 5. ) This Doctrine will be clearer , if the Doctrine of Sounds , or musical Intervalls , or Moods ( as they vulgarly call them ) be rightly propounded . For there are in all Ten Moods according to a known Song . The Moods are three times three , and one , by which every Song is made . sc. The Unison , Semitone , Tone , Semiditone , Ditone , Diatessaron , Diapente , Semitone with a Diapente , Tone with a Diapente , Diapason . And whosoever shall diligently consider these Moods , shall easily know the Ration of musical Intervalls , and so of all Harmony . And the Artificial Division of these Moods is this . A Mood , or rather a Sound , is an Intervall or Distance from another , and that is either equal or unlike . An equal Mood is that which is in the same Degree , and is called the unison or Basis. Also an Unison is the conjunction of two or more Notes in the same place . c. gr . if sol be ●epeated in the same Key , or la , the Mood is unlike , in which there is both Arsis and Thesis . i. e. Elevation and Demission of the Sound . And this is either continued or interrupted . A continued Sound is a Tone or Semitone . A Tone is the skipping of a Voice from a Voice by a perfect Second sounding strongly . Hence it is called a Second . In the progression of six musical Voices , every next is distant from his next by a Tone . e. gr . vt re . except mi fa joyned together ; which Connexion is called a Semitone , which is the skipping of the Voice into a Voice by an imperfect Second , sounding flatly : as is the Leaping from mi into fa , and again from fa into mi. scil . the next . By the Greeks it is called Hemitone : and by Musicians the lesser Semitone . The interrupted Mood is discrete by certain Intervalls . The first is Diaphonus , as the Ditonus and Semiditonus . The Ditonus is a sharp and perfect third : and doth consist of two Tones , as is between vt mi. fa la. otherwise called the Third . The Semiditonus is the Intervall of the Voice from a Voice by a flat and imperfect Third As between re fa. mi sol . The Second is Paraphonus . As a Diatessaron and a Diapente . A Diatessaron is the leaping from a Voice into a Voice by a fourth . As is between vt fa. re sol . and mi la. otherwise called a fourth . The Diapente is the skipping of a Voice from a Voice by a Fifth : called vulgarly Quadrimode and Quinta . As between vt sol . re la. mi mi. fa fa. And again a Fifth is either compounded with a Tone or a Semitone . Hence a Tone with a Diapente is a perfect Sixth , as is between vt from c to la in a. The Semitone with a Diapente is the imperfect Sixth . As between mi from e to fa in c. and contrarily . The Third is Antiphonus . as the Diapason : which is the Distance of a Voice from a Voice by an Eighth ; whence it is called an Octave . And it is made seven wayes i. e. from every Letter to his like ; as from A to a. from a to aa . &c. To these Moods or Intervalls there are four prohibited Intervalls opposed by vulgar Musicians . 1. A Tritone which containeth three Tones , and is made from fa to mi. 2. A Semidiapente which passeth from mi to fa. containing two Tones and as many Semitones . 3. A Semidiapason , which is an Octave containing three Semitones and four Tones , reaching from mi to fa. 4. A Disdiapason , which is an Intervall by a Fifteenth ; within which there is a Limit appointed to the Voice : beyond which it may not wander ; and if it wander it is but feigned ; For if more Distances then a Diapason occur , they will equisonate with the former Distances in the Octave . Conclusion . AND this is the MVSICAL TEMPLE , whose Foundation is Harmony , or Concord : whose Covering is honest Pleasure : whose Wood and Stones are the Harmonical Monads , Dyads , and Tryads . That thou mayest not only enter this Temple , but build thy self ; after the diligent reading of this Synopsis which we here present thee with : Consider those melopoetic Classic's and prime Musicians , Orlandus and Marentius . But chiefly exercise thy self in the Analysis of many examples ; and then from that betake thy self to the musical Synthesis . FINIS . 
A69841	----	A curious collection of musick-books, both vocal and instrumental, (and several rare copies in three and four parts, fairly prick'd) by the best masters formerly designed to have been sold by way of auction, but the reason of its being put off, was, that several gentlemen, lovers of musick, living remote from London, having a desire for some of this collection, and could not be there, they are here set down in order, with the rates, being lower than could be afforded otherwise : the collection is to be sold by Henry Playford ... 1690 Approx. 22 KB of XML-encoded text transcribed from 3 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2005-10 (EEBO-TCP Phase 1). A69841 Wing C7625 ESTC R12129 12591823 ocm 12591823 63961 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A69841) Transcribed from: (Early English Books Online ; image set 63961) Images scanned from microfilm: (Early English books, 1641-1700 ; 328:17 or 1685:3) A curious collection of musick-books, both vocal and instrumental, (and several rare copies in three and four parts, fairly prick'd) by the best masters formerly designed to have been sold by way of auction, but the reason of its being put off, was, that several gentlemen, lovers of musick, living remote from London, having a desire for some of this collection, and could not be there, they are here set down in order, with the rates, being lower than could be afforded otherwise : the collection is to be sold by Henry Playford ... Playford, Henry, b. 1657. [4] p. s.n., [London : 1690] Place and date of publication from Wing. Advertisement: p. [4]. Item at reel 328:17 identified as Wing P2428 (number cancelled). Reproduction of original in Bodleian Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. 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Catalogs, Booksellers' -- England. 2004-10 TCP Assigned for keying and markup 2004-11 Aptara Keyed and coded from ProQuest page images 2005-01 Emma (Leeson) Huber Sampled and proofread 2005-01 Emma (Leeson) Huber Text and markup reviewed and edited 2005-04 pfs Batch review (QC) and XML conversion A Curious COLLECTION OF Musick-Books , Both VOCAL and INSTRVMENTAL , ( and several Rare COPIES in Three and Four Parts , Fairly Prick'd ) by the Best MASTERS . Formerly designed to have been sold by way of Auction : But the Reason of its being put off , was , That several Gentlemen , Lovers of Musick , living remote from London , having a Desire for some of this Collection , and could not be there , they are here set down in Order , with the Rates , being lower than could be afforded otherwise . The Collection is to be sold by Henry Playford , at his House at the Lower End of Arundel-Street in the Strand ; where the Collection may be viewed four Days after the Publication in the Gazette . All Gentlemen and Ladies that Desire any of these Collections , sending in time the Number and the Price , may have them delivered , they being designed to be sold off in a Fortnight . Catalogues may be had Gratis , of Mr. Knight Bookseller in the New-Exchange in the Strand ; Mr. Carr at his Shop at the Middle Temple-Gate in Fleetstreet ; Mr. Salter Instrument-Seller on the North-side of St. Paul's Church ; Mr. Hindmarsh Bookseller against the Royal Exchange in Cornhil ; at Mr. Henry Playford's Shop near the Temple-Church ; and of Mr. Dolliff Bookbinder in Oxford .     l. s. d. 1 SEveral Lessons for 2 Lyra Viols by Mr. Jenkins , Mr. Lawes , and others , Fol. 0 5 0 2 Several Lessons for 2 Lyra Viols by Mr. Jenkins , and others , fairly prick'd . 0 5 0 3 Several Italian Airs fairly prick'd , in Folio 0 2 6 4 M. Jenkins Lyra Cons. also M. Sympsons Lyra Cons. of 3 parts , large oct . prick'd . 0 5 0 5 Mr. Lawes 2 and 3 parts , Fancies , Almanis , and Galliards for 2 Trebles , and Basses to the Organ , in Folio , fairly prick'd 0 15 0 6 Several Lessons for the Bass-Viol and Treble-Violin alone , fairly prick'd 0 16 0 7 Coperarios 2 parts , Treble and Bass , fairly prick'd 0 10 0 8 Divisions for 1 Treble-Violin , with a Thorow-Bass , also several Symphonies done by Mr. Baptist and Senior Nich●la , fairly prick'd , in Folio 0 6 0 9 Airs , two parts , Treble and Base , bound in Folio 0 10 0 10 Songs for 3 Voices to the Organ , by Mr. Ford and others , with an Organ part 0 5 0 11 Songs in five parts , fairly prick'd 0 4 0 12 Dr. Wilson's and other Songs fairly prick'd and bound , in Folio 0 5 0 13 Musick of the Score for Violins of 4 parts , by Senior Baptist of France , prick'd 0 10 0 14 English Songs the Bass by Dr. Wilson , fairly prick'd and bound , in quarto 0 4 0 15 Tunes of 4 parts by Mr. Banister , Mr. Lock , and others , in quarto , fairly prick'd 0 4 0 16 Songs for 3 Voices to the Bass , in Folio , fairly prick'd 0 10 0 17 Songs and several Tunes to the Harpsichord , prick'd in Folio 0 2 0 18 The 2 Treble ( to the Divisions for 1 Treble-Violin ) done by Dr. Wilson 0 4 0 19 English and Latin Divine Words set to Musick , by Mr. Lock , Mr. Deering , and others , in quarto , fairly prick'd 0 10 0 20 Dr. Wilson's 3 Books , English Songs , in 3 parts , fairly prick'd and bound , in Fol 0 9 0 21 All the Psalms of David fairly writ in Latin , and set to Musick for the Organ 0 12 0 22 Several Divine Words set for 2 parts , Treble and Bass , with an Organ part 0 4 0 23 Select Songs for 2 Voices with the Organ part fairly prick'd 0 3 0 24 Several Tunes of Mr. Banister's Treble and Bass , in quarto , fairly prick'd 0 2 0 25 French Musick for Treble and Bass , fairly prick'd 0 2 0 26 Divine Hymns , Latin and English , for 3 Voices , in quarto , fairly prick'd 0 3 0 27 Airs and Phantasticks for 3 Voices , by Mr. Thomas Weelks , in quarto , prick'd 0 3 0 28 Mr. East's , 7 sets , 4 parts for Instruments , in quarto , printed 0 2 6 29 Songs for 3 Voices by Thomas Pierce , fairly prick'd , in quarto 0 2 0 30 Mr. Lawes Songs , and Mr. Jacksons Hymns on K. Charles I. in 4 parts , prick'd 0 2 0 31 Songs of 3 parts by M. Gibbins , M. Lock , and others in Lat. prick'd & bound 0 4 0 32 Two Books of Lyra Lessons prick'd 0 2 6 33 Six Books fairly prick'd , with several new Tunes , in quarto 0 3 0 34 A Book of Songs in Folio , fairly prick'd 0 2 0 35 Tunes of several Psalms set to the Organ by Dr. Gibbons , fairly prick'd 0 3 6 36 Court-Airs Treble and Bass , fairly printed in octavo 0 4 0 37 Ditto 0 3 0 38 Mr. Young's second set of select Songs for 5 and 6 Voices , printed in quarto 0 2 6 39 Dr. Wilson's Ballads for 3 Voices , printed in quarto at Oxford 0 2 0 40 Mr. Matthew Lock 's little Consort of 3 parts , printed 0 6 0 41 Mr. Lawes Psalms for 3 Voices to the Organ , printed in quarto 0 8 0 42 French Airs and Songs fairly engraven on Copper , in quarto 0 2 0 43 Bickers Sonatta's in 3 parts , printed in quarto , in Italian 0 5 0 44 Mr. Weelks 3 parts , in quarto printed 0 2 0 45 Mr. Gambles Airs and Dialogues in 2 Books , in Folio Quires 0 4 0 46 Ditto bound 0 5 0 47 Airs by Alphonso Feraboso , printed in Folio 0 3 0 48 Mr. Douland's Introduction for singing , in Folio 0 2 0 49 Parthenia Lessons for the Virginals or Harpsichord , Engraven in Folio 0 2 6 50 Songs for 1 , 2 , 3 Voices , being select Poems of the Incomparable Mr. Cowly , and left by Mr. Hen. Bowman of Oxon , and Engraven at Oxon in Folio 0 5 0 51 Mr. East's 7 set of Books of Fantasies for 3 or 4 parts 0 1 6 52 Mr. Wilby's first and second set of Madrigals , printed in quarto 0 3 0 53 Ditto 0 3 0 54 Mr. Morley's Fa-la's for 5 Voices , printed in quarto , two sets 0 3 0 55 Mr. Weelks Fantasticks in 3 parts , in quarto 0 3 0 56 Mr. John Hilton's Fa la's of 3 parts , printed in quarto 0 5 0 57 Four Books containing Lessons for the Lute , Gittar , Bandore and Citharen 0 4 0 58 The 4 set of Mr. East in quarto printed 0 1 6 59 The second Book of Damons on all the Tunes on David's Psalms , in quarto 0 1 6 60 Mr. Lawes Consort for 2 Lyra's , a Violin and Theorbo , prick'd in quarto 0 4 0 61 The first set of Morley's five parts , in quarto printed 0 3 0 62 Morley's two parts , printed in quarto 0 3 0 63 Four Books of Divine Musick bound in Vellum , in octavo fairly prick'd 0 5 0 64 Weelks Airs to 3 Voices , in 3 parts , printed in quarto 0 1 6 65 Ditto bound , prick'd , in quarto 0 2 6 66 Deering's Latin set for 5 Voices , in 5 parts , printed in quarto 0 5 0 67 Porter's Matins for 2 Voices , with a part for the Organ , printed in Folio 0 2 0 68 Ditto two sets 0 4 0 69 Mr. Young's second set of 6 parts printed 0 3 0 70 The first Book of Airs by Thomas Campion , in Folio printed 0 2 6 71 The first set of Madrigals of 5 parts , printed in quarto 0 2 0 72 The first part of Morley's 5 parts printed 0 2 6 73 Tho. Ward 's 3 , 4 , 5 and 6 parts , printed in quarto 0 3 0 74 Deering's 3 parts in Italian printed 0 4 0 75 Thomas Tomkyns's Songs of 3 , 4 , 5 and 6 parts , printed in quarto 0 2 6 76 Mr. Purcel's Sonata's in 4 parts , Engraven in quarto , Marble Pap. Gilt. Leaves 0 10 0 77 Holbourn's 5 parts printed in quarto 0 2 6 78 Deering's 3 parts in Italian printed 0 2 0 79 Amner's sacred Hymns of 3 , 4 , 5 and 6 parts , printed in quarto 0 2 0 80 Bird 's 5 Voices printed in quarto 0 3 0 81 Litchfield's first set of 5 parts , printed in quarto 0 2 0 82 Alison's first part printed in quarto 0 2 0 83 Choice Sonata's for 3 parts of Alegro Porto in Italian , printed in quarto 0 2 0 84 Ward 's five parts printed in quarto 0 2 0 85 Bennet's Madrigals of 4 Voices , printed in quarto 0 1 6 86 Mr. East's sixth set of 5 and 6 parts , printed in quarto 0 1 6 87 Psalt . Carolinum set to Musick for 3 Voices , the Org. & Theorbo , in 5 parts , Fol. 0 4 0 88 Tomkyns's 5 and 6 parts , printed in quarto 0 3 0 89 Campian's first Book of Airs , printed in Folio 0 2 6 90 Pilgrims Solace by John Douland , printed in Folio 0 2 0 91 Farnaby's 4 Voices , printed in quarto 0 2 6 92 Mr. Lock 's Opera , and Dr. Wilson's Songs , prick'd in Folio 0 5 0 93 A Book of Rounds and Catches of 3 , 4 , 5 , 6 , 7 , 8 , 9 and 10 parts ; also Freeman's Books of Rounds and Catches 0 4 0 94 Three old Catch-Books Palmelia 0 2 6 95 Holbourn's Citharen Book 0 1 6 96 Butler's Principal of Musick 0 1 6 97 Psalterium Carolinum for 3 Voices in 5 parts , in Folio 0 3 0 98 Glarinia , a large Treatise on Musick , in Latin 0 4 0 99 Airs & Dialogues for 1 , 2 & 3 Voices in Fol. by several of the best Mast. bound . 0 5 0 100 Airs & Dialogues composed by Mr. Lawes for 1 , 2 & 3 Voices , bound in Fol 0 5 0 101 Cantica Sacra , Hymns and Anthems in 4 several parts bound , both sets , Fol. 0 8 0 102 Allison's Psalms in Folio , with the several parts to every Psalm 0 2 6 103 A Ruled Book , 6 Lines , 8 Staves in Folio 0 1 0 104 Another large Ruled Book of the largest and best Demy Paper , neatly bound in Calves Leather , Gilt , 5 Lines , 12 Staves , Folio 0 8 0 105 Another Ruled Book , 6 Lines , 12 Staves , the best Demy Paper , bound in Cal. L. 0 5 0 106 Another Ruled Book of 5 and 6 Lines , Folio , bound in Calves Leather 0 1 6 107 Four more in Folio bound , of 6 Lines , 8 Staves . 0 2 6 108 Another Ruled Book neatly bound in Folio , 6 Lines , 8 Staves 0 1 6 109 Dutch Psalms bound in 24 o neatly in Calves Leather , with Tunes to every Ps. 0 1 6 110 French Psalms in 4 parts bound in Vellum , with Tunes to every Psalm , in 12 o. 0 2 0 111 Dutch Ps. Com. Pr & Test. bound in Shagreen , gilt Leav . oct . a Tune to every Ps. 0 5 0 112 Wilby's first and second set of Madrigals , printed in quarto 0 3 0 113 Mr. Lawes Airs bound in Folio printed 0 4 0 114 Ditto 0 4 0 115 Several Songs fairly pricked , in quarto 0 2 0 116 A Book of Lessons for the Virginal and Organ , fairly pricked in Folio 0 2 6 117 Mr. Lawes Harp ▪ Consort , and his Little Consort , in 4 parts , quarto , fairly pr. 0 4 0 118 Mr. Lawes and Dr. Rogers Airs of 4 parts , in quarto , fairly prick'd 0 4 0 119 Divine Songs for 4 Voices and Organ , part by M. Jenkins and M. Lock , &c. Fol. 0 5 0 120 Mr. Banister's 2 parts , Treble and Bass , in quarto , fairly prick'd 0 2 0 121 The last new Italian Sonita's , 3 parts , fairly prick'd 0 5 0 Musick-Books in Quires at half the price as formerly sold. 1 TEn of the 4 and 5 Books of choice Airs , the 4 at 2 s. the 5 at 1 s. apiece , both 3 s. 2 Ten of the 1 , 2 and last Books of the Theatre of Musick , all three at 5 s. a set . 3 Twenty of the Psalms in Folio at 1 s. 6 d. apiece . 4 Twenty of each of the Banquets of Musick , 1 and 2 Books , both 2 s. 5 Fifty of Mr. Farmers first Consort of Musick in 4 parts , at 2 s. a set . 6 One Hundred , 50 of a sort of the two sets of Mr. Deerings , at 4 s. both sets . Musick-Books printed for John Carr. TWenty Sets of Triple Concordia , containg choice Airs , in 3 parts , viz. Treble , Mean and Bss , at 2 s. 6 d. each Set 2 10 0 Twenty Psyche Books , containing all the Vocal Musick in Psyche , with the Symphonies between , & the Instrumental Musick in the Tempest , at 1 s. each Book 1 0 0 Two Musical Entertainments , the 1 compos'd by Mr. Purcel , the 2 by Dr. Blow , & perform'd on S. Cecilia's day , the 2 parts stitcht together , at 1 s. 6 d. in N. 20. 1 10 0 Advertisement . Books lately printed with large Additions , and sold by Hen. Playford . THe second Part of the Virginal Book . The second part of the Division-Violin . The Flute-Book , and The Flagelet-Book , all four fairly printed on Copper-Plates . Harmonia Sacra , or Divine Hymns , set by the best Masters of Musick . Mr. Farmer 's second Consort of Musick , with his Elogy , set by Mr. Henry Purcel . The Dancing-Master . Apollo's Banquet . The Introduction to the Skill of Musick . The fourth Part of the Banquet of Musick , it being the newest Book of Songs printed . Also all sorts of Ruled Paper and Books , and all Sets of Musick , or single Songs fairly prick'd , may be had at the same Shop . FINIS . 
A89391	----	A song in the Mad Lover, set by Mr. G: Eccles, sung by Mrs. Bracegirdle Motteux, Peter Anthony, 1660-1718. 1700 Approx. 2 KB of XML-encoded text transcribed from 1 1-bit group-IV TIFF page image. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2008-09 (EEBO-TCP Phase 1). A89391 Wing M2961A ESTC R231922 99897513 99897513 133297 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A89391) Transcribed from: (Early English Books Online ; image set 133297) Images scanned from microfilm: (Early English books, 1641-1700 ; 2503:4) A song in the Mad Lover, set by Mr. G: Eccles, sung by Mrs. Bracegirdle Motteux, Peter Anthony, 1660-1718. Bracegirdle, Anne, ca. 1663-1748. Eccles, John, d. 1735. 1 sheet ([1] p.) : engr. music s.n., [London : 1700?] Imprint suggested by Wing (CD-ROM edition). Wholly engraved. Reproduction of original in the William Andrews Clark Memorial Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org). The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. Anyone can now take and use these texts for their own purposes, but we respectfully request that due credit and attribution is given to their original source. Users should be aware of the process of creating the TCP texts, and therefore of any assumptions that can be made about the data. Text selection was based on the New Cambridge Bibliography of English Literature (NCBEL). If an author (or for an anonymous work, the title) appears in NCBEL, then their works are eligible for inclusion. Selection was intended to range over a wide variety of subject areas, to reflect the true nature of the print record of the period. In general, first editions of a works in English were prioritized, although there are a number of works in other languages, notably Latin and Welsh, included and sometimes a second or later edition of a work was chosen if there was a compelling reason to do so. Image sets were sent to external keying companies for transcription and basic encoding. Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Songs, English -- 17th century. Music -- England -- Early works to 1800. 2007-07 TCP Assigned for keying and markup 2007-08 Apex CoVantage Keyed and coded from ProQuest page images 2007-09 Pip Willcox Sampled and proofread 2007-09 Pip Willcox Text and markup reviewed and edited 2008-02 pfs Batch review (QC) and XML conversion A Song in the Mad Lover , Set by M r I : Eccles , Sung by M rs . Bracegirdle Must y n a faithful Lover go , scorn'd & banish'd , banish'd like a Foe , Oh! let me Rave , Oh! let me Rave , dispair , dispair , curse , curse my Fate , yet bless , yet bless , bless the Fair , for oh inspight of her disdain , I still must Love. I still must Love & hug my Chain , yet why , why shou'd Love , why shou'd Love my Heart molest , w n Hate , w n Hate , w n Hate , her Love possesses , reveng , reveng or Scorn , revenge , revenge or Scorn , or Scorn shou'd rule my Breast , w n such a Swain , such a Swain , such a Swain she Blesses , w n such a Swain , she Blesses : Then I 'll no more to Coyness Sue , Faith & constant Love adieu , farewell dotage , fond Disease , welcome freedom , welcom ease , welcome freedom welcome ease . I 'll rove & I 'll range , I 'll love & I 'll change , I 'll rove & I 'll range , I 'll love & I 'll change : Every hour & every place , every fair & every face ; I 'll vow & protest , I 'll swear & deceive , all , all who like me are so Mad to beleive , all , all , all , all , all , all , all who like me are so Mad to beleive . I 'll For the Flute . 
A89392	----	A two part song between Cupid & Bacchus in Timon of Athens set by Mr. Henry Purcell Motteux, Peter Anthony, 1660-1718. 1700 Approx. 1 KB of XML-encoded text transcribed from 1 1-bit group-IV TIFF page image. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2008-09 (EEBO-TCP Phase 1). A89392 Wing M2963A ESTC R231124 99899731 99899731 132559 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A89392) Transcribed from: (Early English Books Online ; image set 132559) Images scanned from microfilm: (Early English books, 1641-1700 ; 2432:5) A two part song between Cupid & Bacchus in Timon of Athens set by Mr. Henry Purcell Motteux, Peter Anthony, 1660-1718. Purcell, Henry, 1659-1695. 1 sheet ([1] p.) : engr. music s.n., [London : 1700] Imprint suggested by Wing (CD-ROM edition). Wholly engraved. Reproduction of original in the Folger Shakespeare Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org). The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. Anyone can now take and use these texts for their own purposes, but we respectfully request that due credit and attribution is given to their original source. Users should be aware of the process of creating the TCP texts, and therefore of any assumptions that can be made about the data. Text selection was based on the New Cambridge Bibliography of English Literature (NCBEL). If an author (or for an anonymous work, the title) appears in NCBEL, then their works are eligible for inclusion. Selection was intended to range over a wide variety of subject areas, to reflect the true nature of the print record of the period. In general, first editions of a works in English were prioritized, although there are a number of works in other languages, notably Latin and Welsh, included and sometimes a second or later edition of a work was chosen if there was a compelling reason to do so. Image sets were sent to external keying companies for transcription and basic encoding. Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Songs, English -- 17th century. Music -- England -- Early works to 1800. 2007-07 TCP Assigned for keying and markup 2007-08 Apex CoVantage Keyed and coded from ProQuest page images 2007-09 Pip Willcox Sampled and proofread 2007-09 Pip Willcox Text and markup reviewed and edited 2008-02 pfs Batch review (QC) and XML conversion A two part song between Cupid & Bacchus in Timon of Athens . Set by M r. Henry Purcell . Come let us agree , come let us agree , come let us agree , come , come , come , come , come , come come , come , come let us agree : come , come , come , come , come , come , come let us agree There are Pleasures divine there are Pleasures divine in Love and in Wine , in Love and in Wine , there are Pleasures divine in Wine and in Love in Love and in Wine , in Wine and in Love , in Love and in Wine . Come let us agree , come let us agree , come let us agree , come , come , come , come come , come , come let us agree , come , come , come , come , come , come , come , let us agree There are Pleasures divine in Wine & in Love in Wine & in Love , there are Pleasures are Pleasures divine in Wine and in Love in Love and in Wine , in Wine and in Love in Love and in Wine . Flute . 
A48911	----	The present practice of musick vindicated against the exceptions and new way of attaining musick lately publish'd by Thomas Salmon, M.A. &c. by Matthew Locke ... ; to which is added Duelium musicum, by John Phillips, Gent. ; together with a letter from John Playford to Mr. T. Salmon by way of confutation of his essay, &c. Locke, Matthew, 1621 or 2-1677. 1673 Approx. 118 KB of XML-encoded text transcribed from 46 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2003-03 (EEBO-TCP Phase 1). A48911 Wing L2777 ESTC R12529 12254615 ocm 12254615 57311 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A48911) Transcribed from: (Early English Books Online ; image set 57311) Images scanned from microfilm: (Early English books, 1641-1700 ; 154:11) The present practice of musick vindicated against the exceptions and new way of attaining musick lately publish'd by Thomas Salmon, M.A. &c. by Matthew Locke ... ; to which is added Duelium musicum, by John Phillips, Gent. ; together with a letter from John Playford to Mr. T. Salmon by way of confutation of his essay, &c. Locke, Matthew, 1621 or 2-1677. Phillips, John, 1631-1706. Duelium musicum. Playford, John, 1623-1686? [5], 96 p. Printed for N. Brooke ... and J. Playford ..., London : 1673. "In 1672 an extraordinary controversy commenced between Locke and Thomas Salmon, who had published An essay to the advancement of musick by casting away the perplexity of different cliffs ... Locke attacked the work in Observations upon a late book entitled An essay, etc. ... to which Salmon replied in A vindication of his essay ... and Locke in 1673 retorted in The present practice of music vindicated"--Grove, Dict. of music and musicians. Reproduction of original in Huntington Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org). The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. Anyone can now take and use these texts for their own purposes, but we respectfully request that due credit and attribution is given to their original source. Users should be aware of the process of creating the TCP texts, and therefore of any assumptions that can be made about the data. Text selection was based on the New Cambridge Bibliography of English Literature (NCBEL). If an author (or for an anonymous work, the title) appears in NCBEL, then their works are eligible for inclusion. Selection was intended to range over a wide variety of subject areas, to reflect the true nature of the print record of the period. In general, first editions of a works in English were prioritized, although there are a number of works in other languages, notably Latin and Welsh, included and sometimes a second or later edition of a work was chosen if there was a compelling reason to do so. Image sets were sent to external keying companies for transcription and basic encoding. Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Salmon, Thomas, 1648-1706. -- Vindication of An essay to the advancement of musick. Musical notation. 2002-09 TCP Assigned for keying and markup 2002-11 Aptara Keyed and coded from ProQuest page images 2002-12 Emma (Leeson) Huber Sampled and proofread 2002-12 Emma (Leeson) Huber Text and markup reviewed and edited 2003-02 pfs Batch review (QC) and XML conversion The Present Practice OF MUSICK VINDICATED Against the Exceptions and New Way of Attaining MUSICK Lately Publish'd by Thomas Salmon , M. A. &c. By MATTHEW LOCKE , Composer in Ordinary to His Majesty , and Organist of Her Majesties Chappel . To which is added DVELLVM MVSICVM By JOHN PHILLIPS , Gent. Together with A LETTER from Iohn Playford to Mr. T. Salmon by way of Confutation of his Essay , &c. Martial Lib. 3. 67. Irasci nostro non debes , Cerdo , libello , Ars tua , non vita , est carmine laesa meo . Innocuos permitte sales . Cur ludere nobis Non liceat , licuit si jugulare tibi ? London , Printed for N. Brooke at the Angel in Cornhill , and I Playford near the Temple-Church . 1673. To the Reader . THough I may without scruple aver , that nothing has done Mr. Salmon more kindness , than that his Books have had the honour to be answered ; yet have I been forc'd to afford him this favour , rather to chastize the Reproaches which he hath thrown upon the most Eminent Professors of Musick , than for any thing of Learning that I found in him . Those Gentlemen he accus'd of Ignorance , for not imbracing his illiterate Absurdities ; for which it was necessary to bring him to the Bar of Reason , and to do him that Justice which his Follies merited . Though for the same he gets by this I shall not much envy him ; with whom it will fare , as with common Criminals , who are seldome talkt of above two or three days after Execution . The Gentleman might have slept in a whole skin , had he not challeng'd all the World ; in which , how well he has behav'd himself , you may , if you please , in reading judge ; and so farewel . M. L. To my FRIEND Mr. MATTHEW LOCKE , On his ingenious Discovery of those MUSICAL INNOVATIONS Held forth by the Author of An Essay to the Advancement of Musick , &c. AS MARSYAS , though by MINERVA taught , While with insipid Novelties he thought , Great PHOEBUS of his Lustre to deprive , Was for his bold presumption Flead alive : So while our LOCKE th' APOLLO of our Age , This MUSICAL PHANATICK doth engage ; He both o'recomes and punishes his Pride ; Though he Flea's not his Skin , he Tawes his Hide . J. Phillips . A LETTER of THANKS To Mr. THOMAS SALMON For the Vindication of his Essay , &c. SIR , To the Favours formerly acknowledged by me , and since repeated by you , you have obligingly added in the Vindication of your Essay so many others ( though of far different Nature to them , yet doubtless with the same , if not greater heartiness ) that I was at a loss how to put my self into the least Capacity of manifesting the thankfulness they deserve , without looking back , and endeavouring ( if possible ) to find out their true Rise ; wherein if I fail , I shall willingly acknowledge my fault , and beg your pardon . Sir , In your Essay ( pag. 10 ) you are pleas'd to affirm , That the dark and tedious Principles of Musick , the bugbear Terms and confused Cliffs , hindred the access to it . Pag. 11. That the long discourse of Gibberish , a fardle of hard Names and fictitious Words , call'd the Gam-vt , to be learn'd backwards and forwards by heart , as though a Man must be exact in the Art of Conjuring before he learn'd Musick , terrified the Beginner . Pag. 15. That you cann't tell any thing that perswades Musick-Masters to trouble their Scholars with an impertinent difficulty , but a pernicious humour in some Men still to do what hath once been done , howsoever useless and unprofitable ; and that though the Gam-vt be retain'd , they think it insufficient . Pag. 16. That they are to be blamed for not beginning the Naming of their Notes with Mi. Pag. 19. That intollerable perplexity which arose from the Alteration of the Cliffs , caus'd some charitable but lazy Wit , to invent Tablature , whereby the Notes are Mechanically clouded in Letters , and so darkly , that the most quick sighted Musick-Master cann't tell what they mean , till he find out the Tuning , and the Scholar , so instructed , condemn'd ever to be ignorant of the rational part of his Musick , &c. for the Voyce and Instruments , not capable of that literal Expression , People learn by rote , and quickly forget what like Parrots they ignorantly prated . Pag. 22. A Musick-Master cann't trust to the Observation of Intervals in passing from one Cliff to another . Pag. 24. Musick-Masters will be loath to consent to a Way , wherein every young Practitioner may rival them . Pag. 25 , 26. Some Musick-Masters return'd me such Objections , as betray'd their misapprehension of my design , and their unwillingness it should come into practice ; upon which account I have put my self to the trouble of writing these Papers , that they might the more clearly perceive the conveniency of our Hypothesis : And if afterwards they should remain peevish , and obstinate against the use of it , their Scholars might be able to right themselves , and demand a remission of more than half their slavish Task , for to learn the Notes and con their places , is the very drudgery of Musick , &c. which , when once Men find it will save them half the trouble , they will embrace it as readily , as if I were Emperour of the World to command it . Pag. 27. But if after all this , Musick-Masters shall double the time in teaching their Scholars , in hopes of double Gain ; or their Scholars be such Fools to undergo that expence of time and trouble ; give me leave to laugh ▪ and let them have their labour for their pains . Pag. 32. I will make a wild Comparison to shew how madly Custom perswades Musicians to reckon . Pag. 36. By how much Musicians have been wanton in their various Cliffs for Singing , they bring in Evidence of the Mischief it makes . Pag. 47 , 48. I should think this unworthy my pains , unless the difficulty were so great which demands redress , and necessity required me to answer the perverse obstinacy of some , who would oppose even the justest Alterations ; Vitio malignitatis humanae vetera semper in laude , praesentia in fastigio esse . But if any shall contemn this because Easie and Natural , let them remember what a grave company of such Contemners were baffled in setting an Egg upright , till they were shewed how . Pag. 74. If there be a nearer and an easier way ( than the Old Scale ) why should not those Guides be so honest to lead us in it ? &c. Truely if Musick-Masters will continue obstinate , to maintain such needless difficulties , they may like some ( Musicians ) be left to play by themselves in Fidlers Island . Pag. 78. Pity me ye confounded Sons of Nimrod , that I must still suffer the Curse of my old confused disorders . Pag. 88. I have heard many Scholars in vain importune their Masters for some Directions to this purpose ( viz. to Play or Compose an Air or Consort ) whose Charity notwithstanding has been so straight , or else their Ignorance so obstinate , that their just intreaties were frustrated . For which Pag. 90. Now a Master is ranked in the same order with those Empyrical Traders , who have a parcel of Musical Receipts , but understand not one Note of their Composure . These , Sir , These bold and untrue Aspersions thrown on All Masters of Practical Musick , and All Gentlemen and others that have learn'd their way , as if your taking a Degree had authorized you to abuse Men ; together with the perpetual magnifying your self , and the Brat your Essay , were the Motives of my inserting a Merry Proverb or Simily here and there in my Observations ; and those if I mistake not of your doubty manner of Vindicating it . Sir , I have been told , that Generosity is a constant Attendant on Noble and Heroick Spirits , and should have believ'd it , had I not heard of many Great Ones that abhorr'd the found of the very word ; but you , Sir , by those showers of Bounty heap'd on me in the Vindication of your Essay , have made so absolute a Convert of me , that I hold it a Duty necessary to let the World know , how admirably your Tongue speaks your Heart . Sir , you have prevented a long Journey and much trouble for its discovery in your Title Page , by slily concealing the Titles of those real Favours their Majesties have been graciously pleas'd to confer on me in both their Services , that thereby you might take advantage to render me contemptible to all that know me not , and all other your tender-hearted Proselites , who believe you are already in possession of some Infallible Chair , and consequently can speak or write nothing but Truth : As fair an Introduction for your following Discourse as Heart could wish ! In your Advice to the Reader , you tell him Moor-fields and the Bear-Garden are Entertainments only for the Rabble , your old Cronies ; to prevent therefore my being drawn into the Lists of their Active and Martial Atchievements , you , to render me impudent as well as ignorant , have plac'd me on the Grand Theatre of the World , bidding Defiance , first , to your Learned Patron Dr. Wallis ; then , to the Royal Society and all Mathematicians that have been , are , or shall be ; andlastly , to Modesty , Honesty , Piety , and whatever else relates to God or Good Men. Behold , Sir , an Abbreviate of your transcendent additional Favours ! Favours indeed ! and when really considered , such as in all probability could not proceed from any but your self , your Epistoler , or that Great Prince who pretends Right to all that 's donable in this World. But of their Particulars hereafter . At present give me leave , if you please , to admire that so much Prodigality should be used to so little purpose ; especially when I reflect on that great and extraordinary Call which necessitated you ( as your self confess ) to this Act of Reformation : for no sooner can I cast my Eye on the Vindication , but I lose the Essay ; this proposing a nearer and easier way to the attaining of Practical Musick ; that running quite from it to what either we have already past , or to what is meerly speculative , or at most insignificant to us : So that upon a true account , when your jingling with , and playing on my words , with your perpetual wresting or falsifying them , are laid aside , there 's not one word in the Vindication makes good the Title and Contents of the Essay , but your own bare affirming you have demonstrated it ; which how true it is , I appeal to all Masters of Practical Musick , who are , and ought to be Judges in this Case of Practice . Yet , Sir , left your Whirligig Members should think me too severe , and judge that I write rather out of spite and malice to your Person , than against your Opinion ( which you and your Dearly Beloved have already proclam'd though Heaven knows for what ! ) be pleas'd to remember , that from Pag. 10. to Pag. 27. in my Observations , I demonstrate , by the Old Scale , by the brief Explanation of it , and by the several Examples there inserted , the Conveniency and Necessity of the Cliffs , as they are universally received , on the one side ; and the intricacy and perplexity which perpetually attends your B M T 's mutability ( without which you cannot advantagiously write any thing according to your own Rule that has the extent of a well-design'd Composition ) on the other . But what 's your Answer to this ? not one word , though it be the Hinge on which the whole Discourse depends , as to Practical Musick , and which was your Task ; but ( after a long Digression from it , intermix'd with all kind of abusive Language ) an old stoln Cycle , to tell us , an Octave is an Octave , that Musick is part of the Mathematicks , which no Man yet ever doubted of that pretended to Musick ; and an Argument ( if any one will take it for such ) back'd with such a Scheme , as being truly applied , undeniably destroys all you pretend to build , and confirms what so furiously you would destroy ; notwithstanding your desperate threatning to pull down ( Sampson-like ) the Observer in your ruin , and crush him with five times the weight of his own Objection : For , those absurdities which you charge the Old Scale with , are really none , but evident Fortifiers of its certainty ; being that where-ever the C sol favt Cliff is placed , the second Space below is perpetually G sol re vt . music Example . Unisons And that one absurdity , which you confess to be in your New Way , by the assistances of your Lieger Line and Exoticks , multiplies on every Note throughout your whole Scale . music Example . Unisons music &c. music &c. This , Sir , is so evident in it self , that it needs neither Argument nor Scheme to maintain or demonstrate it to any Person indued with Common Sense . And truly , Sir , according to this Rate , this excellent Method of Proving , you may Write and Answer Books , with as much ease as you pretend you could Command the World ; for nothing can come amiss to so great a Mind ; the Examples of ruin'd Monarchs touch you not ; the Infamy attending Libellous Scriblers holds not your hands ; what you will , must be ; what not , not : And this is that , and only that , which I can any way perceive the World is ever like to have from you , excepting your new invented Wheel of Seven Spokes for a Tyler or Carpenter to reach the top of a House with , instead of his old Ladder ; your New Way of Account , to tell a Farmer Paul's Fair will be D in the fourth Octave , instead of the Twenty fifth of Ianuary ; and the incomparable B M T for a fair Lady to Learn ( with all Expedition ) the singing of a Base in Confort : which Posterity may admire you for , though the present Age be not so good natur'd . But to proceed : In my Observations ( Pag. 33. & 34. ) I mention the ridiculousness of confining the Viol to a Tuning , incapable of being used well in more than one Key , whereas the Old Way injoyed all ; and particularly do manifest your contradicting your own Rule of keeping every Octave and Part within the System of Four Lines , by planting the first Note of an Example taken from Mr. Simpson in a Sixth Line , and putting the same Note that is to be Plaid on the same String and Fret , here in the Line , there in the Space , then again in the Line , after that in the Space , and so forward to the End of the Lesson . This , Sir , to any Mans thinking might have deserv'd some Answer ! but 't is put off with a bare imploying your Conjuring Exoticks , and telling the World I understand not the Viol ; which how true 't is , and how much to your pretended relieving the Fland , Eye , and Understanding from those troublesome and needless perplexities you charge the Old Scale and Tuning with , I leave to your self to judge ▪ being very much assured , that if you are insensible or the ●on-performance of what you have so boldly undertook , you are unfit to be taken farther notice of than as an unskilful impertinent Wrangler . But , Sir , whether I do or do not understand the Viol , it matters not ; 't is evident I did not abuse your Publisher in asserting 〈◊〉 that he knew the impossibility of it . And that you may do so to if you please , take for an Experiment the ●ollowing Example , and when you have tried it ●he Old Tuning , apply it to your New call'd Vni●ersal One , as in the first Example in the following Page . First Example for the Violl Tuning Almond The Second Example for the Harpsicord An Entry . This , Sir , though you are resolv'd not to be Confuted , may at long run Convince you , that I do understand the Viol ; that 't is impossible to perform it on your new confin'd Tuning ; and that you have undertook what you understand not ; nor are ever likely to bring to pass , the way you go to work . And indeed , no one that does understand Musick can expect other : For while we must be one while in the Line with a Note , another while in Space with the same Note ; one while condemn the Monosyllables for Gibberish , Conjuring , and the learning of them the very drudgery of Musick ; another while command the use of them , then eat them ; here to fix Mi in one of two places only , there in any place ; here obliged to the use of four Lines only , there to fourteen , or as many as you please ; here tied to the use of Notes as the most easie and intelligible way , thare to the lazy-witted Invention of Tablature ; here to express Musick in the most familiar words , there to abandon the plain English of a great or lesser Third , Fourth , Fifth , &c. to imbrace the old Heathen Greek Terms , and what not ? while I say we are brav'd from our own fixedness to those pitiful shilly-shally's , and altogether insignificant and impertinent pretences ; what , Sir , can be expected ? Truely nothing that I can any way imagin ; except perhaps that thereby we might be made instrumental to proclame to the World. That a young Graduate had lately Published Two Books , as exactly agreeing with their Titles as a Pretended Gospel-Minister's Sermon in the late Civil Wars did to his Text ( the one being Fear God , Honour the King ; the other , an impudent Perswasion to carry on the begun Schism and Rebellion : ) but not to so ill an End , though in all probability with as much Pride and Contempt . Proportionably you go on , trifling with the Harpsichord and Lute , as if the One were previously made for the sole use of your unbarb'd Jews-Trump , the Cycle , and your Servants B M T ; or the Other most eloquently Harmonious when untouch'd . For to what end the first is made a Phanatick ; the last , when used , silent ( for so , by a wilful mistake both of my words and meaning , you have made them ) except to keep up the laudable custome of swelling your Book , and amusing the Reader , I know not . I must confess , Sir , I have not the Practical Use of the Lute ; yet have Composed several things for it ; and from thence am sufficiently convinced , that the way of Tablature is much easier and properer for that Instrument , and the expression of its excellency , than the way of Notes ; however I shall not judge , but refer it to those to whom it properly belongs , viz. such Lute-Masters as are qualified in both Capacities . But as to the Harpsichord , I could smile at your idle Imagination , that a Man must have two Heads for the using two Staves of Lines , for his two Hands our Cliff-way ; and but one Head for the use of a like two Staves and two Hands your BMT way , did I not fear there might be a more than ordinary Mystery in it ; that is to say , One great Loggerhead with huge great Saucer-Eyes , like those in the Turkish Paradice , to be Champion in the Cause ; and then , Woe and well-a-day ! but I hope better things . In confidence whereof , I shall boldly affirm , that among the many ways of Writing for that Instrument , the most intelligiblest to the Understanding , and easiest to the Eye , is that which divides the Staves of Lines , and Hands , on the middle Key thereof ; and so gives occasion to ascend and descend ( generally ) without the least alteration of Cliffs . [ See the second Example in Pag. 10. ] This , Sir , your Four Line BMT way , is wholly incapable of ; and so incapable of , that in the Example you took from Mr. Thetcher , and inserted in your Essay , you were forced to acknowledge , by several times chopping and changing your signifying Letters in that short Lesson . To object , some things may notwithstanding be done that way , is short of your Glorious Pretences , where you undertake All , Easier , and in half the Time ; the contrary whereof is so notoriously known , that , besides the Masters , several Lovers of Novelties , after a little experience , have with scorn laid it aside . Among others , a Person of Honour , Educated , in a School near this City , had your Essay presented her piping hot , with such Commendation as the Presenter thought it really deserved ; the Lady , with as much thankfulness received it , thinking every Minute a Day till the presence and assistance of her Master might make her happy in the injoyment of this new invented Benefit . The Hour came , and to work they went ; but , O the fickle state of Lovers ! e're many days was expired , the heat was so abated , that there was not Charity enough left to keep it out o' th' fire , had not the Masters earnest intreaty preserv'd it from that cruel Death : but all in vain ▪ for the thing being heartless , after a short time , consum'd by that lingring Disease which Squire Ralpho long before Prophecied would be the end on 't ; and so farewel it ; but not , Sir , to your Vindication of it : For there you promise such Advantages , as the World was ignorant of before ; there , the Reasons of what it Acted by ; and there , that All Compositions should with Ease be Transposed from one Key to another , &c. Very prety ! if a Man would believe it . Sir , the Advantages you so perpetually boast of , are already sufficiently manifested and known to be Mistakes , onely to abuse the Masters and delude the Ignorant ; and consequently need no more taking notice of : Your assuring the Dr. of the now easiness of transposing Compositions from one Key to another , is a thing so frequent , that no one is esteem'd a Master who cannot do it Proper ; and he the contrary , that does it no better than you have done your Aurelia in in your Essay . But , that Men should Act and Teach Rationally , and not understand the Reason of their so Acting and Teaching , till you peep'd into the World ; is to make them Beasts , and too too subtle for any but your self to unriddle , who have stock enough to say any thing . For my own part , Sir , I never pretended to more of the Mathematicks than what was practicable in Musick , and that I have so evidently demonstrated ( if you can but give credit to your self ) that I stand amazed at the confidence of Contradicting ●no one till now , ever being so mad , after he had seen a Man do a thing , to teach him how he should do it ; yet this is our Case ; and this no Person can be ignorant of , that is capable of apprehending , that all Creatures that have Ears are apprehensive of Sounds , but not of distinguishing them ; those , whose Ears Nature hath prepared for Practical Musick , by dividing and sub-dividing a String ( for Example ) come to experience their difference and distances ; and from thence , by comparing them , to Tones , which ( the Ear having distinguished into Consonants and Dissonants ) they Arithmetically divide to the greatest quantity Practicable ( viz. 32. ) and thence , by Harmonical Proportion of whole , half , and quarter Tones ( altogether sufficient for use ) advance to That we call Composition , the Mother of all Vocal and Instrumental Musick . More of the Mathematicks than this , Sir , ( excepting what belongs to the Mechanical Pant thereof for the Making Instruments ) signifies nothing to us ; This , and not the poring after idle and unpracticable Notions , being that which the Schools deservedly honour with the Degrees of Batchelor and Doctor , above or equal to all other Sciences . The rest therefore if you please ( for you are infinitely free ) you may bestow on your unprofitable Speculators ; who , so long as they can think of lengthening a String , or adding to Number , will never want imployment . This I mention , not in the least to contradict those Honourable and Excellent Persons , whose very Recreations , by their diving into the Bowels of Nature for the Improvement of Art , prove daily advantagious to the World ; or to prove that Musick has got the whip-hand of her Sister Sciences , and already arrived to the utmost of Practical Excellency ; and so needs none ; but to show , that after all your Hectorish Bravadoes ▪ you have most manfully , like your self , quitted the Field of Practical Musick , and run for shelter to the Nature and Causes of Sounds , which properly belongs to Philosophy , and which you , in confidence perhaps that all Men would greedily swallow your imaginary Gudgeon the Essay , particularly waved in the last Page thereof . And now , Sir , I might with very much reason finish my Letter ; but least many of your admiring Readers may be ignorant of the Subject you undertook to write on , it will not be amiss I think to give them an Example or two within their own Spheres , of the wild Consequences you draw from the plain Words in my Observations ; as also , to make a particular inspection into some few ( amongst many ) of those obliging Favours , you , and your Goodman , Mr. Sr. Min Heer , Monsieur , Senior Don , Dominus sine Nomine de Norwich ( that Grand Master of Grammatical Criticism and Cocorism ) have so graciously Complemented me with , and so conclude . Where , in my Observations , I give an account of the timely check I took , when I thought my self to be more than ordinarily knowing ( a fault Youth is too subject to ) you infer All young Men must be Fools . When I instance the continued Ignorance of the Bear-Garden-Usher at the end of his Annual Procession , you come out with your , Ergo , I turn all those venerable Ancestors into Great Bears . When I wonder , that throughout your whole Discourse of Musicks Advantages over other Recreations , you mention nothing of the Divine Use thereof , notwithstanding the many Commands and Examples recounted in Holy Writ to that purpose , you roundly conclude , I am ignorant that God is a Scripture-Name . When I prove the Old Scale to be the most certain and easiest way , yet proposed , for the attainment of Musick , by the regular ballancing the extreme Parts thereof with removing the C Cliff , and the impertinency of yours , you cry out , I 'd build a Ladder to reach the Triple Tree of Preferment . When I insert a Physicians probable ℞ for the Explanation of the super-abundant Excellencies of your B M T , you infer , I deter all that understand or profess Physick from the Study of Musick . These , and the like Patterns , your Northern Hector has been exactly careful to conclude by ; for from the Exceptions I have made in some of my Writings against the ill performance of some , and needless Mathematical impositions of others , he stoutly avers , I am the only Confounder of all Musick ; though almost in the same Breath , he commends me for my Ability in that Art , and seriously perswades me to continue my Studies therein . Which I 'le assure you , Sir , I take for no small Favour , seeing that , by his Exception against Mood , Time , and Prolation , without which , no Musick ever was or can be made , he bountifully manifests his wilful or real ignorance of the Subject he pretends to vindicate . But Trim Tram , 't is all could be expected ; the whole business being as it seems , rather to write , than what , or how ? And truely , Sir , had I affected such kind of Fooling ( to speak no worse on 't ) I might with as much shew of reason conclude thus from your Discourse and manner of Writing : Guido lived in an ignorant Age , But T. S. stands on Guido's Shoulders : Ergo , Those Venerable Ancestors T. S. has studied are Great Bears . And in all probability , might have given the World as much satisfaction in that profound way of Arguing , as either of you . But , Sir , you are not contented to let me escape thus ; my Heart as well as Opinion you dissect , and there make such a discovery of Venome , if the unblemished Fame and sacred Credit your Epistoler gives you , prove true ; that I should wonder how I lived , did not Experience give a better account of my Vitals . The first Viper you meet with , is Malice , which doubtless is a Grand Imp of Iniquity wherever found ; but , Sir , that a bare opposing an Opinion concerning Practice , should be that Beast , is a thing no ingenious Man can imagin ; and for your prety Person , I do assure you , I never saw any thing that could beget more than pity towards it , in pretending to so much Learning , and having so little Civility . The second , is Lying ; wherein , bating Childish Excuses , and artificial Stories to pass the time with now and then , I never knew my self formally guilty of ; but truly , Sir , were the Saddle set on the right Horse , an Acquaintance of mine would have a great Burthen ; for he cannot be content to belye his Neighbors , but himself too . Who , but he , Sir , do you think would have affirmed , That the Observer would have approv'd the Essay ( and render'd himself a Knave to Posterity ) for a good Fish-Dinner souc'd in Wine ? Who , but he , would protest that he never required or used more than one ascititious Line over or under the five , when in the Plate of his Diagram he adds another , and both contrary to his first Principle , for Four Lines only ? Who ▪ but he ▪ that the Observer was forced to quit , the Places of his Obligations at Hackney for his ill behaviour ? ( the contrary whereof will with Truth and Modesty , be testified by all the Persons , from the Mistresses to the Servants , during his Converse there . ) And who , but he , or Old Nick for him , That those excellent Young men of His Majesties Chappel , did many of them perfectly understand the Rudiments of Musick before His Majesties happy Return ? The contrary being so evident , that for above a Year after the Opening of His Majesties Chappel , the Orderers of the Musick there , were necessitated to supply the superiour Parts of their Musick with Cornets and Mens feigned Voices , there being not one Lad , for all that time , capable of Singing his Part readily . Prophaneness and Immodesty advance next : Concerning which , I have not as yet attain'd to that Pharisaical Sanctity ( or rather Hypocrisie ) to justifie every Word or Action of my Life , I am more sensible of the Defects of Humane Nature , and hope , shall be more and more , till my happy Change come . But to write prophanely , is a thing I ever abhorr'd , and in confidence I never was guilty of that Sin , I challenge you , and your Brother Trumpeter , to produce one Word that any rational Man shall judge to be so . And for Immodesty , 't is pleasant to see , how , after you , and your angry Admirer's detesting that Paw ℞ in my Observation , and crying out against it , 't is such stuff as a Man would not touch with a pair of Tongs ( as if you were of that Sect who pretend to have found an Art for Propagating Mankind without Females ) that neither of you can keep it out of your Mouths , you are so in love with it : A cunning way to correct Vice , doubtless ! and not much unlike those Brethren of iniquity , who could quickly espy a Mote in their Brothers Eye , but not take the least notice of the Beam in their own , planting themselves into the Row of the Just , with this misapplied Salvo , To the clean all things are clean . This is Prophaneness too , Sir , is it ? If it be , 't is only to those whose straight-laced Consciences will permit them to strain at a Gnat , and swallow a Camel ; not to those who endeavour to walk by that great Law of Doing as they would be done to . And so farewel Prophaneness , and your never to be honoured Apocryphal Beast . Ignorance succeeds ; which I heartily acknowledge my self to be stored sufficiently with , especially in the Scholastick way of Railing , wherein you , and your Honourable Hand-man are excellent : But , that after the spending most part of my Studies in Composing Divine Hymns and Psalms , both in Latin and English , taken out of the Holy Scripture , either immediately as they lie , or collected as occasion requir'd , to remain ignorant that God is a Scripture-Name ; this , Sir , is a Favour above all Favours , and which through my sides darts at all the Lay Catholicks in the World , but I 'le leave them to answer for themselves . The reason of this Charge was , because I said , you mention'd not a word of the Divine Vse of Musick in your Essay ; which under favour , Sir , I must say , and say again ; for , for you to urge that God was the Author of it , is short of the purpose , he being the Author of every good and perfect Gift , whether used in or out of his Divine Service ; or , to say that 't was used as a means to allay Saul's Anger ; for the care of his Courtiers , whether Priests , Prophets , or others , were to find a Cunning Harper to quiet him , not to procure an Act of Devotion in him ; no more than what is done in the Case of one bitten by a Tarantula . But the Case is thus : That as you begun your Book with the Advantages of Musick above other Recreations ; so , after you had spun out your Discourse , and waved even Philosophy to mix with it , which you know , Sir , is but the Hand-maid to Divinity and Divine Worship ; you conclude it , without so much as taking notice of either , thus : But this is so far from our Practical Proposal , that it may suffice to have given these hints , and so withdraw , lest while I plead for Musick , as a noble and lawful Divertisement , it should be found guilty of encroaching upon those more serious Studies , to which it is to be only a Recreation . By what hath hitherto been said , I hope , Sir , the indifferent Reader will be satisfied , that the Malicious , Lying , Ignorant , Immodest , Prophane Parts of your Charge against me , are not on my side ; but have with as much Modesty as their nature would permit , return'd from whence they came ; though from your self , nothing is to be expected , being you have long since declared your resolution , never to be convinced . There remains now , one only little Favour , which you have been pleased to bestow upon my Person , that Mind and Body might be equally Habited , which is , your rendering me Squint-Eyed ; and truly , Sir , 't is of the same Tincture with the former . Had I been Purblind , Copper-Nos'd , SparrowMouth'd , Goggle-Ey'd , Hunch-Back'd , or the like , ( Ornaments which the best of my Antagonists are adorn'd with ) what work would there have been with me ? but , thanks be to Heaven , Nature has done her part , and so prevented your farther Liberality on this poor Body of mine , and consequently saved me the Labour of following your Tract into such unfrequented Paths ▪ as you have been forc'd to run through , from the Subject you first undertook , to Make a Book , that whosoever shall put himself to the trouble of a serious perusal of , will not at all wonder , that Books are Published of the Contempt of the Clergy , when such as you , who have undertaken the Cure of Souls , should spend that Precious Time , in vilifying and detracting those Persons , especially Musicians , who have been so favourable in their frank Instructions and Assistances to your self ; the due reward whereof in many grave Mens Opinion , being rather a P — than a P — And so , Sir , with the like Advice you were pleased to give me , from the good Example of Mr. Chr. Simpson ( referring the Piquant Part of your Book to the Man in Buff ) I take my leave , remaining , Sir , Your very thankful Servant , M. L. From my Lodgings in the Strand , July 24 , 1672. Duellum Musicum : OR THE MUSICAL DUEL . WHat a murrain is the matter here ? that a Man cannot give his Friend half a dozen Lines , but he must be so hufft and bufft , and rebufft , and snufft and pufft at , by a half-witted Trinitonian ? A Universitie Chicken that peep-peeps about the Town still , with his Shell upon his Head. What Strange Cimmerian darkness have we liv'd in hitherto , that we must be beholding to this upstart Ignis Fatuus to light us into the right Paths of Musick ? What a dismal obscurity does this quick-sighted Argos find our Noble Science wrapt in , that he so obsequiously But I shall leave that Idol of Bell and the Dragon , to be altogether demolish'd by a Person , whom the Vindicator seems very much to slight , even Mr. I. Playford himself , whom I think an Antagonist deep enough in all Conscience for such a Master of Arts as he is : And that notwithstanding the Vindicator twits him with writing himself Philo-Musicae ( a Fault no Scholar would have taken notice of from such a Person ) yet I cannot find , but that by his own sedulity he hath attained to more knowledge in Musick than ever the Vindicator is like to do ; and that he has done more for the Advancement of Musick than ever that Bauble the Essay is like to produce . Such Novelties and Paper Projects as these , unless the Person be of a subtle Ingenuity , his Arguments very weighty , and the Use and Profit of the Invention be very apparent , are but Volusi Annales , meerly Charta cacata : And therefore for this bauling Codrus , I am resolv'd to have a fling at his Jacket , though I lose by the bargain . As for the Observer , because I dare not presume , though the rash Essayer does , to be so Excellent in Musick as he is , I shall therefore leave him to his own Affair : Only as the Vindicator has his touches at me by the by ; so I am resolv'd to have my touches at him by the by . In the first place I observe , He has been very kind to his Pamphlet , to commend it into the Hands of a Person who is reported to be very little affected with the Subject , either desiring his three dumb Brats might be taught to speak , or else reprieving his Infant Cogitations from the Tragical Candle , or more dishonourable death of the Close-stool ; which else must have been their certain Fate , had they fall'n into the Hands of any other Man , who ( to use the Language of his own Sect ) had understood the empty Nothingness thereof . Pag. 2. He wonders He should receive so little respect , since he professes himself to be a Graduate of one of the most Noble Vniversities in the World. And truly I wonder how he durst profess himself one of the number . Surely he was either a very great Truant , or else of a very unperforable Pericranium ; for he shews but a slender sign of his University-Education : Where he seems to have spent his time rather in the more laudable Exercises of Trap and Cricket , than in any sound Reading ; having only leisure to adorn , and all to bedeck his surreptitious Master-of-Art-Ship with the flatulent , drossie , and unwholsome part of Mock-Learning . So that his Alma Mater has the least reason in the World to thank him for his taking notice of her . Much better had it been , since he would give himself the Title of Master of Art , to have wrote himself ex Ambubajarum Collegio ; a thing we should have much sooner believ'd , than his being of Trinity College . He is very angry to be compar'd to the Gentleman Vsher of the Bears , which he out of his great Experience in reading Venerable Ancestors , terms the Metamorphosis of himself into a Iackanapes . For my part , I confess , I can pick out no such Meaning out of the Words ; however 't is fitting the Gentleman should have the Liberty of his own Interpretation , since no body knows what shape best becomes him , better than himself . He goes on , And all those Venerable Ancestors we read — Pray , good Sir , let me entreat you to leave out the We : You read Venerable Ancestors ! — ridete mortales — Men that read Venerable Ancestors , never want what is common to all Mortals , only some few Masters of Art , the thing call'd Common Sense ; and when they take an Author to pieces to answer him , never mistake the plain and palpable Meaning of the Words . I am not so fond , to think the Observer so unwary , to compare such a dwindling Vindicator to David , in that sense which he assumes to himself , that is not able to conquer the little wrigling Magots he snaps at : Or to liken him to Hercules , otherwise than as the Proverb led the Observer , to shew , by his silly beginning , what a wise end he was like to make . He now comes to an open Confession of his Inabilities : though afterwards , out of a most disingenious Repentance , he would fain put it off with an Ironie , by which , he endeavours to insinuate a larger Commendation of himself ; but the Plot 's discover'd , and , as the Devil would have it , by his own particular self ; for he that a little before was aspiring to be a Goliah , a David , a Hercules , now condescends to be granted a Sot , a Coxcomb , nay any thing , rather than not have a Name in the World. Truly 't is pity no body will take the pains , to make him the Subject of another Moriae Encomium : I humbly conceive , it would be no Paradox , as the Former was . He makes a small attempt to be a kind of an Oedipus also , and to put forth a Riddle ; talking , numine Fanatico afflatus , of Burlesque upon Poetry , and Verse upon Burlesque : prety words indeed , however he had the good luck to come by 'um ; but since they stand there without Rhyme or Reason , we are bound to believe , that he made use of 'um only to shew us his great skill and reading in Venerable Ancestors . He goes on , with much meekness confessing himself to be what indeed he is , a very inconsiderable waster of clean Paper ; rendring himself much more contemptible by that vain and ridiculous superbity , that peeps through the Pillory of his own feigned Humility . Truly those notable Expressions of Augur-hole , and behind the Wainscot , do very well become him : A right worshipful Master of Arts , and of long standing , and a very great Ornament to one of the most Noble Vniversities in the World , that has hardly yet forgot his Childish Plays of All Hid , and Fools Corner . But now , Libera nos Domine ; there is a strange Hobgoblin stands in his way , which his foresaid Humility seems much to fear , but his foregoing Pride seems much to scorn ; A terrible Fellow in Buff ; to encounter whom , he seems to have put a great share of that little wit he has , upon the dry Grindstone of his empty Common place-Book ; where after a long search , he finds Mercury to be in Conjunction with Mars , and therefore gives him the Title of Epigrammatical Poetafter . See how this Vniversity Mushrome begins to swell with the Poyson of his own conceited Imaginations . He that has as little judgment in Poetry , as he has in Musick , and understands an Epigram no more than a wild Inhabitant of Nova Scotia , will be nibling at Characters , as little to be regarded as his Ponderous Essay , or his impertinent Vindication that follows . Nescis , crede mihi , quid sint Epigrammata , Flacce . It might be expected perhaps the poor Worm should turn again , when trod upon ; but 't was expected withall , that his Trinity Loins of Mutton should have inspired his Genius with a more keen Fancy , especially against a Man in Buff ; for I do not find that the most piercing of all his Paper-Pellets has made the least sign of a razure in any part of the Buff-Coat he so smartly shoots at . But ye cannot blame him for making so ill use of his weak Artillery , that appears to be so fetter'd and entangled in the application of a Story . Gentlemen , 't was in short thus : Mars●as was a Phrygian , a party per-pale half Scholar , half Ignoramus , who would needs propose to Apollo a Thing call'd an Essay for the Advancement of Musick : Apollo laught at it , but because he would not be his own Judge , he chose many others ; and then returns an Answer . Marsyas replyes , by way of Vindication . But the Judges found the Essay and the Vindication to be so extraordinary frivolous , that they order'd Marsyas to be flead alive for his presumption . This Story grates upon the Ears of the Trinity Scholar ( as it behoves every Man to look to his own Flesh ) and therefore to allay the fury of a certain Spirit in Buff , which his own Guilt has discovered , he has provided himself , from the Hands of some Southwark Sorcerer , as is conjectur'd , of a most powerful Charm or Spell , consisting of two Trithemian Words , Epigrammatical and Poetaster ; for that you may be sure was his intention , seeing most Charms are commonly composed of insignificant Words . And to make it the stronger , he has found out another piece of Witchcraft , which he calls Defunct . A word , which I do assure him the Man in Buff never so much as dreamt of ; being nothing but what his quaint cunning only did invent , to raise to himself the superstructure of a paltry University Quibble , and that with so much straining at wit , as easily discovers the costiveness of his Brains . They that will take the pains to read it , may thereby soon find out , what a Great Master of Art can do , if he be hard put to 't . But had a Man prais'd him , it had been all one , for 't is not the quality , but the quantity which he grumbles at . For now he seems not so mad that Verses were made upon him , but that there were no more of the same kind ; as if he measur'd the goodness of Lines , by the length of the Vicars Hour-glass , or the tediousness of his own Repetitions . Gentlemen , I am but one , and therefore let me desire you to make a Collection among ye , that this our second honest Tom Coryat may not want the full desire of his heart . And so good Mr. Sheepskin the Man in Buff most kindly bids you Farewel . Thus far the Exordium . Now enter Vindicator in propria personâ , yclad not in Buff , but in a colour something a kin to it , with a little mixture of Red. If you like him not in that shape , you may imagin him to be some Mountebank curvetting upon the Sage with a Remedy for Frenzies , or a sleepy Potion for Chyrurgeons to use while they cut off Gangren'd Limbs ; for the following Pages are such Hum-drum , drowsie , heavy , impertinent stuff , that a a Man can hardly read 'um over without putting himself to all the inconveniences of Opium : 'T is like Lethe or the Lotos Tree . And one would swear that the Author had either drank the one , or eat of the Fruit of the other , for he presently falls into a fantastical Dream , and seems to sit talking idly to himself of a certain A-rithmetical Mystery of the Beast , which he has compendiously reduc'd from the Numbers 666 to the Number 81. A subtle kind of trifle that might perhaps have troubl'd the Brains of Napier or Broughton , or somebody else as mad as they , or himself , but never to be admitted within the Verge of a sensible Observation . His supposition of a Tavern-Invitation , is nothing but meer School-boys prattle , and favours onely of the Folly of a contemptible Scribler . But now , guilty by his own confession of the drowsie flatness of his foregoing Lines , the Gentleman promises much Wit , an abundance of Wit , yea even a superfluity of Wit ; but proves the arrant'st Cheat in Nature ; there not appearing from him from this place to his very Finis , so much as one Vniversity Punn , to save his credit : Only a few undigested Ironies , ill-contriv'd Reproaches , scandalous Misquotations , and pitiful Vaunting of his own mighty Acts , with a here I have him and there I have him , I 'le pull him down , and I 'le crush him ; all which are so far from Wit , that they only smell of the Lees and Grounds of the College-Butlers Tappings . They afford not discourse sublime enough for a Suburb Coffee-house . He begins with a Tale of a Tale ; but I dare say , had the Scare-crow , which he has sick , with his Fardle of new-fangled Gingombobs , to think with an insipid Nick-Name , to sully the Skill of a Person so much above the reach of his Capacity . Had he produc'd as much Salt , as ( if he had petition'd for it ) the lowest Fo●m in Paul's School could have lent him , he might have made some progress in his Attempt . 'T is no wonder Men say the World is turn'd arsie versie , when the Sign-Post shall presume to undervalue the Sign . But presently as if the Gentleman had mistaken his Mark , he calls the Observer the Sun's Rival Luminary . Come , quoth he , see the Circuit of thy Rival Luminary , see the like Circulation of the imitating Blood. What a heavenly Rapture is the Gentleman now in ? How his fond Soul skips and leaps , like a fat Heifer in the plentiful Elysian Fields of Nonsence ? But whence all this joy ? only to behold a Conundrum of his own Invention , stoln out of Old Butler , though to disguise the Theft he has periwigg'd the prety Engin with about half a dozen small Lines of his own Trimming . There you find the thing that tickles his his Spleen ; BMT riding Triumphant in a Chariot grac'd with one Wheel , while the Vindicator like Biton , or Cleobis draws about his three Cybele's to be ador'd in the pig-market , in hopes of some strange remuneration . An excellent Gimcrack for the Foot-boys in Lincolns-Inn-Fields to throw Dice upon : For to say truth , his pilfer'd Scheme , so admirable in his own Eyes , is but a meer toy , and shews you nothing , but what has been for many Years lippis & tonsoribus notum . Therefore let him e'ne take his Rota , and present it to the grave Burghers of the Common-wealth of Oceana ; for I find it is somewhat of the Nature of the Stork , 't will hardly live under a Monarchy . Now heav'ns preserve the three fair Goddesses , BMT , for their Celestial Auriga is just about to drive them through a most uncouth Desart , where they are like to meet with all the Incumbrances that can put them to the squeek , or stop the merry motion of their single-wheel'd Chariot . Here you shall find them jolted by the stump of a Hexacordon ; there half over-turned by a rude heap of Pentachordons ; in another place ready to be tumbled down the precipice of a Tetrachordon . By and by he whirls through an inchanted Vale of he sinks again , as he himself confesseth , into the tedious repetitions of his beloved Essay ; as if he had undertaken to be a Champion rather for the Cuckow than the Nightingale . And his wonderful drift is to bring his Dear First-born into the favour of the World , which he would fain have ●o cherish his malapert Stripling ; and to believe that he writes man , before the poor Child can speak plain . By which he thinks to angle to himself a notable business : For , quoth he to himself , If I could but perswade the World , that all my Fore-fathers were puppies to me ; and that there was nothing of true Musick upon the face of the Earth , before I came to be Two and Twenty Years of Age ; then would all the ignorant race of Mortals be forc'd to come from the North , and the South , and the East , and the West ; yea , from every point of the Compass , to learn Musick of Me : And I should be the only Teacher under the spreading Canopy of Heav'n . Now that this is the Advancement of Musick , which he so craftily designs , is as plain as his pretty picture before his Book , for why ? He is come already from proposing , to professing ; and to shew what high things he aims at , he invites all His Majesties honourable Servants to go to School to him at Hackney , Famous for the Seminaries of young Girls ; but never famous that ever I heard of before for the Instruction of His Majesties Honourable Servants : They may take their Bottles and their Baskets , and go if they please ; but I fear the blemish he has laid upon them of wanting the knowledge of the Nature and reasons of Musick , till furnish'd from such a Bawble-stall as his , has quite knock'd out the brains of his Infant project . And so Gentlemen , you may safely pass over to his 32 p. without the least detriment to your future knowledge : For I 'le say that for him and a fig for him , that he is the most cautious person how he puts his Friends to the trouble or necessity of writing much , that ever I met with . In his 32 p. you may find him simp'ring to himself , with a Sardonick smile to see his publisher , ( as he out of his copious stock of most ingenious and scurrilous Eloquence terms it ) so arrogantly assaulted . See how this little fly upon the Coach-wheel , would vaunt and strut if it could ! Good lack aday ! what a crime it was to assault his publisher ? How the poor thing begs and scrapes for applause ! as if his deserts were such as could keep his publisher from being assaulted . Alass , we understood the worth of his Publisher , without the assistance of his lean Commendations : And we hope so well of him , that when he was pleased to countenance such a parcel of Thrums and Mop-rags , as was the worshipful Essay , 't was only in compliance with Horace , a better Author than ever he will be ; who tells ye , that sometimes it is — Dulce desipere in loco — which we are the more apt to believe , because it is very credibly affirmed that the Gentleman has since openly and candidly disclaim'd and deserted the Vindicator's forlorn cause as altogether unworty of his Patronage , declaring , he never gave him countenance or Commission to write so many extravagant falsities and fopperies , or to sow his scandals and abuses within the verge of his protection . His taxing the Observer with understanding nothing but Morley , Simpson , or Greetings Instructions , I only mention to compleat the number of his predantick Follies ; but shall leave it to impartiality it self , to proclaim the difference between the Vindicatours green Extravagancies , and the Observers Experience . As for his scandalous reproach thrown upon the Observer , as if he were ignorant of the Names of God , Iubal , or Saul , as it is a cavil founded upon a shallow surmise of his own ; an unseemly reflection , without any ground , upon a man's Religion , so it betrayes him not only to a hard opinion of his Scholarship , but of his Gentility , and that he has converst more with Kitts and Petticoats , than with men of Education . But now the Scene alters , and enter Vindicator , like Sampson , between the two Pillars of Dagons Temple , ready to pull down the Observer in his ruin . Truly for strength , I fear Sampson will out-do him ; but for going blindly to work , 't is a Cock-pit lay of the Essayers side . Hoyday — What 's here ? More of his Learning ? More Blossommings of his Master of Artship ? Stop him there . He has robb'd the University of all her reason at once ; and hid the Promethean Theft in an old rotten , dirty , mustie Thing , which as I suppose , he intended for a Syllgoism . S'life quoth Keckerman ! What abominable dunce made this ? Sacrament ! quoth Burgersdicius , In the name of the Lords of Holland and West-Freesland , What 's here ? Bless me ! quoth Ramus , I vow , quoth he , I never saw such a grisly , dismal , horrible spectacle in all the Parisian Massacre . And surely those great Logicians might well wonder : For such a mishapen , deformed , crump-shoulder'd , Baker-legg'd piece of Vanity , was never born of a Man's brain . Twenty Bears in Twenty Years cannot lick it into form : And to use the palmes of his own hands , and fasting spittle for the same purpose , would wast him into an Anatomy . With what face can he pretend to be a graduate of one of the most Noble Vniversities in the World , and produce such a what shall I call it , for a Syllogism . The Gentleman indeed had need cry p. 59 , hold his sides , while he mocks at other folks , that has so ridiculously hamper'd his own reputation , in the snare of such a counterfeit piece of St. Martins Ware. Who can believe the Essayer knows fingers from toes , as he thinks he does , p. 59. that can no better distinguish between a Syllogism and a Chimaera , or between Logick and Canting . He would do well to carry it to Bartholomew Fair , 't would be as pretty a sight to a Scholar as the Tall Woman , or an African Monster . Now that you may behold this Sign of the Elephant and Castle , turn to his 41 p. where you shall find the Pageant drest up in all its Pontificalibus . That way which requires an absurdity five times over is much more to be exploded than that which requires it but once . But the Observers Old way does require the same ( condemning ) absurdity five times , which the Essayers New one requires but once . Therefore the Observers Old way is much more to be exploded than the Essayers New one . My first Objection against this Sillogism ( shame faw the lugs of our Master of Art ) is , that though it consist of English words , yet that it is neither true sense , nor true English : A sad story , that a Master of Art cannot make English of English. That way which requires an absurdity five times over , and that way which requires it but once . Did ever any Master of Art so forget himself , as to grant that any Art or Science can require an Absurdity ? For , Dato uno Absurdo sequuntur Mille. Behold here a Trinity Fly entangled in the Cobwebs of his own Learning . Is this the bragging Puller down and Crusher that Rodomontado'd so but just now ? View where the mighty Sampson lies with the locks of his own ambitious strength quite cutt off by his own Dalilahs BMT . And now Master of Art , have a care , have a care , for the Philistines are upon thee . The Common Law of Sense and Reason which thou hast broken , Prosecutes thee . Thomas Salmon , M. A. of Trin. Coll. Oxon , hold up thy Hand ; for thou standest endited for the felonious murder of a Sillogism , contrary to the Statutes of Logick in that case made and provided ; and more than that , for counterfeiting the Kings English , and the Stamp of Soveraign Reason ; of all which thy Country hath found thee guilty : And now what hast thou to say why Sentence should not pass against thee according to Law ? March to the Place of Execution ; and so the Lord have mercy on thee , for a Poor Scholar . Having objected against the English ; I am in the next place to condemn the form of the Sillogism ; For this is a certain Rule , Conclusio non differt a questione . But his Major and Conclusion are so far from agreeing , that the Conclusion which ought to be a part of the Argument , quite varies from it . His Major is , That way which requires an absurdity five times over , is much more to be exploded then that which requires is but once . His inference is , Therefore the Observers old way is much more to be exploded than the Essayers New one . Let them that are dim-sighted put on their Spectacles , and try if they can find the Essayers New one in the Major ; which ought , as he intended his Sillogism , to have been the extream term of his first Proposition ; which being left out in the Major , dashes his whole Sillogism in pieces against the known Maxim of Logick . Quòd non debet esse plus aut minus in conclusione , quam fuit in premissis . In the next place , there ought not in a Sillogism to be more than three Terms . But in the Medium of this Sillogism you shall find a fourth Term by the name of the Same Condemning shoulder'd in ; to what purpose And thus much as concerning a thing call'd a Sillogism , the Author of which , being a certain young man , I advise to take the Observers Horn-book , and his Accidence , and two pieces of Bread and Butter clapp'd together , and get him to School again , and to leave off his Fooling with Essayes and Vindications , and diving into Arguments , till he have got more Wit and more Learning . But because the Sillogism will not take , he is resolv'd to be-lye the Observer ; telling ye an idle story , that the Observer makes the Sillable Vt to force the Tongue against the Roof of the Mouth . This is altogether false : He tells ye indeed , that there are Consonants which will do it , as most certainly there are ; but ascribes no such efficacy to that particular Sillable , as he with his usual gift of mistaking , endevours to demonstrate . And therefore his supposition that the Observers Tongue hung the wrong way , was but an effect of the wrong hanging of his own giddy Brains . But this is common : Even in the next page , behold another piece of his wonted mis-quotation . The Observer cries out , O Resormation ! how amiable art thou in the Nostrils of them that cannot see ! Was it ever heard , felt , or understood , that the Toning of the Voice must take its rise from a Semi-tone , &c. This the Vindicator calls a resolution in the Observer to be for the future guided by his seeing , feeling , and understanding Nostrils , and terms it a most excellent expression to shew a further advancement of his Learning . A meaning he could never have pick'd out of the words , had not some Iacob Behmen enlightened his Pericranium , as indeed 't is very fit that one Heretick should help another . But 't is a strange thing , that he that so much scorns the Horn-book , should want a fescue for his own understanding . Is it not a miracle , that a Vindicator should so grope in the dark , and blunder through his adversaries text , that carries such a spiritual Lanthorn about him , besides the Flambeaus of his own Wit and Memory . But so it is , that now again because he cannot Answer the Question proposed , ( as no body did ever expect he should , ) that therefore he gives his old preceptor Misquotation a Letter of Attorney to speak for him . Truly , my dear Friend , three false Quotations in less than two Pages , are not so commendable a virtue as you may imagin . What will the World think of your Book , cramm'd with so many imperfect and insipid untruths ? A most special Vindicator , who because he cannot answer Objections propos'd , will raise other stupid ones of his own , which he thinks himself to have a more facil way of confuting . For whereas the Observer thought it strange , that the Toning of the Voice should take its rise from a Semi-tone . He taxes the Observer of accusing him for beginning to learn the Monosyllables from a Hemi-tone . To which the Vindicator answers , p. 54 , That those Sillables are not learnt for any airy pleasantness in themselves , but as rudiments to distinguish Notes and half Notes , &c. Gentlemen you hear his acute and pertinent reply , set off with a ridiculous Though I have often told him . What a Magnificent Bubble is this , to talk of telling and answering , and at the same time to betray such a sottish dotage , as not to know what a true answer is . The thing is so plain , that 't would be a Vindicators folly to insist further on it . The conceit of having so exquisitely answer'd that Objection , has set him a crowing most violently upon his own dung-hill . His imagination is highly tickl'd with the Observers telling him that Mistress Mi is rambled out of her Apartiment and turn'd Quean . But quoth he , Let her ramble into all the Apartiments about the Town , she shall never want a gentleman Vsher , as long as he is able to man her . And of this , he is as sure as that four two pences make two groats . How pleasant the Gentleman is , now he has got an oportunity to fancy himself in Luteners-Lane ; for you may guess at his haunts , by his single Money . You see , as early day as it is , how expert he is : And would you have thought such a modest young man had been creeping into the Houses of Iniquity already ? But the Devil oft-times carries youth to those places , out of his great zeal to make them detest their Vices . Come , come , ne're blush for 't : As good abroad as at home ; For if Mistriss Mi be a Quean , she 's one of his own making ; ( perhaps not the first has been made at a Boarding-School , ) and so the Gentleman-Usher returns back to his Bed-Chamber , wholesomely to advise him , to look well to the Calves of his own Leggs , and not to be so vainly merry with his smutty and ungentle flections upon other mens Conversations . He tells ye , he honours Mr. Simpson , and yet some Pages before , looks upon him so much beneath his great reading , that he only thinks him a Companion for the Observers mean Capacity . The best on 't is , we look upon him as a real Exception to all true Maxims . For if honour were in honorante , while he is the bestower , sad were our Condition . But there is no such thing in him , or that can come from him ; it is rather a blemish , than a praise , to be well spoken of by him ; and therefore let him honour e'ne who he pleases . He proceeds to a great Astonishment at the Observers resentment , against any propagating the knowledge of Musick , thereby thinking to raise to himself a vain ostentation of his own endeavours . He means doubtless , the famous Essay : A worshipful Advancement of Musick indeed , which the most ingenious Author durst not trust into the World , without the strong recommendation , and most notable blessing of a Publishers Preface . For which courtisie of helping a lame dog , Ferunt & aiunt , that some body or other had paid him in pecuniis numeratis four Pound ten Shillings , which render'd that some-body a wise man , and the Counterfeit Essayer a meer Musical Cully : And shews you how little Wit or Memory he had , to tax the Observer for being Mr. Playfords hireling . Alas ! had the Gentleman found there had been any reputation to have been gotten by the Essay , He would soon have wrench'd it out of the Vindicators feeble hands , and assum'd it to himself . And therefore I would have this idle contemner of the Observer , forbear those Hackney-windy-Bottle-Ale-expressions of my Essay , my way , my Octaves , my Circulation . 'T were a modesty more becoming him , than the folly of an impertinent Vindicator , and more worth his while , for the fame he will get by his works . But amongst the rest of his My's , What think you of My Stationer ? By my troth , he is well hope up with an Author . I pity the poor man's case , for in a short time the City will find him out , and then he must either fine or hold . In his 70. p. he prosecutes the Observer for spoiling his Marriage , as he pretends , for declaring him to have a rubical Complexion . What a strange Map of Modesty this is , to be dash'd out of Countenance by his own Face ? No , No , my dear Friend , 't is not the Colour will injure you ; but you are so bashful , so modest , so nice , so startled at the very sound of a baudy word , that it makes the Women believe you have only a little heat in your Face , and none no where else . Otherwise a Masculine complexion would rather promote , than disappoint your Conjugal attempts . Nay , I dare affirm , ( if it be not as I say ) that the Ladies are so mild , so courteous , so meek , so endearing , so obliging , so tender-hearted , and merciful , that they will never reject a young mans suit for a pimple upon his Nose ; nor consent to that wicked intention of the Observer ; or rather , that wilful mistake of his , of throwing dust in a Squires Face , where he should have daub'd his Pommatum . But whence comes this red Face ? not by Drinking , nor Smoaking . But as Dr. Lower learnedly tells ye , Ladies ; lib. de Sanguine , a Book which ye have all read , by the errancy of the Blood , which causes a great confluence of Spirits to the Brains . A reason well urg'd to understanding Widows and Maids , but not to Illiterate men . For how can this be apply'd to a person that has neither Brains nor Spirits ? 'T is you , therefore , ( Ladies ) that are guilty , and not the Observer . 'T is you that have kindled those fires in his Breast , that have so sadly scorch'd his Countenance ; Disdain not therefore your own Martyr . What though you have tann'd his Face with the flaming beams of your Beauty ; yet is his Mind as white as Snow , and his Thoughts as pure as Lambs-Conduit-Water . For surely no Pharisee did ever pretend to more Piety and Virtue , than he assumes to himself on every slight occasion . Nihil est te Sanctius uno — Nay , this very redness of his Complexion forsooth , must be the Gentleman-Usher to his Godly life . He 'l make ye believe shortly , that his Nose is the Sun-shine of the Gospel . But all is not gold that glisters ; for methinks , with a little crum of Riboldry , as he terms it , in the Observers Answer , ( such as has been ever allowed in Satyrical replies ) I thought at first the modest maidenly Gentleman would have fall'n into a Fit of the Mother ; but when I found him chomping and chawing it so often in his Vindication , it was apparent then , that 't was not Anger which had overcome him ; but the sweetness , and Honey-combness of the expression , that had so ravish'd his pallate , so that he could even have swallow'd it . He does so tongue it , and lick it , as if 't were his dear Concubine BMT . So often and needlessly repeated , as if he took occasion to scold at the Observer , only that he might have an oppotunity to dandle the delicious sucket upon the tip of his lascivions Instrument of tasting . He endeavours now of his great gratitude , to the Observer , to shew you , that he has not been only at the University , but at School too , though where with most advantage to his Learning , will puzzle a good Casuist to judge . However , in Robbing Peter to pay Paul , he has made a hard shift to transcribe a certain Epigram out of Val. Martial , as he calls him ; a way of citing Martial that I never knew a Scholar much guilty of ; but perhaps he took Val for Martials Christen name , and then I cannot blame him for using that cunning mark of distinction . But what has Martial to do with the Observer ? why , nothing that I know of ; but only to tell ye , that the Observer wears a Peruque as many other men do , and that he has made use of a youthful expression , to put a deserved mockery upon the Harlotry Dalilah's , of such a young Pragmaticus . Who , if he had so pleas'd , might have observ'd , that the very Author whom he cites , makes use of far more ribaldry ( as he calls it ) when he meets with such an Impertinent , as the Essayer , and thinks it convenient to have his guils well rubb'd with his Satyrick Salt. For example , being to reprehend the folly of some trifling Essayer or other of his time , a great Braggard , though but a small performer , and Scandalously invective against his Seniours and Superiours ; He handles him without Mittins , as you may perceive in the following lines presented the Vindicator in liew of his own Transcription . Lib. 10. Epist. 11. Nil aliud l●qu●ris quam Thesea , Perithoumque Teque putas Pyladi , Calliodore , Parem . Dispeream , si Tu Pyladi prestare matellam Dignus es , aut Porcos pascere Perithoi . Thou talk'st of Theseus and of Perithous , And cry'st , great Pylades is much below us . Ne're let me live , if such a bouncing soft Be worthy but to scowr the Chamber-pot Of Pylades , or for a brace of juggs To clense the Sties of Perithous Hoggs . This , in brief , since he is pleas'd to remit the Observer to my Construction , is all the Character that I can give of his Works . For what has Green tail , and Onion-like Fornicotar to do with a difference about the Gamut . But the Gentleman must be al a mode ; For now we can neither plead nor argue contrary , but the particular lives and conversations of men must be ravel'd into , to make slender arguments for weak Themes , and feeble Causes : A kind of unmannerly Oratory , that deserves to be convinc'd rather by Horse-Logick , than by replies of Pen and Ink. Page 78. He sayes there is one serap of an Argument behind yet . That these Gentlemen , meaning the Kings Servants , attain'd to their eminence in Musick by the Old Scale . What fairer Argument would this great Musitian have , than such a one , to prove that there is no need of his Ledger du main ? If the Scale now in use be a sufficient cause , what need He , or any other such unskilful Busie-body trouble their brains whether it be the Causa sine qua non , or no ? 'T were pity , quo he , but the Scale were cut in Alablaster , and shew'd among the Tombs . And 't were pity , quo I , but His geugaw , BMT , were cut in Paper for Comfit-makers Boxes ; or more seriously lay'd up among Iohn Tradescants Bawbles . Surely since those Gentlemen he speaks of did not attain to their Eminency by inspiration , as no question but their own Mortality will confess the contrary ; 't is a very strange piece of over-weening rancour in the Vindicatour , to deprive the Poor Harmless Gamut , of that petty Honour , which is due to the rudiments of all Sciences : Just like the Mountebank Paedagogues about the Town , that will be reviling the stanch Foundations of Ancient Lilly , to usher in their pedantical lucubrations , and to get themselves a silly credit in the World , by seeking to cajole the Parents of their Scholars with their own new-fangled Heresies . And all this while , where lyes the stress of so much Trinitonian fury , but only against the miserable Vt , and forlorn Re ? For ▪ Mi , Fa , Sol , La , are his white Boys still , and admitted into the School-Room to converse with his young Gentlewomen , BMT as formerly . Would ye know the reason ; on my word 't is a profound one ▪ For , thinks he , now the Gamut is gelt , it may be trusted among Maiden Gentlewomen , which before was somewhat dangerous , when it had the two testicles of Vt and Re , annexed to it . Though I wonder how BMT themselves scape his lash , there being as much reason why Base , Mean , and Treble , damm'd obsolete Terms of Musick , should suffer the scourge of this Innovating Whipping Tom , as Gam ut and A re . Therefore might our worthy Vindicator have spar'd his frivolous conceit , that Those Gentlemen came to be no more eminent for having read the Scale , than the Macedonian for conquering the World , because his name was Alexander . An inference that has no more coherence with sense than Bedlam with any thing of Trinity-College but himself . 'T is a Ianus-like fansie , that looks two ways at once ; one part of his Argument rows one way , and the other looks another way ; or to make it yet plainer , as if one Waterman should row one way at the head , and another the quite contrary way at the stern , till they pull the Boat in pieces ; which indeed is the true Character of all the Arguments in his Book . True reason would have kept him close to his text , and have told him there was as much likelihood of Alexanders learning the principles of War , as there was , that the other should be taught the Rudiments of Musick ; so that if he will grant our Musitians to be eminent , It will be an easie thing , without his assistance , to prove that the first ground and source of their Eminency arose from their knowledge of the Scale , which is the first principle of Musick ; as we may well believe the first rise of the Macedonian's greatness was from the great knowledge he had of the first Elements of War ; which being the primary grounds of his Knowledge , were the primary cause of that greatness which he attain'd by his Knowledge . And thus I suppose , the Horn-book and Primar were the first Originals of that great learning to which our Vindicator imagins himself to have so sublimely clamber'd . But this is common sense , and therefore a thing too mean for him to take notice of , or else without the verge of his understanding . Pamphlet ; the beginning of which is nothing to the purpose , the middle a very nonsensical piece of Impertinency , and the latter part a parcel of undigested Nonsense , concluded with the grossest brand of Infamy that ever was fix'd upon the sober and ingenuous Part of the World , whom he so foully accuses to have entertain'd such kind thoughts of his obnoxious Raillery ; a scandal , which if they forgive him , will bring them within the verge of a most desperate forfeiture : though never to his advantage ; for it will but make the young unwary Icarus soar with the more boldness above his understanding , till he melt his Wings , and plunge himself into all the deepest Abysses of Absurdity . Thus much for Tobit , now for his Little Dog following him . A certain kind of Letter-Monger , that with much Imprudence , nothing of Truth ; much of Confidence , nothing of Learning ; comes a day after the Fair , to set his probatum est to the Mountebankeries of his Master Quack . He was mightily overseen that he did not fix a Label of the Musical Cures wrought by his Benefactor , like a Covent-Garden Charlatan : Then might the worshipful Title of the Essay and Vindication have been more happily exalted , as frequently they were , by the Industrious Stationer , jigg by jowl , with no Cure no Mony , or the Three Infallible Medicines , upon every post of the City , when back'd with so many Attestations as one of Melpomene's Knights of the Post , with a little labour could have easily brought him . You may know what part of the Creation he is , by his Braying . This is he that follows the Vindicator , as the Bell-man's Cur follows his Master . A kind of Beetle engender'd by the heat of a Trinity Meteor , who while the most radiant Luminary mov'd in our Hemisphere , slept all the time , but He being set in the Ocean of his own Fopperies , up comes this drowsie Insect , buzzing into your Ears the Vindicators Praises ; like the Dor-flies , with which the Young Painter in Boccace so affrighted his Master ●ufa●macco . This is he , who being perhaps as well pay'd for his Letter , as the other was for his Preface , stands ready like the Fool in the Play , to justifie whatever mistakes the Vain glorious Squire shall be guilty of . I should have expected this Miserable Tooter , with his diminutive Trumpet to have stood at the Dore of the Monstrous Vindication to draw in Customers , with a step in Gentlemen ; and not to have come sneaking at the end of a Pamphlet , as if he were only the Vindicators Excrement , and indeed that very Apocriphal Fart he speaks of , fizzled from the tayl of his own Musical Pedagogue , and fasten'd upon him , as my Lady puts her scapes upon Button . You may easily take the Height of his Knowledge without a Iacobs Staff ; for he tells ye , he has receiv'd considerable advantages from the Essayer . This is just according to the Proverb Asinus Asinum scabit . But now — Cedite Romani — Cedite Graii — By 'r leave , Gentlemen , for a Hyperbole , would make the very Hoops of the Tun of Heidelbergh flie . But your Credit , quoth he , is too Sacred — Sure the Vindicator must be either a Nazarite from his Cradle , or some particular vow of separation to the Lord ; else how ridiculously looks the grand and Royal Title of Sacred so undecently bestowed upon the low Credit of a bare Young BMT-monger , and more indiscreetly suffer'd by an Ostentatious Vindicator . But let him write another Pamphlet , though ne're so simple , and Majesty shall hardly suffice him ; let him but add a fourth , and you shall find N. E. will make him a God. Well Mr. N. E. I find you can part with your Commendations at a cheap rate : Though I had thought , men ought to have valu'd their Certificates at a higher price , then that of Herrings and Mackaril . But this it is , when inconsiderate start-ups will be scribling , that know not how to guide their Pens . In my opinion we will allow the puff'd up Vindicator to take all N. E's . petition'd-for Praises to himself , and make his best of them . Let him but wear them a little in the wind , and he 'l soon discover the baseness of their Metal : For is there any person so mad , as to think Sodomy the more commendable , beause a Cardinal once wrote in praise of it . However we find large Commendations given to the Nonsense and arrogance of an Essay , and a more unnecessary and loathsome Vindication . Which indeed renders the Commender the greater Impostor of the two . Thus they that will undertake to praise and sell their tinsel Wares for right Silver or Gold , are far greater Cheats than they who make them for such . Men , and Scholars especially , that intend their Encomiums should be believ'd , should consider whom and what they praise ; and not with such an insipid Prodigality wast the Jewels of Commendation , as if they were casting Beans by peck-fulls to fat Boars . Such Magnifyings , rather become Discommendations , while the unwary Epistle-maker does but baffle his own good Intentions to his Friend . So that if any of the Two , be happy in the Famous Letter of N. E. 't is the Observer , while his Reputation grows to be the more notorious , by the weak endeavour of a frivolous Author to load him with a heap of paltry Scandals , and empty Forgeries . A lewd extoller , and by consequence a more contemptible dispraiser . 'T is well known that the soundness , if not profoundness of the Observers Judgement and Skill in Musick , and the Excellency of his performance favour'd by so great a Monarch and his Queen , both whom he serves in fair repute , are far above the envy of such a Momus as N. E. or the hairbrain'd Invention of BMT . And therefore , Zoile , quid solium subluto podice perdis ? Spurius ut fiat , Zoile , merge caput . Neither do I find this Letter-Missive-Gentleman , teazing only the Observer ; but in his testy Choler , yerking also at Hudibrass , Rablaise , and Don Quixot , Authors in their kind , whose Trenchers he is not worthy to scrape ; not without a modicum of invective against those necessary assistances of Musick , Mood , Time , Prolation , and Ligatures of long Notes ; which if Fidlers , and shallow Composers have laid aside , are yet such strict Observances , as render them of far greater Consequence to a Learned Musician , than his Epistolary ignorance is aware of . If this be one of the sober and ingenious part of the World of which the Vindicator brags , He 's a sad Mortal , God wot ; A miserable Dogger-Boat for such a matchless Essayer to venture the Shipwrack of his Sacred Credit in . A doughty Squire to accompany the Invincible Champion of BMT . Let them e'ne go together with their Musical Hoop ; which if it ever bring them any advantage , besides that of Pence a piece , for tumbling through , like Hocus Pocus's , is past the belief of more of the sober part of the World then I am apt to believe either of them acquainted with . TO THOMAS SALMON , M. A. of Trinity College , Oxon. Author of the Essay to the Advancement of Musick . Sir , SInce you have engaged me , as well as Mr. Lock and Mr. Philips , by putting my Name with theirs in your Book , and that in such abusive and scoffing Language ; I conceive my self obliged to joyn with them in acknowledgment of that your kindness . If my Lines savour not of your Academical Learning , I hope you will excuse me ; however , I shall do my endeavour to write more civilly than you , though in a more homely Stile . The Thanks , Sir , which I intend to return , is only a brief accompt of those few Inspections which I have made into your new and elaborate Essay to the Advancement of Musick , &c. with some short Reply's in defence of the Old Scale of Musick . This being a Work of no great difficulty , I have the more readily and willingly undertaken it ; and ( for a return of your Favours ) shall make bold to present you with these my Remarques . First , Before your Title Page appears the Picture of a Fine young Lady ( of Musical Education in Hackney School no doubt ) Playing and Singing to her Lute . 'T was excellent policy to fix such a fair Bait there , for it will most certainly catch both the Eyes and Hearts of all our new soft-headed Gallants ; and undoubtedly draw more Spectators to your Book than ever Merry Andrew did to his Master Iacob Halls Stage . Next is the Title , or a Description of what is held forth in your Book , in as many large promising Words and Truths , as there is in those Mountebank Doctors Bills ; which are pasted up at every pissing Corner ; ( and it was ingeniously done of your Stationer Mr. Car to paste your Title also in the same places , since they do so well correspond ; ) 't is in these words , An Essay to the Advancement of Musick , by casting away the perplexity of different Cliffs , and uniting all sorts of Musick , Lute , Viol , Violin , Organ , Harpsichord , Voice , ( with &c. to include all other kinds , as Bagpipes Jews-trump , Drums , Trumpets , Tongs , &c. ) in one Vniversal Character . And that we might not think this Work designed by a mean or obscure Person , it follows , By THOMAS SALMON , Master of Arts of Trinity College in Oxford . But how well this is made out by you in your following Discourse , I leave to the judgment of all ingenious Musicians . In the following Page is an Epistle by Mr. Iohn Birchensha , your Publisher , no mean Person in the Science of Musick , witness his Learned Templum Musicum , and this his Epistle , or Flambeau , to Light all Musicians out of their Egyptian Darkness , to behold the New Light or Musical Elysium held forth in your Essay : And this Commendatory Epistle is so subtlely and plausibly done , to the Advancement of your new Reformation , that he deserves double the Reward he received for it . It begins thus : There is not any Art , which at this day is more Rude , Vnpolish'd , and Imperfect in the Writings of the Ancient and Modern Authors , than Musick ; for the Elementary part thereof , is little better than an indigested Mass , and confused Chaos of impertinent Characters , and insignificant Signs . It is intricate and difficult to be understood ; it afflicts the Memory , and consumeth much time , before the knowledge thereof can be attained : Because the Cliffs are divers ; their Transpositions frequent ; the Order and places of Notes very mutable ; and their denominations alterable and unfix'd . These things being considered by the ingenious Author of this Book , ( who endeavoureth only a reformation of the Regulative Principles of Practical Musick ) he hath here presented thee with an Eexpedient , for the redress of these Obstacles , &c. Now , Sir , you being that ingenious Author here mentioned , which has by your elaborate Pains , great Learning , and subtle Invention , found out this new Expedient or Reformation , I shall leave the Publisher and Epistle , and proceed to examin the several Particulars and great Advantages proposed to us by your Book . The first Chapter is nothing to the purpose of Reformation , but a bare Discourse of the Advantages of Musick , which is frequent in all Authors that have written of that Science . The second Chapter is entituled , The Gamut Reform'd : Here the Axe is laid to the Root , and you begin your Reformation thereof in words of reproach and defamation , thus : That which first of all terrifies a Beginner , is a long Discourse of Gibbrish , a fardle of hard Names and fictitious Words , called the Gamut , presented to him perfectly to be learned without Book , till he can readily repeat it backwards and forwards ; as though a man must be exact in the Art of Conjuring before he might enter upon Musick . Are not these prety Bugbear Words , to fright Boys and Girls ever from learning Musick by such a Gamut , that is compounded of hard insignificant Words to Conjure up Devils ? This , Sir , shews , that because you understand not the excellent Use of that Gamut , and its Words or Names , you are therefore offended with it , and endeavour to perswade others to the same opinion with your self , which is ever the practice of Innovators . Certainly , Sir , Men of greater knowledge in the Science of Musick than you can pretend to , have declared them of better Use ; who tell us , That they are Words or Names , by which Notes or Sounds are called and known in their distinct and proper places ; and Notes or Sounds comprehend Musick , and Musick is known rather to expel Devils than raise them ; it did out of Saul , but , Sir , what operation it may have upon you , I know not . You go on in these Words , But I am certain if he can say , G , A , B , C , D , E , F , G , it will do to all intents and purposes [ as well ] . We thank you for this as well , but , Sir , will it do no better ? then why do you propose it to us , when there 's no advantage in it ? Are we not much beholding to you , Sir , to deprive us of our Old Scale , which is Universally approved , and by known experience found to be perfect and good . And impose upon us this New one of your own production , lame and deformed , a thin-gut Monster , which has neither Speech nor Language , whereby it may be understood ; yet are you so in love with it , that you would fain lick it into some kind of form : But your Tongue ( though well hung ) is not long enough . Your next words are these , For the plain truth is , there are but seven Notes in all , only repeated over and over again in double and treble proportion . You say very right , Sir , but this is demonstrated more plain in the Old Scale than in your New one , as thus it appears : In the Old Scale the seven Notes and their Names are repeated three times over in words at length , on their proper and assigned Rules and Spaces : In yours but once , and that in single Letters only ; which you tell us is to be done over and over in double and treble proportions . Surely this needs must confound a Beginner , there being no plain demonstration to guide him , but only your Eight single Letters , and his own Imagination . Page 14. your words are these , Those aforesaid hard Names are nothing to the purpose , they can't declare a Note to be in a different Octave . This declares again , that you do not , or wilfully will not understand the Old Scale , notwithstanding Mr. Locke lately sent you an excellent pair of Observing Spectacles for that purpose , with which if you view the Old Scale , you will see there are different names enough in each of the Octaves , to distinguish them in their proper places of Bass , Mean , and Treble . Is not the Octave to Gam ut in the Bass G sol re ut in the Mean ? To A re , A la mi re ; To B mi , B fa b mi ; To C fa ut , C sol fa ut ; To D sol re , D la sol re ? Here are diverse Names sufficient to distinguish between the Octaves of the Bass and Mean. So in the Treble , or higher Octave there are differe●t Names , as C sol fa , D la sol , E la ; which Names are in neither of the lower Octaves of Mean and Bass. Therefore this Objection against the Old Scale is removed , and may be fixed more properly upon your New one , which consists only of Eight single Letters , set down in this Chap. Page 17. and there named The New Gamut : So that all a Beginner hath to distinguish your Octaves by , is to say A in the first , and A in the second , and A in the third , which is the whole design of your — what d' ye call 't — Hypothesis , or circulation of Octaves ; and probably might hold good , if all that learn'd your way , were taught to Sing by Letters , or Tablature ; for by Notes they cannot : And this it was which made you scratch your head to the purpose . But what will not a man do , before he will scratch a hole in 't : Alass , your New Gamut is so young , it can't speak , nor ever would , unless you seek out for help ; wherefore , rather than it should continue speechless , you 'l take confidence , and borrow out of the Old Scale those Gibbrish Words or Names of Notes , Sol La Mi Fa , &c. which but a little before you render so terrible to a Learner . He that shall read your Page 15. will have cause to smile to hear how ridiculously you quarrel against the Old Scale ; yet in the four last Lines thereof your words are these — Wherefore that We may know how to place Mi , They give us this Rule , ( not so , for you take it ) which alwayes holds good , ( a civil acknowledgment ) viz. before Mi ascending to name Fa Sol La , and after Mi descending La Sol Fa. Now Sir , you have gotten this Old Rule , I will insert your following words in the next Page , that it may appear to all Judicious persons what a prety confusion you make about ordering them for the Mouth of your New Gamut . Now that which they are to be blamed for in this is , that when they have given their Scholars a Notional understanding of this direction , their practice is to take their rise from Sol , and Sing Sol La Mi Fa Sol La Fa Sol ; as though Sol was the syllable from whence they should take aim , by which means they never perfect their main rule , and so as Mi alters , are confounded in naming their Notes ; whereas , if in their practice they begin with Mi , and so Sing forwards , Mi Fa Sol La Fa Sol La Mi , they would at once learn to rise an Octave with their Voice , and gain a readiness in this Rule , which they are always to account by in whatsoever condition they find Mi. It is to no purpose to plead that Sol is for the most part in the Cliff line , and therefore ready to begin with as they go upward ; because these syllables are practiced only in order to other Singing ; now Songs begin not with Sol , and go forward in that method , but upon any Note , and so skip about , that no Rule can be observed , but that which we contend for always to be practised . This is indeed the language of your whole Book , ( as it will appear to such as shall read it ) 't is such a Babel of confusion , Fardle of contradictions , and Impossibilities : Such a Mathematical Rat-Trap of Non-sense , as the like was never made in Crooked-Lane . In the former Chapter you confine the Notes , here the Names , and set them in the Stocks together ; as appears by these your next words , Page 18. We are sure , what we have undertook , is sufficiently proved , that G , A , B , C , D , E , F , G , will do as well as the old hard Names ; and for the placing of Mi , you must take the usual Monosyllables , so you order them in the most practicable method , viz Mi Fa Sol la Fa Sol La Mi. So that here Mi is always in your first line G , Fa in A , Sol in B , and La in C ; and so ascending in your first Octave , you begin Mi again in the second : All by way of Circulation . And so again in the 20th Page of your Vindication , your words are these , How happy would it be for the ease of Musick , and the exactness of Tuning , if the same proportions were ever fixed to the same places of the Septenary ( or your Octaves ) i. e. Mi alwayes in B. And again , in Page 49. And about the confinement of Mi with the avoiding regular flats and sharps , I have delivered my Iudgement in the Description of my Whirligig : ( That is your Cart Wheel with Seven Spokes : ) The first beginning in Mi and as it makes a turn round , it comes to Mi again . So that all you give us for a New Gamut , is your Whirligig , or Wheel of seven Spokes , marked with G A B C D E F , which you say is a speedier way to attain Musick then to take a long Journey on foot by the Old Gamut . And since your nearest way to it is the furthest about , let those that like it take it , and your second Chapter to boot : I have done with it . If this won't do , I have yet more in Vindication of the Old Scale of Musick . I come next to your Third Chapter , ( in which and the former is contained your whole Design ) Entitled The Cliffs reduced to one Vniversal Character . The first Page of it is nothing to the purpose , but a fardle of words about Tablature , &c. But in the middle of your next page your words are these , The present Practice ( or Old Way ) is to make three Cliffs , whose Notes ▪ by which they are called , are a Fifth above one another ; and according to the most conveniency in writing , are usually assigned to there places , as in the Scheme . And since you have done us the kindness to insert a Scheme of our three Cliffs , in your Book , ( which you borrow'd out of Mr. Simpson's Compendium , Page 4. as you do all your other Examples from him and other men ) I doubt not to prove that your new Invented Cliffs BMT will Be-e M p T y of any Invention you pretend to the Advancement of Musick . An Example of the Three proper Cliffs assigned to each Part. music Bass. Mean. Treble . By these Three Cliffs , as they are thus planted in there usual and proper places , may be Prick'd any Song proper for that Part , and in the compass of the Voice , and without any transposition ( except it be in the C sol fa ut Cliff ) which is vniversally proper to the inward or middle Parts , and is so transposed sometimes for conveniency of Pricking ; especially in Cathedral Musick , where Anthems and Services of five and six Parts do require it : Nor doth the transposition of that Cliff create any confusion to a Beginner , as you vainly alledge ; for Vocal Musick is seldom learn'd by men of Forty or Fifty Years old , but by those that are young , whose Voyces are proper to the Treble , and by that Cliff are only taught ; nor is the C sol fa ut Cliff now much used ( unless as I said before ) in Cathedral Musick . If you cast your Eye upon those several Collections of Ayres and Songs , which I have lately published , you will find I have not made use of the C sol fa ut Cliff in all the second Part of the Musical Companion , which consists of Songs of Two , Three and Four Parts ; but Printed them all in the G , or Treble Cliff , as proper to be Sung by Men or Boys . As to my Psalms in Four Parts , which are Printed in three Tenor Cliffs and a Bass ; I could have Printed them as well in Three Treble Cliffs , had I thought all had been so ignorant in the use of our Cliffs as I am assured you are : It being usual and common for Men to Sing those Songs which are prick'd in a Treble an Eighth lower , where the Parts are so Composed , that they do not interfere with the Bass. And if Musick be made difficult ( as you say ) by the transposition of one of our Cliffs , I shall plainly demonstrate that you have made it ten times more difficult and confused , by the frequent transposition of your Three new invented Cliffs BMT , in your new whim-wham Circulation of Octaves ; which according to your Hypothesis is thus set down in your Diagram . music Bass. Mean. Treble . In Page 38 and 39 you give us these following Rules and Directions , viz. 1. In any place , where the Notes rise or fall an Octave ( which is usually the cause of greatest distress in this case ) set the next Note in the same place , only changing the letter of the Octave , which will direct you to Sing it an eighth higher or lower ; as you may see these three Notes , which required three different Places , in three different Cliffs , are here situated all upon the same Line , only with the letters of their Octaves prefix'd at first sight , palpably discovering what they stand for . By which means the Octave only ▪ not the Cliff is altered , neither is there the lest shadow of the old confusion ; for the G , which I instanced in , or any other Note in this case , will stand in every part in the same place . And certainly , one that has but very indifferent skill in Singing , can rise or fall an Octave , when the prefixed letter shall give him timely warning of it . 2. If the Notes ascend , or descend by degrees , and you have occasion to go far into anoth●r Octave , when you come to an higher G , alter the Signal Letter , and it falls upon the lowermost Line ; the like discretion also must be used in descending : By which means , and good fore-cast , no Song can be so spiteful and u●lucky , but may be evidently and conveniently written in the compass of four Lines , which is the STATVTE OF OVR HYPOTHESIS , the lowermost beginning with G , the uppermost ending with F ; and the higher and lower Notes than these , by the change of the Signal Letter , ought to be lodged in their own Octaves , to which they do belong . Hitherto I hope , Sir , I have proceeded fairly ; and because it shall appear so , I will here , according to this Statute of your Hypothesis , give one or two Examples of both together , and leave it to Judicious Judgements to determine where the confusion , or transposition of Cliffs is most frequent , and which is most pleasant to the Eye of the Learner . An Example according to the Rule of the old Gamut , wherein the whole Scale is Prick'd down proper for Vocal Musick , in two Cliffs only , viz. the Bass and Treble ; in which compass may be Prick'd any Song without any transposition . music Example . music The same your New Way is thus , music A common Tune of a Psalm , pick'd according to the Old Rule or Scale of Musick . music The same Tune Prick'd your Way . Now behold , good Sir , is not this Tune prickt according to the STATUTE of your Hypothesis or new Method you would impose upon us ? I am sure it is . In our way there is no Transposition of Cliffs , but in yours , in this short Tune of Twenty eight Notes , your M T Cliffs are Transpos'd or Impos'd no less than Eleven times ; and are not the Notes cunningly planted for a Beginner to Sol-Fa ? T is so retrograde to our old Rule , that when our Notes Rise your Notes Fall , and when ours Fall yours Rise , to the Eye . Had I not heard otherwise , I should have imagined you had been a Quaker , you so imitate them , who act all by contraries , against the established Rule both in Church and State ; for because our Three Cliffs , Bass , Mean , and Treble , are distinguished by three known Characters out of the Old Scale , your Three Cliffs must be otherwise , B for Bass , M for Mean , and Tr for Treble : An excellent Reformation ▪ and to as much purpose , as he that changed the Name Kingdom into Commonwealthdom . But I cannot find , Sir , in all your new Essay any provision for Tenors and Contratenors ; you never thought of Cathedral Men , which are the greatest number of Singers in the Land ; sure your design is , that since you cann't do as the late Reformers did , sequester them of their Means , you will sequester them of their Musical Cliffs , Tenors and Contratenors : For this , I remember Mr. Lock gave you a Check in his Observations , and wondred you could be so uncivil : to which ( in the 49th Page of your Vindication ) you answer , if he still grumbles that Scholars cann't tell which is a Contratenor , or lower Mean , or the like , for them that cann't understand the nature of the thing , let there be writ over them , This is a Cock , and that is a Bull ; which Itake to be an easier remedy than to learn all the variety of old Cliffs . From whence ( according to your method ) I may draw this Inference , That the Gentlemen of His Majesties Chappel , and all Catherdral Singing-men , are presented by you ( for the Advancement of their Musick with little better than a Story of a COCK and a BULL ; for which I shall leave them to give you thanks , and proceed further in the Vindication of our Cliffs . Since all your whole Design , Sir , is to have Musick confin'd , and kept to the Statute Rule of your Hypothesis , which is by three Octaves fix'd to constant Rules and Spaces , in the compass of Four Lines , for the Pricking of all Songs ; why did you not give us some Examples thereof in your Book , but tell us , That no Song can be so spightful or unlucky , but it may be evidently and conveniently written in the compass of Four Lines , by the Rule of OVR Hypothesis : Your omission in this case , gave me occasion in insert for foregoing Tune of a Psalm ; I could have prick'd down many more ( but this may suffice any ingenious person ) to have shewed you the Beauty of the Mistress of your Invention ; but I suppose you perceived by her limping and hopping what was her Distemper , which made you prescribe her a Leiger-Line , and if that would not perfect the Cure , then to add thereto an ascititious Line , which together would prove an Infallible Remedy for the Rickettiness of your dearly Beloved B M T , and no doubt enable her to walk in the same path and state with the Old Scale : For though in many places you plead hard for the keeping to the Statute of your Hypothesis , viz. Four Lines , as for instance , in pag. 73. your words are these , But left any one should still run droaning in his own way , I shall mind him of OVRS , and tell him again , W E do not reckon upwards , as it the Lines were continued together ; neither make WE any Cliffs five Notes asunder , but WE compleat on Octave in the Systeme of Four Lines , which reaches to Ffaut , and then begin the Systeme of the next Four Lines in the Middle Part with G again ; as after Saturday night comes Sunday morning ; Or to explain your meaning , 't is thus ; after you have gone up seven Rounds of the Ladder , you must come down again to the first to go the eighth : Yet notwithstanding this , you tell us before in pag. 23. of certain Notes which you call Pilgrim Notes , that have higher and lower steps to go , and will not be fix'd in any constant dwellings ( now for these in your next words are some Crums of Comfort , for you have provided them Lodgings let them ramble whether they please ) but that the following Contrivance shews me it may , and is here already adcomplished Welcome Leiger-Line Handy-Pandy , now , shall we have a Leiger-Line , or no Leiger Line ? you resolve this doubt in the aforesaid pag. 73. when you tell us , if for conveniency of Pricking , WE allow the Systeme to be of [ Five ] or [ SIX ] Lines , &c. Rejoice O ye Musical Notes , here 's a Gaol-delivery ! you shall be no longer confin'd in the Prison of a Four-Line Hypothesis . But till this was done , Sir , your Mrs. Aurelia , with her Song of Four Parts , could not appear ; which you tell us , pag. 82. Mr. Theod. Stefkins transcribed for you ; I wonder , since you were not capable of doing it yourself , you did not require the assistance of your Publisher in that as well as in all the rest : In pag. 37. where this Song is fix'd as an Example , that it may be done your Five-line way , and not in your Four-line way , your words and these ; But that you may see how unnecessary those former various Cliffs are , how conveniently a Song will fall in the Systeme of Five Lines , for though an Octave is compleated in Four , yet you may take such a liberty , &c. Therefore , Sir , that you may see we can present you with this Song in less various Cliffs than you have done , I have transcribed it in the same Key you have put it in , that when it is compared with yours , the World may judge wherein lies the Advantages your propose . A. 4. Voc. Mr. Pelham Humphryes . When Aurelia , &c. I have but one Example more , by which may be judged now you have got a Leger Line to make Five as well as we , whether you be not almost come back into our Old Way of Pricking , as well as you did before into the use of the Words of our Gamut . The Old Way . Bass. Mean. Unisons in their proper places . Treble . Unisons in their proper places . Your New Way . Bass. Mean. Unisons out of their proper places . Treble . Unisons out of their proper places . By this Example I prove your Universal Character of having G always on the First Line to be confused , whatever pretences and plausible words you give us to the contrary : for to make the same Note to be in two places at one time ( in the Space in the Bass and on the Rule in the Mean ) is to sit between two Stools , whereby the A — of your whole Design will fall to the ground . If you could have kept to your first Rule of Four-line Octaves , you had committed that absurdity but once , and that in your Octave Note only , but now by your Leiger-Lines you advance it in as many Notes as you please ; whereas on the contrary , you may see dour Unisons of the Bass when they come into the Mean , are , if in Space in space , if on Rule on Rule , and the like 'twixt the Mean and Treble . By all which it will appear , that our Gamut is a perfect Rule , and so are our Cliffs in their use , without any difficulty or confusion , how ridiculously and ignorantly soever you have rendred them . Thus far I have Vindicated the Old Scale ; I could have enlarged much further , but as I turn'd over both your Essay and Vindication , I met with so many impertinent Impossibilities and Contradictions , especially about instrumental Musick , so confusedly jumbled together ; and not finding the Gittar ( the only School-Instrument ) so much as mentioned in all your Book , and your Hypothesis being so pertinent to it ; I had not patience , but threw them aside , as unworthy the perusal of any Person skill'd in Musick . Sir , Your humble Servant is anything but your new Musical HYPOTHESIS , Iohn Playford . August 26. 1672. FINIS . 
A08534	----	Andreas Ornithoparcus his Micrologus, or Introduction: containing the art of singing Digested into foure bookes. Not onely profitable, but also necessary for all that are studious of musicke. Also the dimension and perfect vse of the monochord, according to Guido Aretinus. By Iohn Douland lutenist, lute-player, and Bachelor of Musicke in both the Vniuersities. 1609. Musice actiue micrologus. English Ornithoparchus, Andreas, 16th cent. 1609 Approx. 227 KB of XML-encoded text transcribed from 51 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2003-05 (EEBO-TCP Phase 1). A08534 STC 18853 ESTC S115197 99850416 99850416 15618 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A08534) Transcribed from: (Early English Books Online ; image set 15618) Images scanned from microfilm: (Early English books, 1475-1640 ; 968:3) Andreas Ornithoparcus his Micrologus, or Introduction: containing the art of singing Digested into foure bookes. Not onely profitable, but also necessary for all that are studious of musicke. Also the dimension and perfect vse of the monochord, according to Guido Aretinus. By Iohn Douland lutenist, lute-player, and Bachelor of Musicke in both the Vniuersities. 1609. Musice actiue micrologus. English Ornithoparchus, Andreas, 16th cent. Dowland, John, 1563?-1626. Guido, d'Arezzo. [8], 80 [i.e. 90], [2] p. : music Printed [by Thomas Snodham] for Thomas Adams, dwelling in Paules Church-yard, at the signe of the white Lion, London : [1609] A translation by Dowland of: Musice active micrologus. Printer's name from STC. P. 90 misnumbered 80. With a final epilogue and contents leaf. Reproduction of the original in the Henry E. Huntington Library and Art Gallery. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. 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Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Music theory -- History -- 17th century -- Early works to 1800. 2003-01 TCP Assigned for keying and markup 2003-02 Apex CoVantage Keyed and coded from ProQuest page images 2003-03 Olivia Bottum Sampled and proofread 2003-03 Olivia Bottum Text and markup reviewed and edited 2003-04 pfs Batch review (QC) and XML conversion ANDREAS ORNITHOPARCVS HIS MICROLOGVS , OR INTRODVCTION : Containing the Art of Singing . Digested into Foure Bookes . NOT ONELY PROFITABLE , BVT also necessary for all that are studious of Musicke . ALSO THE DIMENSION AND PERfect Vse of the MONOCHORD , according to Guido Aretinus . BY IOHN DOVLAND LVTENIST , Lute-player , and Bachelor of Musicke in both the Uniuersities . 1609 LONDON : Printed for Thomas Adams , dwelling in Paules Church-yard , at the Signe of the white Lion. TO THE RIGHT HONORABLE ROBERT EARLE OF Salisbury , Viscount Cranborne , Baron of Essingdon , Lord High Treasurer of England , Principall Secretarie to the Kings most excellent Maiestie , Maister of the Courts of Wards and Liueries , Chancellor of the most famous Vniuersitie of Cambridge , Knight of the most Noble Order of the Garter , and one of his Maiesties most honourable Priuic Counsell . YOur high Place , your princely Honours and Vertues , the hereditary vigilance and wisedome , wherwith Hercules - like , you assist the protection of the whole State : Though these ( most honoured Lord ) are powerfull encitements to draw all sorts to the desire of your most Noble protection . Yet besides all these ( in more particular by your Lordships speciall Fauors and Graces ) am I emboldened to present this Father of Musicke Ornithoparchus to your worthyest Patronage , whose approoued Workes in my trauailes ( for the common good of our Musitians ) I haue reduced into our English Language . Beseeching your Lordship ( as a chiefe Author of all our good ) graciously to receiue this poore presentment , whereby your Lordship shall encourage me to a future taske , more new in subiect , and as memorable in worth . Euery Plant brings forth his like , and of Musitians , Musicke is the fruit . Moreouer such is your diuine Disposition that both you excellently vnderstand , and royally entertaine the Exercise of Musicke , which mind-tempering Art , the graue Luther was not affraid to place in the next seat to Diuinity . My daily prayers ( which are a poore mans best wealth ) shall humbly sollicite the Author of all Harmonie for a continuall encrease of your Honors present happinesse with long life , and a successiue blessing to your generous posteritie . Your Lordships humbly deuoted Iohn Douland . To the Reader . EXcellent men haue at all times in all Arts deliuered to Posteritie their obseruations , thereby bringing Arts to a certainty and perfection . Among which there is no Writer more worthy in the Art of Musicke , than this Author Ornithoparcus , whose Worke , as I haue made it familiar to all that speake our Language , so I could wish that the rest in this kinde were by the like meanes drawne into our knowledge , since ( I am assured ) that there is nothing can more aduance the apprehension of Musicke , than the reading of such Writers as haue both skilfully and diligently set downe the precepts thereof . My industry and on-set herein if you friendly accept ( being now returned home to remaine ) shall encourage me shortly to diuulge a more peculiar worke of mine owne : namely , My Obseruations and Directions concerning the Art of Lute-playing : which Instrument as of all that are portable , is , and euer hath been most in request , so is it the hardest to mannage with cunning and order , with the true nature of fingering ; which skill hath as yet by no Writer been rightly expressed : what by my endeuours may therein be attained , I leaue to your future Iudgement , when time shall produce that which is already almost ready for the Haruest . Vale , From my house in Fetter-lane this tenth of Aprill . 1609. Your Friend , Iohn Douland . TO THE RIGHT HONORABLE , WORTHY , AND WISE GOVERNOVRS OF THE STATE OF LVNENBVRG , ANDREAS ORNITHOP ARCHVS OF MEYNING , MAISTER OF THE LIBERALL SCIENCES . WE read , that Socrates ( hee that was by Apollos Oracle famoused for the wisest man in the world ) was wont to say , That it had been fit mens hearts , should haue windowes , that so the thoghts might be discerned . This power if we now had , honourable Lords , beleeue it , you should discern my loue towards you and yours . But because speech is the mindes interpretour , and you cannot know men , and their thoughts , but by their words or writing , I am to intreat that you would take in as good part these words , which in my absence I vtter , as if I had in presence deliuered them . It is not out of any humor of arrogancy or vain ostentation that I do this : but that vpright , gentle , and religious fashion of yours , wherin you excell more than any Easterlings that border these Baltick coasts , these make me assay the art of Harmony , which the Grecians call Musicke ; Musicke the nurse of Christian Religion , and mother of good fashions , of honesty , of Common-wealths , if in any thing we may giue credite to the ancients . These made me commit my sayles to the furious windes ; these made me giue Zoiles and Thersites power to rage ouer me ; these made me trauell many Countreys not without endamaging my estate , to search out the Art ; these made me many a time to sustaine wearinesse , when I might haue been at rest ; greefe , when I might haue solaced my selfe ; disgrace , when I might haue liued in good reputation ; pouertie , when I might haue liued in plenty . But also these things ( right Worthies ) seemed to me not worthy the regarding , when I sought how I might whilest others slept , whom your state doth nourish ( before all others ) profite your youth , and so consequently the youth of all Germany , drawing them to good fashions , recalling them by the honest delights of Musicke from vnlawfull attempts , and so by little and little stirre them vp to vertuous actions . For Socrates , and Plato , and all the Pythagoreans did generally enact , that young men and maides should be trayned vp in Musicke , not to the end their mindes might be incited to wantonnesse by those bawbles , which make Art to be so vilely reputed of : but that the motions of the minde might be ruled and gouerned by law and reason . For seeing the nature of young men is vnquiet , and in all things desiring delights , & therfore refuseth seuerer arts , it is by the honest delights of Musick brought to those recreations , which may also solace honest old age . Among those things wherwith the mind of man is wont to be delighted , I can finde nothing that is more great , more healthfull , more honest , than Musicke : The power whereof is so great , that it refuseth neither any sexe , nor any age , and ( as Macrobius a man of most hidden & profound learning saith ) there is no brest so sauage and cruell , which is not moued with the touch of this delight . For it doth driue away cares , perswade men to gentlenesse , represseth and stirreth anger , nourisheth arts , encreaseth concord , inflameth heroicall minds to gallant attempts , curbeth vice , breedeth vertues , and nurseth them when they are borne , composeth men to good fashion . For among all those things which doe admit sence , that onely worketh vpon the manners of men , which toucheth his eares , as Aristotle in his musicall problemes doth more at large discourse . Hence was it that Agamemnon being to goe Generall for the Troian warres , as Philelphus reports , left a Musitian at his house , who by singing the prayses of womens vertues might incite Clytemnestra to a chaste and honest life , wherein he did so farre preuaile , that they say she could not be ouercome by Egistus his vnchaste attempts , till the vngodly wretch had made away the Musitian , who onely hindred him from his wicked purpose . Besides Lycurgus , though otherwise he enacted most seuere lawes for the Lacedaemonians his countrey-men ; yet did he very much embrace Musicke , as Quintilian writes . I omit those ancient Philosophers , ( for so they rather chose to be called , than to be named wise men ) who did repose the summe of their studies in this art as in a certaine Treasure-house . I omit those princes who for the admirable sweetnesse of this art spend many talents . Lastly , I omit the most religious of al men , who though they estrange themselues from al worldly pleasure , yet dwell vpon this delight , as if it were the onely heauenly one . Since therfore this Art is both holy , and sweet , and heauenly , participating of a diuine , faire , and blessed nature , I thought good to dedicate this booke , wherein all the knots of practicke Musicke are vntied , to the gentle youth of your Citie , after it had been first brought forth at Rostoch , that famous Vniuersity of the Baltick coast , and since amended by the censure of the Elders , and publikely read in three famous Vniuersities of Germanie , the Vniuersitie of Tubyng , Heydelberg , and Maguntium . That by their deserts the after ages being helped , might pay the tribute of thanks not to me , but to them , as to the first mouing causes . Wherefore wise Fathers , I beseech your wisedomes to deigne this booke your gentle fauour and acceptance , not contemning the base stile or little volume of that , which is rather holy than pleasant , and set out not vpon any rash humour , but vpon a true deuotion . For it is written for them that fast , not for them that are filled with delicacies , though euen they may find here that which will fit their stomackes . And since great things fit great men , small things small men , I acknowledge my selfe small ; and therefore giue small gifts , yet promise greater whensoeuer I shall grow greater . Farewell most happy , most worthy , most wise . The Preface vpon the Diuision of the Worke. SEeing it is fitter , as an Emperour said , to cast out a few fit things , then to be burdened with many vnnecessary superfluities , which precept Horace put him in minde of , saying : Quicquid precipies esto breuis , vt citò dicta , Per cipiant animi dolices , teneantque fideles . What ere thou teach , be short : the learners braine Breefe sawes will quicker take , and best retaine . Hence it is , that we haue resolued to collect into certaine most short rules , the precepts of Actiue Musicke , if not all , yet the especiall , out of diuers Authours . For to know all things and faile in nothing , is a mark rather of diuine then of humane nature . Now those , whom I herein followed as my leaders , and acknowledge as my speciall Patrons , are these : For Theoricks Boëtius Romanus . For Practicks Guido Aretinus . Plutarchus Cheronaeus . Ioannes pontifex Ro. Saint Augustine . Saint Bernard . Franchinus Gafforus . Saint Gregorie . Valla Placentinus . Berno the Abbot . Faber Stapulensis . Ioannes Tinctoris . Wherefore omitting all needlesse circumlocutions , and affecting shortnesse , the mother of truth , wee purpose to open all Practick Musick in foure Bookes , for of so many parts it doth consist . The first whereof , shall shew the principles of plaine Song : The next Measurall Song : The third the Accent : The fourth and last the Counterpoint , as it were the gouernour and mother of the rest . The head of each Booke , shall in their places be mentioned , as occasion shall serue . THE FIRST BOOKE OF ORNITHOPARCHUS HIS Musicke , declaring the Principals of plaine Song . THE FIRST CHAPTER . Of the Definition , Diuision , Profit , and Inuentors of Musicke . BEing to deliuer the Art of singing , than which in the world there is nothing sweeter , lest out of a small errour a great may arise , let vs begin with the definition , by which the nature of all things is knowne : that is with the easiest things first , that so the Art may be more fitly deliuered . And then , hauing vnfolded the nature thereof in generall , wee will proceede to the perticulars , first making the generall diuision , and afterward handling each part seuerally . The generall Description of Musicke . MVsicke ( as Franchinus Gafforus in the third Chapter of the first booke of Theorie writeth ) is a knowledge of Tuning , which consists in sound and Song . In sound ( I say ) because of the musicke which the motion of the coelestiall Orbes doth make . In Song , least that melody which our selues practise , should be secluded out of our definition . The Diuision of Musicke . BOétius ( to whom among the Latine writers of Musicke , the praise is to be giuen ) doth shew in the second Chapter of his first booke of Musicke , that Musicke is three-fold . The Worlds Musicke : Humane Musicke : and Instrumentall Musicke . Of the Musicke of the World. VVHen God ( whom Plutarch prooues to haue made all things to a certaine harmonie ) had deuised to make this world moueable , it was necessary , that he should gouerne it by some actiue and moouing power ; for no bodies but those which haue a soule , can moue themselues , as Franchinus in the first Chapter of his first booke of Theoric saith . Now that motion ( because it is the swiftest of all other , and most regular ) is not without sound : for it must needs be that a sound be made of the very wheeling of the Orbes , as Macrobius in Somnium Scip. lib. 2. writeth . The like sayd Boêtius , how can this quick-mouing frame of the world whirle about with a dumb and silent motion ? From this turning of the heauen , there cannot be remoued a certaine order of Harmonie . And nature will ( saith that prince of Romane eloquence Cicero , in his sixt booke de Reipub. ) that extremities must needs sound deepe on the one side , & sharp on the other . So then , the worlds Musicke is an Harmonie , caused by the motion of the starres , and violence of the Spheares . Lodouicus Coelius Rodiginus ; lectionum antiquarum lib. 5. cap. 25. writeth , That this Harmony hath been obserued out of the consent of the heauens , the knitting together of the elements , and the varietie of times . Wherefore well sayd Dorilaus the Philosopher , That the World is Gods Organe . Now the cause wee cannot heare this sound according to Pliny is , because the greatnesse of the sound doth exceede the sence of our eares . But whether wee admit this Harmonicall sound of the Heauens , or no , it skils not much ; sith certaine it is , that the grand Work-maister of this Mundane Fabricke , made all things in number , weight , and measure , wherein principally , Mundane Musicke doth consist . Of Humane Musicke . HVmane Musick , is the Concordance of diuers elements in one compound , by which the spirituall nature is ioyned with the body , and the reasonable part is coupled in concord with the vnreasonable , which proceedes from the vniting of the body and the soule . For that amitie , by which the body is ioyned vnto the soule , is not tyed with bodily bands , but vertuall , caused by the proportion of humors . For what ( saith Coelius ) makes the powers of the soule so sundry and disagreeing to conspire oftentimes each with other ? who reconciles the Elements of the body ? what other power doth soder and glue that spirituall strength , which is indued with an intellect to a mortall and earthly frame , than that Musicke which euery man that descends into himselfe finds in himselfe ? For euery like is preserued by his like , and by his dislike is disturbed . Hence is it , that we loath and abhorre discords , and are delighted when we heare harmonicall concords , because we know there is in our selues the like concord . Of Instrumentall Musicke . INstrumentall Musicke , is an Harmony which is made by helpe of Instruments . And because Instruments are either artificiall , or naturall , there is one sort of Musicke , which is made with artificiall Instruments ; another , which is made with naturall instruments . The Philosophers call the one Harmonicall ; the other Organicall . Of Organicall Musicke . ORganicall Musicke ( as Coelius writeth ) is that which belongeth to artificiall Instruments : or it is a skill of making an Harmony with beating , with fingring , with blowing : with beating , as Drums , Tabors , and the like : with blowing , as Organs , Trumpets , Fluits , Cornets : with fingring , as those Instruments which are commanded , either with the touching of the fingers , or articulating of the Keyes . Yet such Instruments as are too voluptuous , are by Coelius Rodiginus rejected . Of Harmonicall Musicke . HArmonicall Musicke , is a faculty weighing the differences of high and low sounds by sence and reason , Boetius : Or , it is a cunning , bringing forth the sounds with Humane voyce , by the helpe of naturall Instruments , and iudging all the Sounds which are so brought forth . This as Placentinus writeth in the third Chapter of the second booke of his Musicke : is twofold , Inspectiue and Actiue . Of Inspectiue Musicke . INspectiue Musicke , is a knowledge censuring and pondering the Sounds formed with naturall instruments , not by the eares , whose iudgement is dull , but by wit and reason . Of Actiue Musicke . ACtiue Musicke , which also they call Practick , is ( as Saint Austine in the first booke of his Musicke writeth ) the knowledge of singing well : or according to Guido in the beginning of his Doctrinall , it is a liberall Science , dispensing the principles of singing truely . Franchinus ( in the third Chapter of his first Booke of his Theorick ) doth so define it : It is a knowledge of perfect singing , consisting of sounds , words , and numbers ; which is in like sort two-fold , Mensurall , and Plaine . Of Mensurall Musicke . MEnsurall Musicke , is the diuers quantitie of Notes , and the inequalitie of figures . Because they are augmented or diminished according as the moode , time , and prolation doth require : of this wee will speake at large in the second Booke . Of Plaine Musicke . PLaine Musicke , ( as Saint Bernard an excellent searcher into regular and true Concinence ) doth write in the beginning of his Musicke , saying : It is a rule determining the nature and forme of regular Songs . Their nature consists in the disposition , their forme in the progression and composition . Or plaine Musicke is a simple and vniforme prolation of Notes , which can neither be augmented nor diminished . Of the Profitablenesse of this Art. THe Profit of this Art is so great , ( as writeth Pope Iohn the 22. of that name , in the second Chapter of his Musick ) that whosoeuer giues himselfe to it , shall iudge of the qualitie of any Song , whether it be triuiall , or curious , or false : He knowes both how to correct that which is faulty , and how to compose a new one . It is therefore ( saith he ) no small praise , no little profit , no such labour as to be esteemed of slightly , which makes the Artist both a Iudge of those Songs which be composed , and a Corrector of those which be false , and an Inuentor of new . Of the difference betwixt a Musitian , and a Singer . OF them that professe the Art of Harmony , there be three kindes ; ( saith Franchinus in the first Book the 4. chap. of his Theoric ) one is that which dealeth with Instruments ; the other maketh Verses ; the third doth iudge the workes both of the instruments , and of the verses . Now the first , which dealeth with Instruments , doth herein spend all his worke ; as Harpers , and Organists , & all others which approue their skil by Instruments . For they are remoued from the intellectuall part of Musicke , being but as seruants , and vsing no reason : voide of all speculation , and following their sence onely . Now though they seeme to doe many things learnedly and skilfully , yet is it plaine that they haue not knowledge , because they comprehend not the thing they professe , in the purenesse of their vnderstanding ; and therefore doe we deny them to haue Musicke , which is the Science of making melodie . Fot there is knowledge without practise , and most an end greater , than in them that are excellent Practitioners . For we attribute the nimblenesse of fingring not to Science , which is only residing in the soule , but to practise , for if it were otherwise , euery man the more skilfull he were in the Art , the more swift he would be in his fingring . Yet doe we not deny the knowledge of Musicke to all that play on Instruments ; for the Organist , and he that sings to the Harpe , may haue the knowledge of Musick , which if it be , we account such the best Artists . The second kind is of Poets , who are led to the making of a verse , rather by a naturall instinct , than by speculation . These Boêtius secludes from the speculation of Musicke , but Austin doth not . The third kind of Musitians , be they which doe assume vnto them the cunning to iudge and discerne good Ayres from bad : which kind , ( sith it is wholy placed in speculation and reason ) it doth properly belong to the Art of Musicke . Who is truely to be called a Musitian . THerefore he is truely to be called a Musitian , who hath the faculty of speculation and reason , not he that hath only a practick fashion of singing : for so saith Boêtius lib. 1. cap. 35. He is called a Musitian , which taketh vpon him the knowledge of Singing by weighing it with reason , not with the seruile exercise of practise , but the commanding power of speculation , and wanteth neither speculation nor practise . Wherefore that practise is fit for a learned man : Plutarch in his Musicke sets downe ( being forced vnto it by Homers authoritie ) and proues it thus : Speculation breedeth onely knowledge , but practise bringeth the same to worke . Who be called Singers . THe Practitioner of this facultie is called a Cantor , who doth pronounce and sing those things , which the Musitian by a rule of reason doth set downe . So that the Harmony is nothing worth , if the Cantor seeke to vtter it without the Rules of reason , and vnlesse he comprehend that which he pronounceth in the puritie of his vnderstanding . Therefore well saith Ioan. Papa 22. cap. 2. To whom shall I compare a Cantor better than to a Drunkard ( which indeed goeth home , ) but by which path he cannot tell . A Musitian to a Cantor , is as a Praetor to a Cryer : which is proued by this sentence of Guido : Musicorum , ac Cantorum , magna est distantia , Isti sciunt , illi dicunt , quae componit Musica , Nam qui facit , quod non sapit , diffinitur bestia Verum si tonantis vocis laudent acumina , Superabit Philomela , vel vocalis Asina . Twixt Musitians , and Practitians , oddes is great : They doe know , these but show , what Art doth treat . Who doeth ought , yet knoweth nought , is brute by kind : If voices shrill , voide of skill , may honour finde ? Then Philomel , must beare the bell , And Balaams Asse , Musitian was . Therefore a Speculatiue Musitian , excels the Practick : for it is much better to know what a man doth , than to doe that which another man doth . Hence is it , that buildings and triumphs are attributed to them , who had the command and rule ; not to them by whose worke and labour they were performed . Therefore there is great difference in calling one a Musitian , or a Cantor . For Quintilian saith , That Musitians were so honoured amongst men famous for wisedome , that the same men were accounted Musitians and Prophets , and wise men . But Guido compareth those Cantors , ( which haue made curtesie a farre off to Musicke ) to brute Beasts . Of the Inuentors of Musicke . THe best writers witnesse , That Musicke is most ancient : For Orpheus and Linus ( both borne of Gods ) were famous in it . The inuention of it is attributed to diuers men , both because the great antiquitie of it , makes the Author incertaine ; and also because the dignitie of the thing is such , and maketh so many great men in loue with it , that euery one ( if it were possible ) would be accounted the Authors of it . Wherefore some thinke Linus the Thebane ; some , that Orpheus the Thracian ; some , that Amphion the Dircean ; some , that Pythagoras the Samian found out this Art. Eusebius attributes it to Dionysius , Diodorus , to Mercury , Polybius , to the Elders of Arcadia , with whom there was such estimation of Musicke , that it was the greatest disgrace that could be in that place to confesse the ignorance of Musicke . Neither did they this , saith Coelius lib. 5. antiquarum lection . for wantonnesse or delicatenesse , but that they might mollifie and temper their dayly labours , and besides their austeritie and seuere fashions ; which befell them by a certaine sad temperature of the clyme with this sweetnesse and gentlenesse . Yet if we giue any credit to Iosephus , and the holy Writ , Tubal the Sonne of Lamech was the chiefe and most ancient Inuentor of it , and left it written in two tables , one of Slate ; another of Marble before the flood for the posteritie . The Marble one ( some say ) is yet in Syria . But least some errour arise out of the multitude of these Inuentors , it is cleere that Tubal before the flood , that Moses among the Hebrewes , that Orpheus , Amphion , and such like among the Gentiles , that Pythagoras among the Graecians , that Boêtius among the Latines , was first famous for Musicke . THE SECOND CHAPTER . Of Voyces . COncord , ( which rules all the Harmony of Musicke ) cannot be without a Voyce , nor a Voyce without a Sound , saith Boêtius , lib. 1. cap. 3. Wherefore in seeking out the description of a Voyce , we thought fit to search out this point , what Sounds are properly called Voyces . Note therefore , that the sound of a sensible creature is properly called a Voyce , for things without sence haue no Voyce , as Coelius writes , antiquar . lect . lib. 10. cap. 53. When we call pipes Vocal , it is a translated word , and a Catachresis . Neither haue alsensible cretures a Voice : for those which want blood , vtter no Voice . Neither do fishes vtter any Voyce , because a Voyce is the motion of the ayre , but they receiue no ayre . Wherefore onely a sensible creature doth vtter a Voyce , yet not all sensible creatures , nor with euery part of their bodies ( for the hands being stroken together make a clapping , not a Voyce . ) A Voyce therefore is a sound vttered from the mouth of a perfect creature , either by aduise , or signification . By aduise , ( I say ) because of the coffe , which is no Voyce : By signification , because of the grinding of the teeth . But because this description of a Voyce , doth agree onely to a liuely Voyce , and not to a deafe musicall Voyce , which especially , being a sole syllable is deafe , vnlesse it be actually expressed , we must find out another description more agreeable to it . Therefore a musicall Voyce , is a certaine syllable expressing a tenor of the Notes . Now Notes is that by which the highnes , or lownes of a Song is expressed . Who first found out the Musicall Voyces . BEing that al Harmony is perfected by Voyces , and Voyces cannot be written , but remembred : ( as Gafforus lib. 5. Theor. cap. 6. and 1. Pract. cap. 2. saith ; that they might therefore be kept the better in memory , Guido Aretinus a Monke , led by a diuine inspiration , deuoutly examining the Hymne of Saint Iohn Baptist , marked , that the sixe capitall syllables of the Verses , viz , Vt , Re , Mi , Fa , Sol , La , did agree with musicall Concords . Wherefore he applyed them in the chords of his introductory : which deuise Ioannes the 22. Bishop of Rome allowed . Of the Diuision of Voyces . IN the Fourth part of this Worke , I will handle that Diuision , by which Voyces are diuided into Vnisones , aequisones , Consones , Eumeles , &c. Here I will onely touch that which will serue our turne ; Therefore of Voyces , Some are called b Mols Viz. Vt Fa because they make a Flat sound . Naturals Re Sol Meane ♮ Sharps Mi La Sharpe Besides of Voyces some be Superiours : viz. Fa , Sol , La. Others be Inferiours : as Vt , Re , Mi. Rules for the Voyces . FIrst , Vt , ( in Harmonicall Songs ) is the head and beginning of the other Voyces . The second , The Superiour Voyces are fitly pronounced in Descending , and the Inferiour in Ascending . Yet to this Rule there be Foure places contrary . The first is this . In F faut you neuer sing vt , vnlesse you must sing fa , in b fa ♮ mi. The second , In b fa ♮ mi , you must alwayes sing that Voice which the Scale requires . The third , The same Voyce may not be repeated in seconds , though in fourths , fifths , and eights it may very fitly . The fourth , Neither must the superiour Notes be sung in the descending , nor the inferiour Notes in the ascending , because they make a needlesse change . A Progression of the Six Musicall Voyces , according to the Rule of Arsim and Thesim . THE THIRD CHAPTER . Of the Keyes . THe Wisedome of the Latine Musitians , imitating the diligence of the Graecians ( whereas before the Singers did mark their Chords with most hard signes ) did first note a musicall Introduction with Letters . To this Guido Aretinus ioyned those Voices he found out , and did first order the Musicall Keyes by lines and spaces , as appeareth in his Introductory . Therefore a Key is a thing compacted of a Letter and a Voyce . For the beginning of euery Key is a Letter , and the end a Syllable : Of a Voice ( I say ) not of Voyces , both because all the Keyes haue not many Voyces , and also because the names of Generalities , of Specialties ▪ and of Differences , of which a definition doth consist , cannot be expressed in the plurall number . For Animal is the genus , not Animalia ; a Man is the species , not men : rationale is the difference , not rationabilia : Or more formally ▪ A Key is the opening of a Song , because like as a Key opens a dore , so does it the Song . Of the Number and Difference of Keyes . KEyes , ( as Franchinus lib. 1. pract ▪ cap ▪ 1. doth write ) are 22. in number . Though Pope Iohn , and Guido ( whom hee in his Fift Chapter saith to haue been the most excellent Musitians after Boêtius ) onely make 20. These Two and Twentie Keyes are comprehended in a three-fold order . The first is of Capitall Letters ; the Second of small ; the Third of double Letters . And all these Keyes differ one from the other in sight , writing , and naming : because one is otherwise placed , written , or named than the other . Of the Capitall there be eight , viz. Γ. A. B. C. D. E. F. G. Of the small also Eight , a. b. c. d. e. f. g. for b fa ♮ mi. is not one Key onely , but two : which is prooued by mutations , voyces , and instruments . The same you must account of the vpper bb fa ♮ ♮ mi his Eight : of the double ones there be Six , viz. aa . bb . ♮ ♮ cc. dd . and ee . The order of all these is expressed in Ten lines and spaces in the Table following . Here followes the Introductorie of Guido Aretinus a Benedictine Monke , a most wittie Musitian , who onely ( after Boêtius did giue light to Musicke ) found out the voyces , ordered the keyes , and by a certaine diuine industry , inuented a most easie way of practise , as here followeth to be seene . Of the Keyes which are to be marked . OF Keyes some are to be marked , or ( as others call them ) marked Keyes , others are called vnmarked Keyes . Of the marked , there are fiue principall , viz. Γ vt , F faut , C solfaut , G solreut , and Dd la sol : which the Ambrosians ( as Franch . lib. 1. pract . cap. 3. reports ) did mark with colours . F faut , with red , C solfaut with blew , double bb with skie-colour . But the Gregorians ( whom the Church of Rome doth imitate ) marking all the lines with one colour , to describe each of the marked Keyes by his first Letter , or some other signe , as in the Scale was mentioned . Those Keyes which are lesse principall , are two , b round , and ♮ square : The firstshews that the Voyce is to be sung fa , the second that it is to be sung mi in the place wherein it is found . And vnlesse one doe heedily discerne b from ♮ , he doth confound the Song ( as Berno sayth ) euen as wine and water being mingled together , one can discerne neither . To the Readers . SEeing it is a fault to deliuer that in many words , which may be deliuered in few ( gentle Readers ) leauing the hand , by which the wits of yong beginners are hindered , dulled , and distracted , learne you this fore-written Scale by numbring it : for this being knowne , you shall most easily , and at first sight know the voyces , Keyes , and all the Mutations . Rules for the Keyes . FIrst , Of the marked Keyes one differs from the other a Fift , except Γ vt , which is remoued from F faut a Seuenth . 2. The Keyes of an odde number are contained in line , the Keyes of an euen number in space . 3. All the signed keyes , from which the Iudgement of other Keyes is fetched , are set in line . 4. The Greeke Letter is placed in the baser part of the Introductory , in honour of the Greekes , from whom Musicke came to vs : For Berno the Abbot ( in his first Booke of Musicke ) saith , The Latines chose rather to put the Greeke letters than the Latine , that the Greekes may be noted hereby to be the Authors of this Art. 5. All Keyes beginning with one Letter , doe differ an Eight , saith Guido cap. 5. of his Microl. 6. Of Eights there is the same iudgement . 7. It is not lawfull for plaine-Song to goe vnder , Γ vt , nor aboue Eela . Hereupon it is , that the Three highest Keyes haue no inferiour Voyces , because beyond them there is no rising : Neither haue the three lowermost superiour voyces , because there is no descending vnder them . 8. As oft as in a broken Song , you goe beyond the extreame Keyes ( as you doe often ) take your voyces from Eights . THE FOVRTH CHAPTER . Of Tones in Generall . A Tone ( as Guido saith ) is a rule iudging the Song in the end , or it is a knowledge of the beginning , middle , and end of euery Song , shewing the rising and falling of it . Of the number of Tones . BY the authoritie of the Graecians , we should only obserue 4. Tones , ( saith Guido Microl. II. I. Proton . 2. Deuteton , 3. Triton , 4. Tetarton . But the Latines considering the rising & falling , and diuiding each of the Greeke Tones into authenticke & plagall : to conclude euery thing that is sung within Eight Tones , agreeable to the eight parts of Speech . For it is not amisse , ( saith Ioan Pont. cap. 10. ) that euery thing which is sung , may be comprehended within Eight Tones , as euery thing which is spoken , is confined within Eight parts of Speech . Now these Eight Tones ( as Franch . lib. 5. Theor. and last Chapter , and lib. 1. pract . 7. cap. saith ) are by the Authors thus named , The first Dorian ; the second , Hypodorion ; the third , Phrygian ; ( which Porphyrio cals barbarous ; the fourth , Hypophrygian ; the fift , Lydian ; the sixt , Hypolydian ; the seuenth , Myxolydian ; the eight , some call Hypermyxolydian ; others say it hath no proper name . Of the Finals belonging to the Tones . FInals , ( as Saint Bernard in his Musicke saith , both truely and briefely ) are the Letters which end the Songs . For in these must be ended euery Song which is regular , and not transposed , and are in number Foure , as Guido writeth in the Dialogue of his Doctrinall : To wit , D solre In which euery Song ends First and Second regular Tones E lami Third Fourth F faut Fift Sixth G solrevt Seuenth Eight Of the Compasses of the Tones . THe Compasse is nothing else , but a circuite or space allowed by the authoritie of the Musitians to the Tones for their rising and falling . Now to euery Tone there are granted but Ten Notes or Voices , wherein he may haue his course , ( as Saint Bernard saith in the Prologue of his Musicke . Hereof hee assignes Three reasons : to wit , The authoritie of the Decachorde of the Psalter : the worthinesse of equalitie : and the necessity of setting the Notes downe . Although at this time the licentious ranging of our modern Musitians , doth adde an Eleuenth to each , as in the figure following appeares . Of the Repercussions of Tones . WHerupon the Repercussion , which by Guido is also called a Trope , and the proper and fit melodie of each Tone . Or it is the proper interuall of each Tone , as in the Examples following appeareth . Re la giues the first , Re fa giues the second , Mi mi giues the Third , Mi la giues the Fourth , Vt sol giues the Fift , The Sixt giues Fa la , Vt sol vneuen Tetartos , vt fa doth giue the last . Rules for the Tones . FIrst , All the odde Tones are Authenticall , all the euen Plagall : these are so called because they descend more vnder the final Key : these , because they doe more ascend aboue the finall Key . The second , Euery Song in the beginning , rising straight beyond the finall Note to a Fift , is Authenticall : but that which fals straight way to a Third , or a Fourth , vnder the finall Key , is Plagall . The third , A Song not rising in the middle beyond the finall Note to an Eight , although it haue a Fift in the beginning , is Plagall : vnlesse the Repercussion of an Authenticall being there found , preserue it : as an Antiphone is newly found , which is iudged to be of the Eight Tone , because it hath not the rising of an Authent in the middle . But the Repercussion of a seuenth , appearing straight in the beginning , doth preserue it , and make it remaine Authenticall . See Pontifex cap. 12. By how many wayes we may know the Tones . WE may know the Tones by three meanes : by the beginning : the middle : and the end . By the beginning ; for a Song rising in the beginning straight wayes aboue the finall Key to a Fift , is Authenticall , as before was sayd in the second Rule . By the middle , and first , by the rising ; For the Song which toucheth an Eight in the middle , is Authenticall : that Song which doth not , is Plagall : secondly by the Repercussion , which is proper to euery Tone , as before was sayd ; by which at first hearing you may iudge of what kinde a Song is . By the end , as before we spake of the finall Notes . Besides there be certain Songs , which do ascend as an Authentical , & descend as a Plagall , and those are called Neutrall , or mixt Songs , though indeede Saint Bernard doeth not allow of them : for he saith , what execrable licentiousnesse is this , to ioyne together those things , which are contrary one to the other , transgressing the bonds of Nature ? surely as it doth make a discontinuance in conioyning , so doth it open wrong to Nature . Therfore they are starke mad , which presume so farre as to rise a Plagall , and descend an Authenticall . Yet are these Songs ( in my iudgement ) to be very diligently marked in the end , to which Tone they encline most . For whilest they discend from a Fift to the finall Note , they are Authentickes ; but whilest they rise from a Third or a Fourth to a finall , they are Plagals : See Pontifex in his 12. and 16. chap. THE FIFT CHAPTER . Of Solfaing . WHerevpon , Solfaing is the orderly singing of euery Song by Musicall Voyces , according as Mi and Fa shall require . For to Sol fa ( as Gafforus witnesseth ) is to expresse the Syllables , and the names of the Voyces . Of three manners of Singing . EVery Song may be sung three manner of wayes : that is , by Solfaing , which is for Nouices , that learne to sing : By sounding the soundsonly , which belongs to Instrumentists , that they may affect the mindes of them that heare or conceiue them with care or solace : Thirdly , by applying , which is the worke of the Cantor , that so he may expresse Gods praise . Of Scales . BEcause the diuersitie of Tones causeth a diuersitie in the Solfaing , especially about mi and fa , in b fa ♮ mi , which before wee concluded was not one onely Key , but two : therefore the industrious Musitians haue deuised Two Scales , in which euery Song doth runne , and is gouerned : and hath ordayned , that the first should be called ♮ durall of the ♮ ; the second , b moll of b Flat . The generall description of the Scale . THerefore generally a Scale is nothing else , but the knowledge of mi and fa , in b fa ♮ mi , and in his Eights . What the Scale ♮ Durall is . THe Scale ♮ Durall is a Progression of Musicall Voyces , rising from A to ♮ sharpely , that is , by the Voyce Mi. What the Scale b Moll is . BVt the Scale b Moll is a Progression of Musicall Voyces , rising from A to b flatly , that is by the Voyce fa : therefore a b Moll Scale doth alwayes require fa in b fa ♮ mi , and a ♮ sharpe Scale , mi : as in the draft following you may see . Rules of Solfaing . THe First , He that will Solfa any Song , must aboue all things haue an eye to the Tone . For the knowledge of the Tone is the inuention of the Scale , vnder which it runnes . The Second , All the Tones runne vnder the Scale of ♮ Dure , excepting the fift and the sixt . The Third , To haue a Song runne vnder ♮ Dure , is nothing else , but to sing Mi in b fa ♮ mi , and fa in a flat Scale . The Fourth , When a Song runnes vnder a Scale ♮ Dure , the lowermost Notes of that kinde are to be sung ; but vnder a Scale b Moll , the vppermost Notes . The Fift , Euery Solfaer must needs looke , whether the Song be regular , or no ; for the transposition of a Song is oft times an occasion of changing the Scale . The Sixt , Euery Song ending in the Finals , is regular , and not transposed , saith Saint Bernard in his Dialogue . The Seuenth , Whensoeuer a Song ascends from D sol re to A la mi re by a fift , mediately or immediately , and further onely to a second , you must sing fa in b fa ♮ mi in euery Tone , till the song do againe touch D sol re , whether it be marked or no. But this Rule failes , when a song doth not straightwayes fall to F faut , as in the Hymne , Aue maris stella , you may see . The Eight , In b fa ♮ mi , and his eights , you may not sing mi for fa , nor contrariwise ; because they are discording and repugnant voyces , saith Franchinus lib. 1. pract . cap. 4. The Ninth , b in places , where he is marked contrary to his nature , doth note Mutation . The Tenth , The Scale being varied , the Mutations are also with it varied , both in the whole and in part . In the whole , as in transposed Songs ; in part , as in conioyned Songs . The eleuenth , As often as fa or mi is marked contrary to their nature , the Solfaer must follow the marke so long as it lasts . The twelfe , Seeing there is one and the selfesame iudgement of eights , the same Solfaing of Voyces must be . THE SIXT CHAPTER . Of Mutations . WHereupon Mutation ( as Georg. Valla lib. 3. cap. 4. of his Musicke proueth ) is the putting of one Voyce for another . But this definition , because it is generall , doth not properly agree to a Musitian : therfore Mutation is ( to apply it to our purpose ) the putting of one concord for another in the same Key . And because all - Voyces are not concords , al do not receiue Mutation . Therefore it is necessary to consider , to which Voyces Mutation doth agree , and to which not ; for ♮ dures are not changed into b mols , nor cōtrarily : as you may see in the example following . Rules for Mutations . FIrst , As often as the Progression of sixe Musicall Voyces wants , there must necessarily be Mutation . 2 No Mutation can be in a Key which hath but one Voyce , because there one Voyce is not changed into it selfe , although it may well be repeated . 3 In Keyes which haue two Voyces , there be two Mutations , the first is from the lower to the vpper ; the second contrarily . From this Rule are excepted Keyes which haue Voyces of one kinde , as cc solfa , and dd la sol . 4 A Key hauing three Voyces , admitteth sixe Mutations , although therein you must needs varie the Scale . 5 Let there be no Mutation , vnlesse necessitie force you to it . 6 The b moll Voyces cannot be changed into ♮ square , nor contrarily : because they are discords . 7 Naturall Voyces are changed both into ♮ Dures , and into b mols , because they are doubtfull : excepting mi and sol , re and fa , which are not changed one into another ; because they are neuer found dwelling in one Key . 8 In the falling of a Song , let the lower be changed into the higher , in the rising contrarily . 9 In a Key which hath one Voyce , there may be so many Mutations , as there may be in his eight , because of them there is the same iudgement . 10 You must make a mentall , not a vocall Mutation , vnlesse two or three Notes be put in the same place that receiues Mutation . THE SEVENTH CHAPTER . Of Moodes , or Interuals . AN Interuall ( as Boëtius , whose conceit for Musicke , no man euer attained lib. 1. cap. 8. writeth ) is the distance of a base and high sound . Or ( as Placentinus lib. 2. cap. 8. saith ) it is the way from lownesse to height , and contrarily . Or it is the distance of one Voyce from another , considered by rising and falling . Whence it is manifest , that an Vnison is not a Moode , although it be the beginning of Moodes , as vnitie is of numbers . For Boêtius saith , As vnitie is the beginning of pluralitie , and number , so is aequalitie of proportions . Now an Vnison is , ( according to George Valla lib. 2. cap. 2. ) a Voyce so qualified , that it neither tendeth to depth nor to height . Or it is a conioyning of two or three Notes in the same place , as appeareth in exercise . Of the number of the Moodes . NOw the vsuall Interuals are in number 9 , viz. a Semitone , and that is a rising from one Voyce to another , ( by an imperfect second ) sounding flatly : and it is onely betwixt the Voyces Mi , fa. It is called a Semitone , not because it is halfe a Tone , ( for a Tone cannot be diuided into two equall parts ) but because it is an imperfect Tone , for Semum is called that which is imperfect , as saith Boêtius lib. 1. cap. 16. Of how many sorts a Semitone is , I shall hereafter in my Theoricks discusse . A Tone ( as Faber Stapulensis writeth ) is the beginning of Consonances : or it is a Consonance caused by the number of eight . For Macrobius saith , that the eight , is an number , by which Symphonie is bred ; which Symphonie the Graecians call a Tone . Or it is the distance of one Voyce from another by a perfect second , sounding strongly , so called a Tonando , that is , Thundring . For Tonare , ( as Ioannes Pontifex 12. cap. 8. saith ) signifieth to thunder powerfully . Now a Tone is made betwixt all Voyces excepting mi and fa , consisting of two smaller Semitones , and one Comma . A Semiditone . WHich Faber Stapulensis calleth Sesquitonium , is an Interuall of one Voyce from another by an imperfect third : consisting of a Tone , and a semitone according to Placentinus . It hath two kindes , as Pontifex in the eight Chapter saith ; the first is from re to fa ; the second from mi to sol , as in exercise will appeare . A Ditone . IS a perfect third : so called , because it containes in it two Tones , as Placentine and Pontifex witnesse . It hath likewise two kindes , the first is from vt to mi ; the second from fa to la. Diatessaron . IN Boêtius lib. 1. cap. 17. It is a Consonance of 4. Voyces , and 3. Interuals . Or it is the leaping from one Voyce to another by a Fourth , consisting of two Tones , and a lesser semitone . It hath three kinds in Boêtius lib. 4. cap. 13. and in Pontifex cap. 8. the first is from vt to fa , the second from re to sol , the third from mi to fa. Diapente . IS a Consonance of fiue Voyces , and 4. Interuals , as saith Boêtius lib. 1. cap. 18. Or it is the leaping of one Voyce to another by a fift , consisting of three Tones , and a semitone . It hath foure kinds in Boêtius lib. 4. cap. 13. Therefore Pontifex cals it the Quadri-moode Interuall . The first , is from vt to sol ; the second , from re to la ; the third , from mi to mi ; the fourth , from fa to fa. Semitone Diapente . IS an Interuall of one Voyce from another by an imperfect sixt , according to Georgius Valla lib. 3. cap. 21. consisting of three Tones , and two Semitones . Tonus Diapente . IS the distance of one Voyce from another by a perfect sixt . Which Stapulensis affirmes to consist of foure Tones , and a lesser semitone . Diapason . WHich onely is called a perfect Consonance by Guido in the 9. Chapter of his Microl. according to the same Author in the 5. Chapter is an Interuall : wherein a Diatessaron and Diapente are conioyned . Or ( as Franchinus lib. 1. pract . c. 7. writeth ) is a Consonance of eight sounds , and seuen Interuals . Or ( as Plutarch saith , it is a Consonance weighed by a duple reason . Now for example sake 6. and 12. will make a duple reason . But they to whom these descriptions , shall seeme obscure , let them take this . It is a distance of one Voyce from another by an eight , consisting of fiue Tones , and two lesser semitones . It hath seuen kindes , according to Boêtius and Guido the most famous Musitians . For from euery Letter to his like is a Diapason . Besides euery Moode hath so many kindes excepting one , as it hath Voyces . Here followeth a Direction for the Moodes . Ter tri ni sunt mo di qui bus omnis cantile na contexitur , scilicet , Unisonus , Se mitonium , To nus , Semidito nus , Di to nus , Di a tes se ron , Di a pente , Semitoniū cū diapente , To nus cum diapente , adhuc modus di a pason , Si quē delectat eius hūc modū eē cognoscat cūque tā paucus mo dulis to ta harmonia formetur , vtilissimum est eam altae memoriae cōmendare , nec ab homini studio re quiesce re , Donec vocū interuallum cog ni tū Harmōtae totius facilime queat cōprehēdere noticiam . Of the forbidden Interuals . THere be some other Interuals , very rare , and forbidden to yong beginners . For as the learned licence of Orators & Poets , doth grant certaine things to those which are as it were passed the age of warfare , but doth deny the same to fresh-water souldiers ; so is it amongst Musitians . The names of those are these . Tritonus . ANd it is a leaping from one Voyce to another by a sharp Fourth , comprehending three whole Tones without the semitone . Wherefore it is greater than Diatessaron ; Stapulensis saith thus , A Tritone doth exceed the Consonance of a Diatessaron . And this Moode is vsed in the answere , Isti sunt dies , Dominica Iudica : and in the answere , Vox Tonitrui , in the saying , Euangelista , as thus : Io an nes est Euange li sta . Semidiapente . IS an Interuall by an imperfect fift , comprehending two Tones , with two semitones , which though it be not found in plaine-song , yet doth the knowledge thereof much profit composers , who are held to auoide it . Semiditonus Diapente . IS an Interuall by an imperfect seuenth . This according to Placentinus lib. 3. cap. 24. comprehends foure Tones , and two semitones . the example of this is in an Antiphone called , Dum inducerent puerum Ihesum , in the speech , Accepit Parentes e ius ac ce pit . Ditonus Diapente . IS the distance of one Voyce from another by a perfect seuenth : consisting of fiue Tones , and one semitone , according to Georg. Valla lib. 3. cap. 26. It is found in the Responsorie , sancta legio de sancto Mauritio , in the word , Aganensium . sancta le gio Aganensium Semidiapason . IS an imperfect eight , consisting of foure Tones , and three Semitones , not to be vsed in any plaine Song , yet worthy to be knowne by componists . Semitonium Diapason . IS a leaping by an imperfect Ninth , consisting of fiue Tones , and three semitones . Now a Tone with a Diapason is a perfect Ninth , consisting of sixe Tones , and two semitones . Semiditonus Diapason . IS an Interuall by an imperfect Tenth , as witnesseth Valla the 31. Chapter , consisting of sixe Tones , and three semitones . A Ditone with a true Diapason is a perfect Tenth , consisting of seuen Tones , and two semitones . Diapason Diapente . IS a consonance of twelue sounds , and eleuen Interuals , consisting of eight Tones , and three semitones . The examples of these Moodes are verie rarely seene in plaine Song ; in mensurall often . Disdiapason . IS an Interuall by a Fifteenth , occasioned ( as saith Macrobius ) by a quadruple proportion . Wherein antiquitie sayd we should rest , and goe no further , as Ambrosius Nolanus doth proue in the prouerb Disdiapason , which is in Erasmus that other light of Germany . Both because this is the naturall compasse of mans voice , which going aboue this , is rather a squeaking ; and going vnder , is rather a humming than a Voyce : And also because Aristotle doth deny Musick to be meerely Mathematicall . For Musick must be so tempered , that neither sence be against reason , nor reason against sence . THE EIGHT CHAPTER . Of the Dimension of the Monochord . A Monochord , that is , an Instrument of one string , is thus truely made . Take a peece of wood of a yard long , or what length you please , of two fingers bredth , and so thicke , make it hollow in the middle , leauing the ends of it vnhollowed . Let it be couered with a belly peece well smoothed , that hath holes in it , like the belly of a Lute : through the middle of this , let there be secretly drawne one line , and in the beginning of it , let one pricke be marked with the letter F. for that shal be the first Magade of the Instrument : then diuide the whole line from the pricke F. into nine equall parts , and in the first pricke of the diuisions place vt , in the second nothing , in the third Cfaut , in the fourth nothing , in the fift Gsolreut , in the sixt Csolfaut , in the seuenth Gsolreut small , in the eight nothing , in the last o Cifer , which shall possesse the place of the second Magade . This done , againe diuide the space ; which is from vt to the second Magade , into nine parts . In the first part set A Base ; in the third Dsolre ; in the fift Alamire ; in the sixt D lasolre ; in the seuenth aalamire . Then from Are to the second Magade againe make nine parts ; in the first set ♮ mi Base ; in the third Elami ; in the fift ♮ mi in the small letters ; in the sixt Elami ; in the seuenth ♮ ♮ mi double . THE NINTH CHAPTER . Of the Definition , Profit , and vse of the Monochord . A Monochord ( as Guido proues in the beginning of his Doctrinall ) is a long square peece of wood hollow within , with a string drawne ouer it ; by the sound whereof , we apprehend the varieties of sounds . Or it is a rude and vnskilfull Maister , which makes learned Schollers . For it shewes to others that which it selfe conceiues not , it tels truth , it cannot tell how to lye , it instructeth diligently , and reprehendeth no mans slow conceit . Now it is called a Monochord , because it hath but one string , as a Tetrachord is called that which hath foure . And a Decachord which hath tenne , saith Ioan. Pont. 22. cap. 7. of his Musicke . Of the profit of the Monochord . THe Monochord was chiefly inuented for this purpose , to be iudge of Musical voices and interuals : as also to try whether the song be true or false furthermore , to shew haire-braind false Musitians their errors , and the way of attaining the truth . Lastly , that children which desire to learne Musicke , may haue an easie meanes to it , that it may intice beginners , direct those that be forward , and so make of vnlearned learned . Of the vse of the Monochord . THe vse of the Monochord ( saith Berno Cluniacensis lib. 2. of his Musicke ) is , that we may know how much each voyce is higher or lower than other . When therefore thou wilt learne a Song , euen the deepest , of thy selfe by the helpe of thy Monochord , set thy Monochord before thee on the table , and marke in what Key the first Note of that Song is , which thou desirest to know . This being found , touch the same in the Monochord with a quill , and the sound it giues , is that thou desirest . Thus runne ouer each Note of the Song , and so mayest thou by thy selfe learne any Song though neuer so weighty . THE TENTH CHAPTER . Of Musica Ficta . FAined Musicke is that , which the Greekes call Synemenon , a Song made beyond the regular compasse of the Scales . Or it is a Song , which is full of Coniunctions . Of Coniunctions . THe Coniunct sounds were called by the ancients Dijuncts because it is added to songs besides their nature , either to make them more sweet , or to make the Moodes more perfect : for thus saith Saint Bernard : In euery kinde , where it is meet a flatter sound should be , let there be put a flat in stead of a sharpe ; yet couertly , least the Song seeme to take vpon it the likenesse of another Tone . Now a Coniunct is this , to sing a Voyce in a Key which is not in it . Or it is the sodaine changing of a Tone into a Semitone , or a semitone into a Tone . Of the Diuision and number of Coniuncts . COniuncts are two-fold : that is , Tolerable ones , when a Voyce is sung in a Key , wherein it is not , yet is found in his eight : as to sing Mi in A re , La in Dsolre . Intolerable ones , when a Voyce is sung in a Key which is not in it , nor in his eight , as to sing Fa in Elami , Mi in Ffaut . Of these Coniuncts there be two signes , viz. b round and ♮ . The first sheweth that the Coniunct is in ♮ dure places ; the second , that it is in b flat places . There be 8. Coniuncts most vsuall : although there may be more . The first in a Base , is marked with round b. The second in E finall , is marked with the same signe . The third is in Ffaut , and is marked with ♮ . The fourth in a small , is knowne by b flat . The fift , in c affinall by ♮ dure . The sixt , in e by b round . The seuenth , in f by ♮ . The eight in aa by b. There be examples enough to to be found of these both in plaine and mensurall Songs . Here followes the fayned Scale . THe fained Scale exceedes the others both in height and depth . For it addeth a Ditone vnder Vt base , because it sings fa in A , and it riseth aboue eela by two degrees , for in it it sounds fa. Wherfore for the expressing of it , there are necessarily required twelue lines , as appeareth in the figure following . The Scale of ficts or Synemenon , and how the Mutations are made . Rules for Fict a Musicke . FIrst , It is better , and sweeter to sing by tolerable Coniuncts , than by the proper Voyces of Keyes . 2 The tolerable Coniuncts doe not spoyle the Song , but the intolerable ones . 3 Musicke may Fict in any Voyce and Key , for Consonance sake . 4 Marking fa in b fa ♮ mi , or in any other place , if the Song from that shall make an immediate rising to a Fourth , a Fift , or an Eight , euen there fa must necessarily be marked , to eschew a Tritone , a Semidiapente , or a Semidiapason , and inusuall , and forbidden Moodes : as appeareth in the example vnder-written . An Exercise of Ficta Musicke . THE ELEVENTH CHAPTER . Of Song and Transposition . WHerfore a Song is a melody formed of a Sound , Mood , & Tone , by a liuely Voice . I say by a sound , because of the writing of the Notes , which improperly we call a Song : By the moode , I vnderstand rising and falling , because of the prayers which are read in an Vnison . By the Tone , because of the chirping of birds , which is comprehended within no Tone . For within a Syllogisme is moode and figure , that in a Song is the Tone and Scale . I say a liuely Voyce , because of Musicall Instruments . Or otherwise : A Song is the fitting of a liuely Voyce according to rising , and falling , Or ( as Gafforus writeth in his Theoricks lib. 5. cap. 6. ) it is the deduction of many Voyces from the same beginning . And this description doth properly agree to this progression of syllables , because it is not a Song . Of the number of Deductions . THere are therefore three Deductions of this kinde : the first is called ♮ durall , to be sung sharpely , because it requires mi in b fa ♮ mi , and in his Eights . The second is b flat , which runneth with a sweet and flattering Harmonie , and requires fa in b fa ♮ mi. The third is neutrall , and is called naturall . For it receiueth in b fa ♮ mi , neither mi , nor fa : because it comes not to such places . Rules for Deductions . FIrst , Wheresoeuer Vt is put in the Scale , there is the beginning of some Deduction : where fa is put , there the middle : where la , there the end : as appeareth in the figure following . In C Naturall , F b Moll b and ♮ dure the beginning , F b c middle , d d e end . The second Rule . Of which Deductions this or that rule is , you shall thus easily know . Consider the voice that is there to be sung , with which it descends to his foundation , I say to Vt : and where you find any such , see what Deduction begins so : for it will be of that Note which you seeke . Of Transposition . WHereupon Transposition is the remouing of a Song , or a Key from his proper place . For to transpose is to remoue a song , or a Key from the proper place . And Transposition is two-fold , viz. Of the Song and of the Key . Of Transposition of a Song . IT is the avoiding of Coniuncts , for whilst we striue to avoide Coniuncts , ( because they marre the Song ) we doe eleuate the Song from the proper place of his end , aboue to a Fift , as directly appeareth in the Responsorie , Ite in Orbem . I te in Orbem I te in or bem Of the Affinall Keyes of Tones . THe Keyes ( which we call Affinall ) be the Letters , which end irregular Songs : whereof according to Guido , Berno , and Saint Gregory , there be three : Although the Ambrosians make more . Viz. alamire wherein ends First and Second transposed Tone . b fa ♮ mi euery Song Third Fourth c solfaut of the Fift Sixt Now this irregularnesse of Songs ( as writeth Pontifex 14. chapter of his Musicke ) comes sometime by licence , sometime by the negligence of the Cantors , sometimes by reason of ancientnesse , which cannot be gainesaid , sometimes because of the Counterpoint , that the Base may haue place to descend . Of the Transposition of a Rule . FIrst , A Song of the seuenth and eight Tones is not transposed . Not vpward to Dlasolre , as the Ambrosians are of opinion , because an Authentick Tone hath no place of rising to the tenth , neither down to Cfaut , because a Plagall hath no place of falling to a fift : neither must you clime aboue eela , nor descend vnder Γ vt , as before hath been declared . Wherfore ( saith Ioan. Pontif. ) It is fit , that he which cannot haue a Vicar , doe administer his businesse himselfe . 2 A Song ending in Dlasolre , or in Cfaut , is either an Ambrosian Song , or corrupted with the ignorance of Cantors , as Pontifex saith ; Whensoeuer in a Song of the fourth Tone , there fals any missing , let vs say , that it proceeds from the vnskilfulnesse of the Cantors , and is to be corrected with the cunning of the Musitians . But the authoritie of the Gregorians admits no such Song . 3 The placing of one strange Voice in any Key , is a cause , why the whole Song is transposed . 4 Transposition is an helpe and excuse of the Coniuncts . 5 Let euery transposition be from a Finall , to a fift the proper Affinall : vnlesse necessitie compell , that it be to be made to a fourth . For then are we forced to transpose it to a fourth , when after the Transposition to a fift more Coniuncts rise than were before : as in the answere , Quae est ista , vnder the third Tone may appeare . Quae est ista regulariter . Transpositio quintaria non valens . Transpositio quartariae bene valens . 6 The same Voices after Transposition are to be sung , which were sung before . 7 In irregular Songs transposed to a fift , you must sing Mi in b fa Γ mi in euery Tone , vnlesse it bespecially marked with fa. 8 In Songs transposed to a fourth , fa is alwaies sounded in b fa Γ mi : vnlesse Mi bespecially noted . 9 Transposition to a fourth is knowne , when a Song is ended by a voice which agrees not to his Scale . Or when in the beginning of a transposed Song , fa is found . To which transposition Saint Bernard seemes to be opposite , in saying this : It is fit that they which propound to themselues an orderly course of life , haue also the Art of Singing ; and restraine from the liberty of those men , which regarding rather likenesse than nature in Songs , disioyne those things which are ioyned together , and ioyne together those things which are disioyned , begin and end , make low and high , order and compose a Song , not as they should , but as they list : for by the foolish transposition that such men vse , there is growne such confusion in Songs , that most are thought to be of a contrary fashion . 10 A Song ending in Gsolreut , marking fa in b fa Γ mi is of the first or second Tone transposed to the fourth . And that which is in alamire , is of the third or fourth , as Quae est ista , and so of others . Of the Transposition of Keyes . THe Transposition of a Key is the raising or low carying of a marked Key for want of lines , of which there are these Rules giuen . 1 The transposition of Keyes doth not make the Song irregular , because it varies not the regular end . 2 By how much a transposed Key doth descend from the former going before ; so much doth the following Note ascend aboue that transposed Key : and contrarily ; as in the examples following is manifest . Haec sunt cōuiuia quātibi placēt ô patris sa pi en tia THE TVVELFTH CHAPTER . Of the Tones in speciall . BEing that to proceed from generaltie to specialty is more naturall to vs , as Aristotle the Prince of all Philosophers , and light of naturall knowledge , in the first Booke of his Phisickes sheweth . Therefore in a fit order after the generall deliuery of the Tones , let vs goe to the speciall , discussing more largely and plainely of the nature of each . And first , of the first . Of the first Tone . THe first Tone ( as S. Bernard saith ) is a Rule determining the authentick of the first kinde . Or it is the authenticall progression of the first . Now an authenticall progression , is the ascending beyond the Finall Key to an eight , & a tenth . And the progression of the first is formed by that kind of Diapente , which is from d to a : and of that kind of Diatessaron , which is from a to d , saith Franchinus lib. 1. pract . cap. 8. It hath his Finall regular place in Dsolre , or his vnregular in alamire . The beginnings of it according to Guido are C. D. E. F. G. and a , whose capitall forme is this : Capita . primi toni . Sacerdos in aeternum . Gaudeamus omnes in do . Of the differences of Tones . DIfferences of the Essences of Tones there be none , but for the vnlearned there are some framed , that they may the easilier begin in the diuers beginnings of Tones : saith Pontif. 23. chapter of his Musicke . Therefore I find no cause of this , but onely vse : neither haue I found it written by any Musitian . Neither doth Saint Bernard much like it . For the differences giue occasion of many confusions and errours . Wherefore seeing our obsequiousnesse , which we performe to God , must be reasonable , leauing the differences , which are by no reason approued , let the Readers onely be carefull of the Capitall tenours of Tones , least they wind themselues in vnprofitable and superfluous precepts , put on the darkenesse of the night , and make an easie thing most hard and difficult . For God delights not in vnreasonable turnings , but in Songs well fashioned and regular , being he himselfe hath made all things in a most regular and orderly fashion . Wherefore the Psalmist saith , Praise the Lord in well-sounding Cymbals : for he would not haue said well sounding , if he would haue had God praised with euery bellowing , screaming , or noyse . Of the Diuisions of the Psalmes . I Find there are two sorts of Psalmes , which we vse in praising God , the greater and the lesser : all Psalmes are called lesser , except those two , viz. Of the blessed Virgin , and of Zacharias . Also the Song of Symeon , in some Diocesse is accounted for a greater Psalme , in some for a lesser ; as I in going ouer the world haue found . Of the true manner of Singing Psalmes . THe authoritie both of Coelius Rhodiginus , and of al the Diuines doth testifie , That the Prophet had a great mysterie in the Harmony of the Psalmes : wherefore I thought good to interlace some within this booke of the true manner of singing . Whence to sing psalmes , is to sing the praises of almighty God with a certaine ioy . In which matter there is such diuersitie , ( the more is the griefe ) that euery one seems to haue a seuerall fashion of Singing . Neither doe they obserue the Statutes , and precepts of their forefathers , but euery one sings Psalmes , and other things euen as they list . Wherevpon there is such discention growne in the Church , such discord , such confusion , that scarce two sing after one manner . This doth Pontifex in the 22. chapter of his Musicke , very much reprehend , and surely with good reason , saying : Seeing that one God is delighted with one baptisme , one faith , and the vnity of manners , who may think but that he is grieuously offended with this multiplicity of Songs ? Wherfore I had deliuered certaine Rules of the true order of singing , vnlesse I had found them both copiously and learnedly written by maister Michael Galliculo de Muris , a most learned man. Wherefore I send all that are desirous to be instructed in this point to him , onely medling with those things which belong to the tuning of psalmes . Rules for the tuning of Psalmes . FIrst , All the greater Psalmes are to be tuned with a rising , the lesser without a rising . 2 The indeclinable words , the Hebrew , and Barbarous , are to be pronounced in the middle accent high . 3 The tuning of the lesser Psalmes of the first Tone is thus out of alamire , and out of Ffaut , the tuning of the greater thus : Laudate pueri do laudate nomen domini : memento do . Da. Magnificat anima mea dominum . The melodie of verses in Responsories , is framed by later Musitians at their pleasure : but of entrances the manner is as yet inuiolably kept , according to the decrees of the Ancients , in this manner . The Melodie of the Verses in the answeres of the first Tone . The Melody in the beginnings of the Verses of the first Tone . Of the second Tone . THe second Tone , ( as Saint Bernard saith ) is a Rule determining the Plagall of the first fashion . Or it is a plagall Progression of the first . Now a plagall Progression is a descending beyond the Finall to a Fift , or at least a fourth . His beginnings ( according to Guido ) are A. C. D. F. & G. & doth rightly possesse the extreames of the eight Authenticke , because the souldier by law of Armes , doth dwell in the Tents of his captaine . The manner of the second Tone , is thus : Cap. fecūdi toni . Miserator do mi nus . Hunc mundū spernes . The tuning of the smaller Psalmes is thus out of Ffaut ; the tuning of the greater out of Cfaut , thus : Laudate pueri do . laudate nomē do . Memento do . da. Magnificat anima mea dominum . The Melodie of the Uerses in the answeres of the second Tone . The Melodie in the beginnings of the Verses of the second Tone . Of the third Tone . THe third tone , is a Rule determining the Authenticall of the second maner . Or it is the authentical progressiō of the secōd , hauing the final place regular in Elami : His beginnings ( according to Guido ) are E. F. G. &c. The chiefe forme whereof , is this : Capitale tertij . O gloriosum . Fauus distillans . The tuning of the lesser Psalmes out of Csolfaut , and of the greater out of Gsolreut , is this : Laudate pueri do laudate nomen do . Memento do Da. Magnificat anima mea . The Melodie of the Uerses in the answeres of the third Tone . The Melodie in the beginnings of the Verses of the third Tone . Of the Fourth Tone . THe Fourth Tone ( as witnesseth Bernard ) is a Rule determining the plagall of the second manner . Or it is a Progression of the second plagall , holding the same end that his Authenticke doth . It hath sixe beginnings , C. D. E. F. G. and a , whose principall tenour is this , as it followeth : Capitale quarti Tota pulchra es Haec est dies . The tuning of the smaller Psalmes out of alamire , and the greater out of Elami , is thus : Laudate pueri dominū , laudate nomē domini . Memento do . Da Magnificat anima mea dominū . The Melodie of the Verses in the answeres of the fourth Tone . The Melodie in the Diuine Offices of the Verses of the Fourth Tone . Of the fift Tone . THe fift Tone is a Rule , determining the Authenticke of the third manner , or it is an Authenticall Progression of the third . Whose regular end is in Ffaut ; and irregular end in Csolfaut . The beginnings of it ( as Franchinus witnesseth ) are Foure , F. G. a , and c. whose chiefe forme is this : Capitale quinti. Gaude Dei genitrix . Gau di a. The tuning of the smaller Psalmes out of Csolfaut , and of the greater out of Ffaut , is in this sort . Laudate pueri dominum . Memento do . Da. Mag. anima mea dominum . The Melody of the Verses in the answeres of the Fift Tone . The manner in the beginnings of the Verses of the Fift Tone . Of the Sixt Tone . THe Sixt Tone is a Rule , determining a plagall of the third sort . Or it is the plagall Progression of the third , participating iustly with his Authenticall in the finall Notes . To whom there befall foure beginnings , viz. C. D. F. and a , saith Franchinus in the 13. chapter of his Practick ; and Guido in his doctrinall Dialogue . The chiefe forme of it is this : Capitale Sexti . Veni electa ▪ mea . Diligebat . eam . The tuning of the lesser Psalmes out of alamire , and greater out of Ffaut , is this : Laudate pueri dom . laudate nomen do . Me. dom . Da. Magnificat anima mea dom . The Melodie of the Verses in the answeres of the Sixt Tone . The Melody in the beginnings of the Verses of the Sixt Tone . Of the Seuenth Tone . THe Seuenth Tone is a Rule determining the Authenticke of the fourth sort . Or it is the authenticall Progression of the Fourth . It hath his end in Gsolreut regular only . To this belongs fiue beginnings , viz. G. a. ♮ . c. & d. The chiefe forme of it , is this : Capitale septimi . Exortum est . Clamauerunt . The tuning of the lesser Psalmes out of Dlasolre , and of the greater out of b fa ♮ mi , is thus : Laudate pueri dom . laudate nomen dom . Memento do . Da. Magnificat anima mea dom . The Melodie of the Verses in the answeres of the Seuenth Tone . The Melodie in the beginnings of the Verses of the Seuenth Tone . Of the Eight Tone . THe Eight Tone is a Rule determining the plagall of the fourth sort . Or it is the plagall Progression of the fourth , possessing the same end that his Authenticke doth . The beginnings of it are D. F. G. a. and c. The chiefe forme of it , is this following : Capitale octaui . Dum ortus . Iusti confitebuntur . The tuning of the lesser Psalmes out of Csolfaut , and of the greater out of Gsolreut , is thus : Laudate pueri dominū , laudate nomé do . Memento do . Da. Magnificat anima mea dom . The Melodie of the verses in the answeres of the Eight Tone . The Melodie in the beginnings of the verses of the Eight Tone . Of the strange Tone . THere is another Tone , which many call the Peregrine , or strange Tone , not that it is of strange Notes , but that it is very seldome vsed in our Harmony . For his Tenor is not sung to any but to one Antiphone , Nos qui viuimus , &c. and to two Psalmes , In exitu &c. and Benedicite . His end is in the finall Note of the Seuenth Tone , as Franchinus demonstrates it . The Tenour of it followeth : Peregrinus tonus . In exitu Israel de Aegy. domus Iacob de pop . barbaro . THE THIRTEENTH CHAPTER . That diuers men are delighted with diuers Moodes . EVery mans palate is not delighted with the same meate ( as Pon. writes in the 16. ch . of his Musick . ) but some delight in sharp , some in sweet meates : neither are all mens eares delighted with the same sounds : for some are delighted with the crabbed & courtly wandring of the first Tone . Others do affect the hoarse grauitie of the second : others take pleasure in the seuere , & as it were disdainful stalking of the third : others are drawn with the flatring sound of the fourth : others are moued with the modest wantonnes of the fift : others are led with the lamenting voyce of the sixt : others do willingly heare the warlike leapings of the seuenth : others do loue the decent , & as it were , matronall carriage of the eight . Neither is it maruell ( saith Guido in the 13. cha . of his Mic. ) if the hearing be delighted with the variety of sounds , seeing that the sight , is pleased with the variety of colours , the smelling power , with the variety of odours ; & the taste , with diuersity of meats . Wherfore let a Musitian diligently obserue that he dispose his song in that Tone , wherein he knows his auditors are most delighted . As if he will compose a song at the request of yong men , let it be youthfull and frolicke ; If at the request of old men , let it be testy , and full of seuerenes . For as a writer of Comedies , if he giue the part of a yong man vnto an old man , or the part of of a wanton fellow to a couetous person , is laughed to scorne : so is a singer if he bring in a dauncing merry moode , when occasion requires sadnes , or a sad one , when it requires mirth . Now by what means that may be performed , the property of the Moodes declareth . Because ( as Cassiodorus writes in an Epistle to Boêtius , & Coelius repeats it in antiq . lect . lib. 5. cap. 22. ) The Darian Moode is the bestower of wisedome , and causer of chastity . The Phrygian causeth wars , and enflameth fury . The Eolian doth appease the tempests of the minde , and when it hath appeased them , luls them asleepe . The Lydian doth sharpen the wit of the dull , & doth make them that are burdened with earthly desires , to desire heauēly things , an excellēt worker of good things . Yet doth Plato lib. 3. de Rep. much reprehend the Lydian , both because it is mournful , and also because it is womanish . But he alloweth of the Dorian , both because it is manly , & also doth delight valiant men , & is a discouerer of warlike matters . But our men of a more refined time do vse somtime the Dorian ; somtime the Phrygian ; sometime the Lydian ; sometime other Moodes . because they iudge , that according to diuers occasions they are to choose diuers Moodes . And that not without cause : for euery habit of the mind is gouerned by songs , ( as Macrob. writeth ) for songs make men sleepy , and wakefull , carefull , & merrie , angry , & merciful , songs do heale diseases , & produce diuers wonderful effects ( as saith Fran. Petrac . ) mouing some to vain mirth , some to a deuout & holy ioy , yea ofttimes to godly teares . Of al which I had rather be silent , than to determine any thing rashly : least I do burthen the wits of children with vnprofitable & vnnecessary precepts . Because who so in expounding any thing doth poure on more than is needful , increaseth the darknesse , and maketh not the mist thinner , as Macrobius saith in the second booke vpon the dreame of Scipio . Therfore let learners study those few precepts , because they are necessary for the vnderstanding of that which followes . Here endeth the first Booke . TO THE VVORTHY HIS kinde friend George Brachius , a most skilfull Musitian , and chiefe Doctor of the Duke of Wittenberg his Chappell : Andraeas Ornithoparchus of Meyning , wisheth health . WHen I had throughly ruminated of that saying of Plato , That we were not made for our selues , but to doe good to our Countrey , and friends , I was euen out of heart ) my most respected friend ) euen as if my powers had fayled me , and as one stroken with amazement . And as that first Monarch of the Romane Empire , when he first saw Alexanders statue at Gades , lamented for that he himselfe had done nothing worthy the remembrance : euen so I , because I haue done no such thing , did euen lament ; considering that beauty , pleasures , age , health , and delicacies doe fade away , Sed famam extendere factis , hoc virtutis opus . Wherefore after many harty sighes , taking heart againe ( though I were tossed with many flouds of Cares , many gusts of aduersities , and many stormes of diuers perturbations ) yet began I to thinke what I should leaue to posteritie for witnesse that I had liued . Now my mind being turned hether and thither , in the end I chose the learning of Harmony ; both because it is fit for morall education , and also because it is the seruant of Gods praise . For amongst all Scholler-like Arts , ( which they commonly call Liberall ) none is more morall , more pleasant , more diuine , than Musicke . Whereof although there be many Professors , yet be there very few writers ( I know not whether it grow out of hatred to the Art , or their owne slothfulnesse ) that haue deliuered the Art in a good forme . Hence is it , that excepting those which are , or haue been in the Chappels of Princes , there are none , or very very few true Musitians . Wherupon the Art it self doth grow into contempt , being hidden like a Candle vnder a bushel , the praising of the almighty Creatòr of all things decreaseth , and the number of those which seeke the ouerthrow of this Art , doth dayly increase throughout all Germany . By this occasion stirred vp , & further relying vpon your kindnes , most worthy Sir , ( a great testimony wherof you gaue me , when I came frō the Vniuersity of Tubyng , & turned in at your pleasāt ( indeed most pleasant house ) which you haue of your Princes gift ) I turned my pen to the writing of Mensural Musick , hauing before writtē of Plain-Song . And what flowers soeuer other mens volumes had in them , like a Bee I sucked them out , and mad : this second Book the hiue to lay them vp in . Now as I haue dedicated it in your name , so doe I subiect it to your censure , that you may both mend those faults you find in it , and detect it from the barking of those who doe commonly defame all good men . For hauing a fit iudge of these things which I write , I doe fitly submit my selfe to his Censure ; euen his whom alreadie both my owne experience hath found , and all Sueuia doth acknowledge , and all high Germanie doth honour , for a godly , vpright , and learned man. Farewell , ( most learned friend ) and defend thy Andraeas from the tooth of Enuie . THE SECOND BOOKE of Ornithoparchus his Musicke : wherein are contained the Rudiments of Mensurall Song . THE FIRST CHAPTER . Of the Profit and Praise of this Art. BOêtius that Romane , ( whose wit in Musicke no man euer mended ; nay , neuer attained to , in the first Chapter of his Musicke ) writes , That there is such efficacie in Harmonicall Consents , as a man though he would , cannot want them . For Musicke driueth away those cares which driue away sleepe , stilleth crying children , mitigateth the paine of those which labour , refresheth wearied bodies , reformeth appassionate minds . And euery liuing soule is so ouercome with Musicall sounds ; that not onely they which are of the gallanter sort ( as saith Macrobius ) but euen all barbarous Nations doevse Songs , either such as stirre them vp to an ardent embracing of vertue ; or doe melt them in vnworthy pleasures : and so are they possessed with the sweetnesse of Harmony , that by Musicke the Alarum to warre is giuen , by Musicke the Retraite is sounded , as if the Note did both stirre vp , and after allay that vertue of fortitude . Now of the two , that Musicke which we call Mensurall , doth specially performe these effects . For this ( as Isidorus saith ) stirreth vp not onely men , but also beasts , serpents , birds , and Dolphins with the sweetnesse of the harmony . By this did Arion preserue himselfe in the middle of the sea ; by this did Amphion the Dircaean gather together stones for building the Theban walles . By this did Timotheus the Phrygian so enflame Alexander Magnus , the Conquerour of the whole world , that he rise from the table where he sat , and called for his armes ; and afterwards changing his Moode on the Instrument , did cause him to put off his armour , and sit downe againe to banquet . By this did Dauid the princely Singer , helpe Saul the King of Israel , when he was vexed with an vncleane Spirit ; by this , not onely the great God , the maker of all things , but also the furies of the Stygian God are delighted , appeased , and mitigated . For this is the Lady and Mistresse of all other Arts ; which can delight both those that be in Plutoes iurisdiction , and those that abode in Neptunes fields ; and those that liue in Iupiters eternally-lightsome Mansions . This Art onely , leauing the earth , flyeth vp before the tribunall seat of the highest Iudge ; where together with the Instruments of the Saints it soundeth , where the Angels and Archangels doe incessantly sing Hymnes to God , where the Cherubins , and Seraphins , cry with a continuall voyce , Holy , holy , holy . Besides , no Art without Musicke can be perfect : wherefore Pythagoras appointed his Schollers they should both when they went to rest , and when they awaked vse Melodies . Besides , Musicke doth gouerne and sharpen the manners and fashions of men . For euen Nero whilst he gaue himselfe to Musicke , was most gentle , as Seneca witnesseth : but when hee leauing of Musicke , and set his minde on the Diabolicall Art of Nicromancie , then first began that fierce crueltie of his ; then was he changed from a Lambe to a Wolfe , and out of a most milde prince transformed into a most sauage beast . But least I digresse too farre , and least we proceede from vnknowne beginnings , I will briefly set downe what this Musicke is . Therefore Mensurall Musicke is a knowledge of making Songs by figures , which are in forme differing , and hauing the quantity of Moode , time , and Prolation : Or it is an Art , whose Harmony is effected by the variety of figures and voyces . THE SECOND CHAPTER . Of the Figures . WHerefore a Figure is a certaine signe which represents a voyce , and silence . A Voyce , ( I say ) because of the kindes of Notes which are vsed : Silence , because of the Rests which are of equall value with the Notes , and are measured with Artificiall Silence . Of the number of the Figures . THe Ancients obserued onely fiue Figures , as principall Figures , and such as receiue the quantitie of the three Degrees of Musicke : Out of which after ages haue drawne out others for quicknesse sake , according to that saying of Ouid : Ex alijs alias reparat natura figuras . The bodies of the Figures are of the forme following . A Large is a figure , whose length is thrise as much as his breadth , hauing on the part toward your right hand a small tayle , bending vpward , or downeward . A Long is a Figure , whose length is twise as much as his breadth , hauing such a tayle as the Large hath . A Breefe is a Figure , which hath a body foure-square , and wants a tayle . A Sembreefe is a Figure , which is round in forme of an egge , or ( as Franchinus sayeth ) Triangular . A Minime is a Figure like a Sembreefe , hauing a tayle , ascending or descending . A Crochet , is a Figure like a Minime in colour varying . A Quauer is a figure like a Crochet , hauing a dash to the right hand-ward . A Semiquauer is a figure like a Quauer which hath two dashes , and therby is distinguished from it , as thus : The Eight Figurall bodies . Large . Long. Breefe . Semibreefe Minime . Crochet . Quauer . Semiquauer . There is a certaine Figure , in shape like a Minime , but ioyned with the number of Three , which is called Sesquialterata , because three are sung for two . Besides , a Figure which hath two tayles , is as if it had none ; because one doth hinder another . THE THIRD CHAPTER . Of Ligatures . WHerefore a Ligature ( as Gaff . writes in the fift chap. of his second Booke ) is the conioyning of simple Figures by fit strokes . Or ( according to the strokes vpward or downward ) it is the dependence of the principall figures in straightnesse , or crookednesse . Generall Rules for the Ligatures . FIrst , There are foure ligable Notes , that is a Large , a Long , a Breefe , and a Semibreefe . 2 Euery ligable Note , except a Large , may be figured with a two-fold body , a square body , and a crooked . 3 Euery ligable Note is to be iudged according to the ascension and descension , either of it selfe , or of the Note following . 4 Euery ligable Note is either beginning , middle , or finall . 5 The Accidents of simple Notes , say for example , alteration , imperfection , and the like ( as Franchinus witnesseth ) are also the Accidents of the bounden Notes . Rules for the beginning Notes . FIrst , Euery Beginning ( whether straight , or crooked ) wanting a tayle , when the second Note descends , is a Long. 2 Euery Beginning Note without a tayle , if the second Note ascend , is a Breefe . 3 Euery Beginning Note hauing a taile downe-ward on the left side of it , is a Breefe . 4 Euery Initiall , howsoeuer fashioned , hauing a taile on the left side vp-ward , is a Semibreefe , together with the Note next following ; so that you need not care whether it ascend , or discend . Rules for the middle Ligatures . FIrst , Euery Note betwixt the first and the last , is called middle . 2 Euery middle Note howsoeuer shaped , or placed , is a Breefe . 3 A Long may begin and end a Ligature , but can neuer be in the middle of it . 4 A Breefe may be in the beginning , middle , and end of a Ligature very fitly . 5 A Semibreefe may be in the beginning , middle , and end of a Ligature : so that it haue a taile in the left part vpward . Rules for the finall Ligatures . FIrst , Euery last Note that is straight , and descends , is a Long. 2 Euery Finall Note that is straight , and ascending , is a Breefe . 3 Euery crooked Finall whether it ascend or descend , is a Breefe . 4 A Large wheresoeuer it is set , is alwaies a Large . The Examples of these Rules are in the following Tenor set out . Tenor Exercise of Ligatures . Base Exercise . Of Ligatures . THE FOVRTH CHAPTER . Of Moode , Time , and Prolation . THe degrees of Musick , by which we know the value of the principal figures , are three : to wit , Mood , Time , and Prolation . Neither doth any of them deale vpon all Notes , but each onely with certaine Notes that belong to each . As Moode dealeth with Largs , and Longs ; Time , with Breefes ; Prolation , with Semibreefes . A Moode ( as Franchinus saith in the second Booke , cap. 7. of his Pract : ) is the measure of Longs in Largs , or of Breefes in Longs . Or it is the beginning of the quantitie of Largs and Longs , measuring them either by the number of two or the number of three . For euery Figure is measured by a double value . To wit , by the number of Two , and so is called Perfect , because we make 3. perfect , and limit the imperfect by 2. Three , Imperfect , Of the Diuision of Moode . Moode ( as it is here taken ) is two-fold ; to wit , The greater , which is in the Largs and Longs , and the lesser , which is in the Longs and Breefes . And each of these is diuided into the perfect and imperfect . Of the greater Moode . THe greater perfect Moode is , when a Larg containes in it three Longs : or it is the measuring of three Longs in one Larg . The signe hereof is a perfect circle accompanied with the number of three , thus ; O3 . The greater imperfect is a Larg , comprehending in it two Longs : which is knowne by an imperfect circle , ioyned to the number of three , thus ; C3 . Of the lesser Moode . THe lesser perfect Mood is a Long hauing in it three Breefes . Or it is the measuring of three Breefes in one Long , whose signe is a perfect Circle , accompanied with the number of 2 , thus ; O2 . But the lesser imperfect , is a Long which is to be measured onely with two Breefes . The signe of this is the absence of the number of 2. Or a Semicircle ioyned to a number of 2. thus ; C2 . O. C. as followeth : Of Time. TIme is a Breefe which containes in it two or three Semibreefes . Or it is the measuring of two or three Semibreefes in one Breefe . And it is two-fold , to wit , perfect : and this is a Breefe measured with three Semibreefes . Whose signe is the number of three ioyned with a Circle or a Semicircle , or a perfect Circle set without a number , thus ; O3 . C3 . O. The imperfect is , wherein a Breefe is measured onely by two Semibreefes . Which is knowne by the number of two ioyned with a perfect Circle , or a Semicircle , or a Semicircle without a number , thus ; O2 . C2 . Of Prolation . WHerefore Prolation is the essentiall quantitie of Semibreefes : or it is the setting of two or three Minims against one Semibreefe . And it is twofold , to wit the greater , ( which is a Semibreefe measured by three Minims , or the comprehending of three Minims in one Semibreefe , whose signe is a point inclosed in a signe thus , ) The lesser Prolation is a Semibreefe measured with two Minims onely , whose signe is the absence of a pricke . For Franchinus saith , They carry with them the imperfecting of the figure , when the signes are wanting , thus : Time perfect . Imperf . time . Greater Prol. Lesse Prolation . There was one well seen in this Art , that made this vnderwritten Example of these three degrees , reasonable learnedly and compendiously for the help of yong beginners : which ( by his fauour ) wee will not thinke vnworthy to set downe here . The Tenor , in the lesser Moode perfect . The Descant , in the greater Prolation . The Base , in time perfect . THE FIFT CHAPTER . Of the Signes . THough there be such dissention betwixt Musitians about the Signes , such confusion of rules and examples , that euen to a perfect Musitian they seeme to breed doubts : so that Plutarch ( a man furnished with all learning ) saith in that Booke , which hee wrote of Musicke : In our time , the forme of difference hath so much increased , and so farre varied from the Custome of our Auncestors , that there is no mention , no precept , no certaintie of Art left . And also though wee be not to make a definitiue sentence in doubtfull matters , but rather to hold question : yet that yong beginners , which are desirous to learne this Art , may not be either discouraged from proceeding , or misled , leauing those things which more vnusuall , wee will briefly shew those things which are in vse amongst those Musitians , who now are in credite : by seeking out that doubt of the circle and number , which was among the Theoricks . Therefore a signe is , a certaine figure set before a Song , which sheweth the Moode , Time , and Prolation . Of the Diuisions of Signes . OF Signes some be principall , and some lesse principall : The principall are those , which are fit for the vnderstanding of Moode , Time , and Prolation . And they are two-fold , to wit , Extrinsecall , and Intrinsecall : Extrinsecall are those called , which doe outwardly present themselues , and shew the degrees of Musicke , as Number , a Circle and a Point . Rules for the Extrinsecall Signes . FIrst , A Circle set alone by itselfe sheweth time : if it be perfect it shewes perfect time , if imperfect , imperfect time . When it is ioyned to a number , it signifies the Moode . 2 A Circle accompanied with the number of 3. doth represent the greater Moode , but ioyned with a number of 2. the lesser . 3 Wheresoeuer is the greater Mood , there is the lesse , but not contrarily . 4 The number of three ioyned to a Circle , is a signe of the perfect time : but the number of two , of the imperfect . 5 A point inclosed in a signe of time noteth the greater Prolation , thus : Of Signes , some be O3 of the greater Moode Perfect of the perfect time . C3 Imperfect O2 of the lesser Moode Perfect the time imperfect . C2 Imperfect the greater Prolation Perfect Time. Imperfect O Time Perfect in the lesser Prolation . C Imperfect But when out of the mingling of three principall Signes , to wit ; of the number , circle , and point , there be diuers signes made , that you may the easilier haue the knowledge of them , and euery figure may haue his value , I thought good in this forme following to set downe a Table , by which you might at first sight iudg of the value of any figure , thogh placed in any signe . A Resolutorie Table , shewing the value of the Signes , by the beholding of euery figure . Of the Intrinsecall Signes . THe Intrinsecall signes are those , by which the perfection of Musicall degrees in the figures is shewed , without the adioyning of any of the Extrinsecall Signes . Of these there are three , to wit ; 1 The inuention of a rest of three times . For when in a Song , there is found a Rest which toucheth three spaces , it signifies the lesse perfect Moode . If it touch two , it sheweth the greater perfect . For saith Franchinus ; It is not vnfit , that two Rests of three Times be adioyned to the greater Moode , if one be adioyned to the lesser . 2 The blacking of the Notes . For as oft as you find three Longs coloured , the lesser perfect Mood is signified . When three Breefes , the perfect time . When three coloured Semibreefes , the greater Prolation . 3 The doubling of certaine Rests . For as oft as two Semibreefe Rests are placed with a Semibreefe , the perfect Time is signified . So by two Minims with a Minime Note , the greater Prolation , thus ; The greater Moode . The lesser Moode . Time perfect . The greater Prolation . Of the lesse principall Signes . THe Signes lesse principall are those , which are not necessary for the knowledge of Moode , Time , and Prolation . And these are diuers , as you may plainely see in the quadrate following . Repetition . Conuenience . Concordance Aspiration . b Moll . Dealbation . Cardinalis . THE SIXT CHAPTER . Of Tact. WHerefore Tact is a successiue motion in singing , directing the equalitie of the measure : Or it is a certaine motion , made by the hand of the chiefe singer , according to the nature of the marks , which directs a Song according to Measure . Of the Diuision of Tact. TAct is three-fold , the greater , the lesser , and the proportionate . The greater is a Measure made by a slow , and as it were reciprocall motion . The writers call this Tact the whole , or totall Tact. And , because it is the true Tact of all Songs , it comprehends in his motion a Semibreefe not diminished : or a Breefe diminished in a duple . The lesser Tact , is the halfe of the greater , which they call a Semitact . Because it measures by it motion a Semibreefe , diminished in a duple : this is allowed of onely by the vnlearned . The Proportionate is that , whereby three Semibreefes are vttered against one , ( as in a Triple ) or against two , as in a Sesquialtera . Of this we shall speake more at large in the Chapter of proportions . A Rule for Tact. A Semibreefe in all Signes ( excepting the Signes of Diminution , augmentation , and proportions ) is measured by a whole Tact , as in the example following appeareth : The Table of Tact resolued . THE SEVENTH CHAPTER . Of Augmentation . BEcause in the Chapter before going , we haue made mention of Augmentation and Diminution , therefore least we proceed from vnknowne things , we will shew what each is . Therefore Augmentation is the making of more Notes in a Song : or it is the excrement of some Note . For in it is put a Minime for a Semibreefe ; a Semibreefe for a Breefe ; a Breefe for a Long. By what signes you shall know Augmentation . OF Augmentation therebe 3. Signes . The first is , the fewnes of the Notes in one part of the Song . The second is , the adioyning of the Canon , by saying , Let a Breefe be a Large , let a Semibreefe be a Long , let a Minime be a Breefe . Or let it increase in Duplo , Triplo , vel hexagio , &c. The third is , a point in the Signe of time , found onely about one part of the Song : One I say , for if it be found about all , it is not a signe of Augmentation , but of the greater Prolation . Rules of the Augmention . FIrst , Augmentation is the contradiction of Diminution . 2 In Augmentation the Minime figure is measured with an whole Tact. 3 Betwixt Prolation and Augmentation , there is this difference , Augmention sounds one Minime to a Tact ; Prolation sounds three , that is a perfect semibreefe : which then is measured with a proportionate Tact. 4 The Rests are diminished and augmented , as well as the Notes . 5 Augmentation must seldome be , but in the Tenor. 6 A Large is not augmented , because it hath none greater than it selfe , whose value it may assume . Therefore they are in an errour , which say there are 81. Tacts in a Large which is set vnder such a signe ☉ 3 : because a Large neither growes to aboue 27. Tacts , nor admitteth any thing greater than it selfe , because it is the greatest , than which there is nothing greater . Besides as in nature , so in Art it is in vaine to place a nothing : therefore should a Large be in vaine augmented , because no Song was euer found of so long time , that 81. Tacts might be Sung in an Vnison . 7 Augmentation comprehends vnder it selfe all the kinds of Notes excepting a Large , for which point marke the example following : Augmentation . The greater The Bariton or Base , Prolation . vnder the signe of Semiditie . The greater Prolation . What a Canon is . BEing we haue made mention of a Canon , least I hold the learner in a mammering , I will shew what a Canon is . A Canon therefore is an imaginarie rule , drawing that part of the Song which is not set downe out of that part ; which is set downe . Or it is a Rule , which doth wittily discouer the secrets of a Song . Now we vse Canons , either to shew Art , or to make shorter worke , or to try others cunning , thus ; THE EIGHT CHAPTER . Of Diminution . DIminution , which is more truely called syncopation , is the varying of Notes of the first quantity , as writeth Fran. li. 2. Pr. 14. Or it is a certain cutting off of the measure . For as in Grammer we say saecla for saecula , so in Musicke we do curtall the naturall and essentiall measure of the Notes by this syncopation . Therefore generally it shall be called syncopation , not Diminution , because it is a kind of syncopation . Of the kindes of Syncopations . OF this there be two kindes ; Semiditie , and Diminution . Semiditie is the middle of the chiefe measure of Notes , which can be placed onely in an imperfect time , which hath these Signes , O2 . C2 . . . . For in all these , the halfe of the measure is put off by the dash properly , and by the number , for so much as it hath of Duple proportion . Therefore Erasmus Lapicida doth well in placing one number vnder another in all these signes , thus ; O2 / 1. C2 / 1. For proportion is the relation of two quantities , not of one , as elsewhere we will more largely shew . Of Diminution . DIminution ( as the Ancients thought ) is the taking away of the third part from the measure . But the opinion of the Modernes , is more true and laudable , which make no difference betwixt Diminution and Semiditie , as Ioan : Tinctoris , of all that euer excelled in Musicke the most excellent writer , and Franchinus Gafforus lib. 2. cap. 14 , haue positiuely set downe . Therefore Diminution is the cutting off of the halfe part in the measure , nothing differing from semiditie , but that it is found in perfect Signes , and in figures which are to be measured by the number of 3. Wherefore I cannot but scorne certaine Componists ( for so they will be called ) though indeed they be the Monsters of Musicke ) who though they know not so much as the first Elements of the Art , yet proclaime themselues , The Musitians or Musitians , being ignorant in all things , yet bragging of all things , and doe ( by their foolish toyes which contrarie to the maiestie of the Art , they haue gotten an habite of , rather by vse , than wit ) disgrace , corrupt , and debase this Art , which was in many ages before honoured , and vsed by many most learned , ( and to vse Quintitians words ) most wise men : vsing any Signes at their pleasure , neither reckoning of value , nor measure , seeking rather to please the eares of the foolish with the sweetnesse of the Ditty , than to satisfie the iudgement of the learned with the maiestie of the Art. Such a one know I , that is now hired to be Organist in the Castle at Prage , who though he know not ( that I may conceale his greater faults ) how to distinguish a perfect time from an imperfect , yet giues out publikely , that he is writing the very depth of Musick : and is not ashamed to say , that Franchinus ( a most famous writer , one whom he neuer so much as tasted of ) is not worth the reading , but fit to bescoffed at , & scorned by him . Foolish bragging , ridiculous rashnes , grosse madnes , which therfore only doth snarle at the learned , because it knows not the means how to emulate it . I pray God , the Wolfe may fal into the Toiles , and hereafter commit no more such outrage ; nor like the Crow brag of borrowed feathers . For he must needs be counted a Dotard , that prescribes that to others , the Elements whereof himselfe neuer yet saw . As Phormio the Greeke Orator ( in Tullies second Booke de Orat. ) who hauing before Antiochus the King of Asia , ( in the presence of Haniball ) made a long Oration of the dutie of a Generall , when as hee himselfe had neuer seene Campe , not armes , and had made all the rest to admire him , in the end Haniball being asked , what his iudgement was of this Philosopher , his answere was , That hee had seene many doting old men , but neuer any man that doted more , than Phormio . Now come I to the matter , and leaue these vnlearned ridiculous Phormio's , many whereof ( the more is the shame ) haue violently inuaded the art of Musick , as those which are not compounders of Harmonies , but rather corruptors , children of the furies , rather than of the Muses , not worthy of the least grace I may doe them . For their Songs are ridiculous , not grounded on the Principles of the Art , though perhaps true inough . For the Artist doth not grace the Art , but the Art graceth the Artist . Therefore a Componist doth not grace Musicke , but contrarily : for there be that can make true Songs not by Art , but by Custome , as hauing happily liued amongst singers all their life-time : yet do they not vnderstand what they haue made , knowing that such a thing is , but not what it is . To whom the word our Sauiour vsed on the Crosse , may be well vsed ; Father pardon them , they know not what they doe . Wherfore allow of no Componists , but those , who are by Art worthy to be allowed of : now such are Ioan. Okeken , Ioan : Tinctoris , Loyset , Verbonet , Alex : Agricola , Iacobus Obrecht , Iosquin , Petrus de Larue , Hen : Isaack , Hen : Finck , Ant : Brummel , Mat : Pipilare , Geor : Brack , Erasmus Lapicida , Caspar Czeys , Conradus Reyn , and the like : whose Compositions one may see doe flow from the very fountaine of Art. But least by laughing at these fellowes we grow angry , and by being angry grow to hate them , let vs euen let them alone , and returne to Diminution . A Table for the Tact of Diminution . By what signes Diminution is marked . NOw Diminution is marked by three wayes , to wit : By a Canon , by a Number , and by a Dash. By a Canon , saying ; It decreaseth in Duplo , Triplo , and Quadruple , and such like . By a Number , for euery number adioyned to a Circle , or a Semicircle , besides that which essentially it betokens , doth also diminish according to the naming of his figure . As the number of 2 , being placed with a whole Circle besides the time , which it betokens to be imperfect , doth also signifie a duple Diminution , the number of three a Triple , the number of foure a Quadruple , and so forth . By a Dash , to wit , when by a Dash , the signe of Time is diuided , thus ; . . . . Rules of Syncopation . FIrst , Syncopation belongeth to the measure of Time , not to the figures themselues . 2 Syncopation doth respect both the Notes , and the Rests . 3 Syncopation doth not take away the value , but the measure of the Notes . 4 The number doth not diminish Prolation , because it cannot work vppon the pricke , whilst a Circle doth keepe it . 5 Betwixt Diminution and Semiditie , there is no difference of Tact , or Measure , but onely of nature . 6 Diminution is the contradiction of Augmentation . 7 It is not inconuenient , that to the same Signe there may belong a double Diminution , to wit ; virgular and numerall , thus ; 2. 8 Virgular Syncopation is much vsed , Numerall seldome , Canonicall most seldome : the Example therefore following is of the first , and the second . The Rule of Semiditie in Diminution . Syncopation by number . THE NINTH CHAPTER . Of Rests . ARest ( as Tinctoris writeth ) is the Signe of Silence . Or ( as Gafforus saith ) it is a figure which sheweth the Artificial leauing off from singing : Or it is a stroke drawne in line and space , which betokens silence . Now Rests are placed in songs after three manners , to wit ; Essentially , Iudicially , and both wayes . Essentially , when they betoken silence . Iudicially , when they betoken not silence but the perfect Moode : and then their place is before the signe of Time. Both wayes , when they represent both . Rules for the Rests . FIrst , There be as many kinds of Rests , as of Notes . 2 The Rest , which toucheth all the spaces , is generall , where all the voyces cease together , and is onely to be placed in the end . 3 The rest which takes vp three spaces , is called of the Moode , which it betokens , and is to be placed onely in a perfect Moode . 4 A Rest , which doth conclude two spaces , is called an imperfect Long. 5 A Rest , which takes vp but one space , is a Breefe betokening one Time ▪ whether perfect or imperfect . 6 A Rest , descending from the line to the middle of the space , is called a Semibreefe . 7 A Rest , ascending from the line to the middle of the space , betokens a Minime , or a sigh . 8 A Rest , like a sigh , being forked to the right hand-ward , betokens a Crochet . 9 The Rests of the two last figures , because of their too much swiftnesse , are not in vse among Musitians . Rests generall . Larg . Long. Breefe . Semibreefe . Minim . Crochet . THE TENTH CHAPTER . Of Prickes . WHerefore a Pricke is a certaine indiuisible quantity , added to the Notes , either for Diuision , or for Augmentation , or for Certainty sake . Or it is a certaine Signe lesser than any other accidentally set either before , or after , or betweene Notes . Of the Diuision of a Pricke . OVt of this Definition , there are collected three kindes of Prickes , to wit : That of Addition , and that is the Augmentation of the figures . Or it is the perfection of imperfect Notes . This is set in the middle on the right side , and is found onely in imperfect Signes , and doth augment the Notes to which it is added , the halfe of his owne value , as in the Example following appeareth . Tenor point of Addition . The Base is the same . Of the Pricke of Diuision . THe Pricke of Diuision is the disioyning of two Notes , neither taking away nor adding any thing , but distinguishing two Notes by reckoning the first with the former , & the second with the following Notes , to the end that the Ternarie perfection in Notes may be had . Here the Pricke in perfect degrees , is ioyned not to perfect figures , but to their neere parts , neither is adioyned to the middle of the side , as that of Addition , but a little higher , or lower about the middle of the Notes , which it diuides , thus : The Pricke of Diuision in the Tenor. Also in the Base . Of the Pricke of Alteration . THe Pricke of Alteration , was obserued more by the Ancients , than the later Musitians . Yet least it may breed some doubt to the Singer , that shall light on it by chance , it is not amisse to speake somewhat of it . Therfore the Pricke of alteration is the repeating of Notes , which doth accidentally befall them , not as they are perfect , but as their parts neighboring the perfect . Now is it set neither on the one side , nor vpward , nor downe-ward , but directly ouer the Note , which it alters , as in this Example appeareth . The Pricke of Alteration in the Tenor. Also in the Base . There are besides these , two other kindes of Prickes ; to wit , of perfection . And this is a Pricke set after a perfect Note ; neither increasing not diminishing it , but onely preseruing it from being imperfected by the following Note . It is set as the Pricke of Addition , but differs from it , because it is alwayes , and onely placed about perfect Notes . There is another Pricke of Transportation , adioyned to Notes , which it doth translate to be reckoned with figures remooued further off : and this doth direct his force not vpon the precedent Notes , but onely vpon the following ones , thus ; The Pricke of perfection or Transportation in the Tenor. Also in the Base . THE ELEVENTH CHAPTER . Of Imperfection . WHerefore Imperfection is the degrading of perfect Notes . For to imperfect is to make a perfect Note imperfect . Or it is this , to bring itfrom his value . Of two-fold Imperfection . IMperfection is two-fold : to wit , Totall , when precisely the third part of the value is taken from the Notes : as when in perfect time a Breefe is imperfected by a Semibreefe . Or partiall , when not precisely the third part , but a lesse than that , say a sixt part , or so , is taken from the Notes : as when a long of the imperfect Moode , but in the perfect time , where it is valued at two Breefes , is imperfected by a Semibreefe , in regard of the Breefe in it contained : and as a Breefe by a Minime in the greater Prolation . By what Signes Imperfection is knowne . OF Imperfection there be three Signes , ( as writeth Franchinus li. 2. Pract. cap. 11. ) to wit , numerall Imperfection , punctuall Diuision , and fulnesse of the Notes . Rules of Imperfection . FIrst , There is foure Notes which may be imperfected , to wit , a Larg , a Long , a Breefe , a Semibreefe . 2 Euery figure , which may be imperfected , is alway to be considered in the number of his perfect quantitie . 3 That which is once imperfect , cannot be more imperfected . 4 Euery figure that may be imperfected , is greater than the imperfecting figure . 5 Imperfection is made not onely by the neere parts of the Notes , but also by the remoued parts . As a perfect Breefe can be imperfected , not onely by a Semibreefe , which is the neere part , but also of two Minims , which are remote parts of it . 6 Two neighbouring parts of one perfect figure doe not imperfect it , but onely one : although two remoued ones may doe the same . Wherefore if you finde two Semibreefe Rests after a perfect Breefe , it shall remaine perfect , vnlesse punctuall Diuision come betweene . 7 Euery lesse figure being superfluous doth imperfect the greater going before , not the following one : vnlesse it happen by reason of the Pricke of Diuision , Perfection , or Transportation . 8 A Note of one sort comming before his like is not imperfected , wherby euery figure that is to be imperfected , must be put before a figure that is greater , or lesse than it selfe . 9 The greater Note doth not imperfect the lesse , nor an equall Note an other equall Note . 10 The figure which doth imperfect another figure , takes so much from it , as it selfe is valued at . 11 A Rest is not imperfected , but doth imperfect . 12 A Ligature doth neuer imperfect , but is imperfected . 13 A Larg doth nothing , but suffereth onely in Imperfection . 14 A Minime doth , and neuer suffereth in Imperfection . 15 A Long , Breefe , and Semibreefe doe imperfect , and are imperfected . 16 Euery Imperfection is either before or behinde : Before , as when the imperfecting Note doth goe before the Note that is imperfected : Behind , as when it followeth . There be that thinke it is caused both wayes in partiall Imperfection . 17 That Imperfection , which is caused before and behind , is caused not by the neighbouring , but by the remote parts . 18 All Imperfection is caused either by the Note , the Rest , or the colour . By the Note , to wit , when a figure of a lesser kind is placed before or after a perfect Note , and so imperfects it , thus : Tenor. Base . By a Rest , to wit , when a Rest of a lesse kind is found before or after a perfect Note : but the Rest cannot be imperfected , as thus : Tenor. Base . By Colour : when in the perfect figures you finde Colour , the Notes are Imperfect ; because their third part is taken away , thus : Tenor. Bassus and his Position . Of Colour . WHerfore Colour in this place is nothing , but the fulnes of the Notes : Or , it is the blacking of the principall figures : the force whereof is such , that it takes away the third part of the value from figures placed in their perfect quantitie : and from imperfects sometime it takes away the fourth part , sometimes it makes them of the Hemiola proportion . Wherefore I thought good to place here a Table of the perfect figures coloured . Wherein note this , that the voide spaces doe shew that that figure , ouer which they are placed , is not to be coloured in that signe . But the Sphaerical figure ( which the learned call the figure of nothing ) declares that the figures may be coloured , yet that they haue not the value of one Tact. Colour is oftentimes found among most of the learnedst , neither to take away nor to adde any thing : but specially , when to remoue Alteration ; it is placed in the neighbouring parts of perfect figures , thus : Tenor. Base . Most commonly the Colour doth cause a Duple proportion in the imperfect figures , ( as Franchinus saith . lib. 2. cap. 11. ) which Henry Isaack in a certaine Alleluia of the Apostles , did thus both wittily , and truely dispose . Tenor. Base . THE TVVELFTH CHAPTER . Of Alteration . ALteration according to Ioannes de Muris , is the doubling of a lesser Note in respect of a greater , or ( as Tinctor saith ) it is the doubling of the proper value . Or it is the repetition of one , and the selfe-same Note . And it is called Alteration , Quasi alter a actio , it is another action , to wit : A secundary singing of a Note , for the perfecting of the number of three . Rules of Alteration . FIrst , There be foure Notes , which may be altered , ( saith Franchinus lib. 2. cap. 13. ) a Long , a Breefe , a Semibreefe , and a Minime . 2 Alteration doth exclude the Larg , and is limitted by a Minime , because a Larg hath not a greater than it selfe , whose neighbouring part it may be : and the lesse figures are not to be reckoned after the number of three . 3 Alteration happens in numbers which be not perfect , but are parts neighbouring to perfect Notes , because a perfect Note in as much as it is a perfect Note is not lyable to Alteration . 4 Onely the Notes are altered , not the Rests . 5 Alteration falleth vpon the second Note , not vpon the first . 6 Euery altered Note containeth it selfe twise . 7 A like Note is not altered before a like Note . 8 Alteration onely fals out in perfect degrees . 9 Alteration comes for want of one Note , when you haue reckoned after the Ternary numbring . 10 As oft as two alterable Notes are placed betwixt two imperfectible Notes without a Pricke of Diuision : the second is alwayes altered , as the Example following doth shew . Altera . Tenor. Altera . Base . 11 If a Rest together with the figure , to which it is of equall value , be enclosed betwixt 2. perfect notes ; thē either the rest goes before the figure , or followesit ; if the Rest go before , the figure is altered : if otherwise , there is no place for Alteration , because the notes only are altered , & not the Rests . Beside Alteration fals alwayes vpon the second , and not vpon the first , thus : Tenor. Base . 12 Alteration is taken away by the fulnesse of the notes ; and by the Pricke of Diuision . In Ligatures also Alteration is kept , as in the following Example is cleere . Tenor. Base . 13 As oft as three alterable Notes are shut within two imperfectible Notes , both the imperfectible shal remaine perfect , and none of the alterable Notes is altered : because the Ternarie number is euery where perfect . THE THIRTEENTH CHAPTER . Of Proportion . WHerefore Proportion is the nature of two compared together in one vniuocall thing . Vniuocall I say , because in aequiuocals there is no comparison : for a still and a loud voice are not compared . Whence is it , that proportion is properly called , when it is found in those things , which are equall and vnequall , like and vnlike . Or according to Euclide ; it is a certaine disposition of two quantities how bigge soeuer , ( being of the same next Genus ) one to the other . Hence is it that things continuate and discreate , although they be contained vnder the same Genus of quantitie , yet are not compared , because they are remote , not neere . Of the Diuision of Proportion . PRoportions are some of equality , some of inequalitie . That of equalitie is the Relation of two equall quantities . For that is equall , which is neither greater , nor lesse than his equall . That of inequalitie , is the disposition of two vnequall quantities . For that is called inequall , which being in Relation with another is either greater or lesser than it . What Proportions is fit for Musitians . BEcause the dissimilitude , and not the similitude of voyce doth breede Harmonie : therefore the Art of Musicke doth onely consider of the Proportion of inequalitie . This is two-fold ; to wit , the Proportion of the greater or of the lesse inequalitie . The Proportion of the greater inequalitie , is the relation of the greater number to the lesse , as 4. to 2. 6. to 3. The Proportion of the lesser inequalitie is contrarily the comparison of a lesse number to greater , as of 2. to 4. of 3. to 6. Of the 5. kindes of Proportions . OF the Proportions of the greater inequalitie , there be 5. Kindes , to wit ; Multiplex , Super particular , Super partiens , and those be simple : the compounded are the Multiplex Super particular , & the Multiplex Super partiens . To these are opposed 5. other kindes of the lesser Inequalitie ( saith Franchinus ) and hauing the same names with the Preposition Sub , onely set before them : as Submultiplex , &c. But seeing that Multiplex Proportio hath chiefe force in Musicall Consonances , and next to that the Super particular , and the Super partiens with the two following none , we doe therefore abandon the Super partient with the rest following , as vnworthy of the Harmonicall Consort , and doe receiue the two formost onely . Of the Multiplex kinde . THe Multiplex Proportio , is both more excellent , and more ancient than the rest , as when a greater number being in Relation with a lesse , doth precisely comprehend the whole lesser number more than once , as say , twise , or thrise . The kindes of this will be infinite , if you compare each number with an vnitie , as in the following quadrate you may see . Dupla . Trip. Quadru . Quintu . Sexiu . Septu . Octup . Nonu . Decu . To this foresaid kinde is opposed the first kinde of the lesser Inequalitie , called Submultiplex . The one of these destroyeth the other ; and this kind , making the same Relation of an vnitie to other numbers , doth produce out of it selfe the same Species which a Multiplex doth , and Species of the same names , by adding the Preposition Sub , and is produced in this manner . Sub Sub Sub Sub Sub Sub Sub Sub Sub dup . trip . quadr . quintu . sextu . septu . octu . nonu . decu . Of the Superparticular Kinde . SVperparticular , the second kinde of Proportions is , when the greater number being compared with the lesse , doth comprehend it in it selfe once , & besides some such part of it . Some such part ( I say ) which being often taken doth make precisely the whole greater number . Of this kinde the sorts are innumerable , if you reckon each of the numbers , taking away an vnity , with the next lesser , in manner following . Sesqui Sesqui Sesqui Sesqui Sesqui Sesqui Sesqui Sesqui altera . tertia . quarta . quinta . sexta . septima . octa . nona . The opposite to this , is Sub superparticular , the second kind of the lesse Inequalitie : which doth produce the same Species , which the former doth , with the same names , the Preposition ( Sub ) being adioyned : if you will compare each of the lesser numbers ( an Vnitie I alwayes except ) with the greater neighbouring , as here followeth the manner . Subsesquialtera . subsesquiterta . subsesquiquarta . subsesquiquinta . subsesquisexta . subsesquiseptima . subsesquiocta . subsesquinona . By what meanes Proportion is made of aequalitie , and consequently one Proportion out of another . WHen you will make a Proportion out of Equalitie , and one proportion out of another , you shall thus truely worke it by this Rule of Boëtius , Disposing three equall numbers , say vnities , or any other , let three other be placed vnder them , so that the first may be euen with the first ; the second with the first , and the second ; the third , with the first ; the two seconds , and the third , and you shall find it a Duple , thus : Duplae . Duplae . Duplae . Now if you wil make Triples , placing the Duplaes , which you haue made in the higher ranke , let three numbers be placed vnderneath , according to the Tenor of the foresaid Rule , and you haue your desire ; thus : Triplae . Triplae . Triplae . Now if we place these Triples , which we haue thus found in the vpper ranke , we shall produce Quadruples , by the concordant , and regular opposition of the numbers vnwritten , of Quadruplaes , Quintuplaes ; and also out of Quintuplaes , Sextuplaes , and so forward infinitely . Quadruplae . Quintuplae . Sextuplae . And if out of Duplaes , you will create Sesquialteraes , inuerting the numbers of the Duplaes , so that the greater may be first , and the lesser succeed in a naturall order : let there be vnder placed three other numbers , as often as the said Rule requireth , and you haue that , as followeth . Sesquialterae . Sesquialterae . Sesquialterae . Now as of Duples you make Sesquialteraes , so of Triples you may make sesquitertiaes , and of Quadruplaes sesquiquartaes , by conuerting the numbers , as was said of sesquialteraes , and so you may goe infinitely , in manner following . Sesquitertiae . sesquiquartae . sesquiquintae . Out of what Proportions Musicall Concords are made . THe Proportions , which make Musicall Consonances , are sixe , ( as Boêtius and Macrobius witnesse ) three in the Multiplex Kind , to wit , the Dupla , Tripla , Quadrupla : 3 in the super particular , to wit ; sesquialtera , sesquitertia , & sesquioctaua . Of which specially the allowed Interuals of Musicke are compounded ( as saith Plutarch . ) Where relinquishing others , wee thought fit to make plaine by short precepts and examples these only , which consist and are described in Notes . So keeping the naturall order , we will begin with the Dupla , because it is both worthyer and better knowne , than the rest . Of the Duple Proportion . DVpia Proportio , the first kind of the Multiplex , is when the greater number being in relation with the lesse , doth comprehend it in it selfe twise : as 4. to 2 : 8. to 4. But Musically , when two Notes are vttered against one , which is like them both in nature and kinde . The signe of this some say is the number of 2 : others ( because Proportion is a Relation not of one thing , but of 2 ) affirme that one number is to be set vnder another , thus ; And make no doubt but in all the rest this order is to be kept . Tenor Duplae . Bassus duplae . I would not haue you ignorant , that the duple Proportion , and all the other of the Multiplex kind , are marked by certaine Canons , saying thus , Decrescit in duplo , in triplo , and so forth . Which thing because it is done either to increase mens diligence , or to try their cunning , wee mislike not . There be that consider the whole Proportion in figures , which are turned to the left hand-ward with signes , and crookes , saying , that this C. is the duple of this . and this of and in Rests that this is the duple of this I thinke onely vpon this reason , that Franchinus pract . lib. 2. cap. 4. faith that the right side is greater and perfecter than the left : and the left weaker than the right . Against which opinion neither my selfe am . For in Valerius Probus a most learned Gramarian in his interpretation of the Roman letters saith , that the letter C. which hath the forme of a Semicircle signifies Caius the man , and being turned , signifies Caia the woman . And Fabius Quintilianus in approouing of Probus his opinion saith ; for Caius is shewed by the letter C. which being turned signifies a woman : and being that men are more perfect than women , the perfection of the one , is declared by turning the Semicircle to the right hand , & the weaknesse of the other by turning it to the left . By this occasion the Musitians thought fit to take away the halfe left side from the right , thus ; Rules of Proportions . FIrst , Euery Proportion is either taken away by the comming of his contrary proportion , or is broken by the interposition of a signe . As by the comming of a subduple , a dupla is taken away , and so of others . 2 Euery Proportion respecteth both Rests and Notes . 3 Euery Proportion of the great Inequalitie doth diminish the Notes and Rests with his naturall power : but the Proportion of the lesse Inequalitie doth increase them . 4 Alteration and Imperfection are onely in those Proportions , which are in perfect degrees , neither are they in all figures , but in those onely , which those degrees doe respect with their perfection , or to which these accidents besides the Proportion doe belong . 5 The sesquialtera Proportion doth exclude the Ternarie perfection of figures , vnlesse they haue it from a signe . Wherefore when the signe denies it ; they receiue neither Alteration , nor Imperfection . Of the Triple . THe Triple Proportion , the second kinde of the Multiplex is , when the greater number , being in Relation with the lesse , doth comprehend it in it selfe 3. times , as 6. to 2 : 9. to 3. But Musically , when three Notes are vttered against one such , which is equall to it in kind . The signe of this is the number of three set ouer an Vnitie , thus ; Tenor Triplae . Bassus Triplae . Of the Quadrupla . THe Quadrupla is the third kind of the Multiplex , and is , when a greater number doth comprehend a lesse in it selfe foure times , as 8. to 2 ▪ 12 to 3. But Musically , when 4. Notes are sounded to one : the signes of it are these as thus : Tenor Quadrupla . Bassus Quadruplae . Of the Sesquialtera . THe Sesquialtera is the first sort of the Super particular , and is , when a great number doth comprehend a lesse once , and some other part of it : as 6. to 4 : 9. to 6. But Musically , when three Notes are sounded against two of the same kinde : the as in the Example following . signes of it are these ; Tenor Sesquialterae . Bassus sesquialterae . There be , which adde the colour to the figures which are made sesquialterate by the Caracters of the numbers : and contrarily sesquialterating the sesquialteraes . And these men ( as Franchinus witnesseth ) haue this fault , that they make of two sesquialteraes , not a duple sesquialtera , ( as they thinke ) but a duple sesquiquarta . Some put Imperfection & Alteration in the sesquialterates of the imperfect time , mesuring a Breefe Rest with one Tact : although in the Notes they set 3 semibreefes in one Tact. But vpon what ground they doe it , excepting of an Asse-headed ignorance , I know none . For Imperfection admits not the Imperfection and Alteration of signes , neither doth Proportion exclude Rests . Of the Sesquitertia . THe Sesquitertia Proportion , which they cal Epitrite , because it is made by an Epitrite , Macr. saith , it is when the greater number of Notes , doth containe the lesser in it selfe , & besides his third part : as 4. to 3 : 8 to 6 : 12. to 9. But Musically , when 4. Notes are sounded against 3. which are like themselues . The signes of it are these , There be that ascribe an inuerted semicircle to this Proportion , but Tinctor seemes to be against that . Tenor sesquitertiae . Bassus sesquitertiae . Of the sesquioctaua . THe sesquioctaua Proportion is , when a greater number being compared with a lesse , doth comprehend it once , and with it his 8 part , as 9. to 8 : 18 to 16. But Musically , when 9. Notes are sung to 8 , which are like themselues . The signe of it is the number of 9. set ouer 8 , thus ; Tenor sesquioctauae . Bassus sesquioctauae . There are besides , who ( because the value is diminished by adioyning the colours ) doe consider the Sesquialtera by the fulnes of the Notes ; which also they call Hemiola . For Hemiola is that , which Sesquialterá is , saith Aulus Gellius lib. 19. cap. 14. Yet this blacking of the Notes , is accidentall to it neuer , but vnder the imperfect quantitie , as Franchinus writeth . Tenor Hemiolae . Bassus Hemiolae . Though there be many other kindes of Proportions , which the Musitians doe obserue in Harmonicall Concent , yet haue I omitted all these for briefenesie sake , least children ( for whom this Booke is made ) should haue their wits rather clogged than helped hereby . Therefore the learned may pardon me , because this is written for them that are hungry , not for those that haue a delicate mawe . Yet ( by the grace of God ) all that now for breuitie sake , or vpon other occasions I now omit , shall be painefully set downe in a greater volume with more diligence and care . Meane while , I intreat yong men to exercise themselues with these small precepts , that when they are to goe to higher matters they may be fit . The end of the second Booke . TO PHILIP SVRVS OF MILTENBVRGH A SHARP-WITTED MAN , MASTER OF Art , and a most cunning Musitian , Chappel-Master to the Count Palatine the Duke of Bauaria : Andraeas Ornithoparchus of Meyning , sends greeting . MOst deere Philip , in that a man is the most worthy of all Creatures , a creature made like to God , by nature milde , of stature vpright , prouident , wise ; of memory , witty ; by reason , susceptible of Lawes and learning ; by his Creatours great gift , farre preferred before all vnreasonable Creatures in al things , but specially in two , to wit , Speech and Reason ; it followes that Ignorance in him is so much the fowler fault , by how much hee is more worthy than other Creatures . Now this as it is a fowle shame for all men , so for Schollers it is the fowlest disgrace : the course of whose life is ordayned for this , that by liuing well they may shew others an example of good fashions , learning and honesty , encreasing feruent Faith in the people , and ( which is their chiefest Office , by praising God in Hymnes and songs , stirring vp deuotion in the hearts of the faithfull . By obseruation whereof ( most kinde friend ) I was stirred vp to helpe learners in that kinde also , and after the handling of Concent , which in the former bookes we haue deliuered , to deliuer the Ecclesiasticall Accent . A matter surely hard , because it requires both a Grammarian and a Musitian , and also because it is to be had rather by vse than by writing : and further because either none or very few men haue handled this point : by this difficulty the worke was a while hindred from seeing the light ; now being set out and perfected , I commit it to your tuition , and subiect it to your censure , beseeching you both to mend the errours you find in it , and to defend it from the inuasion of enuious men : because thou art able , learned , godly , and besides other gifts of nature , hast an elegant stile , a sweet vain , and in singing a graceful cunningnesse , wherin thou doest exceed thy fellow-Musitians , in entertaining strangers ( as I to your cost found ) a liberall humour . Whence it is come to passe , that all the Masters of the Budorine vniuersity , which they call Heydelberg , do singularly loue , honour , and respect you . Farewell , ( worthy Sir ) and defend thy Andreas from the enuious backebiter . THE THIRD BOOKE OF ORNITOPARCHVS HIS MVSICKE , TOVCHING THE ECCLESIASTICALL ACCENT . The Argument of Master Choterus vpon the Third Booke . THE FIRST CHAPTER . In Praise of Accent . ACcent hath great affinitie with Concent , for they be brothers : because Sonus , or Sound , ( the King of Ecclesiasticall Harmony ) is Father to them both , and begat the one vpon Grammar ; the other vpon Musicke , whom after the Father had seene to be of excellent gifts both of body and wit , and the one not to yeeld to the other in any kind of knowledge , and further that himselfe ( now growing in yeeres ) could not liue long , he began to thinke , which he should leaue his kingdome vnto ; beholding sometime the one , sometime the other , and the fashions of both . The Accent was elder by yeares , graue , eloquent , but seuere : therefore to the people lesse pleasing . The Concent was merry , frollicke , liuely , acceptable to all , desiring more to be loued , than to be feared : by which he easily wonne vnto him all mens minds . Which the Father noting , was daily more and more troubled , in making his choyse . For the Accent was more frugall , the other more pleasing to the people . Appointing therefore a certaine day , and calling together the Peeres of his Realme , to wit , Singers , Poets , Orators , morall Philosophers , besides Ecclesiastical Gouernors , which in that Function held place next to the King , before these King Sonus is said to haue made this Oration : My noble Peeres , which haue vndergone many dangers of warre , by land and sea , and yet by my conduct haue caried the Prize throughout the whole world ; behold , the whole world is vnder our Rule , wee haue no enemy , all things may goe prosperously with you ; only vpon me death increaseth , and life fadeth , my body is weakned with labor , my soule consumed with Care , I can expect nothing sooner than death . Wherfore I purpose to appoint one of my Sonnes Lord ouer you , him ( I say ) whom you shall by your common voyces choose , that he may defend this Kingdome , which hath been purchased with your blood , from the wrong and inuasion of our enemies . When he had thus said , the Nobles began to consult , and by companies to handle concerning the point of the common safety ; yet to disagree , and some to choose the one , some the other . For the Orators and Poets would haue the Accents , the Musitians , and the Moralists chose the Concent . But the Papale Prelates , who had the Royalties in their hands , looking more deepely into the matter , enacted that neither of them should be refused , but that the kingdome should be diuided betwixt them , whose opinion the King allowed , and so diuided the Kingdome , that Concentus might be chiefe Ruler ouer all things that are to be sung ( as Hymnes , Sequences , Antiphones , Responsories , Introitus , Tropes , and the like : and Accent ouer all things , which are read ; as Gospels , Lectures , Epistles , Orations , Prophecies . For the Functions of the Papale kingdome are not duely performed without Concent . So these matters being setled each part departed with their King , concluding that both Concent and Accent should be specially honoured by those Ecclesiasticall persons . Which thing Leo the Tenth , and Maximilian the most famous Romane Emperour , both chiefe lights of good Arts , ( and specially of Musicke ) did by generall consent of the Fathers and Princes approoue , endow with priuiledges , and condemned all gaine-sayers , as guilty of high Treason ; the one for their bodily ; the other for their spirituall life . Hence was it , that I marking how many of those Priests , ( which by the leaue of the learned I will say ) doe reade those things they haue to read so wildly , so monstrously , so faultily , that they doe not onely hinder the deuotion of the faithfull , but also euen prouoke them to laughter , and scorning with their ill reading ) resolued after the doctrine of Concent to explaine the Rules of Accent , in as much as it belongs to a Musitian , that together with Concent , Accent might also as true heire in this Ecclesiasticall kingdome be established . Desiring that the praise of the highest King , to whom all honour and reuerence is due , might duely be performed . THE SECOND CHAPTER . Of the Definition , and Diuision of Accent . WHerefore Accent ( as Isidorus lib. 1. eth . cap. 17. writeth ) is a certaine law , or rule , for the raysing , or low carrying of sillables of each word Or , it is the Rule of speaking . For that speaking is absurd , which is not by Accent graced . And it is called accent , because it is ad Cantū , that is , close by the song , according to Isidore : for as an aduerbe doth determine a Verbe , so doth accent determine Concent . But because these descriptions doe rather agree with the Grammaticall accent , than with the Musicall , I hold it necessary to search out by what means the Ecclesiasticall accent may rightly be described . Therefore accent ( as it belongeth to Church-men ) is a melody , pronouncing regularly the syllables of any words , according as the naturall accent of them requires . Of the Diuision of accent . NOw it is three-fold , as Priscian and Isidore witnesse , the Graue , the Acute , and the Circumflex . The Graue is that , by which a sillable is carried low : but to speake musically , it is the regular falling with finall words , according to the custome of the Church . Of which there be two sorts . One which doth fall the finall word , or any syllable of it by a fift : and this is properly called Graue . Another which doth fall the finall word , or any syllable of it onely by a third , which by the Musitians is called the middle Accent . Neither haue the Grammarians cause to be angry , if they find any thing here contrary to their lawes . For we goe not about to handle the Grammaticall Accent , which Priscian , and others haue throughly taught , but the Ecclesiasticall , as here followeth : Medius . Grauis . Parce mihi domi ne , ni hil enim sunt di es me i. An acute Accent grammatically , is that , by which the syllable is raised . But musically , it is the regular eleuation of the finall words or syllables according to the custome of the Church . Wherof there are likewise two kinds : one which reduceth the finall syllable or word to the place of his discent , keeping the name of Acute . The other , which doth raise the second sillable not to the former place of his discent , but into the next below . Which is also called Moderate , because it doth moderately carry a sillable on high , as appeareth in the example following : Moderatus . Acutus . Il lu mi nare Hie ru sa lem qui a glo ri a do mi ni super te or ta est . The Circumflex is that , by which a sillable first raised is carried low . For it is , as Isidore witnesseth , contrary to the acute , for it begins with the acute , and ends with the graue , vnknowne to Church-men . Yet the Monkes , and especially those of the Cistertian order , haue the Circumflex accent , as at the old Cell a Monastery of the same order my selfe haue tried , and I my selfe haue seene many of their bookes in the same place . Now farewell they that forbid Church-men to vse Musicke ; what solace ( setting singing aside ) can they haue either more healthfull , or more honest ? For whilst we recreate our selues with singing , all euill thoughts , and speech , all backe-biting , all gluttony and drunkennesse , are auoyded . Wherefore Song-Musicke both plaine and Mensurall , becommeth the most religious , that they may both singpraises to God , and make themselues merry at fit times of recreation . But leauing this discourse , let vs returne thether whence we digressed , and send those which would busily enquire the nature of the Circumflex accent , to Mich. Galliculus , who hath set out the matter so briefly , that it need no other explayning . THE THIRD CHAPTER . Of the generall Rules of Accent . BEcause to proceed from càsie things to harder , is the naturall method , we thought fit first to explaine the generall Rules of accent , and secondly the speciall . 1 Euery word of one syllable , or indeclinable , or barbarous , requires an acute accent : as Astarot , Senacherib , me , te , sum . 2 Greeke and Hebrew words in Latine terminations retaine the Latine accent , as Parthenopolis , Nazarenus , Hierosolima . 3 Greeke and Hebrew words hauing not the Latine Declension , are acuted , as Chryson , Argyrion , Ephraim , Hierusalem . 4 A graue accent is made in the end of a complete sentence , an acute likewise , the Moderate and Meane onely in the end of an imperfectsentence . 5 A graue accent must not be repeated , if no other come betwixt , vnlesse the speech be so short , that another cannot come betwixt , as thus : Factum est ves pe re & mane dies secundus dixit quoque Deus . THE FOVRTH CHAPTER . Of the speciall Rules of Accent . FIrst , A word that is of one sillable , indeclinable , barbarous , or Hebrew , which wee saide must haue an acute accent , either is in the end of a compleat sentence , and is thus acuated ; or in the end of a sentence nor compleat , and is thus . From this Rule are excepted Encletical Coniunctions , which are marked with a graue Accent , thus : Do mi nus locutus est cla ma te ad me & e go ex au diam vos Deus dominusque . 2 The first sillable of a word which hath two sillables , doth alwaies receiue the accent , whether it be short or long , thus : Et fugit velist vmbra . Et in a ma ri tu di ni bus mo ra bi tur o culus meus . 3 A word of many sillables put in the end of a speech , either hath the last saue one Long or Short : if Long , the accent fals vpon it , if short , then the last saue two receiues the accent . Lignum si praecisum fu e rit rursum vi re scit . Et rami e ius pu lu lant . 4 A speech with an interrogation , whether it haue in the end a word of one sillable , or of two sillables , or more , the Accent still fals vpon his last fillable , and that must be acuated . Now the signes of such a speech are , who , which , what , and those which are thence deriued , why , wherefore , when , how , in what sort , whether , and such like . Vnde es tu Quid est homo ? Quantas ha be o in i qui tates & pecca ta ? To these are ioyned Verbes of asking as I aske , I seeke , I require , I search , I heare , I see , and the like . THE FIFT CHAPTER . Of the Points . BEcause the Ecclesiasticall accent is commonly knowne by Points , it is necessary to deliuer the nature of certaine Points fitting this purpose . 1 The Point , which they call a Dash , if it be placed betwixt more words of one part of a sentence , it shewes they are to be reade distinctly . 2 Two Pricks , or one Prick set directly on the middle of the right side , is a marke of the middle accent , which discends by a third . 3 A Pricke in the end of any sentence raised a little aboue the middle , doth represent either the acute , or moderate accent , according as the sentence giues it . 4 A Prick a little below the middle of the word , is a marke of the Graue accent . 5 A Point of Interrogation , which is made thus ( ? ) being found in some place , doth shew that the last sillable of the word , ( to which it is ioyned ) is to be pronounced with an acute accent . The euidence whereof followes in the example following . Hesterna luce cum aequitassem in campū virentem , herbosum , floridum , spaciaturus in eo ? occurrit mi hi le pus cu lus cum ge ni to re suo . Insequens eum ca tel lis meis sex . Apprehendi duntaxat pusillum in valle montis Oreb . De li be rans autem a mi co rum Le po ri as istas carnes essem con do na tu rus ? inte rogans comitem meum quid esset sua surus ? Sano mi hi con si li o di xit . Hortor eum fi du ci a e as do no da ri con su li de Brunswick . Tu autē domine , mi se re re nobis . THE SIXT CHAPTER . Of Accent in the Epistles . THe totall Accent of Epistles is diuers , ( according to the diuersity of Diocesse and Religions ) yet the partiall is the same withall , because it proceeds from the quantitie of Sillables , as by the vnderwritten rules is cleere . 1 Euery accent of Epistles and Gospels are taken out of the sillables of the finall sentences , and their number ? 2 When in the end of a sentence is placed a word of one sillable , the accent is varied according to the varietie of the words going before . 3 If a word of one sillable goe before the like finall word , and before it a third of the same sort , the first is to be raised , thus : Sic in fla ti sunt quidam tanquam non ven tu rus sit ad nos . Now by what meanes ( according to the Monkes ) that accent is distinguished , Friar Michael de Muris Galliculis in his Treatise , which hee wrote both truely and learnedly , hath worthily shewed . 4 If a word of two sillables come before a word of one sillable finall , then the first sillable of it must be raised , whether it be long : or short , thus : Om ni a e nim vestra sunt si quis di li git de um ex e o est . 5 If a word of three sillables come before a word of one sillable finall , then is it to be raised , if it haue the last saue one Long : if short , then the accent is to be translated to the last saue two . In pace Deus vo ca uit vos . Dispen sa ti o mi hi credita est . 6 If a word of two sillables be placed in the end of a speech , then the last syllable saue one of the word going before must be raised , if it belong : If it be short , the last sauing two , thus : Et dix it mi hi. Et in ple ni tu di ne Sanctorū de ten ti o me a. 7 If a word of three syllables be placed in the end of a speech , and a word of one sillable goe before it , then this is to be raised but if a word of two syllables , then let the first syllable of it be raised , whether it be long , or short . If a word of three syllables goe before a word of three syllables , it raiseth the last saue one , if it be long : If it be short , the last saue two , thus : Tu scis om ni a nonne dix it do mi nus cantantes De o glori am . Ac il li dix e runt do mi no nouit om ni a domi nus . 8 If in the end of a speech be placed a word of more syllables than three , then the first syllable of it must be raised , if it be long : if it be short , the accent fals vpon the word going before , thus : Dix it domi nus om nipotens in templo So lo mo nis sunt au rei pa ri e tes . THE SEVENTH CHAPTER . Of the Accent of Gospels . THe totall accent of Gospels , is differing in diuers Diocesse and Religions . But the partiall , which is the same euery where , is comprehended in the Rules following . 1 If the speech end with a word of one syllable , and another goe before it , and a third before that , the accent is taken from the first , thus : 2 If a word of two syllables goe before a word of one finall , the first syllable of it receiues the accent , whether it be long or short , thus . Surrexit non est hic . Om ni a verba haec . Do mi nus dedit hoc . 3 If a word of many syllables goe before a word of one syllable finall , the accent fals vpon his last syllable saue one , if it be long ; if it be short , vppon the last saue two . Dolentes que re ba mus te nonne dix it om ni a haec . 4 If the speech end with a word of two sillables , the last sillable saue one of the word going before must be raised , if it be long ; if short , the last saue two , thus . Vt de scri be retur v ni uersis Or bis Abraham au tem ge nu it Iacob . 5 If the speech end with a word of three syllables , hauing the last saue one Long , then the accent fals vpon the last syllable of the word going before . But if it be short , then the last sillable saue one of it shall receiue the accent , thus : Ex e a quae fu it V ri ae . Et clausa est ia mi a. 6 If the finall word of a speech be of more syllables than three , the Accent fals vpon the first sillable of it , if it be long : if it be short , the last sillable of the word going before is raised . In trans migratione Ba bi lo nis . Et fi li us al tis si mi vo ca bi tur . Of the Accents of Prophecies . THere is 2. waies for accenting Prophesies . For some are read after the maner of Epistles , as on the Feast daies of our Lady , the Epiphany , Christmas , and the like , & those keep the accent of Epistles : some are sung according to the maner of Morning Lessons , as in Christs night , & in the Ember Fasts : and these keep the accent of those Lessons . But I wold not haue you ignorant , that in accenting oftentimes the maner and custome of the Country and place is kept ; as in the great Church of Magdeburgh , Tu autē Domine , is read with the middle sillable long , by reason of the Custome of that Church , whereas other Nations doe make it short , according to the Rule . Therefore let the Reader pardon me , if our writings doe sometime contrary the Diocesse , wherein they liue . Which though it be in some few things , yet in the most they agree . For I was drawne by my owne experience , not by any precepts to write this booke . And ( if I may speake without vain-glory ) for that cause haue I seene many parts of the world , and in them diuers Churches both Metropolitane and Cathedrall , not without great impeachment of my state , that thereby I might profit those that shall liue after mee . In which trauell of mine I haue seen the fiue Kingdomes of Pannonia , Sarmatia , Boemia , Denmarke , and of both the Germanies 63. Diocesses , Cities 340. infinit fashions of diuers people , besides sayled ouer the two seas , to wit , the Balticke , and the great Ocean , not to heape riches , but increase my knowledge . All which I would haue thus taken , that the Readers may know this booke is more out of my experience , than any precepts . The end of the Third Booke . TO THE WORTHY AND INDVSTRIOVS , MASTER Arnold Schlick , a most exquisit Musitian , Organist to the Count Palatine , Andraeas Ornithoparchus of Meyning , sends health . DEre Arnold , whereas mans intellect in it beginning is naked and without forme , and hath nothing in it , but a possibility to receiue formes , many haue doubted why the high Creatour did not giue knowledge naturally to man as well as to other sensible creatures . For some haue naturally the art of spinning ; some of making hony ; some of weauing ; some of doing other things : but man is borne naked , vnarmed , without any Art , crying the first day of his birth , and neuer laughing til he be 40. dayes old ( as Pliny writeth in the Prologue of the 7 booke of his Nat. Hist. ) Is man therfore inferiour to beasts ? in no sort , for that nakednes of man doth not argue his vnworthinesse , but his noblenesse . For that which is within , hinders not that which would be without . Hence is it , ( we see ) that those animals , which haue arts naturally , can doe nothing but that naturall Art. But man wanteth all Arts , that he may be fit for all : which is proued by the natural desire hee hath to knowledge . For Arts are desired by all , though they be not bought by all ; and are praised by all , though they be not searched after by all . The hindrance is sloath , pleasure , vnorderly teaching , and pouerty . And though we haue naturally the desire of all Arts , yet aboue all we doe desire and loue the Art of Singing . For that doth entise all liuing things with the sweetnes ; draw them with the profit ; and ouercome them with the necessity of it : whose parts ( thogh they be al both sacred & diuine ) yet that which we cal the Counter-point , is more sweet , worthy , & noble , than al the rest . For this is the dwelling place of al the other , not that it cōtains in it al the difficulties of Musicke ; but because to make it , it requires a learned and perfect Musitian . Wherfore hauing discussed of the rest , least our Office be fayling in this last point , I thought good to handle the Counter-point , placing it in the last place ( as it were a treasury ) wherin al the secrets of Musick are laid vp : not that hereby all men , to whom nature is not seruiceable , should fall to composition , but that all men may iudge whether those things which be composed by others , be good or bad . Yet who so can , let them compose by our writings : they which cannot , let them proceed , as farre as they can . But not to digresse too wide , ( worthy Sir ) I haue in this last booke , collected the Rules of the Counter-point , out of diuers places , for the common good of learners ; which I bring to you to be weighed , that after your censure , it may be subiected to the carps of the malicious . For from your sentence no man will euer appeale ; because there is no man either learneder , or subtiler in this Art , than your selfe , who besides the practise , hast wisdome , eloquence , gentlenesse , quicknesse of wit , & in al kinds of Musick a diuine industry , and further the knowledge of many other sciences . Thou wantest the bodily lamp , but in thy mind shineth that golden light : thou seest nothing without thee , within thee thou seest al things . Thou wantest the cleerenesse of the eyes , thou hast the admirable quicknes of wit : thy sight is weak , thy vnderstanding strong ; Wherfore not onely by thy princes , who are to thee most gracious , but euen of all men ( like Orpheus and Amphion ) art thou loued . Farewell , the honour and delight of Musicke , and protect thy Andraeas from Zoilisses and Thersitisses . THE FOVRTH BOOKE OF ORNITHO PARCHUS HIS Musicke , declaring the Principles of the Counter-point . The Argument of Master Cotherus . THE FIRST CHAPTER . Of the Definition , Diuision , and difference of the names of the Counterpoint . NIcomachus the Musitian saith , That the Art of Musicke was at first so simple , that it consisted of a Tetrachord . And was made with the voice Assa , that is , one Voyce alone ( for Assa the Ancients called alone , whereof it is called Vox assa , when it is vttered with the mouth , not adding to it other Musicall Concents , wherein the praises of the Ancients was sung , as Phil. Beroaldus writeth in the Tenth booke of his Commentary vpon Apuleius . Yet by the meanes of diuers authors , the Tetrachord from foure Cords grew to fifteen . To which the after-ages haue added fiue and sixe Voyces , and more . So that a Song in our times hath not one voyce alone , but fiue , sixe , eight , and sometimes more . For it is euident , that Ioannes Okeken did compose a Mottet of 36. Voyces . Now that part of Musick which effecteth this , is called of the Musitians , the Counterpoint . For a Counterpoint generally , is nothing else than the knowledge of finding out of a Song of many parts . Or it is the mother of Modulation , or ( as Franchinus lib. 3. cap. 1. writes ) it is the Art of bending founds that may be sung , by proportionable Dimension , and measure of time . For , as the clay is in the hands of the Potter ; so is the making of a Song in the hands of the Musitian . Wherefore most men call this Art not the Counter-point , but Composition . Assigning this difference of names , and saying , that Composition is the collection of diuers parts of Harmony by diuers Concords . For to compose is to gather together the diuers parts of Harmony by diuers Concords . But the Counter-point is the sodaine , and vnexpected ordering of a plaine Song by diuers Melodies by chance . Whence Sortisare signifies to order a plain Song by certain Concords on the sodaine . Now it is called Counterpoint ( as Bacchus saith ) as it were a concordant Concent of Voyces set one against another , examined by Art. Of the Diuision of the Counter-point . THe Counter-point is two-fold : Simple and Coloured . The Simple Counter-point is the concordant ordering of a Song of diuers parts by Notes of the same kind . As when a plaine Note is set against a plaine Note , a Breefe against a Breefe , thus : Discantus . Tenor. Altus . Bassus . The Coloured Counter-point is the constitution of a Song of diuers parts by diuers figures , and differing Concords , thus : Cantus . Tenor. Altus . Bassus . THE SECOND CHAPTER . Of Concords and Discords . BEing that Concordance ( as saith Boêtius ) is the due mingling of two or more voices , and neither can be made without a Sound , nor a Sound without beating , nor beating without Motion , it is necessary motion be diuided . Of motions therefore some be equall , some vnequall . Now it is plaine , that out of the equality of Motions doe proceed equall sounds , and out of the inequality of it , vnequal sounds : and out of the mean inequalitie doe proceed consonant Sounds , out of the greater inequalitie , Discords . Hence is it , that the Pythagoreans concluded , that no Concord could be beyond the Disdiapason ( as before appeared lib. 1. cap. 5. ) because of the too great distance of the extreames . By how much therefore Sounds are neerer one another , they are so much the sweeter ? and the further they are distant one from another , the lesse they agree . Which I doe chiefly proue to come by the inequall falling of such sounds into the eares , because a Consonance is a mixture of two Sounds , falling into the eares vniformely . For high Sounds are heard sooner , than base Sounds . As a sharpe Sword pierceth quicker , whereas a blunt one doth not so , but enters slowly : euen so when we heare an high forced Voyce , it strikes into one : but a base voyce doth dully , as it were thrust at one , saith Coelius lib. 10. cap. 53. Of Voyces . BEcause the likenesse of Voyces , doth not breed Concord , but the vnlikenesse . Therefore Voyces are called some Vnisons ; some not Vnisons . Vnisons are those , whose Sound is one . Not Vnisons are those , whereof one is deeper , another higher . Of not Vnisons , some are aequisons ; some Consones ; some Emmeles ; some Dissonant . Aequisons are those , which being stroke together , make one sound of 2. as Diapason and Disdiapason . Consones are those , which yeeld a compound or mingled Sound , Diapente and Diapason diapente . Emmeles are they , which being not Consones , yet are next to Consones : as those which sound thirds , sixts , or other imperfect Concords . Discords are they whose Sounds mingled together , doe strike the sence vnpleasingly . What Concord is . BY that which hath been said appeares , that Consonance ( which otherwise we call Concordance ) is the agreeing of two vnlike Voyces placed together . Or is ( as Tinctor writeth ) the mixture of diuers Sounds , sweetly pleasing the eares . Or according to Stapulensis lib. 3. It is the mixture of an high , and lowe sound , comming to the eares sweetly , and vniformely . Of which ( among the Practickes ) there are two vsed , although some by repeating the former , haue more . Viz. Vnison , 8 15 Vnisonum & eundem causant sonum , quia fiunt in octauis . Third , 10 17 Fift , 12 19 Sixt , 13 20 Of Discords . A Discord ( as saith Boêtius ) is the hard and rough thwarting of two sounds , not mingled with themselues . Or , ( as Tinctor saith ) it is the mixture of diuers sounds , naturally offending the eares , whereof there be Nine : Viz. Second , 9 16 Vnum & eundem causant sonum , quia fiunt in octauis . Fourth , 11 18 Seuenth , 14 21 THE THIRD CHAPTER . Of the Diuision of Concords . OF Concordances some be simple or primarie , as an Vnison , a third a fift , and a sixt . Others are repeated or secundary ; which are also aequisons to them that goe before , proceeding of a duple dimension . For an eight doth agree in sound with an vnison ; a tenth with a third ; a twelfth with a fift ; and a thirteenth with a sixt . Others are tripled , to wit , a fifteenth ; which is equall to the sound of an Vnison , and an Eight . A seuenteenth , which is equall to a third , and a tenth ; a nineteenth which is equal to a fift , & a twelfth ; a twentieth , which is equall to a sixt and a thirteenth , and so forth . Of Concords also some be perfect ; some imperfect . The perfect are those , which being grounded vpon certaine Proportions , are to be proued by the helpe of numbers . The imperfect , as not being probable , yet placed among the perfects , make an Vnison sound ; whose names are these : The Perfects are Vnison , and 12 Imperfects are 13 Fift , 15 17 Eight , 19 20 Each whereof simply carryed , doth receiue onely two Voyces , although by corruption it receiue more . Rules of Concords . FIrst , Two perfect Concords of the same kinde , are not suffered to follow themselues , but Cords of diuers kindes may well . Yet an Eight , so that they proceed by different and contrary Motions , saith Franchinus lib. 3. cap. 3. thus : Discantus . Tenor. 2 Two imperfect Concords or more , are allowed to follow themselues together , ascending or descending . 3 Let alwaies the next perfect follow the imperfect Concords , as an Vnison after an imperfect third ; a fift after a perfect ; a fift after an imperfect sixt ; an eight after a perfect , as Gafforus lib. 3. cap. 3. declareth . 4 Many perfect concords of the same kinde immouable are allowed to follow one another , but the moueable not . 5 A Minime , or his pause is not sufficient to come betwixt perfect Concords of the same kinde , because of the little , and as it were insensible sound it hath , although by most the contrary be obserued . 6 It may fall out so , that a Minime or a Crochet , may be a concord in parts contrarily proceeding , for such a discord is hidden , nothing at all offending the eares . Yet must you take heede , least two or more be ioyned together . 7 A Breefe or a Semibreefe discording , is banished from the Counter-point . Yet be there , that admit a Breefe discordant diminished in a Quadruple , and a Semibreefe diminished in a Duple . THE FOVRTH CHAPTER . Of the generall Rules of the Counter-point . FIrst , If you desire to compose any thing , first make the Tenor , or some other Voyce ; according as the Tone by which it is ruled doth require . 2 The vnusuall Moodes are by all meanes to be auoyded : for they all are Discords , except the tenth . 3 In perfect Concordances neuer set a sharpe Voyce against a flat , nor contrarily , but set a Sharpe against a Sharpe ; a Flat against a Flat , or at least against a naturall . For the Naturals are doubtfull , and will agree with ♮ Dures , and b Mols , thus ? Tenor. Base not good . Base is good . 4 If the Tenor in the plaine Song goe too deepe , transpose it to a fift , or to a fourth if need be , as you may see in the Hymne , Quem terra . 5 All the parts of the Song in the beginning and end were by the ancients made of perfect Cords : which Rule with vs is arbitrarie . 6 When one Voyce goes vpward or downeward , you need not vary the rest : because to an immouable voyce , many mouable voices may be fitted . 7 In euery Song seeke for the neerest Concords : for they which are too farre distant , doe taste of Discord , say the Pythagoreans . 8 Let the Tenor together with the rest haue sweete Melodie , in wandring Collations . 9 If the Tenor touch the Meanes and Trebles , the Meane may descend to the place of the Tenor. 10 If the Tenor fall to touch the Base , let the Base goe vp into the place of the Tenor , according as the Concords shall require . 11 Euery Song , must be often adorned with formall Closes . 12 If the Tenor shall haue the Close of the Meane ; the Meane on the other side shall haue the Close of the Tenor , by ending either from a tenth in an eight , or from a third in an Vnison , thus : Discantus . Tenor. 13 If the Base take the Close of the Tenor , the Tenor shall take the Close of the Meane ; Or if the Base take the Close of the Meane , the Tenor shall take his Close , as in the Rule going before is shewed , thus : Tenor. Base . 14 The Meane doth seldome take a fift aboue the Tenor : but the imfect Concordance oft times . 15 The Base must seldome or neuer be placed in a sixt vnder the Tenor , vnlesse an Eight streight follow , but in the perfect Concords it may often . 16 If the Base haue a fift vnder the Tenor , let the Meane be set in a fift aboue the Tenor , by ending in a third , thus : Discantus . Tenor. Bassus . 17 Let the Meane seldome leape by a fift vpwards , but by a sixt and an eight it may oft : to which also an eight downeward is forbidden , though all the other Interuals be graunted . 18 A Base may not leape a sixt , it hath all the other Moodes common . 19 In Fourths Mi doth not agree with Fa , because it maketh a Tritone . 20 A Fourth though being simply taken it is a Discord ; yet being ioyned to a Concord , and mingled therewith , it maketh a Concordant midling with the extreames , saith Franchinus . 21 A Fourth is admitted onely in two places in the Counter-point : first when being shut betwixt two Eights , it hath a fift below . Because if the fift be aboue , the Concord is of no force : by that reason of Aristotles ( whom Plato calleth Anagnostes , that is an vnwearied Reader of Bookes ) whereby in his Problemes he shewes , that the deeper Discordant sounds are more perceiued than the higher . Secondly , when the Tenor and Meane , doe goe by one or more sixts , then that Voyce which is midling , shall alwayes keepe a Fourth vnder the Cantus , and a third aboue the Tenor. The higher Voyce . The middle Voyce . The lowest Voyce . 21 The most famous manner of the Counter-point , as ( saith Franchinus ) is , if the Base goe together with the Meane , or any other Voyce , being also distant by a tenth , whilst the Tenor doth goe in Concord to both , thus : Tenor huius . The Treble out of the Base in the Tenth . 23 If you ioyne not the same Concord , you shall make two parts Concords in Tenths . Neither must young learners thinke it a matter of no weight , how the signes are set together , for by the vnorderly referring of them , so many errours haue sprung in Musicke , that it is hard to be knowne , in what path a man may goe safe . Wherefore if a man will compare one signe with another , let him carefully marke the nature of the Diminution and Proportions , least referring this to that , the measure of the one be too great , or too little . THE FIFT CHAPTFR . Of the Parts and Closes of a Song . THe Ancient simplenesse of Musicke , knew not the diuers parts of a Song , which the subtilenesse of our age requires . For the whole being encreased , al the parts are increased . Now the parts which Musitians at this time vse , are many , to wit ; the Treble , Tenor , high Tenor , Melodie , Concordant , Vagrant , Contratenor , Base ; yea , and more than these . But because they be not all commonly vsed , we will speak somewhat of those which are most commonly vsed ; of the rest nothing . Of the Discantus . THe Discantus ( as Tinctor saith ) is a Song made of diuers voyces . For it is called Discantus , Quasi diuersus Cantus , that is , as it were another Song . By which name the ancients did call euery Mensurall Song . But we , because Discantus is a part of a song seuered from the rest , will describe it thus . Discantus is the vppermost part of each Song . Or it is an Harmony to be song with a Childs Voyce . Of the Tenor. A Tenor is the middle voyce of each Song , or ( as Gafforus writes lib. 3. cap. 5. ) it is the foundation to the Relation of euery Song : so called a Tenendo , of holding , because it doth hold the Consonance of all the parts in it selfe , in some respect . Of the Baritone . THe Bassus , ( or rather Basis ) is the lowest part of each Song . Or it is an Harmony to be sung with a deepe voyce , which is called Baritonus , a Vari , which is low , by changing V into B , because it holdeth the lower part of the Song . Of the higher Tenor. THe high Tenor , is the vppermost part , saue one of a Song : or it is the grace of the Base : for most commonly it graceth the Base , making a double Concord with it . The other parts euery Student may describe by himselfe . Of the formall Closes . BEing that euery Song is graced with formall Closes , we will tell what a Close is . Wherfore a Close is ( as Tinctor writes ) a little part of a Song , in whose end is found either rest or perfection . Or it is the coniunction of voices ( going diuersly ) in perfect Concords . Rules for Closes . FIrst , Euery Close consists of three Notes , the last , the last saue one , and the last saue two . 2 The Close of the Discantus made with three Notes , shall alwayes haue the last vpward . 3 The Close of the Tenor , doth also consist of three Notes , the last alwayes descending . 4 The Close of the base requires the last Note sometime aboue , and sometime beneath the Tenor. Yet commonly it thrusts it an eight below , and sometimes raiseth it a fift aboue . 5 The Close of a high Tenor , doth sometime rise , sometime fall with the last Note ; sometime makes it an Vnison with others . Which being it proceeds by diuers motions , the sorting of it is at the pleasure of the Composers . 6 The Close of the Discantus , doth require the last Note saue one aboue the Tenor in a sixt : or in a fift , if the Base hold a sixt below . 7 The last Note saue one of a Tenor , is flatly placed a fift aboue the Base and a sixt also , if the Base take the Close of the Tenor , and the Tenor the Close of the Discantus . 8 If the Close of the Tenor end in Mi , as it is in the Deutero , or otherwise the last Note but one of the base being placed not in the fift . But in the third beneath the Tenor , may fall vpon the fift Finall without any hazard of Descant , as is declared in the vnder-written Concent . Tenor. Baritonus . 9 If the Close of the Tenor end in Re , as commonly it doth in the first Tone , the Base shall very finely end from a fift to a third vpward , not varying the Discantus , although it may also fall into an eight . Tenor. Bassus . 10 Euery Song is so much the sweeter , by how much the fuller it is of formall Closes . For such force there is in Closes , that it maketh Discords become Concords for perfection sake . Therefore let Students labour to fill their Songs with formall Closes . Now that they may the more easily doe this , we thought fit here to set downe an Exercise or Store-house of Closes , that such as Students sing here , they may know they are in their owne Songs to make . Here followeth the Exercise and forme of Closes . Discantus . Tenor. Bassus . THE SIXT CHAPTER . Of the speciall precepts of the Counter-point . HAuing deliuered those things which we thinke necessarie for the Art of setting , now will we in most short Rules open essentially the matter it selfe , as it is . 2 As oft as the Discantus is placed 23. aboue the Tenor , let the Base be placed a third below , and the Altus a sixt aboue , or in an Vnison . But if the Base haue an eight below , for a fift it cannot haue , the Altus shall hold a fourth below . But if the Base hold a tenth below , the Altus requires a third , or a sixt below . Which a Student may proue by such a Scale as goes before . 3 If the Discantus hold place in a fift aboue the Tenor , which it seldome doth , the Base shall be in a sixt below , and the Altus in a third aboue , or in a fourth below . But if the Base be in an eight below , the Altus requires a third aboue , or a fourth , or a sixt below . 4 If the Discantus be in a sixt aboue the Tenor , the Base shal be in a fift below , and the Altus in a third below , or a fourth aboue . Or if the Base be in an eight below , the Altus shall onely agree in a third aboue ; but when the Base is in a tenth below , the Altus shal be in a third aboue , or in the same below . It might also be in an eight below , and sound a thirteenth with the Discantus . 5 If the Discantus be placed in an eight aboue the Tenor , the Base will agree well in a third below , & the Altus in a third or sixt aboue , or in a fift below . But when a Base be in the same below , the Altus shal be in a fourth or sixt aboue , or in a third below . If the Base be in an eight below , the Altus shall sweetly agree in a fift or third aboue . But if the Base fall to a tenth below , the Altus shall hold a third or sixt aboue , or the same below . 6 As oft as the Discantus doth rest in a tenth aboue the Tenor : the Base shall be in a third below , and the Altus in a third , sixt , or eight aboue . But if the Base be found in a third aboue , the Altus shal be in a third below , or in a fift or eight aboue . But if the Base be in a fift aboue the Tenor , ( for below it cannot ) the Altus shal be in a third aboue , or an eight below . But if the Base fall to an eight below , the Altus may be in a fourth below , or in a third or fift aboue . 7 When the Discantus is in a twelfe aboue the Tenor , the Base must be in an eight below , & the Altus in a third , fift , or eight aboue . But when the Base is in a third aboue , the Altus shall be in a fift , eight , or tenth concordantly . 8 If the Discantus be in a fourth aboue the Tenor , the Base requires a a fift below , & the Altus a third or sixt aboue . Contrarily ( if you make your Base first ) you shall make it with the Discantus . But if a man will make more than 4. parts , let him take the Concords aboue or below , as other parts shall require , obseruing those things which are to be obserued , which we referre to the Setters iudgement . THE SEVENTH CHAPTER . Wherefore Rests are put in the Counter-point . THe placing of Rests in a Counterpoint , is for many causes tollerated . 1 To auoide difficulty . For whilst two parts of a song or more are so fitted together that it is hard to fit the other parts , we set Rests for so long , till that difficultie cease . 2 To auoide Fict Voices , and the forbidden Interuals . 3 To distinguish two perfect Concords which cannot mutually follow one another , vnlesse a Note or pause come betwixt . 4 For the making of Signes . Now a signe is the successiue distribution of one and the same Close , in the beginning or any other place , by diuers parts of a Song . Or it is the repetition of the same Close in diuers parts of the song thus : Discantus Tenor. Bassus . 5 Rests are admitted for taking breath , least by the swiftnesse of the Song , either the Singer might be out of breath , or breed confusion by taking his breath at vnfit times . 6 That the Intrinsecall signes and markes of Musicall degrees , consisting in their perfection , may be perceiued . For a perfect Mood is inwardly noted by a rest of 3. times . A perfect time by 2. Semibreefe Rests , placed with a Semibreefe , as before is said in the fift Chapter of the second booke . 7 Because of the many parts of a song . For when a song goes with more parts than foure , it is necessary that some Rest , whilst others sing : least the sweetnesse be dulled either by the too much prolonging of the Voices , or by the vnelegant commixtion of Concords , and so the Consort seeme rather to make a noyse , then a Concordant sound . THE EIGHT CHAPTER . Of the diuers fashions of singing , and of the Ten Precepts for Singing . EVery man liues after his owne humour ; neither are all men gouerned by the same lawes , and diuers Nations haue diuers fashions , and differ in habite , diet , studies , speech , and song . Hence is it , that the English doe carroll ; the French sing ; the Spaniards weepe ; the Italians , which dwell about the Coasts of Ianua caper with their Voyces ; the other barke : but the Germanes ( which I am ashamed to vtter ) doe howle like Wolues . Now because it is better to breake friendship , than to determine any thing against truth , I am forced by truth to say that which the loue of my Countrey forbids me to publish . Germany nourisheth many Cantors , but few Musitians . For very few , excepting those which are or haue been in the Chappels of Princes , doe truely know the Art of Singing . For those Magistrates to whom this charge is giuen , doe appoint for the gouernment of the Seruice youth Cantors , whom they choose by the shrilnesse of their Voyce , not for their cunning in the Art ; thinking that God is pleased with bellowing and braying , of whom we read in the Scripture , that he reioyceth more in sweetnes than in noyse , more in the affection , than in the Voice . For whē Salomon in the Canticles writeth , that the voice of the church doth sound in the eares of Christ , hee doth presently adioyne the cause , because it is sweet . Therefore well did Baptista Mantuan ( that moderne Virgil ) inueigh euery puffed vp , ignorant , bellowing Cantor , saying ; Cur tantis delubra Boum mugitibus imples , Tu ne Deum tali credis placare tumultu . Whom the Prophet ordained should be praised in Cymbals , not simply , but well sounding . Of the Ten Precepts necessary for euery Singer . BEing that diuers men doe diuersly abuse themselues in Gods praise ; some by mouing their body vndecently ; some by gaping vnseemely ; some by changing the vowels , I thought good to teach all Cantors certaine Precepts , by which they may erre lesse . 1 When you desire to sing any thing , aboue all things marke the Tone , and his Repercussion . For he that sings a Song without knowing the Tone , doth like him that makes a syllogisme without Moode and Figure . 2 Let him diligently marke the Scale , vnder which the Song runneth , least he make a Flat of a Sharpe or a Sharpe of a Flat . 3 Let euery Singer conforme his voyce to the words , that as much as he can he make the Concent sad when the words are sad ; & merry , when they are merry Wherein I cannot but wonder at the Saxons ( the most galiant people of all Germany , by whose furtherance I was both brought vp , and drawne to write of Musicke ) in that they vse in their funerals , an high , merry and ioconde Concent , for no other cause ( I thinke ) than that either they hold death to be the greatest good that can befall a man ( as Valerius in his fift Booke writes of Cleabis and Biton two brothers ) or in that they beleeue that the soules ( as it is in Macrobius his second Booke De somnio Scip. ) after this body doe returne to the original sweetnes of Musicke , that is to heauen . Which if it be the cause , we may iudge them to be valiant in contemning death , and worthy desirers of the glory to come . 4 Aboue all things keepe the equalitie of measure . For to sing without law and measure , is an offence to God himselfe , who hath made all things well , in number , weight , and measure . Wherefore I would haue the Fasterly Franci ( my countrey-men ) to follow the best manner , and not as before they haue done ; sometime long ; sometime to male short the Notes in Plain-song , but take example of the noble Church of Herbipolis , their head , wherin they sing excellently . Which would also much profit , and honour the Church of Prage , because in it also they make the Notes sometimes longer , sometime shorter , than they should Neither must this be omitted , which that loue which we owe to the dead , doth require . Whose Vigils ( for so are they commonly called ) are performed with such confusion , hast , and mockery , ( I know not what fury possesseth the mindes of those , to whom this charge is put ouer ) that neither one Voyce can be distinguished from another , nor one sillable from another , nor one verse sometimes throughout a whole Psalme from another . An impious fashion to be punished with the seuerest correction . Think you that God is pleased with such howling such noise , such mumbling , in which is no deuotion , no expressing of words , no articulating of syllables ? 5 The Songs of Authenticall Tones must be timed deepe , of the subiugall Tones high , of the neutrall , meanly . For these goe deep , those high , the other both high and low . 6 The changing of Vowels is a signe of an vnlearned Singer . Now , ( though diuers people doe diuersly offend in this kinde ) yet doth not the multitude of offenders take away the fault . Here I would haue the Francks to take heede they pronounce not u for o , as they are wont , saying nuster for noster . The countrey Church-men are also to be censured for pronouncing , Aremus in stead of Oremus . In like sort , doe all the Renenses from Spyre to Confluentia change the Vowel i into the dipthong ci , saying Mareia for Maria. The Westphalians for the vowel a pronounce a & e together , to wit , Aebs te for Abste . The lower Saxons , & al the Sueuians , for the Vowel e , read e & i , saying , Deius for Deus . They of lower Germany doe all expresse u & e , in stead of the Vowel u. Which errours , though the Germane speech doe often require , yet doth the Latine tongue , which hath the affinitie with ours , exceedingly abhorre them . 7 Let a Singer take heed , least he begin too loud braying like an Asse , or when he hath begun with an vneuen height , disgrace the Song . For God is not pleased with loude cryes , but with louely sounds : it is not ( saith our Erasmus ) the noyse of the lips , but the ardent desire of the Art , which like the lowdest voice doth pierce Gods eares . Moses spake not , yet heard these words , Why doest thou cry vnto me ? But why the Saxons , and those that dwell vpon the Balticke coast , should so delight in such clamouring , there is no reason , but either because they haue a deafe God , or because they thinke he is gone to the South-side of heauen , and therefore cannot so easily heare both the Easterlings , and the Southerlings . 8 Let euery Singer discerne the difference of one holiday from another , least on a sleight Holiday , he either make too solemne seruice , or too sleight on a great . 9 The vncomely gaping of the mouth , and vngracefull motion of the body , is a signe of a mad Singer . 10 Aboue all things , let the Singer study to please God , and not men ; ( saith Guido ) there are foolish Singers , who contemne the deuotion they should seeke after ? and affect the wantonnesse which they should shun : because they intend their singing to men , not to God : seeking for a little worldly fame , that so they may loose the eternall glory : pleasing men that thereby they may displease God : imparting to other that deuotion , which themselues want : seeking the fauour of the creature , contemning the loue of the Creatour : to whom is due all honour , and reuerence , and seruice . To whom I doe deuote myselfe , and all that is mine , to him will I sing as long as I haue being : for he hath raised me ( poore Wretch ) from the earth , and from the meanest basenesse . Therefore blessed be his Name world without end , Amen . The end of the Worke. The Epilogue and Conclusion of the Booke . I Am to intreat the curteous Reader fauourably to view this Worke of Musical Theorems , which I haue before this some yeres past searched out , & now at last put into the forme of a booke and printed , not out of any arrogant humour , as some enuious persons wil report , but out of a desire to profit the Youth of Germany , whilst others are drousie . If the basenes of the stile , or simplenes of the words offend any man , I intreat him to attribute that to the matter which we handle , and the persons for whom it is written , namely , Children . I doubt not but there will be some , that will be soone ready to snarle at it , and to backbite it , contemning it before they read it , and disgracing it before they vnderstand it . Who had rather seeme than be Musitians , not obeying Authors , or Precepts , or Reasons : but whatsoeuer comes into their haire-braind Cockscombe , accounting that onely lawful , artificiall , and Musicall . To whom I intreat you ( gentle Readers ) to lend no eare . For it is a thing praise-worthy to displease the euill . Yea , ( to vse the sentence of Antisthenes the Philosopher ) to be backbited is a signe of greatnesse ; to backebite , a token of meanesse . And because the praise of one wise man is better than the commendation of Ten fooles ; I pray consider not the number , but the quality of those detractors : and thinke what an easie matter it is to silence those Pyes , and to crush such Fleas euen betwixt two nayles . Neither hearken ye to those that hate the Art : for they dissuade others from that which their dulnesse will not suffer them to attaine to , for in vaine it is to harpe before an Asse . But account that this I speake to you as a Master , because I haue passed the Ferrular . For the cunning men in each Art must be beleeued , as the Emperours Maiestie saith . Wherefore let those courteous Readers ( that be delighted with Ornithoparchus his paines taken ) be contented with these few things , for as soone as I can but take breath , they shall see matters of greater worth . A TABLE OF ALL THAT IS CONTAINED IN THE FIRST BOOKE . OF the Definition , Diuision , Profit , and Inuentors of Musicke , Chap. 1 Of Uoyces ▪ chap. 2 Of the Keyes , chap. 3 Of Tones , chap. 4 Of Solfization , chap. 5 Of Mutations , chap. 6 Of Moodes , chap. 7 Of the Dimension of the Monochord , chap. 8 Of the Definition , Diuision , and Profit of the Monochord , chap. 9 Of Musica Ficta , chap. 10 Of Song and Transposition , chap. 11 Of the Tones in speciall , chap. 12 That diuers men are delighted with diuers Moodes , chap. 13 The Table of all that is contained in the second Booke . OF the Profit and Praise of this Art , Chap. 1 Of the Figures , chap. 2 Of Ligatures , chap. 3 Of Moode , Time , and Prolation , chap. 4 Of the Signes , chap. 5 Of Tact , chap. 6 Of Augmentation , chap. 7 Of Diminution , chap. 8 Of the Rests , chap. 9 Of Prickes , chap. 10 Of Imperfection , chap. 11 Of Alteration , chap. 12 Of Proportion . chap. 13 The Table of all that is contained in the Third Booke . IN the Praise of Accent , chap. 1 Of the Definition and diuision of Accent , chap. 2 Of the generall Rules of Accent , chap. 3 Of the speciall Rules of Accent , chap. 4 Of the Points of Accent , chap. 5 Of the Accent of Epistles , chap. 6 Of the Accent of Gospels , and Prophesies . chap. 7 The Table of all that is contained in the Fourth Booke . OF the Definition , diuision , and Difference of the names of the Counterpoint , Chap. 1 Of Concords and Discords , chap. 2 Of the Diuision of Concords , chap. 3 Of the generall Rules of the Counterpoint , chap. 4 Of the Parts aad Closes of a Song , chap. 5 Of the speciall Precepts of the Counterpoint , chap. 6 Wherefore Rests are put in the Counterpoint , chap. 7 Of the diuers fashions for Singing . chap. 8 FINIS . Notes, typically marginal, from the original text Notes for div A08534-e1210 Note . 
A75767	----	Davids enemies discovered. VVho of him make songs, but without the Spirit and without understanding, as the drunkard did which he declares of in Psal. 69.12. Or, a true discovery of that custome and forme which the priests of this generation would make an ordinance of, to blind the eyes of the simple, as this priest Clapham: in his 6 arguments, which is here answered, / by us who suffer for the truth, whose names according to the flesh are [brace] Christopher Atkinson. George Whitehead. Also a brief reply unto Frederick Woodall's three principles and resolves; and with replies to his answers, to several queries propounded to him, that to the simple the truth may be cleared, from one who for the captivated seeds sake suffers now in outward bonds in Norwitch Castle, whose name in the flesh is Richard Hubberthorne. Atkinson, Christopher. This text is an enriched version of the TCP digital transcription A75767 of text R202144 in the English Short Title Catalog (Thomason E830_10). Textual changes and metadata enrichments aim at making the text more computationally tractable, easier to read, and suitable for network-based collaborative curation by amateur and professional end users from many walks of life. The text has been tokenized and linguistically annotated with MorphAdorner. The annotation includes standard spellings that support the display of a text in a standardized format that preserves archaic forms ('loveth', 'seekest'). Textual changes aim at restoring the text the author or stationer meant to publish. This text has not been fully proofread Approx. 52 KB of XML-encoded text transcribed from 12 1-bit group-IV TIFF page images. EarlyPrint Project Evanston,IL, Notre Dame, IN, St. Louis, MO 2017 A75767 Wing A4126 Thomason E830_10 ESTC R202144 99862540 99862540 168080 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A75767) Transcribed from: (Early English Books Online ; image set 168080) Images scanned from microfilm: (Thomason Tracts ; 126:E830[10]) Davids enemies discovered. VVho of him make songs, but without the Spirit and without understanding, as the drunkard did which he declares of in Psal. 69.12. Or, a true discovery of that custome and forme which the priests of this generation would make an ordinance of, to blind the eyes of the simple, as this priest Clapham: in his 6 arguments, which is here answered, / by us who suffer for the truth, whose names according to the flesh are [brace] Christopher Atkinson. George Whitehead. Also a brief reply unto Frederick Woodall's three principles and resolves; and with replies to his answers, to several queries propounded to him, that to the simple the truth may be cleared, from one who for the captivated seeds sake suffers now in outward bonds in Norwitch Castle, whose name in the flesh is Richard Hubberthorne. Atkinson, Christopher. Whitehead, George, 1636?-1723. Hubberthorn, Richard, 1628-1662. [2], 21, [1] p. Printed for Giles Calvert at the Black spread-Eagle at the west end of Pauls., London. : 1655. The words "Christopher Atkinson. George Whitehead." are bracketed together on title page. A reply to: Clapham, Jonathan. A short and full vindication of that sweet and comfortable ordinance, of singing of Psalmes and an unpublished work by Frederick Woodall. Annotation on Thomason copy: "March 15", "1654"; 5 in imprint date crossed out. Reproduction of the original in the British Library. eng Clapham, Jonathan. -- Short and full vindication of that sweet and comfortable ordinance, of singing of Psalmes -- Early works to 1800. Woodall, Frederick, b. 1614. Society of Friends -- Doctrines -- Early works to 1800. Music and morals -- Early works to 1800. A75767 R202144 (Thomason E830_10). civilwar no Davids enemies discovered.: VVho of him make songs, but without the Spirit and without understanding, as the drunkard did which he declares Atkinson, Christopher. 1655 9353 27 0 0 0 0 0 29 C The rate of 29 defects per 10,000 words puts this text in the C category of texts with between 10 and 35 defects per 10,000 words. 2007-05 TCP Assigned for keying and markup 2007-06 Apex CoVantage Keyed and coded from ProQuest page images 2008-05 John Latta Sampled and proofread 2008-05 John Latta Text and markup reviewed and edited 2008-09 pfs Batch review (QC) and XML conversion DAVIDS Enemies discovered . Who of him make SONGS , but without the Spirit and without understanding , as the Drunkard did which he declares of in Psal. 69. 12. OR , A TRUE DISCOVERY of that Custome and Forme which the PRIESTS of this Generation would make an Ordinance of , to blind the eyes of the simple , as this priest Clapham : in his 6 Arguments , which is here answered , by us who suffer for the Truth , whose names according to the flesh are Christopher Atkinson . George Whitehead . Also a brief REPLY unto Frederick Woodall's three Principles and Resolves ; and with Replies to his Answers , to severall Queries propounded to him , that to the simple the truth may be cleared , from one who for the Captivated seeds sake suffers now in outward bonds in Norwitch Castle , whose name in the flesh is Richard Hubberthorne . LONDON : Printed for Giles Calvert at the Black spread - 〈…〉 West end of Pauls . 1655. A Paper being brought into our hands which was given forth by one of the Priests whose name is Jonathan Clapham , who to uphold his deceit and Imaginations , and carnall observatirns , In imitation from that which the true worshippers which worshipped in spirit and truth without for me or letter witnessed , and spoke forth when redemption they did see , and so were they hid , from such as would make a Custome and a trade upon what they spoke forth , who lived the life of what they sung and spoke , ( in the spirit , ) who lived not in Custome nor in Imitation of others , neither did they boast themselves in another mans Line made ready to their hands , but as they received the spirit so walked they in the spirit , and with it they sang , and by it they spoke , and by the spirit they knew what time it did signifie , and such as was sensuall who had not the spirit but the forme , they denied and witnessed against them , and such now with the same spirit do we witness against , and to clear the truth and lay open the deceit of this generation of Priests , who make a Custome and a trade of Scriptures , who take peoples money for that which is no bread , but for dishonest gain destroyes souls , and keeps poor people in blindness and darkness , by their Inventions and vain Imaginations , that under their Dark Ministry poor people are ever learning , never able to come to the knowledge of the truth , and for their sakes who by these blind guides are led in blindness , Are we moved to answer something to this Priest Clapham's Arguments , as he calles them , that they that never saw , might see his nakedness uncovered , by which Arguments he is going about to maintain , singing of David's conditions a Custome , which are Answered as followeth , &c. SInging of Psalmes was once an Ordinance of God in the Church and a part of divine worship , and ( 1 ) was never repealed under the Gospell , ( 2 ) nor was of a Tipicall nature and use as was the ceremonies , and to cease with them , ( 3 ) but ever reckoned among morrall and perpetuall duties , as prayer , and learning the word , see Psal. 59. 1 , 2 , 6 , 7. ( 4 ) such a duty as the very light in all men taught them to practice , witness the custome of all nations , See Godwin , Rom. Antiqu. and read Homer's himnes , Horaces odes , &c. which sheweth it to be of an universall and perpetuall obligation , therefore it continues an ordinance of God still , as well as prayer and learning the word , and should not be abolished under the Gospel . They who witnesse the Gospell are come , to the ministration of the spirit which is the end of all shadowes , which shadowed forth the life , who came to witness the Church in God , 1 Thes. 1 ▪ and of this church the saints were ordained members , and this church was not a temple made with hands , where once singing was , which was to cease with its worship , and the songs of that temple was to be turned into Howling , Amos 8. 3. but they who are members of the church which is in God they sing with one spirit , being thereunto called by the Lord , which was not morall but spirituall , and they did not bring old Authors to prove their Actions by , as thou doest , but in that they worshipped which was before Authours was , and before Oxford and Cambridge was , which thou and thy generation have your Ministry f●om , and their word and Gospell was not the letter , which thou and thy generation makes a trade upon , and by the same spirit they sang by which the Gospell was preached , and there was no division , and they made not a Custome of other mens conditions , as to get them into rime and meeter and give them forth unto a company of blind people as thou and thy generation do , and their singing was with the spirit , and with understanding , which we owne , but thee we do deny and all thy generation , wo give people Davids conditions to sing in a meeter , where David did mourn and where he was afflicted ye sing , and where he quaked ▪ and trembled , and prayed , and prophesied , these ye sing , & tell God you do so , and here you make a custome like a stage play upon Davids conditions , and scoffs and scornes at them now who witnesse Quaking and trembling , and this we deny for this is both without the spirit and without understanding . The prophesies in Scripture that foretell the state of the Church in the new Testament , do speak of Psalmes to be used , there as a part of Gods worship Psal. 98. 1 , 2. Psal. 100. 1 , 2. Psal. 100. 1 , 2 , 3. where mention is made of the Gentiles , when converted , singng Psalmes to God , Rom. 15. 9. see Isa. 26. 1. and 35. 10. Rev. 14. 5. and 15. 3. The prophesies in scripture that foretell the state of the church , do not prophesie as psalmes to be used as a part of Gods worship , nor such a word there is spoken in them ▪ for the prophesies were fulfilled when the end came , and the church was the life , of that which the prophets prophesied of , which was without spot or wrinckle , and the songs of this church are everlasting , and they who are come thither can sing a new song , for the salvation , which they are witnesses of , Psal. 98. 1 , 2. and they can sing the song of redemption , and the song of Moses , and of the Lamb , which no man can learn , but they that are redeemed from the earth , and they that have the new name , Rev. 14. 3 , 4. and this song can neither thou sing , who art in the earth , and in thy earthly nature , and ministers for the earth and to the earth , in Balaams way , for gifts and rewards , nor them to whom thou gives Davids conditions , who are not brought to see the day of bitterness and lamentation which the saints did witness before they came to see salvation and redemption , for which they praysed God , which salvation and testament , to the end that generation is hid , who live in the wild , prophane , and heady nature , without the fear of God , who are in the time of wantonness and laughter , which wo is unto , Luke 6. 25. and not brought to the time of mourning , and therefore farre from the day of salvation and the saints joy , and there your singing is carnal and for condemnation and out of the true worship . It hath been a duty practised not onely in the times of the law but by the people of God under the Gospell , under the law we have the songs of Moses , Deborah , and Barack , of David the sweet singer of Israel , of Solomon , who composed to the number of 1005 songs , of Asaph , and Heman , and Habakuk , &c. Under the Gospell we read of the songs of many , Simon , Zachary : of Christ and his Apostles singing an Himne , after the Lords supper , Mat. 26. 30. according as was the custome among the Jews , who used to sing some of Davids Psalms the night wherein the passover was eaten , as those who are skilld in their Customes write : we read of Paul and Silas Acts 16. singing in prison , also of the practice of the church of Corinth , 1 Cor. 14. singing Psalms , and in primitive , before Antichristian Appostacy , which was commonly practised , as Phil. Tert. Just . Martin . Chrysost. testifie : yea the very Heathens took notice of this practice and did write of it , Pliny in his letter to Trojan the Emperour writes of the Christian Himnes , Antelucanos , morning psalms , & songs early in the morning , will I praise thee , &c. Neither Moses nor Habbakuk who was servants of God , nor any of the people of God , did ever call singing a custome or practice , neither did they ever give a company of silly blind people other mens conditions , in time and meeter to sing , but though Moses sang , yet he knew the work of the Lord in his deliverance out of Egypt , for which he praysed God , but the work of the Lord is not known to thee , and thy generation , who draw people from the Light of Christ within , and calls it naturall , which doth enlighten every one that comes into the world , and this is that which brings to witness their conditions who spoke forth Scripture ; and this is it which brings to witness salvation and redemption wherein the saints rejoyce , and thou that calls this naturall , doest not know the work of the Lord , nor his redemption , and there thy singing is without understanding , and thou knowes for not what thou sings , nor they that spook the scriptures did never compell a company of poor people who are dead in trespasses and sins to observe duties or outward observations , as thou doest , but saith Christ , my kingdome comes not by observations , but my kingdome is within , Luke 17. 21. neither did ever any of the holy men of God go and hire with a people at such a place and toke such a sum of money of them , for preaching , neither did they go to a company of blind people , and give them Davids conditions to sing in meeter as thou and thy generation do , who say , Let us sing to the praise and glory of God , O Lord I am not pufft in mind , I have no scornfull eye , when thy are pufft in mind and scorns them that are brought to witness Davids and Habbakuks condition , as quaking and trembling , Hab. 3. 16. Psal. 2. 11. Jer. 5. 22. and in scorn calls them Quakers ; and they that sang after the Lords suppers , did not call a little bread and wine the Lords supper or a Sacrament as thou doest , which thou hast no scripture for , and the Lords supper thou art not come to , who act such things , nor the bread of life didst thou ever tast of , but thy singing and prayers and prayses is in the death ; and them thou bids sing to the prayse and glory of God , who are dead in trespasses and sins , when the dead cannot prayse God , but the living , neither can they that go down into the pit prayse him , for praises are not comely in the mouth of the wicked , and there thou art . and Egypt is thy figure , a Land of darknesse where Pharaoh rules , and Moses thou art not come to , and how can thou sing Moses song who art yet in Egypt ? but death rules in thee , which hath passed over all men , from Adam untill Moses : and to maintain thy singing thou brings dead men as Pliny , and other heathens like thy self , who knowes not God nor his worship , but would rest and pervert the scriptures to maintain thee in thy Customs and outward observations , which thou hast no scripture for , and makes a custome and trade of other mens conditions which thou hast nothing to do with , as to cause people to sing lyes , as when David roared they sing , and where he trembled they sing , and where he saith , he watered his couch with tears they sing , and say they do so , and there thou art a leader that causes people to erre . If this suffice not , know there is expresse scripture command as well as examples and prophesies , for this duty of singing of Psalms , and that not only in the old , but also in the new Testament , Ephes. 5. 18 , 19. where the Apostle alluding to the Custome that drunkards have when they are filled with wine , they have their songs , so when Christians are filled with the wine of the spirit they should have their Psalmes Himnes and spirituall songs : the Hebrews had 3 words whereby they divided Davids Psalms , shurim , tehillim , mismorem , to which three words here used by the Apostle , Psalmes , himnes , and spirituall songs , as we see Col. 3. 16. admonishing one another in Psalms , and so James 5. 13. If any be afflicted , let him pray , if any be merry let him sing Psalmes ; it s spoken generally , if any , or whosoever is merry let him sing , not that it is unlawfull to sing at other times , for then it might be inferred it s not lawfull to pray , but when one is sad , mirth is the most prayer season , in other places we read of singing when sad , as David often , and Christ a little before his suffering , when his heart was sorrowfull , and and Silas in prison Paul : Thus you have express command for this duty . The Apostle , nor any of the holy men of God did ever command the world , as thou doest , to sing Psalmes , neither did he ever give the world an example to make rimes of other mens conditions , and sing them in meeter , and though the Apostle saith to the Ephesians , speaking to your selves in Psalmes and Himnes and spirituall songs , singing and making mellody in your hearts to the Lord , and such like to the Colossians , yet this was not to the world , but to the saints and faithfull Brethren , Coll. 1. 2. neither did the Apostle bid the saints sing other mens prayers , and cryes , and complaints , and lamentations , as thou and thy generation do , who bid people sing to the prayse and glory of God , where David said , thine arrows stick fast in me , neither is there any rest in my bones , my wounds stink and are corrupt , I am troubled , I am bowed down greatly , I go mourning all the day long , Psal. 38. and this you have gotten into a rime and meeter , and bids people sing : and there you make a sport of Davids conditions , and makes people say they are so , in which conditions David never sang , but as he found deliverance from under the wrath of God , and when ever did thou or any of thy generation witness these conditions which David passed through , before the seed was brought forth : here thou Priest Clapham hast shut thy self both out of the Scriptures , and them that spoke them forth . And whereas thou saist , that the Apostle alluding to the custome of drunkards ; here again we charge thee Priest ( Clapham ) to be a lyar , ond a wrester of Scriptures , for the Apostle never spoke such a wo●d , as alluding to the Custome of drunkards ; here this thy Comparison is unequall , to compare the saints singing to the Custome of Drunkards , neither did ever the Saints cal● singing a Custome , or make a custome of it , as thou art going about to maintain , and whereas thou art going about to devide the Psalmes , as thou calls them , by these three Hebrew words , into Psalmes , Himnes , and spirituall songs , Here , thou art ignorant both of Psalmes , Himnes , and spirituall Songs , who art going about to divide Psalmes by thy confusion oftongues , and here thou art in Babell which God confounded into many languages , and there is thy ministry in thy confusion and Languages , which a natural man may learn , and there thy singing is in the Custome without the spirit . But they that knew ▪ how to sing with understanding , did sing with that which was before Babell was , and before thy confusion was , and before Sternhold , and Hopkins rimes , which they made of David , which thou practises ; and they that would sing a new song , was redeemed out of kindreds tongues and people , Rev. 5. 9. and this redemnption thou that livest in thy tongues and naturall languages , art not come to ; and the new Song and Himnes thou art ignorant of ; and whereas thou sayest that which James spoke was generally , there thou art a lyar and a wrester of scripture , for the Scriptu●e saith , is any among you affl●cted , let him pray , is any among you merry , let him sing ; but this was to the 12 Tribes , James 1. which he calls his Brethren , and that was among them , and not among thy generation , who live in Formes and Customes , who are strangers to the life of God : and again , thou art going to make the Apostle James a Lyar like thy self , who sayest , that mirth is the most prayer season , when as that Scripture saith , is any among you merry , let him sing ; is any afflicted , let him pray ; which is quite contrary to thy words . As for Paul and Silas singing in prison , their sufferings and imprisonments thou never yet was made partaker of , nor their joy thou never knew wherein it was , who art going about to maintain thy customes in the world , which thou hast no scripture for , but with it art disapproved , and with the the light thou art seen , to be a stranger both to the Saints joy and that wherein they rejoyced . There are severall rules given in the New Testament , directing how to sing aright , as 1 Cor. 14. with the spirit and with understanding , with grace in our hearts Col. 3. which directions were needless if it were no Gospell duty . They that are brought to sing with the Spirit and understanding , they witness that life which spoke forth Scripture , and need not go and get other mens conditions made like ballades or songs , and sing them , or cause any in a custome to sing them , as thou dost in a steeple-house , and these do not call the letter the rule , and the 4 books Mathew , Mark , Luke , and John the New Testament , and Gospell as thou and thy generation do , for Paul said he was a minister of the Gospel , and of the New Testament , and not of the letter , which thou calls the Gospell and New Testament , 2 Cor. 3. 6. and there both out of the Gospell and new Testament thou art shut , and thy Ministery is in the Letter which killeth , and thy Inventions and reasons and consequencies adds to it , and that thou makes a trade upon , and for it thou takes peoples money , and there with the light we read thee in the Scriptures , to be among them the true prophets Christ and his Apostles cryed wo against , such as seek for their gain from their quarter , Isa. 56. and such as are hirelings , Micah 3. and such as are called of men Masters , stands praying in the synagogues , having the chiefest places in the assemblies , and the uppermost rooms at feasts , and the greetings in Markets , which Christ cryed wo against , Mat. 23. and such as go in the way of Cain to envy , and after the errour of Balaam , for gifts and rewards which Peter and Jude cryed wo against , 2 Pet. 2. Jude 11. and there thou art , and thee , thy Ministry , and thy singing we utterly deny , who art both shut out of the Scripture among the greedy doggs , and that life which spoke them forth , and thou seen to be among them , the Scripture witnesses against . And whereas in thy 6th . Argument thou sayest , that Christians may reap much profit or benefit by the right using of this ordinance , there 's an efficacy in it , to lift up the heart more and elevate it in Gods praises , and holy delight it brings to the soul therein , and art telling of mutuall edification and provocation to rejoyce in God , as drunkards by their songs stirre up carnall and sinfull mirth , so these help spirituall joy . They that are Christians do see thy blindness and ignorance both of scriptures and that which spoke it forth , and Christians have not their joy to fetch out of other mens conditions , neither do they go to without , and yet Davids prayers , prayses , prophesies , cryings , tears , wastings , afflictions ; in meeter to sing , to bring delight unto their soul , as thou art going about to maintain , there thou blind guide thou dost not know what it is that rejoyces in God , nor what it is that prayses him , for to thee it is hid , who makes a trade and Custome of a dead Forme , and causes the dead to sing which cannot prayse God , and there in the mutuall and changeable state thou art in thy carnall inventions with Tubal-Cain the Inventor , and outward observations , and edification thou art not come to , who to uphold thy carnall singing and rejoycing doest bring a Comparison of the songs of drunkards , which the saints never did , here thee , thy singing ; thy Joy and thy Ministry are shut out among the drunkards , and seed of evill doers and there is the fruits of thy Ministry , and of that sort are they that uphold thee , and speaks well of thee , as they did thy fathers the false prophets , and among the false prophets and deceivers thou art with the Light seen and Judged , and the same wo which was to them is to thee now , who art found in their stepps . Here ( Priest Clapham ) thy Arguments are answered , and the rest of thy rotten stuff which is not worth mentioning , with them comprehended , and seen with the light to be all acted , in thy filthy reason and Inventions , which are stuffed up with so many lies and wresting Scriptures as thou art here disproved in . So let shame cover thy face , and deceive people no longer with thy dreames and lying divinations , and customes , and outward observations which thou hast no scripture for , which here is plainly laid open to them who are not altogether blind , therefore make no more Merchandise of peole through thy covetousnesse , nor take peoples mony any more to maintain thee in thy deceits and filthiness , but make restitution to them whom thou hast deceived , and led in blindness , and give them their money again , which dishonestly thou hast taken upon them , of whom thou hast made Merchandize : for the sword of the Lord is drawn against thee , and that generation thou art in , and wo and misery is the end of your songs , and your joy , and your profession of God and Christ , who are found acting those things , he and all the holy men of God witnessed against : The day of your trouble and torment and misery is coming upon you , Wo , wo to you pastors that destroy and scatter the sheep of my pasture , saith the Lord : wo to you hippocrites and dissemblers who are acting in their stepps , the prophets , Christ and his appostles witnessed against , and are filling up the measure of your fathers Iniquities ; ye false prophets , and scribes , and pharisees , therefore stop your mouthes in the dust , and never say you are Ministers of Christ , and his Embassadours , for your bottome and foundation is seen and tryed , and your Customes , traditions , and practises are with the light condemned , and humane is all your worship there , who draw near unto God with your mouthes and lipps , and your hearts farre from him , every ones heart after his own gain and filthy lucre , who teach for doctrines the traditions of men , and there you keep poor people in blindnesse , and makes a prey upon them , and tell them of outward ordinances , and duties , and customes , as this Priest Clapham , wherein he is disapproved in his Arguments , and his folly made manifest , and so shall all yours who are of his generation , who live in pride and covetousness , and act those things ye have no scripture for , who lead captive silly women laden with sins and iniquities , led away with divers lusts , everlearning , never able to come to the knowledge of the truth ; but you shall proceed no further , for your folly shall be made manifest to all men . From us who are sufferers for the testimony of Jesus , whose names according to the flesh is Christopher Atkinson . George Whitehead . Something in answer to the High Priest's Paper , wherein he layes down 3 Principles , and severall Resolves , as he calls them , wherein he goes about to resolve people that the light of Christ in the conscience , and that which doth enlighten every one that comes into the world , which light is Christ , is natural ; and so to resolve them , that Johns testimony of Christ is not true , as it is written in John 1. 9. and doth deny Christs words to be true , who saith , he is the Light of the world , John 8. 12. John 3. 19 , 20 , 21. and in John 12. 46. But in the light of Christ he is seen and comprehended , yea the depth of his subtlety , and confusion , is here unfolded , and his Paper answered from the light of Christ , which he calls naturall ; but by it he is proved to be naturall , and not to discern the things of God , though he pronfesse himself to be a Minister : but here his works are brought to the light , and he by it is proved to be no Minister of Ghrist , but a hater of the light , as John 3. 19 , 20 , 21. The Priests 1 Principle . THere are two Adams from whom all men are , out of whose Loynes all men do come : the 1 Adam is a Fountain of all Naturall good ; the 2 of that which is Spirituall ; and thou brings Scripture to prove it , 1 Cor. 15. 2 , 22. Ephes. 5. 30. Gen. 2. 33. 1 Cor. 15. 45 , 46. Answer . Art thou a teacher in England , and is this the principles of thy doctrine , to teach people that all men come out of the Loynes of the 2 Adams , without distinction , and that the first Adam is the fountain of all naturall good ? here in the presence of the Living God I declare thee and thy principle to be false , for the first man is of the earth earthly ; the second is the Lord from heaven , from whom is the fountain of all good : out of the loyns of the first thou proceeds , but not from the second ; and thy principle proceeds from thy ear●hly wisdome , which is in the fall , and cursed ; and here again thou may read thy principle with shame and confusion of face , and repent before the Lord cut thee off , as a deceiver , who teaches for doctrine thy one conditions . The Priests 2 Principall . In thy second Principall thou speaks of two seeds , and that the first Adam was not the looser of mankind but his seed ; and the 2 Adam was not the restorer of mankind , as so , but as his seed . Answer . I answer , here thou art twining like the serpent , to blind the eyes of people with thy lyes , and doth cross the Scripture , which thou thy selfe brings in the former principle , 1 Cor. 15. 22. which saith , as in Adam all dy , so in Christ shall all be made alive ; and here thou denies Christ to be the restorer of mankind , and here thou art dark and blind , and preaches and writes against the end for which Christ came into the world ; but restauration by Christ we do witnesse and life from the dead , and the seed of the promise we witness , brought out of captivity by Christ , and all who come to witness the same shall deny thee who denies Christ to be the restorer of mankinde . The Priests 3 Principall . In thy third Principall thou sayest , the grace of life none is partaker of but the seed . Answer . Here thou crossest the Scriptures , which saith , the grace of God which brings salvation hath appeared unto all men , and some turn his grace into wantonness , and walke despitefully against the spirit of grace , Titus 2 12. and that is not the seed which turns it into wantonness , and walkes deceitfully against it , for that is the seed which by grace is taught to deny all ungodliness and worldly lusts , but it hath appeared to those who abuse it , as thou dost who put forth these principles , and here thy principles is found lies , as thy Resolves are , which follow thy Principles : The Priests Resolves . Now to resolve people that the light of Christ in the conscience is a naturall light , thou sayest , that the writing upon the heart of Gentiles is not new Covenant written , but old ; so not of grace and Life but nature . Answer . I answer , here thou resolves them falsely , for the workes of the Law being written in their hearts , this is not naturall , which doth bear witness in the conscience , and either accuse or excuse , but is one in the covenant , spoken of in Jer. 31. 33. Heb. 8. 2. and here thou puts in Light for darknesse , and darkness for light . Priest . Again thou speaks of two Images , the Image of God , and Image of Christ , and saith something of the Image of God remains after the fall , and brings Cer. 6. 9. to witness it , when as there is no such thing spoken of there , and thou sayest nothing of the Image of Christ , is found before calling . Answer . Here thou would make God and Christ two images , and so utters forth one lye after another , and denies the Scripture , which saith he , is the express Image of the Father , and thou sayest the first Image is naturall , the second is spirituall , and here let all behold thy blasphemy who would make the Image of God naturall , and the Image of Christ spirituall , and calls them two Images : stop thy mouth , and be ashamed for ever , for being a Teacher , who seeks to resolve people of such things as to deny God and Christ , and make them two Images , the one naturall , and the other spirituall , and saith , something of the image of God is found in man after the fall ▪ but nothing of the Image of Christ ▪ O blinde guide , that ever England should be deceived by such , but the Lord is now making you manifest , and in the light thou art comprehended , and thy subtlety is seen ▪ and thou art now met withall , who hath long blinded the eyes of poor people with thy fained words and subtle pretences , but here thou art discovered to be an enemy to that which in word thou professes , and so thy words will cover thee no longer , for the life hath found thee out ▪ and by it thy spirit is tryed to be the spirit of errour , and voice to be the voice a stranger . Priest . Again thou speaks of a naturall light , and sayes , naturall Light puffs up , and quotes 1 Cor. 8. 1●2 . Answer . Here out of thy own mouth thou art proved to be a perverter of the scriptures , for that scripture saith , knowledge puffs up : but the Scripture speaks of no naturall light . Priest . Again thou sayst , naturall light discovers the blessing of the first Covenant . Answer . This is false , for all the blessings is to the seed which is in the Covenant , and is the Covenant , but nature is out of the Covenant , and out of the blessing of all thy resolves , and light is contrary to nature , for light is spirituall , but thou art naturall , who saith , the light is naturall . Priest . Again thou sayest , naturall light may convince of evill . Answer . This is false , and here thou art a Blasphemer to call Christ naturall , for it is Christ that convinceth the world of sin , and the light which Christ Jesus hath enlighted every one , with all which convinceth them of evill , and thou that sayest this is naturall , did never yet owne that which doth convince of sin , the Light , which will condemn thee who hates it , and calls it naturall ▪ A Reply to the Priests Answers , to the Queries propounded to him . The 1 Querie . How is Christ the light of the world , and how doth he enlighten every one that comes into the world , if it be not in the Conscience ? John 1. 9. Priests Answer . Jesus Christ enlighteneth every man , with the light he hath , he is indeed the enlightening light , and not John : but it will not prove , because Christ quickeneth , that therefore with the same life , or there is no naturall life for Christ : Saints light is the light of life , sinners , not so , not their life . Reply . In the light of Christ thou art seen and comprehended , for thy dark words cannot hide thy confusion , who in thy answer saith , Christ doth enlighten every man that comes into the world , and then would make the light of Christ which enlightens the sinner , not to be the same light which is in the saints , and here all who ownes light in any measure , may see thy confusion , for the light of Christ is but one , and it is through the obedience to the light , in which they come to witness sanctification from sin , which now many do witness to the praise and glory of God , who is their teacher , what hast thou ( Frederick Woodall ) taught the people , all this while ? who art a blind guide , for he that knowes not the light of Christ is blind , for darkness hath blinded his eyes . The 2 Querie . How doth the spirit of Christ guide unto all truth , and shew things to come , if it be not within the conscience . Priests Answer . This endeavours the removall of the Ancient Bonds , making common the priviledges of the Saints , and brings that Scripture , Jer. 24. 7. Reply . This Scripture Jer. 24. 7. shall stand to bear witness against thy self where the Lord saith , I will give them an heart to know me , that I am the Lord , and they shall be my people , and I will be their God ; and the promise of Christ wherein he hath promised the spirit to guide them into all truth , and to shew them things to come , and this thou sayest endeavours the removing of the Ancient bonds ; I answer , It is to remove all such doctrine and such teaching as thine , and the priests of the world under which the seed of God is kept in bondage , and under the chains of darknesse , and these thy bonds which thou layest upon the seed is as Ancient as since the fall , and hath kept people ever learning and never brought them to the knowledge of God , and now when God hath promised to give them an heart to know him without such teachers as thou art , and this is thy torment , but let this tormen thee for ever till thy mouth be stopped , for it is so , we witnesse it . The 3 Query . How doth the spirit of Christ reprove the world of sin , of righteousness , and of judgement , if it be not in thy conscience . Priests Answer . It is not the spirit in the world that reproves the world of sin , John 14. 17. but the spirit in the saints who are to Judge the world , 1 Corinth . 6. 2. the spirit in the saints by the light of truth . Reply . This thy answer , and these Scriptures do witness against thy self , and here thou art made to confess the truth , out of thy own mouth thou may be judged , as all who hate the light are , and here by the spirit of God in the saints and the light of truth art thou judged , and here if thou wilt owne thy own words , owne thy Judgement , for the saints do now judge the world , under which judgement thou art . The 4 Querie . How are the children of God taught of God , if it be not by the light of God in the conscience ? Priests Answer . This is absurd , as the second , this is the strength , you shall be all taught of God . Reply . It is thou that art dark , and blind , and obsurd , who would keep the people from the teachings of God , calling that absurd , that thy own teaching might be continued , and people be kept still in ignorance , and give thee money for such teaching , but the free teachings of God is now appearing , and thine must be denied which is not free . The 5 Querie . How can that be said to be a naturall light which witnesses unto God in that which is holy , and against the naturall Inclinations of fallen man , seing the scripture saith , the naturall man receives not the things of the spirit of God , 1 Cor. 2. 14. Priests Answer . How can it be any other then a naturall light which witnesses unto God in that which is holly ? and against the things of the spirit of God , naturall things it can discern , not spirituall , for as the man so is the light . Reply . Where did thou ever read of a naturall light which did witnesse unto God in that which is holy , and that which did witness unto God , where dost thou prove that ever the same witness which did witness God in holiness did ever witness against the spirit of God , read thy confesion , and let thy mouth be stopped , who speakes of a naturall light , and of a naturall holiness , which neither of them is mentioned in the scripture , nor from any of the ministers of Christ , therefore from them all art thou shut out , who art in a naturall darkness . The 6 Querie . In this Query thou being required to prove how thou dost distinguish of a naturall light , which thou so much speaks of ▪ by their severall operations . Priests Answer . The diversity of operations are answered above . Reply . Here I witness against thee , for thou hast not proved in all that which is above written that there is two lights , naturall , and spirituall , for the light is but one , in which thy confusion is seen and judged . The 7 Querie . How is Christ given a light to the Gentiles who had not the letter , and whether that was not the Light of Christ which shewed the Gentiles the law of God written in their hearts , who had not the law without , and in which they did the things contained in the law , Rom. 2. 14 , 15. Priests Answer . Thou saist this proves not Christ to enlighten the Gentiles . Reply . Thy answer is false , for herein is proved that the obedience of the Gentiles to that which was written in their hearts , in answering the law of God , and his commands , was from that which is invisible , which is the light of Christ ; for that which is naturall is visible , and there thou art in the visible , and in the naturall , where the things of God is not received but stumbled at . The 8 Querie . If it be a naturall light which checks and beares rule in the Conscience , then is not Christ alone Judge in the Conscience , but another ruler is set up before Christ come , 1 John 5. 22. Ephes. 2. 14. Priests Answer . In thy answer thou queries whether the checks was in Adam , from the light , before Christ was revealed , and then again thou sayest in the next words following , that the checks of light from Christ the old Adam had . Reply . Here thou askest a question , and gives the answer thy self , to thy own confusion , and again thou sayest , that the old Adam had a conscience before the new was promised , and that his seed hath so : I answer , Christ which is the light , which checks for sin in the conscience was before Adam was , or the seed of Adam , which was Cain ; of which generation thou and thy ministry is , and the light which is from the second Adam is now appeared to make all such as thou art manifest who are of the seed of the first Adam . The 9 Question . If that which excuseth or accuseth , and so is Judge of the Conscience , be a naturall light , then all Judgement is not given to the Son : but you set up a Jugde in the Conscience before Christ . Priests Answer . This Querie is but the eighth repeated , adding to the number , not to the weight . Reply . This light of Christ being to thee a stumbling block , and thou being ignorant of its checks in the conscience , art able to give no answer to it ; but such as are serviceable to lay open thy weakness and nakedness to all , who shall read thy Answers , or the Replyes unto them . The 10 Querie . If that be a naturall light which excuseth , and so gives peace in the conscience , then you set up a peace before Christ come , and here you deny him to be the Prince of peace , Matthew 2 ▪ 6. Priests Answer . It s intollerable that Christ should be the Prince of peace . Reply . Here let all take notice that thou plainly denies Christ to be the Prince of peace , but it is well that thou hast uttered forth thy folly which hath so long been hid , and here thou speaks plainly thy own condition , for no peace hath ever Christ spoken unto thee , and therefore thou deniest him to be the prince of peace , but him we do witness , to be so , and thee to be among the wicked , whom my God faith there is no peace unto . The 11 Querie . If that be a naturall light which shews the way towards God in the Conscience , and reproves , the untoward wayes , then is not Christ the way to the Father , but you set up another way before him , John 14 ▪ 6. Priests Answer . The sence of this Querie is hidden from me . Reply . Here in the Light thou art comprehended , and thy wisdome shout out , and thy sences darkened , and thou art one of them whom God hath hid these things from , and now stumbles , because thou hates the light which doth discover the way unto God , which light is Christ , who is the way , but is hid from those whose eyes are blinded by the God of the world : if thou hadst confessed this in the beginning of thy Paper , that the sense of all these things which here from the light is spoken is bidden from thee , and so have beed silent , then thy confusion in thy Principles , and in thy Resolves , and in thy Answers had not been so publickly made manifest as they now are , from the light which hath comprehended thee : and hidden the sence of these things from thee . The 12 Querie . If that by which men shall be judged and condemned by any outward teaching from the Letter , or by man , then by what was the Gentiles condemned who had not the Letter , outward teaching , and yet was to perish , nor doing the things contained in the Law , Rom. 2. 13 , 14. Priests answer . In this thy answer thou confessest the Gentiles shall be judged by the Law written in their hearts without the written Law , and before in all which thou hast writ thon hast writ that this was a naturall light which Judges and condemns the disobedient to the righteous law of God , and thou saiest thus saith the Lord by my heart , Scrpture may try every voice . Reply . Thou art the false prophet , which saith , the Lord saith , when as he hath never spoken this unto thy heart , but by the Spirit of the Lord in those whom he hath spoken unto , is thy voice and thy spirit tryed , and as thou sayest would make the Scriptures unnecessary , this is false , for they are of use and necessary to reprove thy deceit , and them we do witness , in the life of the spirit which gave them forth . The 13 Querie . If there be something in the creature naturally which is light , then how is it that the Scripture concludes all to be children of darkness , who are in their naturall estate , and how is Christ said to be light to them that sit in darknesse ? Priests Answer . Light and darkness , naturall light , full of the wisdome of this world , but spirituall darknesse . Reply . How darest thou profess thy self to be a Minister of Christ , and calls the light of Christ naturall , and darkness spirituall , and here let all read thee , to be he which puts darkness for Light , and Light for darkness ▪ The 14 Querie . Whether there be any other thing that convinceth of unbelief , but that which convinceth of sin in the conscience ▪ seing Christ saith , he shall convince the world of sin , because they believe not in him ? John 16. 8 , 9. Ephes. 5. 13 , 14. Priests Answer . The 14th . is the same with the 13th . answered there . Reply . Here let all see whether these 2 Queries be one , and let them read thy answer to them both , which is saying that the light in the conscience is naturall and darkness spirituall . The 15 Querie . Whether do you find any Scripture that speaks of any Light that convinceth the conscience , but the light of Christ with the Law of God written in the heart . Priests Answer . I say , all are not convinced , nor will not , till Christ come , Jud ▪ 15. Reply . Here thou art the Antichrist which denies Christ come in the flesh , and would make people believe that Enocks Prophesie is not yet fulfilled , which Jude did witness to be fulfilled , as Jude 15. and did witness Christ Jesus to be come , who fulfilled the Law and the Prophets ; and John did witness that Christ was come to convince the world of sin , of righteousness , and judgement , and John in his Epistle did write , that he which did not confess Jesus Christ come in the flesh was an Antichrist , and we do witness the same , and there thou may read thy self , 1 John 4. 3. The 16 Querie . Whether it be not the Light of Christ which bears witness in thy conscience against all evil , and if it be not the Light of Christ , then man is not wholly fallen , but there is something in man Good before Christ come . Priests Answer . I say double there was something good in man remaining after the fall . Reply . If so , that something good in man after the fall ; whether is that good naturall , or spirituall , and whether is not that estate of man which is in the fall naturall , and so prove this from the Scripture , what it is that was not lost in mans fall which need no Christ to save : for Christ came to seek and to save that which was lost . And now to thee Frederick Woodall ; Here thy confused Paper is answered in plainness , and art not flattered , for I love not to give flattering Titles to any , neither can I have any mans person in admiration for advantage . From a servant of the Lord , though counted a Deceiver by the generation of Priests , yet true ; whose Name according to the shesh , is RICHARD HUBBERTHORNE , Prisoner of the Lord in Norwich Castle : The 20 day of the 12 Moneth . THE END . Notes, typically marginal, from the original text Notes for div A75767e-200 2 Cor. 10. 13 , 14 , 15 , 16. 2 Tim. 3. ● . Jude 19. Priest . Argument 1. Answer . Priest . Arg. 2. Answer . Priest . Arg. 3. Answer . John 1. 9. Acts 4. 12. 1 Cor. 2. 14. and chap. 1. ●● . Isa. 42. 6. Ephes. 2. 1. 1 Cor. 4. 20. Heb. 11. 36. to the end . Col. 2 14 , 16 , 20 , 21 , 22. Ps●l . 119. 175. Isa. 38. 19. Priest . Arg. 4. Answer . Priest . Arg. 5. Answer . Priest . Argument 6. Answer to the 6th . and last Argument . Luke 6. 26. 1 John 4 , 5. See Isa. 56. 10 , 11. Jer. 5. 31. Micah . 3. 11. Matth. 23. Jude 11. Isa. 29. 13. Col. 2. 14 , 16 , 20 , 21 , 22. 2 Tim. 3. 2● 7 , 9. 
A60536	----	A proposal to perform musick in perfect and mathematical proportions containing I. the state of musick in general, II. the principles of present practice ..., III. the tables of proportions, calculated for the viol ... / by Thomas Salmon ... ; with large remarks upon this whole treatise by the reverend and learned John Wallis ... Salmon, Thomas, 1648-1706. 1688 Approx. 91 KB of XML-encoded text transcribed from 33 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2004-11 (EEBO-TCP Phase 1). A60536 Wing S418 ESTC R4433 12376136 ocm 12376136 60614 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A60536) Transcribed from: (Early English Books Online ; image set 60614) Images scanned from microfilm: (Early English books, 1641-1700 ; 226:3) A proposal to perform musick in perfect and mathematical proportions containing I. the state of musick in general, II. the principles of present practice ..., III. the tables of proportions, calculated for the viol ... / by Thomas Salmon ... ; with large remarks upon this whole treatise by the reverend and learned John Wallis ... Salmon, Thomas, 1648-1706. Wallis, John, 1616-1703. [13], 42, [2] p., 4 leaves of plates : ill. Printed for John Lawrence ..., London : 1688. Errata: p. [13]. Advertisement: p. [12] and p. [1]-[2] at end. Reproduction of original in Library of Congress. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. 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Keying and markup guidelines are available at the Text Creation Partnership web site . eng Musical temperament. 2004-04 TCP Assigned for keying and markup 2004-07 SPi Global Keyed and coded from ProQuest page images 2004-08 Mona Logarbo Sampled and proofread 2004-08 Mona Logarbo Text and markup reviewed and edited 2004-10 pfs Batch review (QC) and XML conversion A PROPOSAL TO Perform Musick , IN Perfect and Mathematical Proportions . CONTAINING , I. The State of MUSICK in General . II. The Principles of PRESENT PRACTICE ; according to which are , III. The Tables of PROPORTIONS , calculated for the Viol , and capable of being Accommodated to all sorts of Musick . By Thomas Salmon , Rector of Mepsal in the County of BEDFORD . — Exemplaria Graeca Nocturnâ versate manu , versate diurnâ . Hor. de art . Poet. Approved by both the Mathematick Professors of the Vniversity of Oxford . With Large REMARKS upon this whole Treatise , By the Reverend and Learned John Wallis D. D. IMPRIMATUR . Gilb. Ironside . Vicecancel . Acad. Oxon. LONDON : Printed for John Lawrence , at the Angel in the Poultrey . 1688. TO The Valiant and Learned John Cutts Esq Adjutant General in the Service of His Imperial Majesty . THIS , Sir , is so far from the common road of Dedications , that at first sight it will appear neither fit for me to give , nor you to receive . Shall a Person so publickly employed in the greatest Attempts , and most victorious Successes , which the World has seen for these many Ages , have leisure for Philosophical Speculations , or divert to a Science proper for ease and pleasure ? Or should one consecrated to the Divine Service , so laboriously search into the Intrigues of Nature , and assist in the advancement of an Art , which with its Airy Pleasures often captivates the Soul to sensual things , and makes it more devoted to the World , that is to be conquered with another sort of Victory than your Arms can obtain ? All this I have thought on , yet still find so much in this affair , as not only to excuse me , but to make it acceptable to you . This Mathematical Discourse is indeed the Anatomy of MUSICK , wherein the infinite Wisdom of the great Creator appears : How delightfully and wonderfully is it made ! Marvellous are thy works , O Lord , and that my Soul knows right well . All the best Proportions , are the best Chords of Musick , and strike the Ear with a pleasure agreeable to the dignity of their Numbers . The effects of this the Sensualist is satisfied with , and desires to seek no further . But is it not grateful to every Gentleman , who is ennobled with such a Soul as yours , to know the divine Harmony of the pleasure he enjoys ? Is it not the duty and Felicity of a Rational Being , to consider how the whole System of the World is framed in Consort ? How Musical Instruments observe their Arithmetical Laws , all the little Meanders of the Ear faithfully conveying the organiz'd sounds , and the Soul of man made to receive the delight , before he himself knows from whence it comes ? How great is this ! How mean am I , to set forth such a Divine Subject ! However charming this still voice may be , yet no body will believe it can be heard amongst Drums and Trumpets : Why should these Papers hope for acceptance in the Camp ? I must confess I should think them unseasonable , had not you , my Excellent Friend , told me that your most Renowned General Lorain does in all the intervals of Action govern his Army like a Colledge , and allow time for the repose of the Mind , as well as for the over-running subdued Countries . You may then reflect upon the great Creator and Governour of the World , who gave you being , and now preserves you in the most eminent Hazards ; these shall help you to contemplate the infinite Wisdom , and shall be of the greatest advantage to you , since Piety is the best support of Courage , and gives a refreshing Ease amidst the Rage of War. But the design of War is Peace , and your Friends here long for the return of those cool hours , wherein you may not only have leisure for these Theoretical Studies , but advance true Practical Wisdom ; which you have already represented to us in the most advantageous dress , and enflamed our desires to have her interest promoted to greater heights . I know the glory of the Field is very tempting , but still you retain as great a passion for Learning ; this hath ever found a place in the noblest Breasts : The first great Conqueror of this Island is as glorious for his Pen as his Sword , and by his Commentaries perpetuated his Victories . We have incomparably more of Athens here in England , than your Confederates the Venetians this year got possession of : That ancient Treasury was long ago rifled , and its Jewels brought into the Western part of Europe : this the learned Proprietors were very sensible of . When Cicero return'd home from Greece by Rhodes , the famous Orator there Apollonius begg'd the favour of a Declamation : All the Company were amazed , and strove with the highest Expressions to acknowledge the Obligation ; but Apollonius sate sad and silent : which when he perceived Cicero took amiss , he said , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . I value and admire you , O Cicero ; but in the mean time I must pity the fortune of Greece , since those excellent Goods , Learning and Eloquence , ( which were all that was left ) are now by you brought over to the Romans . Plutarch , in the Life of Cicero . The Offers made in these Papers , are the Musical Spoils and Relicks of Athens , a long time buried in obscurity ; and though some years ago published to the World in their own Language , yet never known to those whose greatest concern it was to be acquainted with them . And indeed Musick now very much wants such Patrons as you are , whose Reverence to Antiquity and Learning , may give Preheminence to the Nobler part ; which would at once both advance and regulate the Practick Pleasures . It must be acknowledged that this Divine Science has a great while sunk with the Devotion of Churches , it has been little learned and little regarded by the Religious ; so that the Angelical Praises , which we have the honour to communicate in upon Earth , are faintly and unfrequently celebrated : This celestial accomplishment , which God ordained to enliven our dull Affections , is every-where wanting ; that the pleasure is as low as the skill of performing this most grateful part of Worship . Hence has Musick of late sought its principal Glory in Theatres , and sensual Entertainments , too mean a Service to be reckoned the designe of such an excellent Art : The infinite Wisdom created it for better purposes . And when God shall please to bless the World with greater degrees of Love , and a better Adoration of himself , He will raise up Men and Means thus to promote his Glory . Which directs me now to seek your Patronage to the Endeavours of , SIR , Your most Humble and most Affectionate Servant , THOMAS SALMON . Mepsal , Nov. 1. 1687. Advertisement To the READER . I Would not suffer this Proposal to be published , till I had first communicated it to the most eminent Professors of this Science , because having omitted the demonstrations I rely upon , the Reader might be satisfied in their Testimonies . I know it is not fair to offer any thing in Mathematicks , without giving the Demonstration with it as we go along ; but I considered that the Principles of this Science are very little known , and would not have been much regarded by Gentlemen , till they first had seen the use and necessity of them . As I thought this the best course , so it has proved much better than I expected : for the most experienced Professor in this part of Learning , hath sent me not only his Approbation , but his Demonstration of my Principles ; from whence the more inquisitive Reader may receive a compleat satisfaction . ERRATA . Page 6. — Line 16. for intension read intention . 7. — Penult . for Six read Sixth . 10. — 24. for there read these . 13. — Antepenult . insert the word add . 23. — 7. for Numb . III. read Numb . IIII. 27. — 18. insert the word cross . Ult. — ult . two Iota's subscripts are wanting . A PROPOSAL To perform Musick , IN Perfect and Mathematical Proportions . CHAPTER I. Of the State of Musick in General . WHEN the great Empires of the World , were in the height of their Glory , especially the Grecian and Roman , ( whose Authors have left us lasting Monuments of their Excellency ) Then did all sorts of Learning flourish in the greatest Perfection : The Arms of the Conquerors ever carrying along with them Arts and Civility . But to bring about a fatal Period , did the North swarm with barbarous Multitudes , who came down like a mighty Torrent , and subdued the best Nations of the World ; which were forc'd to become Rude and Illiterate , because their New Masters and Inhabitants were such . Amidst these Calamities , no wonder that Musick perished : All Learning lay in the Dust , especially that which was proper to the Times of Peace . But this Darkness was not perpetual ; The Ages at last clear'd up ; and from the Ruines of Antiquity , brought forth some broken Pieces , which were by degrees set together ; and by this time of day are Arriv'd near their ancient Glory . Guido has been Refining above Six Hundred Years . Two things are chiefly conducing to this Restoration : The great Genius of the Age we live in , and the great Diligence in searching after Antiquity : The excellent Editions of the best Authors , and the most laborious Comments upon them , abundantly testifie the Truth of this . In both these Felicities , Musick has had as great a share as any ; Aristoxenus , Euclide , Nichomachus , Alypius , Bacchius , Gaudentius , Aristides , Martian , have been with a great deal of Diligence , set forth by Marcus Meibomius , at Amsterdam , in the Year 1652. And above all , is , Claudius Ptolomaeus , who Corrected and Reconciled the Pythagoreans , and Aristoxeneans , the speculative and practical Parties : This Author was Published by Dr. Wallis , at Oxford , in the Year 1682 , who added an Appendix , comparing the Ancient and Modern Harmony ; which is as the Key to all our Speculations , and without which the former Authors were hardly Intelligible . Nor are we less beholding to the Excellent Genius of our Modern Musicians : There are , indeed , only two Fragments ( as I know of ) remaining of the ancient Grecian Compositions ; One of Pindar's , found by Kircher , at Messana in Sicily ; the other of Dionysius's , rescued by Dr. Bernard , from lying hid amongst some Papers of Arch-Bishop Vsher's ; both Published with Chilmeads Notes in the end of Aratus , at the Oxford Theatre : These are very short , and very imperfect , and therefore we cannot make any Judgment of their Songs or Lessons . But by all that we can discern from their Harmonical Treatises , There never was such regularity in the designing of Keys , such a pleasing sweetness of Air , such a various contexture of Chords , as the Practical Musicians are at this day Masters of . It may seem now , that there remains nothing to be added , or to be learn'd out of those Eminent Authors I have here Recited ; And the mighty Power of Musick , Recorded by the most Grave and Authentick Historians , may be lookt upon as Romance , since all the Excellencies now perform'd , cannot conquer the Soul , and subdue the Passions as has been done of Old. But before we quit the Testimonies of what Musick has done , and despair of any further Advancement ; Let us enquire whether there be not something very Considerable still wanting , something Fundamental very much amiss , even that which the forementioned Philosophers were likely to be most Excellent at , when the Learned and Practical Part were met in the same Persons : Whether this be not the Accurate Observation of Proportions , which the Soul is from Heaven inform'd to Judge of , and the Body in Union with it , must Submit to . Surely , I need not prove , that all Musick consists in Proportion ; that the more exact the Proportions , the more Excellent the Musick : This is that , all the World is agreed in . For this , I have every Man of my side , that except the Voice , the Instrument be well in Tune , the best Composition that was ever made , will never please ; And what is it to be in Tune , but for every Note to bear a due Proportion to one another ? Indeed , the Proportions of Musick are twofold ; First , In respect of Tune , and Second , In respect of Time : The latter of these , which Dr. Vossius contends so much about , is certainly very considerable ; that the Musick should agree with the Poetical Prosodia ; that all the Variety of Rythmical Feet should have their proper Movements . Then would the Sense be favoured by such Measures , as were most fit to Excite or Allay the Passions aim'd at ; and the Words of a Song would be capable of a more easie and intelligible Pronunciation . Since Musicians have not undert●ken to be Poets , and Poets have left off being Musicians ; this now disjoynted Work , of making Words , and setting Tunes to them , has not been so exactly done as formerly , when the same Authour perform'd both . But were it never so well done for Time , and the Proportions of Tune neglected ; it could signifie nothing : None will pretend to make Musick by playing good Time , except the Instrument and Voice be in Tune . However , till both these Fundamental Points be observed with such Exactness and Excellency , as the Ancients took care of ; we must not say we do all they did , or that they could not prevail more than we can ; all the Modern Excellencies may be rendred Ineffectual , by tolerating so many unproportionate imperfections , as are every where found amongst us . I shall not here give an account of all those accurate Proportions , which the Ancients contended for , nor their little enharmonical Distances , whereof their more curious Musick did consist ; but only of what is now practised amongst us , that the certain Knowledge of our Fundamental Principles may produce Performances , much more exact and powerful . CHAP. II. The present Practice of Musick . THE Hours of Study are tedious to some and precious to others : I cannot therefore suppose any man will search into the demonstrative Reasons , or acquaint himself with the Mathematical Operations belonging to this Proposal , till he be first assured of the truth and usefulness of it . So that what is purely Speculative shall be reserv'd at present : This offers nothing but the Principles of continual Practice , whereby the Reader may be lead into the knowledge of what he is always to design ; and taking the String of any Instrument , may give his Eye , and his Ear , and his Reason , an immediate satisfaction , in all that is here dictated to him . Before we compose or perform any Musick , two things must be provided for . I. That we have some little gradual Notes , which may ( whilst the Voice rises or falls ) succeed one another in the best Proportions possible ; whereof ( as of so many Alphabetical Elements ) the whole Musick must consist . II. These gradual Notes must be placed in such order , that the greater Intervals ( compounded of them ) may in the best Proportions possible arise out of them , and be come at with the greatest conveniency : That in all the Points , where the single Notes determine , there the larger Chords may be exactly coincident ; if it was not for this , there could be no Consort-Musick . To set forth this , we may as well use the first seven Letters of the Alphabet , as all the hard Names of Guido's Gamut ; because they were framed long before Musick was brought into that good order wherein it now stands , and the first intension of them is not agreeable to the present practise . Only this will be worth our Observation , that whereas in the Scale of Musick , there are three Octaves , ( besides the double Notes and Notes in Alt ) viz. the Base , Mean , and Treble , we may use Three Sizes of Letters in a greater , middle and lesser Character : as will be found in the Tables of Proportions . For understanding the two things pre-required , we suppose the proportion of one gradual Note to be contained between A and B , then between B and C the proportion of another gradual Note , though much lesser ; these two single proportions , viz. that of A B , and that of B C being added together , must exactly constitute a lesser Third ; the proportions of the two gradual Notes must determine in that point , where the compounded interval may be coincident with them . To proceed , if we add another gradual Proportion from C to D , then must arise the exact proportion of a Fourth , from the first given A to the Note D : if one more be added from D to E , there must be found the exact proportion of a Fifth , from A to E , and of a greater Third from C to E. Thus must the Gradual Notes be contrived to be exactly subservient to the greater intervals thorough all the Octaves : and if at any time this cannot be ( as may happen in two or three instances ) such particular Chords must be esteem'd inconcinnous and inconvenient , but they are very few , and lye much out of the way . If we settle one Octave , the whole work is as good as done ; all the rest is only repetition of the same Notes in a larger or more minute figure : for the eight Notes which are used in constant practise , proceeding gradually , take up just half the string , from the sound open to the middle of it : And if we have occasion to go further , 't is but just the same over again . The great concern is in what order our gradual Notes ( which are of different sizes ) must stand , from the Key or Sound given , till we arrive at the Octave ; for there will be a great variety , according as the lesser gradual Notes are placed sooner or later : This must be lookt upon as the internal constitution of an Octave , which practical Musicians commonly understand by their Flat or Sharp , that is , their greater or lesser Third . But as much as I can observe from the Compositions of the most Eminent Masters for these last Twenty years , this internal constitution of an Octave is but twofold : either with a greater Third , Sixth and Seventh ; or a Lesser Third , Six and Seventh : In the same composition all are lesser , or all greater . There needs then only this twofold constitution of the Octave to be considered by us , the two Keys A and C : all the rest serve only to render the same series of Notes in different pitches ; which is demonstrable by transposing Tunes from one Key to another : The Tune remains the same , only the compass of the Voice or Instrument is better accommodated . These two Keys A and C are called Natural , because the Proportions , originally assigned to each Letter , keep those proper places , which either Guido the first restorer or immemorial Custom hath allotted to them ; Whereas by taking other Keys , as suppose G for A , the proportions or different sizes of the gradual Notes are forced to shift their quarters , and by flats or sharps to straiten or widen their usual distances . 'T is sufficient demonstration for all this , that when any Tune is transposed into A or C , it wants nor flats nor sharps , whatever it did before . I shall in the first place give you the natural order of the gradual Notes as they stand in the Key A , where we have a lesser Third Sixth and Seventh , exactly coincident with the Third Sixth and Seventh gradual Note . You have between every Letter , that part or proportion of the string assigned which each gradual Note requires : underneath you have the proportion of each compounded interval , what part of the string it 's stop must be when compared with the whole string open from the Nut to the Bridge . The Constitution of the Key A.   A. 9. B. 16. C. 10. D. 9. E. 16. F. 9. G. 10 . a . A Lesser Third     6           A Fourth       4         A Fifth         3       A Lesser Sixth           3 / 8     A Lesser Seventh             4 / 9   An Eighth               2 The Experiment must be thus : You are to take any one String , and suppose it to be the Key A , when it is open : then measure the 9th part of it , you will have B or one gradual Note . Not that the first Fret must stand there , but the second ; for we are not reckning according to Tableture , but Notes specified by the first Letters of their hard names : the half Notes shall be considered afterwards . From the place of B measure the 16th part of the remaining String , there will be C , the least gradual Note : And there you will arrive at the 6th part of the whole String , which is the proportion of the Lesser Third ; and the Ear will acknowledge it to be so . From the place of C take the 10th part of the remaining String , there will be D , another gradual Note , much wider than the last , between B and C , but something less than the first between A and B. At the place of D , you will arrive at the 4th part of the whole String , which is the proportion of a practical Fourth . Here , to prevent all perplexity and mis-understanding , the Reader must carefully distinguish in the Terms of Art : The Practical Musician reckons how many gradual Notes he has gone over from his Key or Sound given , and accordingly calls his Intervals a Third , Fourth , and Fifth , as having so many gradual Notes contained in them ; but the Mathematician regards only the parts of the String , what proportion the part stopped bears to the String open . Here indeed the Practical and Mathematical Terms are the same , a fourth part of the String mathematically measured , is a practical fourth ; but in all other Chords they differ , as we have seen a Lesser Third to be the sixth part of a String . From the place of D take the 9th part of the remaining String , ( which is a gradual Note of the same proportion with the first , between A and B ; ) here will be E : and here you will find you are arrived at the third part of a String , which is the grateful proportion of a Practical Fifth . The proportions of the Lesser Sixth and Seventh , viz. ⅜ and 4 / 9 , are of a different sort from the rest ; the former Chords arise from the natural division of an Octave or Duple proportion , there are formed by an artificial addition of a second or a third to the Fifth : The former proportions are called by Arithmeticians Super-particular , these are super-partient . I believe the Reader will not desire to be troubled with the nature of them here , but only to be informed how to measure them for his present satisfaction : He is to know then , that he must not take the upper number 3 of 3 / 8 for the third part of the whole String , for then a Lesser Sixth would be the same as a Fifth ; but he is to devide the whole String into eight parts , as the lower number specifies , and then where three of those parts determine from the Nut , there will be a Lesser Sixth . This is the addition of the 16th part of the remaining String from E to F : for A open to E was the third part of the String , that is a Practical Fifth ; from A open to F will be three parts of the whole String divided into eight parts , which is a practical Lesser Sixth . A Lesser Seventh is produced by taking a 9th part of the remaining String from F to G , which is a Lesser Third above E , this will be found to determine at 4 when the whole String is divided into 9 parts , and therefore is the proportion 4 / 9. From G take a 10th part of the remaining String , you will arrive at a , the precise middle of the whole String , so that an Octave is a duple proportion ; the fullest and most perfect satisfaction that can be given to the Ear. And by this is the whole proceeding demonstrated to be right , because not only by the way , every interval was exactly found in its proper place , but at last this Chord , the sum total of all Musick , does just contain all its Particulars . After the same manner may the internal-constitution of an Octave in the Key C be demonstrated : I shall set it down without any explication , because the Experiment and Reason of both are alike . The Constitution of the Key C.   C. 10. D. 9. E. 16. F. 9 . g . 10 . a . 9 . b . 16 . c . A Greater Third     5           A Fourth       4         A Fifth         3       A Greater Sixth           2 / 5     A Greater Seventh             7 / 15   An Eighth               2 Though we have all along supposed a Monochord or single String , to make this demonstration more evident , and to shew that all the gradual Notes of an Octave put together , arrive just at the middle of the String ; yet the progress of the Proportions is the same , when we take some of them upon one String , some upon another . For each String is tuned Unison to some part of that which went before ; so that 't is all one whither the Proportions go along upon the same String , or go on to the next , when we come at the place of tuning Unisons . As suppose upon the Viol the Fourth String be C open , when you come to E , or the Fourth Fret , you have a greater Third ; then 't is all one whether you take the 16th part of the same String to make F at the fifth Fret , or the 16th part of the next whole String to make F upon the first Fret : 'T is all one , because the third String open is tuned Unison to E , or the fourth Fret upon the fourth String . As I would avoid troubling my Reader with needless difficulties , so I would not omit any thing of necessary information ; this last consideration makes me here add a discourse of Seconds , which is the name whereby the gradual Notes are commonly called : for reckning inclusively in Musick , one Interval , which must needs be contain'd between two Sounds , is term'd a Second . It is best to treat of them in that method , which our Authors used in the Classical times , because 't is their Perfection we are now aiming at : They divided their Musick into three sorts , Diatonick , Chromatick , Enharmonick , which was so diversified by those several sorts of Seconds or gradual Proportions they used therein . 1. In Diatonick Musick , the foregoing constitution of an Octave discovers three several sizes of Seconds , viz. the 9th part of a String , the 10th part , and the 16th part . I would satisfie the Reader in this variety , because he will think much to enter upon an Observation , not yet received , except he knows some necessity for it . We must have the Proportion of the 16th part of the String between B and C , as also between E and F , or we cannot bring our gradual Notes into the form of an Octave , into the compass of a duple proportion ; this is already acknowledged both by speculation and practice : No one ever yet pretended to rise or fall eight Notes one after another , all of the same size . To this 16th part we must a 9th part , or we can never have an exact Lesser Third , which is the 6th part of the whole String ; but if we add another Note of the same size , viz. a 9th part to make up that Lesser Third a Fourth , we shall find that we have a great way over-shot the fourth part of the String , and without taking the 10th part , we can never hit it ; as will appear by the former demonstrations upon the Monochord , in many instances . I must confess , this is so contrary to the common Opinion of Practical Musicians , that I would not insist upon it , did not necessity compel me , did not the greatest Reason and Authority assure me , that it will not be hereafter denied : Of these three sizes of Seconds does the whole progress , from the Key to the Octave , consist in the forementioned order , being all along exactly coincident with the larger Intervals . My Authorities are Cartes's Musick , Gassendus's Introduction , Wallis's Appendix , and all other Learned men , who have in this last Age reviewed the Harmonical concerns . 'T is time certainly to receive into practice those Improvements , which the greatest Modern Philosophers in the World have afforded Musick . And indeed 't is in vain to stand out , Nature always acknowledged and received them ; a good Voice performing by it self , a faithful Hand guided by a good Ear upon an unfretted unconfined Instrument , exactly observes them : All that I contend for is , that the Practiser may know what he does , and may always make that his design , which is his excellency . When we have thus much granted , then may the last Chapter of this Proposal be very acceptable ; which puts into his hands the Tables of Proportions calculated for every Key , that he may perform them upon those Instruments , which have not hitherto been capable thereof . But to pursue our present subject . 2. Chromatick Musick is that which ascends and descends gradually by half Notes . I don't mean such as is commonly call'd the half Note in Diatonick Musick , the 16th part of the String , the proportion assigned between B and C , between E and F : These are self-subsistent , and reckned as two compleat Steps , as well as any of the rest . And if we consider the value of their proportions , deserve rather to be reputed three-quarter than half-Notes . Chromatick half Notes arise by the division of Diatonick whole Notes into the two best proportions , so that they will follow one another , and be all along coincident with the greater Intervals . But those two vulgar half Notes in the Diatonick Scale will not do so ; 't would make mad work , to place two or three of these ( viz. 16th parts ) one after another , you would neither have true Thirds , Fourths , nor Fifths , in your whole Octave ; you could not maintain any coincidence with other Intervals . A Chromatick half Note is truly made by placing the Fret exactly in the middle between the two Frets of the Diatonick whole Note : This I first learn'd by the mathematical division of an Octave or duple Proportion into its natural parts ; then I was confirmed in it by Aristides , lib. 3. pag. 115. who requires such a Fund for the Enharmonical Dieses , and since upon tryal I find Practical Musicians very much satisfied in the Experiment of such a Division as fully answering their expectations . I think only this last Age , ever since Musick has began to revive , has aspired after these Chromatick Hemitones , and now they are used three , four , or five of them , in immediate sequence one after another ; if their proportions be truly given them , they are certainly the most charming Musick we have : but whereas a natural Genius easily runs into the Diatonick Intervals , these are not perform'd without a great deal of Art and Practice . 3. Enharmonick Musick is that which ascends and descends gradually by quarter Notes , which the Ancients called Dieses : I don't mean that the whole Octave , either in this or the Chromatick Musick , did consist only of these ; but after having used some of them , they took wider Steps and larger Intervals afterwards to compleat the Fourth and Fifth . I could here add an account of the true Enharmonical quarter-Notes ; the same Mathematical Operations produce their Proportions : The Grecian Authors ( particularly Aristides in the fore-cited place ) determine and record them , and they may become practical again ; but I resolve to propose nothing here , but what is of present practice . This I must say , that those invented for the Harpsichord , are nothing to the ancient purpose : The Harpsichord quarter-Notes are designed only for playing more perfectly in several Keys , with lesser Bearings , which are never used in sequence , so as to hit four or five of them one after another ; but the true Enharmonick Scale offer'd its Dieses , as gradual Notes , whereby Musick stole into the Affections , and with little insinuating Attempts got access , when the bold Diatonick would not be admitted . CHAP. III. An Account of the Tables of Proportions . IT is very possible , that those , who are devoted only to the Pleasures of Musick , may not care to trouble themselves with the foregoing Considerations : 'T is not every mans delight to be diving into the Principles of a Science , and to be enquiring after those Causes which produce an Entertainment for his Senses ; 't is satisfaction enough to the greatest part of the World , that they find them gratified . And indeed the delights of Practical Musick enter the Ear , without acquainting the Understanding , from what Proportions they arise , or even so much , as that Proportion is the cause of them : this the Philosopher observes from Reason and Experience , and the Mechanick must be taught , for the framing Instruments ; but the Practiser has no necessity to study , except he desires the Learning as well as the Pleasure of his Art. I have therefore so Calculated my Tables , that a man may without thinking perform his Musick in perfect Proportions ; the Mechanical Workman shall make them ready to his hand , so that he need only shift the upper part of his Finger-board as the Key requires . This I have tried , and found very convenient ; I shall therefore give a Table of Proportions in every Key , that the Mechanick may accordingly make a sett of Finger-boards for each Instrument , according to its particular length ; the Proportions ever remaining the same , though the size be various . It is evident that one Fret quite cross the neck of the Instrument , cannot render the Proportions perfect upon every String ; because sometimes a greater Note is required from the Nut or String open , sometimes a lesser : if then the Fret stands true for one , 't will be false for the other ; if it stands between both , it will be perfect in neither . As for example : Take the Viol tuned Note-ways , ( which is ever the same ) if you look back to the natural Constitution in the former Chapter , you will find that from the String D open , you must take the 9th part of the String ; from the String G open , you must take the 10th ●art of the String : accordingly the first Fret from D ( which is the Chromatick or just half the space of the whole Note ) must be a great deal sharper , than the first Fret of the String G. And the first Fret of the String E being the least Diatonick Note to F , must be a great deal sharper than that which belonged to the String D , or G. So that every String must have its particular Fret , whose Proportions are here given to the Mechanick , and he is to make use of them to the best advantage : Not that I would confine him to the way of shifting Finger-boards ; 't is possible the Makers of Instruments may find out some other way much more convenient : Their great excellency and industry in making Organs and Harpsichords , proves them sufficient to accommodate the designs of Musick : I only proposed what I had made use of , to shew that the Experiment is practicable , which is enough for a Scholar to do , whose Province lies only in the Rational part . As I here inform the Mechanick , what Proportions he is to set upon every String , so I must inform the Practiser what Keys he may play in , which is absolutely necessary ; for no man can set about performing any thing in Musick , without knowing his Key . This deserves to be consider'd , that the Writers of Musick may more certainly know where to fix their Flats and Sharps at the beginning of a Lesson or Song , and the number of them that is requisite : for as in Vocal Musick 't is a vast trouble in Sol-fa-ing to put Mi in a wrong place , so it is in Instrumental Musick , to have an Information renewed in several places thorough the whole Lesson by a Flat or a Sharp , which might have been known at first , once for all . As for instance , C Key is now often chosen for a Lesser Third ; there is no doubt but the Composer would have a Lesser Sixth as well as a Lesser Third , ( as appears by the interspersed Flats ) ; if so , there ought to have been three Flats prefixed , that A might be flat as well as E. I shall in this Catalogue of Keys offer you the variety of fourteen ; seven with a Greater Third , Sixth , and Seventh , the other seven with all these Intervals Lesser . But for these fourteen Keys , you need to have only seven Finger-boards ; for when the Proportions are lodged between the same Letters , then there will need no shifting : so that though the Key be different , yet the Instrument must be disposed in the same manner . As for instance , in the two Natural Keys A and C , the same Finger-board will serve ; you begin indeed in two different places , the Key A is a Lesser Third before C , but the series of Proportions required , will be found exactly the same for both , according to the forementioned Internal Constitution . You may take this following Catalogue of Keys , with the due Proportions assigned between each Letter . I. A. 9 . B. 16 . C. 10 . D. 9 . E. 16 . F. 9 . G. 10.a.9 . b.16.c. II. One Flat . D. 9 . E. 16 . F. 10 . G. 9 . A. 16 . B ♭ 9. C. 10.d.9.e.16.f . III. One Sharp . E. 9 . F ♯ 16. G. 10 . A. 9 . B. 16 . C. 9 . D. 10.e.9.f . ♯ 16 . g . IV. Two Flats . G. 9 . A. 16 . B ♭ 10. C. 9 . D. 16 . E ♭ 9. F. 10.g.9.a.16.b ♭ . V. Two Sharps . B. 9 . C ♯ 16. D. 10 . E. 9 . F ♯ . 16. G. 9 . A. 10.b.9.c ♯ . 16.d . VI. Three Flats . C. 9 . D. 16 . E ♭ 10. F. 9 . G. 16 . A ♭ 9. B ♭ 10 . c.9.d.16.e ♭ . VII . Three Sharps . F ♯ 9. G ♯ 16. A. 10 . B. 9 . C ♯ 16. D. 9 . E. 10.f . ♯ 9. g ♯ 16 . a . By this may we understand what a Key is , and observe a series of Notes in their just Proportions passing on from the sound first given to the Octave : The Keys with Lesser Thirds have always in the first place a 9th part of the String , then a 16th part , and so on till you come to the same Letter again in a lesser Character : The Keys with Greater Thirds have always in the first place a 10th part , then a 9th and so on till you come to the same Letter again ; but the three last Letters are in a lesser Character , to shew , that as you began a Lesser Third short of the other , so you go a Lesser Third beyond it . Thus you have as many Keys provided for you , as need be used ; some things indeed have been set with four Flats , but they are very difficult to the Practiser , and I never saw any of them published ; but if it were requisite , other Finger-boards might also be made for them , by the same Rule as these are calculated . I know the Keys B and F ♯ with Lesser Thirds are seldom used , but D and A with Greater Thirds are : Now because the same Finger-boards that serve for the two later , serve also for the two former , and the Practiser may have them into the bargain , I thought it better to give these also , than to omit any thing that might easily be useful . When the Composer finds that the Instrument goes well in tune upon these Keys , he will not hereafter be so much afraid of them . This Calculation in the Tables is but for one length , viz. of 28 Inches from the Nut to the Bridge , and but for one Tuning upon the Viol ; but the Workman may be directed from these Proportions given to fit them to the length of any Instrument : and from the Key given in any Lyra tuning , for any sort of fretted Instruments , he may find out what Proportions fall upon every String . Indeed Harpsichords and Organs , and such Instruments , where Frets are not used , cannot be accommodated the same way ; but the Proportions and order of the Notes , are the same in them : They have something that makes the different gravity and acuteness of their Sounds , which may be so rectified , as also to render their Musick in a Mathematical perfection ; but this is left to the ingenuity of the Artificer . I shall now observe something particularly of the Tables of Proportions , according to the numbers of the forementioned Keys , which you will find prefixed at the head of each of them , as they are annexed to the end of this Treatise . You will find , Number I. That A and C will not allow the sixth Base and Treble-string to have their fifth Frets upon the fourth part of the String , which makes a true Practical Fourth to the String open : For besides the least Diatonick Note , there falling two greater Notes upon the Strings D open , the stop G at the fifth Fret falls a pretty deal sharper ; and accordingly the Fifth and Sixth Bases will not be a good Fourth to one another , but the Fifth Base must be tuned Unison at that place where the Table is marked . I have upon every Plate marked where the exact 4th and 5th and 6th part of the String falls , that you may see when the gradual Notes are not coincident with those larger Intervals , as in the forementioned case . Old Mr. Theodore Stefkins , ( though he knew not the Mathematical reason ) yet to make some allowance for this , was wont to direct the tuning of those Strings sharper than ordinary ; by this Table you will find exactly how much sharper the tuning and the stops must be . Numb . II. In D and F with one Flat , you will find the same accident upon the fifth Base , where the same care must be taken , and all the Proportions will fall perfect . Numb . III. In G and B ♭ with two Flats , you have another affair to be consider'd ; which is the tuning the third String to the Chromatick Note at the fourth Fret of the fourth String , which causes those two Strings not to be a true greater Third to one another . The reason is , because E , to which the third String is commonly tuned , does not in these Keys ( G and B ♭ with two Flats ) fall upon the fourth , but the third Fret of the fourth String , which is E flat ; so that the fourth Fret is now the Chromatick division between E flat and F : hence it follows also , that the first Fret upon the third String , which is F , is not the 16th part of the String , but the 17th , viz. the later part of that divided Note . These two Accidents are all that I think need be taken notice of in all seven of them , because though they do occur in the rest , yet being of the same nature , the Reader will know how to understand them . This may seem a difficulty and inconveniency ; that after all , the Intervals of Musick could not every-where be given in perfect Proportions : And I will confess that there are a few instances wherein they cannot , as the lesser Note being the 10th part of a String , and the least Note which is the 16th part , will not make a true Lesser Third , that is the 6th part of the whole String . But this does not proceed from the defect of this Proposal , Nature it self will have it so ; Scholars are not to alter Nature , but to discover her Constitutions , and to give opportunity for the best management of all her Intrigues : I still perform my design , because I maintain those perfect and Mathematical Proportions in every place , where demonstration either requires or permits them . That the Reader may know how few , and how easie to be avoided , these inconcinnous Intervals are , I will give him an account of all and every one of them : There are three in each Constitution of an Octave , which are exact and necessary to carry on the progress of single gradual Notes , but they must not be allowed in the Composition of Parts . Inconcinnous Intervals from the Key C. 1. A Lesser Third , from the Seventh to the Ninth above the Key . 2. A Fourth , from the Second to the Fifth above the Key . 3. A Fifth , from the Fifth to the Ninth above the Key . Inconcinnous Intervals from the Key A. 1. A Lesser Third , from the Second to the Fourth above the Key . 2. A Fourth , from the Fourth to the Seventh above the Key . 3. A Fifth , from the Seventh to the Eleventh above the Key . This is the exactness , which Reason , guided by Mathematical Demonstration , requires of us ; and this exactness is rewarded by a proportionable pleasure , that arises from it . Indeed since Musical Ears , ( especially where Sence has no great acuteness ) are commonly debaucht with bearings and imperfections , they may not perhaps at first observe the advantage offer'd ; but I am sure Nature desires it , and will rejoyce in those Proportions , which by the Laws of Creation she is to be delighted with . Yet there may be many an one , who will not care either for the trouble or charge of changing Finger-boards ; if some little thing would mend their Musick , it might be acceptable : I shall therefore add one more Table , Number VIII . which any person that uses a fretted Instrument , either Lute , Viol , or Gittar , may easily make use of , and find the benefit of it . I call it the Lyrick Harmony , because our Lyra-tunings require all the Proportions to be most conveniently accommodated to the Strings open : Now if the Frets be placed at the distance assigned in this Table , they will be generally perfect . This Table is calculated like the rest for a String 28 inches long from the Nut to the Bridge ; but whatever length your instrument be , keep the same Proportions , and you will be right : a fourth part of a String is a fourth part , and the same Proportion , whether the String be longer or shorter . For the first Fret then , take the 16th part of the whole String from the Nut , which is the least Diatonick Second that lies between B and C , between E and F ; so that this will be always right , except in the Chromatick half Notes , not much used in Lyra Musick ; but if the excellency of the Chroma be desired , then must the Practiser put himself to the expences of what has been formerly proposed : Jewels can never be had cheap . For the second Fret you have two Lines , the uppermost is the 10th part , the lowermost is the 9th part of the whole String from the Nut ; we use no Proportion in Musick between the 16th and the 10th , as will appear by speculative Demonstration , and practical Experiment . If the tuning be with a greater Third , then the second Fret had best stand upon the 10th part ; if the tuning be with a lesser Third , this second Fret had best stand upon the 9th part ; for in Lyra-tunings the Key is generally some String open , and you will find by the twofold constitution of an Octave in the former Chapter , that the lesser Third requires the greatest Second from the Key , which is the 9th part , as from A to B ; but the greater Third requires the lesser Second from the Key , which is the 10th part from C to D. This may not be always convenient , in respect of Composition , and therefore the Practiser may set his Fret where he pleases between these two strokes , according as he desires his bearings : however it can't but be a very advantageous satisfaction , to know his Latitude within which he may be right , and above or below which he must be wrong : These are the bounds , Quos ultra citraque nequit consistere rectum . The third Fret must be the 6th part of the String from the Nut , which is the Proportion of a lesser Third to the String open ; for 't is demonstrable , that in Musick we use no Proportion between the 9th and the 6th part : but if you are not to have a true lesser Third to the String open , as may sometimes happen , when the tuning does not well favour your design , you may then use what bearing you please . The fourth Fret must be a 5th part of the whole String , as being the Proportion of a greater Third to the String open . The fifth Fret must be a 4th part of the whole String , as the just Proportion of a Practical Fourth . The length of the Plate would not suffer me to give the sixth and seventh Frets , which are upon Viols ; but the direction is easie . The seventh Fret must be just the third part of the whole String from the Nut , as being the grateful Proportion of a Practical Fifth . The sixth Fret standing between the 4th and third parts of the String , may be usually placed in the precise middle , where you may make a stroke the Finger-board of your Viol : but if the tuning requires any impo●●●nt Note to fall upon it , then may you tune your Fret by moving it higher or lower , as its Octave upon some of the higher Frets requires . Thus you may keep your former Gut-frets , which are movable and tyed quite cross the Viol ; the strokes made upon the Finger-board , being as so many Land-marks , either to keep you just in the right , or else to give you aim in the Variation . I acknowledge that this will not come near perfection in the Note-way , nor always do in the other ; but 't is an advantage to make a good guess , and not always to do things at random : If I travel without a certain Track , an Information that I must leave a Town a quarter of a mile on the right hand , is a satisfactory direction , though I am not to go thorough it . For a Conclusion of this Proposal , I need only add , that the truth of it is evident , both from Rational and Sensible Demonstrations ; for the usefulness and necessity of it , every Man that wears a Musical Ear shall be Judge ; the difference of Seconds , the greater and lesser Note , ( which have hitherto been used without any regard ) is so very considerable , that whoever takes but a transient view of them , will confess his Frets must be rectified , he cannot bear so great a deviation from what is truly in Tune ; and accordingly the Practical Master does rectifie them , when he passes from one suit of Lessons to another . For assigning these particular Proportions , and denying that others are now to be used ( as was asserted in the Lyrick Harmony ) the Author desires no longer to be trusted , than there shall appear an inclination in any to study the Arithmetical and Geometrical parts of Musick , which are ready to be published . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . I A9B. 16 . C. 10 . D. 9 . E. 16 . F. 9 . G. 10 . A C. 10 . D. 9 . E. 16 . F. 9 . G. 10 . A9B. 16 . C. II D. 9 . E. 16 . F. 10 . G. 9 . A. 16.b ♯ .9 . C. 1● E10 . G. 9 . A. 16 . b ♯ .9 . C10 . III E.9.f. ♯ 16. G. 10 . A. 9 . B. 16 . C. 9 . D. 10 . E G. 10 . A. 9 . B. 16 . C. 9 . D. 10 . E.9.f. ♯ .16 . G V B.9.c. ♯ 16. D. 10 . E.9.f. ♯ 16. G. 9 . A. 10 D. 10 . E.9.f. ♯ 16. G. 9 . A. 10 . IIII G. 9 . A. 16.b ♯ .10 . C. 9 . D. 16.c ♯ .9 . F. 10 . G b ♯ .10 . C. 9 . D. 16.c ♯ .9 . F. 10 . G. 9 . A. 16.b ♯ . VI C. 9 . D. 16.c ♯ .10 . F. 9 . G. 16.a ♯ . 9.b ♯ .10 . ● ● . 10 . F. 9 . G. 16.a ♯ . 9.b ♯ .10 . ● VII ● ♯ . G ♯ .16 . A. 10 . B. 9 . C ♯ .16 . D. 9 . E. 10 . F ♯ . A. 10 . B. 9 . C ♯ .16 . D. 9 . E. 10 . F. ♯ 9. G ♯ .16 . A VIII Harmon : Lyric : Digit : 28. TO Mr. THOMAS SALMON , M. A. RECTOR of Mepsal in Hartfordshire . Decemb. 17. 1687. SIR , YOurs of Decem. 5. I received this week , with the printed Sheets , of which you desire my Judgment : which I did the next day consider of , and made some Remarks on them . Not by way of contradiction to your Design , ( which I approve of ) but for explaining some particulars , which seem either not so clearly , or not so cautiously expressed . An account of which I send you with this , from , SIR , Your Friend to serve you , John Wallis . REMARKS on the Proposal to perform Musick , IN Perfect and Mathematical Proportions . DIvers things you suppose therein , or take for granted , as agreed by those who have Philosophically discoursed of Musick ; and thence proceed to what you direct , as to the Instrumental Practice thereof . You first suppose , as agreed by all , ( pag. 3. line penult . ) that Musick consists in Proportion ; and this Proportion ( p. 4. l. 7. ) twofold , in Tune , and in Time ; meaning by that of Time , the different proportion of length and shortness of the intermixed Sounds ; and by that of Tune or Tone , their different greatness and acuteness . There are some other things considerable , for the improvement of Musick : As , the different loudness and softness of the Sound or Voice , wherein a pleasing variety addeth much to the embellishment of the Musick , and may much conduce to that Pathos ( or moving the Affections ) which the Ancients seem much more to have affected than we do : And many other Appurtenances to Musick , more remote from your present business . You tell us then , ( p. 4. l. 26. ) That none will pretend to Musick by playing good Time onely , without that of Tune . You might here have excepted the Drum , the Tabor , and the Huntsmans Horn ; which make a kind of Musick ( though not that which you are here treating of ) by a due mixture of long and short sounds of the same Tone . And ( as you there intimate , l. 10. ) Dr. Isaac Vossius ( in his Book De Viribus Rythmi ) contends this to have been the Charming Musick of the Ancients , without taking notice of any difference of Tone therein . But this is not the part of Musick that you are treating of ; but that other part which lieth in the proportion of Sounds , as to their Graveness and Acuteness , which by the Ancients was called Harmonica . You next take for granted , ( p. 5. l. ult . ) that in order to this , we are to have a Series or Sequence of certain Gradual Notes or Sounds succeeding one another , by which the Voice riseth and falleth ; and this in the best proportion possible ; that by a due mixture of these in several orders ( as by a mixture of Letters to make words ) the whole Musick may be best composed : And such are those Notes which we now call by the names of la mi fa sol la fa sol la , ( and so forth in the same Sequence ) which make up what we call an Octave , and the Ancients a Dia-pason , ( the last of one Octave beginning another , in the same order , and so onward as far as there is occasion ) ; to which the Ancients gave the names of Proslambanomenos , Hypate hypaton , Parypate hypaton , and so onward to a double Octave , or Dis-dia-pason ; and which , in Guido's Gammut , are called A re , B mi , C fa ut , &c. His A re answering to the Greeks Proslambanomenos , and the rest to the rest in order . ( The original and reason of which names , I have given you elsewhere , and shall not here trouble you with them ; ) but are now wont ( by Writers of Musick ) to be expressed by the initial Letters of these names , A , B , C , D , E , F , G ; and then ( for another Octave ) by small Letters , a , b , c , d , e , f , g ; and ( for a third Octave ) by small Letters of another shape , or by small Letters doubled , aa , bb , cc , &c. And , if there be occasion to go backward from Γ or GG , by double great Letters , FF , EE , DD , CC , &c. And between every two of these Notes are certain Intervals , ( as they are wont to be called ) different according to their different proportions of the Graveness or Acuteness of those Notes each to other . 'T is next presumed ( p. 4. l. 27. p. 7. l. 21. ) as agreed on all hands , that the little Intervals ( between Note and Note next following ) are not all equal . In the Diatonick Musick of the Greeks , and in Guido's Gammut , they are accounted to be Tones and Homitones intermixed ; or , as we now call them , Notes and Half-notes , in this order . A. B. C. D. E. F. G. a. b. c. d. e. f. g. aa . &c. la. mi. fa. sol . la. fa. sol . la. mi. fa. sol . la. fa. sol . la. &c. t. h. t. t. h. t. t. t. h. t. t. h. t. t.     Not that they are exactly such , but near the matter . And what is the exact proportion of each , we are after to consider . What it is in the Chromatick or Enarmonick of the Greeks , comes not into our present Enquiry . And here we are to take notice of the ambiguous or double sence of the word Note . Before , it signified one particular Sound or Note , as la , mi , fa , &c. but here , when we speak of Notes and Half-notes , it signifies an Interval between Note and Note . The Greeks had two words for it , Phthongus , and Tonus ; but we use Note promiscuously for both . In an Octave thus constituted , from mi to mi ( or from B to b , which is the natural place of mi ) there are five Tones , and two Hemitones ; ( fa rising every-where half a Note , and the rest a whole Note : ) and , therein two Tetrachords or Dia-tessaron's , or ( as we call them ) Fourths ; where , from mi or la , we rise by fa sol la , ( that is , mi fa sol la , or la fa sol la , according as mi or la come next before fa ; ) and moreover , one Tone , or whole Note , la mi : which added to the Tetrachord , either next before it , or next after it , makes a Pentachord or Dia-pente , which we call a Fifth ; whereby the Octave is near equally divided into a Fourth and a Fifth , as BE and Eb. And the same we have , for quantity , in any other Octave ; as from A to a , from C to c , &c. though not in the same order : for the same Notes still return after one Octave , in the same sequence as before , the last Note of one Octave being the first of the next ; so that what is cut off at the one end , is supplied at the other , at what place soever we begin : but the order is different . If we begin at A , then is la mi ( the odd Note ) in the first place , ( before the two Tetrachords : ) If at B , 't is in the last place ( after both : ) If at E , 't is just in the middle between both , ( and will make a Pentachord with either . ) If at any other place , one of the Tetrachords will be divided ; and what of it is wanting at the one end , will be supplied at the other end of the Octave . Sutably hereunto , the Greeks observed seven Species or sorts of Octaves , ( all equal in quantity , but different in order ) according to their different beginnings . The first Aa , and second Bb , the third Cc , &c. of which each had its peculiar name . The first of them begins at A , which was their Proslambanomenos , ( a sound given , or assumed , ) answering to what our Musicians now call the Key : A Note at which ( in the Base-part ) the Song begins , and to which great respect is had through the whole . The other Species had their several beginnings , or respective Keys . Which , and how many of these , they did make use of in their Musick , is hard to say . Our Ancestors , about Guido's time , seem chiefly to have affected that of G ; as appears by their Scale beginning at Gamm-ut ; and their Series of Notes , Vt re mi fa sol la : where we have two Notes lower than mi. And our Musick-Masters , to this day , when they teach to sing , begin commonly with sol la mi fa , &c. as if ut , or the nearest sol below mi , were the Key or Note most regarded . Beside which , they seem ( by the Gamm-ut ) to have had two more ( upon a remove ) but of the same constitution , at C , and F , where ( in the Gamm-ut ) the Note ut returns again . For twenty years last past , you tell us ( p. 7. l. 29. p. 8. l. 2. ) in the compositions of the most eminent Masters , they scarce make use of any other Key ( as to the internal constitution of the Octave ) than A and C. That is , their Key or leading Note , at which their Base-part begins , is either la next before mi , or fa next above mi. And , because you are much better acquainted with the eminent Masters of Musick , and their Compositions , than I am , I take it , as to matter of fact , so to be . But at whatever Note they please to begin , and make it their Key , it is , as to this point , much one . If these Keys be transferred to any other place ( to accommodate the Voice or Instrument ) mi is transferred also , ( by help of Flats and Sharps ) and the other Sequence of Notes with it ; which alters the Pitch but not the Tune ( p. 8. l. 3 , 12. ) that is , the same Tune is sung by a higher or lower Voice . As for instance : If I would remove these Keys from A and C , to B and D , ( that is , if I would set the whole Tune a Note higher ) then must la ( which is now at A ) remove to B , and mi ( from B ) to C , and fa to D , and so forth . But then I find , that BC ( an Half-note ) is not wide enough to receive la mi , ( a whole Note : ) and therefore C ( by a Sharp ) must be raised half a Note higher , that B C ♯ may be fit to receive la mi ; and thence to D , will remain half a Note for mi fa ; thence to E , an whole Note for fa sol ; but thence to F , is but half a Note , not capable of sol la , an whole Note : and therefore F ( by another Sharp ) must be advanced half a Note higher , that E F ♯ may receive sol la ; and F ♯ G receive la fa , ( an Half-note ; ) and G a receive fa sol ; a b receive sol la ; and then b c ♯ receive la mi , and so forth . So that C and F must every-where have a Sharp , but the other Notes remain as before , in this form . B. C ♯ . D. E. F ♯ . G. a. b. c ♯ . d. &c. la. mi. fa. sol . la. fa. sol . la. mi. fa. &c. t. h. t. t. h. t. t. t. h.     In like manner , if I would bring back A and C , to Γ and B , that is , if I would set the Tune a Note lower ; then must la come back to Γ , and mi to A , and fa to B , and so forth . But because A B ( an whole Note ) is too wide for mi fa ( an Half-note ) there B ( by a Flat ) must be taken down half a Note ; that so A B ♭ may just receive mi fa , and ( instead of B C an Half-note ) B ♭ C ( an whole Note ) receive fa sol ; and ( for a like reason ) another Flat at E. And so every-where at B and E. The rest remaining as before , in this form . Γ. A. B ♭ . C. D. E ♭ . F. G. a. b ♭ . &c. la. mi. fa. sol . la. fa. sol . la. mi. fa. &c. t. h. t. t. h. t. t. t. h.     And the like in other cases ; of which you give us the particulars , at pag. 20. And it is , in effect , no other than the common Rules by which Learners are taught to find mi : Only there , by the Flats and Sharps we find the place of mi ; and here , by the assigned place of mi , you find the Flats and Sharps , if any be . Of those two Keys , at A and C , in their natural position , you observe aright ( p. 7. l. 31. p. 8. l. 21. p. 21. l. 3. ) that if you begin at A , then are C , F , G , the lesser Third , Sixth , and Seventh , from the Key : If at C , then are E , a , b , the greater third , Sixth , and Seventh , from the Key . And therefore the Composer , if he design those , should chuse the Key A ; if these , the Key C : or the equivalents of these transferred ( as is shewed ) to other places . And thus far we have pursued the Language of Aristoxenes and his Followers the Aristoxeneans , and the Practical Musicians , who content themselves with the names of Notes and Half-notes , without enquiring into the Proportions of each Interval . But Pythagoras and his Followers , whom you call the Speculative Musicians , enquired further into the Proportions ( of Graveness and Acuteness ) at several Intervals . And here it was first discovered by Pythagoras , and since admit●ed by all , ( which therefore you suppose as granted ) that the Proportion for an Octave ( as A a , or B b , ) is Double , or as 2 to 1 : That for a Fifth , ( as A E , or E b , ) Sesquialter , or as 3 to 2 : That for a Fourth , ( B E , or E a , ) Sesquitertian , or as 4 to 3 : And consequently , that for the Tone ( A B , or a b , ) Sesquioctave , or as 9 to 8. Hence Euclide ( in his Musical Introduction , and Section of the Canon ) taking all Tones to be equal , computes , that for the Ditoue , fa sol la , to be as 81 to 64 , ( which is the duplicate of 9 to 8 ; ) and therefore the Hemitone mi fa , or la fa , to be so much as that wants of a Fourth ; that is , 256 to 243 : which is somewhat less than half a Tone , or the sub-duplicate of 9 to 8. And so Boethius ( after him ) and others downward , till that ( about an hundred years ago ) Zarline revived the Doctrine of Ptolomy in this point . That of Ptolomy ( in his Harmonicks ) is this : The Proportions for the Octave , the Fifth , and Fourth , he retains as before ▪ and that of the Dia-zeuctick Tone la mi ; which , together with the two Fourths , compleats the Octave ; and doth , with either of them , compleat the Fifth ▪ ( And so far Pythagoras proceeded , and no further . ) But the Ditone fa sol la , ( which is the greatest Third ) he reckons to consist of two Tones , but unequal . The one as 9 to 8 , ( which is called the major Tone , and is equal to that of la mi ; ) the other as 10 to 9 , ( called the minor Tone : ) and therefore the Compound of both , as 5 to 4 ; ( which is a much more Musical Interval , than 81 to 64 : ) And consequently the Hemitone or Half-note mi fa , or la fa , ( so much as 5 / 4 wants of 4 / 3 ) as 16 to 15 , ( which is somewhat more than half a Note : ) and this together with a major Tone , ( which make the lesser Third ) as 6 to 5 ; as la mi fa ( from A to C , ) or la fa sol ( from E to G , ) or mi fa sol ( from B to D ) taking fa sol for a major Tone , and therefore sol la for a minor Tone . These Proportions setled by Ptolomy , ( for the Diatonick kind ) were afterward disused , till revived by Zarline about a hund●●d years since ; who is followed by Kepler , Mersennus , Cartes , Gassend●● , and others , ( p. 14. l. 15. ) and generally admitted by Specula●●●● Musicians since Zarline's time . And these you pre-suppose ( up●n their Authorities ) referring to their Reasons for it . You pre-suppose further , ( which Ptolomy had shewed at large , and is since admitted ) that ( in the same or like String ) the degree of Acuteness is in counter - proportion to the length : That is , if the Acuteness of the sound be as 2 to 1 , ( as in the upper Note of an Octave ) the length of the String is as 1 to 2 , ( the Sound twice as sharp , the String half so long . ) And where the Acuteness of the Sound is as 3 to 2 , ( as in the upper Note of a Fifth ) the length is as 2 to 3. Where that is as 4 to 3 , ( as in a Fourth ) this is as 3 to 4. Where that is as 5 to 4 , ( as in the greater Third ) this is as 4 to 5. Where that , as 6 to 5 , ( as in the lesser Third ) this , as 5 to 6. Where that , 〈◊〉 9 to 8 , ( as in the greater Tone ) this , as 8 to 9. Where that , as 10 to 9 , ( as in the lesser Tone ) this , as 9 to 10. And thus every-where , the length of the String is in the counter-proportion to the height or sharpness of the Sound . These things being premised , or pre-supposed , you proceed to the Constitution of the Keys A and C , ( p. 9. and p. 12. ) where , by 9 , 16 , 10 , you mean 1 / ● , 1 / 16 , 1 / 10 , ( which , I suppose , you so expressed , lest the small Fraction-figures should not be so easily seen and read . ) And so , by 6 , 4 , 3 , 2 , ( the portion of the String from the Nut to the Fret , for the Key A ) you mean 1 / 6 , 1 / 4 , 1 / ● , 1 / 2 , ( sutable to 3 / ● and 4 / 9 : ) And ( for the Key C ) by 5 , 4 , 3 , 2 , you mean 1 / 5 , 1 / 4 , 1 / 3 , 1 / ● , ( in the same sence with 2 / ● and 7 / 15 ; ) according the Exposition your self gives , pag. 9 , 10 , 11. I should rather have chosen to express the place of the Fret , by the length of the other part of the String , from the Bridge to the Fret , than from the Nut to the Fret : ( For it is that , not this , that gives the Sound . ) In this manner .     8   5   3   2   5   5   1 A 8 / 9 B 15 / 16 C 9 / 10 D 8 / 9 E 15 / 16 F 8 / 9 G 9 / 10 a.     9   6   4   3   8   9   2     9   4   3   2   3   8   1 C 9 / 10 D 8 / ● E 1● / 16 F 8 / 9 G 9 / 10 a 8 / 9 b 15 / 10 c.     10   5   4   3   5   15   2 That is , from the Bridge to B , is 8 / 9 of what it is to A ; and from the Bridge to C , is 15 / 16 of what it is to B : and so elsewhere . Again , from the Bridge to B , is 8 / 9 of that whole String ; from the Bridge to C , is 1 / 6 of the whole . And so of the rest . But the sense is the same with that of yours . But herein I dissent from you ; namely , whereas you say , C 10 D 9 E ; I would rather say , C 9 D 10 E. That is , of fa sol la , I would make fa sol the bigger Tone , and sol la the lesser ; at C D E , as well as at F G a. And then my Proportions would stand thus :     8   5   20   2   5   5   1 A 8 / 9 B 15 / 16 C 8 / 9 D 9 / 10 E 15 / 10 F 8 / 9 G 9 / 10 a.     9   6   ●7   3   8   9   2     8   4   3   2   3   8   1 C 8 / 9 D 9 / 10 E 15 / 16 F 8 / 9 G 9 / 10 a 8 / 9 b 15 / 16 c.     9   5   4   3   5   15   2 The reason why you did otherwise at C D E , that at F G a , is ( I presume ) that A D might be a true Fourth to the Key A. Whereas otherwise 20 / 27 is a false Fourth . Though very near a true one : for 21 / 21 would be a true Fourth , being the same with 3 / 4. My Reasons to the contrary , are these . First , a Fourth ( now a days ) is scarce allowed as a good Concord ; and therefore the less to be regarded : especially at this place . For , I suppose , it is not usual , from A the Key , to rise a Fourth at one step ; but rather a Fifth , or a Third . And when from the Key you rise an Octave at two steps , the Fifth always begins , and the Fourth follows , ( not first a Fourth , and then a Fifth : ) For a Fifth being much the sweeter , this is first chosen ; and the Fourth , which follows , ( though not of it self so sweet ) is helped by being an Octave to the Key ; which is in fresh memory , as being the Sound last heard but one . ( And of an Interval never used , we need have the less regard . ) And if from any other place we move to D , the Note from whence we move ( which was last heard ) is more to be regarded , than the Key , which had not been heard for some while . And then , by preserving this Fourth at A D , you spoil a good Third ( which is more considerable ) at D F , and again at B D , and a fourth at D G , and a Fifth at D a , and again at Γ D ; and so leave no place from whence to move to this D. And if perhaps you will say from d ; at that it is as hard to come as at this D. So that your D will be of no use at all . And for such reasons , it was a Rule with the Greeks , that the two conjoyned Tetrachords , mi fa sol la , at B C D E ; and la fa sol la , at E F G a ; should ever be divided in the same manner . For though they had their 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , ( a Transite from one kind of dividing the Tetrachord to another ; ) yet they would have this Transite to be always at the Disjunctive Tone la mi. Allowing to the Tetrachord above it , a different division from that below it ; but not a different division to the two conjunct Tetrachords above it . Again , if you make your Key at C , and thence sing fa sol la ; it is most natural for the greater Tone to begin , and the lesser to follow . ( Upon the same account as when we rise an Octave at twice , the Fifth leads , and the Fourth follows ; and when at two steps we would rise a Fifth , it is most proper for the greater Third to begin , and the lesser to follow . ) And therefore here , not to make fa sol the lesser Tone , and sol la the greater ; but , that the greater , and this the lesser ; as your self do at F G a. And if , for these reasons , you give the same division to C D E , that you do to F G a ; it will relieve all those inconcinnous Intervals mentioned pag. 24. I have now done with the Constitution of your two Keys at A and C , ( and indeed of any other Key ) in the natural Constitution . And consequently , with all the Essential Flats and Sharps , which serve onely to remove it to a higher or lower pitch , without changing the sequence of the Notes : And which are wont to be noted at the beginning of the Tune , so as to influence the whole , without repeating them at the several Notes . But , besides these , there are some Accidental Flats and Sharps , which occur in the middle of the Musick , affecting some one Note . These you call Chromatick Half-notes , ( p. 15. l 10 , 20. p. 18. l. 16. ) which , you say , are truly made by placing the Fret exactly in the middle between the two Frets of the Diatonick whole Note wherein it falls . Which is not so cautiously expressed as not to be liable to a mistake . The Reader , by exactly in the middle , will be apt to understand an Arithmetical middle : as for instance , if F G be an Inch , F F ♯ and F ♯ G should be each of them half an Inch. Or , a Geometrical middle , ( which we call a mean Proportional ; ) as , if the proportion for F G be as 8 to 9 , that for F F ♯ and F ♯ G should be as 28 to 29 ( the square Root of 8 to the square Root of 9. ) Neither of which are your meaning . But you mean ( I presume ) a kind of Musical middle , which is thus to be taken : Suppos●●g the Proportion for F G to be as 8 to 9 , that is , ( doubling both numbers ) as 16 to 18 ; this is to be divided by help of the middle number 17. So that the Proportion for F F ♯ shall be 16 to 17 ; and for F ♯ G , 17 to 18. Which , together , make F G as 16 to 18 , or 8 to 9. In like manner , if G a be as 9 to 10 , that is as 18 to 20 ; then is G G ♯ as 18 to 19 , and G ♯ a as 19 to 20 : which , together , make 18 to 20 , or 9 to 10. And this , I presume , ( though the Book be not at hand ) is the meaning of Aristides at the place cited ; and your meaning here . And this , I suppose , may do pretty well in most places . But if we would be exact , we must , in each place , consider , what is the particular design we aim at in such a Flat or Sharp ; and make the division accordingly . As for instance , if to the Key A , instead of a lesser Sixth at F , I would have a greater Sixth at F ♯ ; I must not so much aim at such equal division ( or near-equal ) of F G ; as , to take out of it so much as will make E F ♯ a minor Tone , ( whatever chance to be the remaining part to G. ) Which will make for F F ♯ , ( not 16 to 17 , but ) 24 to 25. ( For this , with 15 to 16 , for E F , will make that for E F ♯ as 9 to 10 ; and for A F ♯ as 3 to 5 , a greater Sixth ; instead of A F as 5 to 8 , a lesser Sixth . ) In like manner , if I would , from C , rise a Fourth to F , at two near-equal steps , ( as when we rise an Eighth by a Fifth and Fourth ; or a Fifth , by greater and lesser Third ; ) that is , if I would divide the Proportion of 3 to 4 , or 6 to 8 , into two near-equals ; those are to be 6 to 7 , and 7 to 8 : And therefore C D ♯ as 6 to 7 , and D ♯ F as 7 to 8 , ( whatever chance thereby to be the division of DE. ) And the like for other cases . So that for instance , the same D ♯ or F ♯ , as to different purposes , shall signifie differently . And such Arts we must make use of , if we would revive the Greeks Chromatick and Enarmonick Musick . But the Speculation is too nice for most of our present Practisers . To return therefore to our Diatonick Notes , in their Natural or Primitive Constitution , together with their Essential Sharps and Flats incident upon removing the Key to an higher or lower pitch : having once fixed their Proportions as to the Monochord , ( as supposing them all set off upon one String ; ) it is easie to transfer them to as many Strings as you please , ( by the substitution of a smaller String , instead of a shorter distance ) as you direct , p. 12. l. 9. And from thence to the Finger-board , p. 17. l. 23. p. 19. l. 25. p. 21. l. 17. Nor do I take exception to any of your Numbers herein ; save that I think D with its Octaves ( or the Equivalent upon removing the Key to an higher or lower pitch ) should be tuned somewhat sharper than you direct . And therefore you may , if you please , cause a Mark to be made for it , in each of your Finger-boards , ( as is already done in that at Numb . VIII . ) a little below yours , in such proportion as I have before directed : That so the Practiser may , at his discretion , make use of yours or mine , as his Ear shall direct him . Your Reader also may be advertised , That though your Measures be fitted , on the Plates , ( p. 21. l. 29. ) to a String of 28 Inches ; yet , on the Paper , they may chance to be somewhat less than so : For ( being printed upon wet Paper ) the Measures will shrink , as the Paper dries . And , because ( p. 18. l. 29. ) you do not confine your Artificer to this Method ( of distinct Finger-board ) onely ; you will give me leave to propose another . Which is ( without changing the Finger-board ) to have the Frets , for each String , to slide up and down in a Groove , ( whereby they may be removed from place to place as you please ) with Lines or Marks on the Finger-board ( of several Colours , as Black , White , Red , &c. ) at the place where every Fret is to stand for each Tuning . By help of which , the Practiser may at pleasure set his Frets to any of these Tunings , ( or to any other upon emergent occasion ) with what exactness he please ; as well as in any unfretted Instrument . Nor do we herein depart from the Ancients : For there are manifest places in Ptolomy , that their Frets ( 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 ) were movable , not in Tuning onely , but even in Playing . FINIS . To the Reverend Mr. SALMON . Reverend , I Thank you for the great kindness of your Letter , of which I am altogether undeserving : And as for your good contrivance in the Art of Musick , I wish that the use of the Masters of that Art may not hinder the best Method to obtain . However , you have left a Specimen to Posterity , of what might have been done ; and also by this Present , much obliged , Reverend , Your Humble and Affectionate Servant , E. BERNARD . Oxon. Dec. 15. 1687. A Catalogue of Books , Printed for , and Sold by John Lawrence , at the Angel in the Poultrey , Bookseller . GELL's Remains : being sundry Pious and Learned Notes and Observations on the New Testament , Opening and Explaining it : Wherein JESUS CHRIST , as yesterday , to day , and the same for ever , is Illustrated . By that Learned and Judicious man Dr. R. Gell , late Rector of St. Mary Aldermary , London . In Folio . The History of the Affairs of Europe in this Present Age ; but more particularly of the Republick of Venice . Written in Italian by Battisti Nani , Cavalier and Procurator of St. Mark. Englished by Sir Robert Honeywood , Knight . Folio . The Merchant Royal. A Sermon preached before the King at the Nuptials of an Honourable Lord and his Lady . Quarto . Several Excellent Discourses : viz. 1. Of Purity and Verity . 2. Of Repentance . 3. Of seeking first the Kingdom of God. By that Eminent Divine Hezekiah Burton , D. D. late Rector of Barns near London , and Prebendary of Norwich . Published by the Reverend Doctor Tillotson , Dean of Canterbury . Octavo . The Antiquity of China : or , an Historical Essay , endeavouring a Probability that the Language of the Empire of China is the Primitive Language spoken through the whole World , before the Confusion of Babel . Wherein the Customs and Manners of the Chineans are presented , and Ancient and Modern Authors consulted with . By John Webb of Burleigh in the County of Somerset , Esq Octavo . A Relation of the Invasion and Conquest of Florida by the Spaniards , under the Command of Fernando de Soto . Written in Portuguese by a Gentleman of the Town of Elvas . Now Englished . To which is subjoyned two Journeys of the present Emperour of China into Tartary , in the Years 1682 , and 1683. With some Discoveries made by the Spaniards in the Island of California in the Year 1683. In Octavo . The Life and Actions of the late Renowned Prelate and Souldier Chr. Bernard van Gale , Bishop of Munster , Prince of the holy Empire , &c. In which is an Account of the most considerable Actions of Europe in his time . In Octavo . The Triumphs of Grace : or , the last Words and Edifying Death of the Lady Margaret de la Musse , a Noble French Lady , who died in May 1681 , aged but Sixteen Years . In Twelves . 
A34693	----	Singing of Psalmes a Gospel-ordinance, or, A Treatise wherein are handled these particulars 1. Touching the duty itselfe, 2. Touching the matter to be sung, 3. Touching the singers, 4. Touching the manner of singing / by John Cotton ... Cotton, John, 1584-1652. This text is an enriched version of the TCP digital transcription A34693 of text R37666 in the English Short Title Catalog (Wing C6457). Textual changes and metadata enrichments aim at making the text more computationally tractable, easier to read, and suitable for network-based collaborative curation by amateur and professional end users from many walks of life. The text has been tokenized and linguistically annotated with MorphAdorner. The annotation includes standard spellings that support the display of a text in a standardized format that preserves archaic forms ('loveth', 'seekest'). Textual changes aim at restoring the text the author or stationer meant to publish. This text has not been fully proofread Approx. 179 KB of XML-encoded text transcribed from 38 1-bit group-IV TIFF page images. EarlyPrint Project Evanston,IL, Notre Dame, IN, St. Louis, MO 2017 A34693 Wing C6457 ESTC R37666 16999280 ocm 16999280 105681 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A34693) Transcribed from: (Early English Books Online ; image set 105681) Images scanned from microfilm: (Early English books, 1641-1700 ; 1612:29) Singing of Psalmes a Gospel-ordinance, or, A Treatise wherein are handled these particulars 1. Touching the duty itselfe, 2. Touching the matter to be sung, 3. Touching the singers, 4. Touching the manner of singing / by John Cotton ... Cotton, John, 1584-1652. [2], 72 p. Printed for J.R. ... and H.A. ..., London : 1650. Reproduction of original in the British Library. eng Psalmody. Music in churches. A34693 R37666 (Wing C6457). civilwar no Singing of Psalmes a gospel-ordinance. Or a treatise, wherein are handled these particulars: 1. Touching the duty it selfe. 2. Touching the Cotton, John 1650 33910 92 30 0 0 0 0 36 D The rate of 36 defects per 10,000 words puts this text in the D category of texts with between 35 and 100 defects per 10,000 words. 2004-10 TCP Assigned for keying and markup 2004-12 SPi Global Keyed and coded from ProQuest page images 2005-01 Ben Griffin Sampled and proofread 2005-01 Ben Griffin Text and markup reviewed and edited 2005-04 pfs Batch review (QC) and XML conversion SINGING OF PSALMES A GOSPEL-ORDINANCE . OR A TREATISE , WHEREIN Are handled these Particulars : 1. Touching the Duty it selfe . 2. Touching the Matter to be Sung. 3. Touching the Singers . 4. Touching the manner of Singing . By JOHN COTTON , Teacher of the Church at Boston in New-England . LONDON , Printed for J. R. at the Sunne and Fountaine in Pauls-Church-yard : and H. A. at the Crowne in Popes-Head-Alley . 1650. OF THE SINGING OF PSALMES . CHAP. J. Propounding the severall Questions about it ; and handling the First . TO prevent the godly-minded from making melody to the Lord in Singing his Praises with one accord ( J meane with one heart , and one voyce ) Satan hath mightily bestirred himselfe , to breed a discord in the hearts of some , by filling their heads with foure heads of scruples about the Duty . 1. Touching the Duty it selfe of singing Psalmes with lively voyce , whether there be any such Worship at all now to be allowed and practised in the dayes of the New Testament . ? 2. Touching the matter to be sung , whether Scripture Psalmes penned by David , Asaph , Moses , Solomon , Hezekiah , Habakkuk , Zachary , Simeon , Deborah , Mary , Elizabeth , or the like : Or songs immediately indited by some personall spirituall gift of some Officer , or Member of the Church ? 3. Touching the Singers , If vocall singing may be allowed . Who must Sing ? 1. Whether one for all the rest , the rest onely saying Amen ? or the whole Congregation ? 2. Whether women as well as men , or men alone ? 3. Whether carnall men and Pagans , as well as Church-members and Christians ? 4. Touching the manner of singing ; Whether the Psalme may be sung , either 1. In Meeter Devised ? 2. In Tunes Invented ? 3. In Order , after the Reading of it ? For the first Question , wee lay downe this Conclusion for a Doctrine of Truth ; That singing of Psalmes with a lively voyce , is an holy Duty of Gods Worship now in the dayes of the New Testament . When we say , singing with lively voyce , we suppose none will so farre misconstrue us , as to thinke wee exclude singing with the heart ; For God is a Spirit : and to worship him with the voyce without the Spirit , were but lip-labour ▪ which ( being rested in ) is but lost labour ( Isa. 29.13 . ) or at most , profiteth but little , 1 Tim. 4.8 . But this wee say , As wee are to make melody in our hearts , so with our voyces also . In opposition to this , there be some Anti-psalmists , who doe not acknowledge any singing at all with the voyce in the New Testament , but onely spirituall songs of joy and comfort of the heart in the word of Christ . ¶ 1. Proofe for the Truth . The first proofe for the truth is taken from the Commandement of the Lord by Paul , who instructeth and exhorteth the Ephesians , To speake one to another in Psalmes and Hymnes and spirituall Songs , {non-Roman} {non-Roman} {non-Roman} {non-Roman} {non-Roman} , &c. Ephes. 5.19 . And so in Col. 3.16 . Teaching and admonishing one another in Psalmes , Hymnes , &c. which cannot be done without lively voyce . And so in 1 Cor. 14.15 , 16. The Apostle commandeth the Church of Corinth , that such as sing in the Church , should not onely sing in the Spirit , but with understanding also : that is , not onely with their own understanding ( for all that sung with the Spirit did so ) but with the understanding of the hearers , that so he that occupied the place of the unlearned , might be edified , and say , Amen , at such giving of thankes . Whence it followeth unavoydably , That singing of Psalmes is not onely a making of melody to the Lord with inward grace in the heart , but also with lively and audible voyce , which is the point in Question . Ob●ect . 1. This place in the Corinths maketh nothing to the cause in hand ; For these Corinthian Psalmes , were not the Psalmes of David , nor sung by the whole Congregation , much lesse in Meeter and Tunes devised by men , as ours be ; but they were spirituall songs , immediately inspired and endited by the Holy Ghost , and sung onely by him that received that gift , as the Spirit gave him utterance . Answ. Neither did wee alledge the place , to prove the singing of Davids Psalmes , by the whole Congregation in such like Meeter and Tunes as ours be . These poynts doe all of them belong to the other Questions , which follow to bee handled ( God willing ) ●n their place . But to this purpose we alledge the place , That singing of Psalmes in the New Testament , is to be dispensed in Christian Churches , not onely with inward grace in the heart , making melody to the Lord ; but also with outward audible lively voyce : which is the very point in hand , and which this commandment of the Apostle doth clearely demonstrate . 2. Object . The Apostle to the Ephesians and Colossians , doth not say , Sing one to another in Psalmes , but speake or preach one to another ; or in other word● , Teach and admonish one another , The Psalmes dwelling in their hearts , they were to dispense them in a way of Teaching and Admonishing . But as for singing hee maketh no mention of that , untill he came to teach them the manner of dispensing the words of Christ unto God in the end of the verse . And then indeed hee teacheth them to sing in the Spirit , making melody with grace in the heart unto God . Answ. Such as tremble at the word ( as the framer of this objection professeth himselfe to doe , ) they should rather bow their ●udgements and practise to Scripture and language , then bow the ●ence of Scripture to their owne conceptions against the language of Scripture . It is one thing , to speake one to another in Psalmes , and Hymnes , and spirituall songs , as is done in singing , another thing to preach and teach one another , out of Psalmes , and Hymnes , and spirituall Songs . It is true , they were to Teach and admonish one another out of the Psalmes , and the scope of Paul will reach that . But if Paul had only meant that , to wit , That they should teach and preach one to another out of the Psalmes , he would not have said ▪ Speake yee one to another in Psalmes ▪ or with Psalmes : but out of the Psalmes or from the Psalmes ; for such is the language of the Holy Ghost in expressing such a duty . Paul is said to have expounded , and testified , and perswaded the Jewes out of the Law of Moses , and out of the Prophets , Acts 28.23 . So Philip is said to begin to Preach Jesus to the Eunuch , {non-Roman} {non-Roman} {non-Roman} {non-Roman} {non-Roman} , from that Scripture in Isaiah , or at that Scripture , Act. 8.35 . He did not Preach Jesus to him in speaking that Scripture . Object . If that speaking of the Ephesians one to another in Psalmes , did not hold forth their expounding and preaching in Psalmes one to another , but onely the bare reading or singing the letter of the Psalmes , This were such a service wherein there in nothing of Christ held forth externally . I speake not of the matter of the Psalmes , ( which is full of Christ , as other Scriptures : ) but of the outward manner of dispensing it . There is nothing held forth in the singing of it after the usuall manner , but what nature and art may attaine unto . There is no exercise of any spirituall gift held forth in it , as is in all other administrations , which Christ hath ordained . 2. Besides , as such a singing is not a gift of Christ , so neither doth it tend to the glory of Christ . The Church not edified by it : else a Pagan singing with us , might edifie the Church . 3. From both these , it appeareth , That such singing of Psalmes tendeth to the dishonour of Christ : seeing it holdeth forth externally no more , then what a carnall man ( a man out of Christ ) yea a Pagan might expresse . Answ. 1. Singing of Psalmes holdeth forth as much of Christ externally , as reading of the Word , or as the hearing of it read or preached , or as the falling downe upon our knees in prayer , and saying , Amen , in the end of it . Fot though the Word , when it is publiquely read , ought also to be opened after the reading : yet the very reading of it , is it selfe an Ordinance , and is not without a blessing to the faithfull reader or hearer of it , ●o more then other Ordinances . Or else there would be some Ordinances of God like unto humane Ceremonies , empty and beggarly . Answ. 2. Morall duties , even in Pagans , may edifie the Church , as Abimeleths reproofe of Abraham and Sarah , Gen. 20. Pro. 9 , 10. Answ. 3. Singing of Psalmes is accompanied and blessed of God ( by his grace ) with many gracious effects , above nature or art ; As 1. It allayeth the passions of melancholy and choler , yea and scattereth the furious temptatians of evill spirits , 1 Sam. 16.23 . Whence also is helpeth to asswage enmity , and to restore friendship and favour , as in Saul to David . It was not the sound of Davids Harpe that could have this power , either over the evill spirit , or over the sinfull passions of Saul himselfe , if the sound of the Harpe had not been quickned and enlived , as it were by a spirituall song , and by the Spirit of God breathing therein . 2. Singing of a spirituall song , prepareth to prophecy , by ministring the Spirit , 2 King. 3.15 . Whilest the Minstrell played , the hand of the Lord ( that is , his Spirit ) came upon Elisha : The Minstrells playing , if it had not been accompanied with a spirituall song , it could not have conveyed such a spirituall blessing . In 1 Sam. 10.5 , 6. they could not be said ( as there they be ) to have prophecied with Harpes and Violls , unlesse they had sung some holy songs , together with their playing on Instruments . For Prophecy is an unterance onely of the word of God , and of the things of God contained in it ; which Instruments without voyce cannot doe . Nor had their playing with Instruments been a means of conveying the Spirit to Saul , had not their voyces concurred and sung with their Instruments . 3. Singing of Psalmes honoureth God with our glory , Psal. 108.1 . & Psal. 57. ● , 8. Where Davids glory being distinguished not onely from his Harpe , but from his heart , it cannot fitly be understood of any other member , but his tongue , by which he was wont in singing to glorifie God . Object . These gracious effects and fruits of singing Psalmes ▪ doe plead as much for singing and playing with instruments , as for singing with voyces . Answ. 1. This last effect of singing to the glory of God with our glory , is peculiar onely to singing with our tongues . Answ. 2. Suppose it were true , that these effects of singing Psalmes did plead as much for singing and playing with Instruments , as singing with voyces ; yet evident it is , that singing with voyces had the preheminence ▪ as that which uttering the word of God , did chiefly utter the Spirit of God breathing in it . And withall evident likewise it is , that it is no impeachment to an Ordinance , that the outward dispensing of it may be performed by nature and art : but notwithstanding that , it may be accompanied of God with a spirituall blessing . Answ. 3. Singing with Instruments was typicall , and so a ceremoniall worship , and therefore is ceased . But singing with heart and voyce is a morall worship , such as is written in the hearts of all men by nature : As to pray in distresse , so when we are mercy , and have cause of solemne thankesgiving unto God , then to sing Psalmes , which the Holy Ghost by the Apostle James approveth and sanctifieth , Jam. 5.13 . Or suppose singing with Instruments were not typicall , but onely an externall solemnitie of worship , fitted to the solace of the outward sences of children under age , ( such as the Israelites were under the Old Testament , Gal. 4.1 , 2 , ● . ) yet now in the growne age of the heires of the New Testament , such externall pompous solemnities are ceased , and no externall worship reserved , but such as holdeth forth simplicitie , and gravitie ; nor is any voyce now to be heard in the Church of Christ , but such as is significant and edifying by signification , ( 1 Cor. 14.10 , 11 , 26. ) which the voyce of Instruments is not . Answ. 4. It is an honour to Christ , and to his grace , not onely when we hold forth spirituall gifts , but also when wee performe Christian duties . And duties performed in Faith ( without which prayer it selfe is not accepted ) they goe not without a spirituall blessing , though Nature and Art might performe the same for the outward worke . The Trayling of the weapons of the Israelites , and their Military March , both in silence and shouting , about the walls of Jericho , was no greater worke externally , then carnall men and Pagans might have performed as well as Israelites ; but this being done by Israelites in faith and obedience to Gods command , it was mightie through God to cast downe the high and strong walls of Jericho , Josh. 6.13.14 , 15 , 16 , 20. And the Apostle looking at this and the like Precedents , setteth forth Faith as that which is prevalent and effectuall in both Testaments , howsoever the worke or worship be externall ▪ Heb. 11.30 . In like manner is it with the reading of the Word , and the hearing of it , as also the silent joyning in Prayer , and concluding it with Amen , though all these be such duties as Nature and Art may performe the outward worke of them : yet when the people of God doe performe the same in the faith of Christ , and in the obedience of Gods command , they find a gracious blessing of God . Yea carnall and prophane persons and Pagans , though they cannot expect the like blessing from their empty outside performances ; yet they sometimes taste more sweetnesse and enlargement therein , then flesh and bloud could imagine , 1 Sam. 10.5 , 6. Saul joyning with the Prophets in their holy melody found another Spirit coming on him , which also argueth ( by the way ) that the joyning of prophane and carnall hypocrites in such spirituall songs , doth not evacuate the blessing of God to his people , but rather reach forth some spirituall blessing , ( though common ) to such carnall hypocrites . Object . It may be in the old Testament , such an outward worship as Nature and Art could accomplish , might be allowed and blessed of God : But now in the New Testament , as God is a Spirit , so he alloweth and blesseth no worship , but what is dispensed in Spirit and Truth . Answ. God was a Spirit in the old Testament , as well as in the New ; nor did he then allow and blesse any worship , but what either was performed in Spirit and Truth , or did convey Spirit and Truth . Albeit more externall rites in worship were then appointed ▪ then in the New Testament are now continued ; for which end Christ alledgeth those words in the place in John , to which you allude : But neverthelesse , though Christ have not limited his worship to any certain place now , as then ( which was the point Christ there speaketh to ; ) nor doth he rest in externall performance ; yet evident it is , God hath appointed in these dayes of the Gospel sundry externall worships now as well as then , ( and the same in both Testaments to be performed in Spirit and Truth ; ) as hearing and reading the Word , kneeling in Prayer , and saying ▪ Amen ; All which Nature and Art may performe as well as the singing of Psalmes with vocall melody . CHAP. II. Propounding and clearing the second Proofe for singing Psalmes with lively voyce . THe second Proof is taken from the examples of Christ himself , and of his Saints and Disciples in the New Testament . Christ himselfe with his Disciples sung a Psalme or an Hymne together in the end of the administration of the Lords Supper , Math. 26.30 . And Paul and Silas are said to have sing a Psalme in the Prison , so as the Prisoners heard them , Acts 16.25 . Now if in singing they had onely spiritually rejoyced , and not expressed their joy and their song in audible and lively voyce , the Prisoners could not have heard them . The stranger doth not know nor meddle with the spirituall joy of the heart , Pro. 14.10 . Object . 1. The place in Math. 26.30 . may as well be translated They praysed God , as they sung an Hymne . Answ. Though the meaning be , they praised God , yet the word implyeth , they praised God with an Hymne ; for it is improper in that language to translate the word to Praise ( whether God or man ) but either with a Song , or with a Poeme . I● is more probable , then any reason can wave , that Christ and his Disciples did shut up the Lords Supper with singing one of their Hebrew Psalmes , as the Jewes were wont to shut up their Celebration of the Passeover ( as their own Records tell us ) with singing Psalme 111. with the five other Psalmes next following together . But all that I now intend , is to shew that Christ and his Disciples sang together , and therefore with the voyce as well as the heart . Object . 2. They might be said to sing together , if one alone sing and the rest said Amen , in the close : as men may be said to pray together , where one alone speaketh , and the rest consent . Answ. 1. True : but then one at least speaketh with an audible and lively voyce , though the rest doe not . And that 's enough to cleare the point in hand , that singing in the New Testament , consisteth not onely in making melody with grace in the heart , but also in singing to the Lord with lively voyce . Answ. 2. If the Disciples did not joyne in singing that Hymne , but onely by silent consent , they might as well be said . To have taken the bread , and blessed it , and broken it , and distributed it , ( and so the wine ; ) for all this Christ did with their silent consent . But what Christ did alone is expresly recorded , as done by himselfe : when it cometh to the singing of the Psalme , that is recorded as done by them in the Plurall number , When they had sung an Hymne , they departed into the Mount of Olives : They that departed into the Mount of Olives , they sung the Psalme . Now it was not Christ alone , but the whole eleven Disciples with him that departed into the Mount of Olives . And therefore it was Christ with his Disciples that sung the Psalme together . Object . 3. Against the proofe from Acts 16.25 . It is not said ( say some ) that Paul and Silas sung the Psalmes of David or Asaph , much lesse with Meeter and Tunes devised by men . Had they so done , the Prisoners that heard them might have sung for the outward dispensation such a song of praise to God , as well as they . Answ. Wee doe not alledge this Example of theirs ( as hath been often said in like case before ) to prove they sang any Psalme of David , though it stand with good reason , that they joyning together in singing , did rather sing a Psalme ( or Hymne ) knowne to them both , then any new Song devised by either of them ; But what Psalmes are to be sung is another Question , which ( by the helpe of Christ ) wee shall speake to in the sequell . Neither doe we alledge their Example to prove , they sang in a devised Meeter or Tune . For themselves being Hebrewes , it is likely they sang the Hebrew Songs in the tunes of the Sanctuary , but that also is another Question , of which we are to speake in his place , when wee come to it . All that we gather from this place now , is , no more then the words doe plainly hold forth , that they sung an Hymne to God , not onely with inward melody of grace in their hearts , but also with outward melody of the voyce ; for else the Prisoners could not have heard them . Against this ; it is of no force to object ( as some doe ) that if they had sung any of the Psalmes of David or Asaph with an audible voyce , then the other Prisoners also might have joyned with them , and have worshipped ( externally at least ) as well as they . For the answer is plaine and ready : First , the Prison was in Philippi , a City of Macedonia , consisting partly of a Colony of the Romans , partly of the Grecians : no Jewes at all are mentioned to be Inhabitants there , much lesse Prisoners at that time . And for Pagans to joyne in singing Hebrew Songs ▪ in Hebrew verses and tunes , it seemeth to be farre beyond either their skill , or devotion . Secondly , suppose the Prisoners had been Jewes ( of which there is to hint at all in the Text ▪ ) and suppose those Prisoners hearing the melody of Paul and Silas , and knowing the Song , had joyned in the outward singing of it , and that without any grace in their hearts ( none of all which things appeare in the story ) yet suppose all this ; shall the unbeliefe of those Jewes make the holy worship of these Apostles , and their faith to God , or the faith of God to them , of none effect ? Paul renounceth and abhorreth such carnall reasonings , Rom. 3.3 . CHAP. III. Propounding , and clearing the third Proofe , for singing Psalmes with a lively voyce . A Third proofe of this truth , is taken from the Prophecies of the old Testament , foretelling and perswading such a duty in the New , Isa. 52.8 . with the voyce together shall they sing . And that is foretold of the times , when the feet of the Messengers of glad tydings shal be beautiful , who shall say unto Zion , Thy God reigneth . Which Paul explaineth of the times of the Gospel , Rom. 10.14 . Psal. 100.1 . Make a joyfull noyse unto the Lord all yee Lands : and vers. 2. Come before his presence with singing . All yee lands , implieth the Nations of the Gentiles , as well as of the Jewes ; which pertaineth to the times of the New Testament ; So that now all are exhorted to sing before the presence of God , with a lowd noyse or voyce . So Psal. 95.1 . O come , let us sing unto the Lord : let us make a joyfull noyse to the rock of our salvation . And ver. 2. Let us make a joyfull noyse unto him with Psalmes . Which Psalm the Apostle himself interpreteth to be meant of the times of the Gospel . Which is the more to be observed , because the Psalmist , exhorting to the holy and reverent performance of the ordinary duties of the Sabbath ▪ he mentioneth first thankesgiving in singing of Psalmes with a loud voyce , and the Reasons thereof , vers. 1. to 5. And then solemne Prayer with the reasons thereof , vers. 6 , 7. and then faithfull attention to the preaching of the Word on that day , not hardning their hearts against it , through unbeliefe , in the end of ver. 7. and vers. 8. to 11. To day if yee will heare his voyce harden not your hearts . And this day , the Apostle interpreteth to be meant not of the 7.th day of rest from the Creation ; nor of the day of rest , wherein Joshua gave the people inheritance and rest in Canaan ; but of the day of rest in the New Testament , Heb. 4.3 , to 9. Whence the Apostle inferreth , That there is remaining to us another Sabbatisme , or day of rest , now in the dayes of the Gospel , different from the seventh day of rest , kept in regard of Gods rest from the Creation , and different from the day of rest in Joshuahs time : but the day of rest remaining to us , he declareth to be that day wherein the Lord Jesus entred into his rest . And that was our Lords day , which David ( so long before ) foretold should be celebrated with solemne Prayer , preaching and hearing the Word , and singing of Psalmes , and that with a joyfull noyse . Object . 1. Though David exhorteth all Lands to sing to the Lord with a loud noyse , it doth not appeare wee should make such a manner of loud noyse , as our forme of singing is , no more then such a loud noyse , as was made in Davids dayes , with ten stringed Instruments ; for so the Lord was to be praised . I doe acknowledge from these Texts , That it is the duty of all those who are called to the knowledge of the Truth , when they doe come before the Lord , not to come before him with sorrow and sadnesse , and with a dejected spirit , but with a singing ; or else , they dishonour the Lord Jesus , the spirituall chiefe singer , author of their new Song . But although this prophecy doth foretell of the joyfull approaching of the spirituall worshippers before the Lord ; yet it bindeth them no more to make such a noyse , as the singing booke teacheth , then the trees are to clap their hands , as Isaiah prophecieth ; or as the new Converts are bound to come with externall singing , when they come to joyn themselves with the Church , Isai. 51.11 . And as for such a manner of noyse , as is made in our mixed Assemblies , the Psalme speaketh nothing to it . Answ. The manner of noyse which is made by singing in our Assemblies , it pertaineth not to the present Question in hand : and therefore we referre it to the sequell . The Question now is , whether in the dayes of the New Testament , we are to sing the praises of God , with a loud voyse , or noyce . And for this we alledge , beside the Text in Isaiah , the Prophecies of David , who foretelleth , and exhorteth all Lands ( at least the Churches and people of God in all lands ) To make a joyfull noyse unto the Lord , to make a joyfull noyse unto him with Psalmes , to come before his presence with singing ▪ Psal. 100.1 , 2. & Psal. 95.1 , 2. Yea but this bindeth us no more to make such a manner of loud noyse , as our forme of singing is , then to make such a loud noyse , as was made in Davids dayes , with ten stringed Instruments ; for so the Lord was to be praised . Answ. So the Lord was to be praised ? Praised with ten stringed Instruments : When was he so to be praised ? In Davids dayes ? True : And therefore it was the dutie of all the people in any land , that became Proselytes to the Church of Israel in the dayes of David , and during all the time of the Temple worship , to come before the Lord , not onely with the loud noyse of singing Psalmes , but of playing with Instruments . But after the dayes , not onely of David , but of the Temple , and that worship be past , in the day when our Jehovah ( the Lord Jesus ) hath entred into his rest , in the day of our Lord , when he commandeth us not to harden our hearts , but to heare his voyce , to fall downe and worship before him in prayer , ( both which are to be performed every Lords day ) he then commandeth us to come and sing unto the Lord , to make a joyfull noyse to the rock of our salvation , and to make a joyfull noyse unto him with Psalmes , Psal. 95.1 , 2. Here is now no mention of making a joyfull noyse with Instruments , but with Psalmes . And therefore the making a joyfull noyse with Psalmes doth still continue , even on our Lords dayes : when making a joyfull noyse with Instruments continueth not , but is laid downe in silence : save onely so farre as it is kept alive in the antitype , the affections of our hearts ( our Praecordia ) making melody with the songs and professions of our lips , and with the gracious and peaceable conversation of our lives . When you acknowledge it to be the dutie of such as are called to the knowledge of the Truth , to come before the Lord , not with sorrow and sadnesse , and with a dejected spirit , but with singing . What singing doe you meane ? If you meane onely the gracious rejoycing of the heart , that indeed , though it be requisite to avoyd hypocrisie , yet it is not compleate to reach the full extent of the dutie , the dutie of making a joyfull noyse with Psalmes . Our chiefe Singer ( of whom you speake , ) when he set the Lord , and his own death and resurrection before his , face , ( which he was to undergoe for our sakes ) he was not onely glad in his heart , but his glory also ( that is , his tongue ) rejoyced in singing a Psalme at his last Supper , Psal. 16.8 , 9. with Math. 26.30 . And therefore it will be a discord from the practise of our chiefe Singer , and so a dishonour to him , if our hearts sing with joy , but our glory ( to wit , our tongues ) be mute with silence . Say not then , as you doe ; We are no more bound to make a loud noyse with our voyces , then the trees are to clap their hands , ( as Isaiah prophecieth ) or then the new Converts were to come with externall singing of Psalmes Isai. 51.11 . For in so saying , you will not avoyde the authoritie of the Commandement , nor the necessitie of that dutie of singing . For when God redeemed his people out of the Captivitie of Babel , not onely their hearts ( the hearts of them who were returning to Zion ) were filled with rejoycing , but even their tongues also with singing , Psal. 126.1 , 2. And though the Trees cannot be said in proper speech to clap their hands , ( for they have no hands to clap ) yet common sense will easily tell you , that there is a Mataphor either in clapping of hands , or in the trees . If trees be taken properly , then clapping of hands is put ( by a Metaphor ) for the flourishing fruitfulnesse of the trees of the field , which ( by the blessing of God ) is wont to follow the prosperitie of the Church , in such aboundance , that their boughes and branches shall clap and dash themselves and their fruite one upon another , whereby ( as by hands ) they reach forth refreshing and food to the children of the Church . But if Trees be put by a Metaphor for trees of righteousnesse , ( as the Saints are so called , Isa. 61 , 3. ) then they shall clap their hands , and shout for joy ▪ and sing aloud , ( expressing externall signes of comfort ) to behold and consider the wonderfull goodnesse of the Lord , to themselves and their brethren . And so in the same verse , Isai. 55.12 . when the Mountaines and hills are said to break forth before the Saints into singing , if there be not a Metaphor in singing then Mountaines and hills are put ( by a Metaphor ) for Princes and men of high degree , ( as Psal. 72.3 . ) which shall give example to others in holy rejoycing , and particularly in singing praises to the Lord . So that these Texts in Isaiah , which you thought might excuse you from singing with the voyce , ( which David exhorted to be done with a loud voyce ) they will not exempt you at all from this duty , but rather bind you the stronger to it . And therefore looke as when David saith ; I cryed to the Lord with my voyce , ( Psal. 3 , 4. & 77.1 . ) a man shall detract from his meaning , that shall say , he cryed onely to God with his heart : So when David exhorteth the Gentile Churches to make a joyfull noyse unto God with Psalmes ; you doe detract in like sort from his meaning , when you make his meaning to be , not that wee should sing unto God with our voyces , but that we should onely make melody to him , with grace in our hearts . Such detracting from the Word is alike disallowed , and accursed of God , as is adding to the Word . Object . 2. Singing of Psalmes with the voyce , is but a type of singing Psalmes with grace in the heart . Answ. 1. No Scripture speaketh of it as a type : nor doth any evidence of reason so declare it . 2. You might as well say , that Praying with the voyce was a type of praying with the heart , and so is now abolished . 3 , If singing of Psalmes with a loud noyse , had been a typicall worship , David would not have exhorted us to the practise of it on the Lords day of the New Testament , Psal. 95.1 , 2.7 . 4. Christ and his Apostles would not have used it in the Lords Supper , which is a feast of the New Testament , Mat. 26.30 . nor would Paul and Silas have used it in prison among the Gentiles , Acts 16.25 . 5. The light of Nature , which is never wont to teach us types and shadows , doth as well teach us to praise God in singing with our tongues , in times of our rejoycing , as to cry to God with our voyces in times of our distresses . CHAP. IV. Propounding the second Question , Stating it , and Prooving it . THe second Question about singing of Psalmes , concerneth the matter of the Psalmes to be sung ; for there be some who doe not scruple singing with the voyce ( as the former sort did ) but singing of the Psalmes of David now in these dayes of the New Testament . As conceiving Davids Psalmes were penned for Temple worship , during the Paedagogy of the old Testament . But now in the dayes of the New Testament , when God hath promised to powre out his Spirit upon all flesh , now the whole worship of God should be carried on , not by set formes of Psalmes , ( no more then by set formes of Prayer ) b●t by personall spirituall gifts , whereby some one or other of the members of the Church , having received a Psalme by the enditement of the Spirit , he singeth it openly in the publique Assembly of the Church , and the rest of the Brethren say Amen to it in the close . But touching the persons of those who should sing it pertaineth to the third Question . This second Question chiefly concerneth the matter to be sung , whether the Psalmes of David , or some Psalme or Hymne , endited by the personall gift of this or that member of the Church . Wherein we hold and beleeve ; 1. That not onely the Psalmes of David , but any other spirituall Songs recorded in Scripture , may lawfully be sung in Christian Churches , as the song of Moses , and Asaph , Heman and ●than , Solomon and Hezekiah , Habacuck and Zachary , Hannah and Deborah , Mary and Elizabeth , and the like . 2. Wee grant also , that any private Christian , who hath a gift to frame a spirituall Song , may both frame it , and sing it privately , for his own private comfort , and remembrance of some speciall benefit , or deliverance : Nor doe we forbid the private use of an Instrument of Musick therewithall ; So that attention to the Instrument , doe not divert the heart from attention to the matter of the Song . Neither doe we deny , but that in the publique thankesgivings of the Church , if the Lord should furnish any of the members of the Church with a Spirituall gift to compose a Psalme upon any speciall occasion , hee may lawfully be allowed to sing it before the Church , and the rest hearing it , and approving it , may goe along with him in Spirit , and say Amen to it . When Christ ascended up on high , to sit upon his throne of glory , looke as Princes are wont to doe in the day of their Coronation , [ Spargere Missilia & Donaria ] so did he powre out his gifts abundantly on all sorts , gifts of Miracles , Healing , Tongues , Psalmes . And the Churches were willing , when they saw such speciall gifts of the Spirit powred out to make use of them , as occasion served . Whence it was , that sundry of the members of the Church of Corinth , as they had received a gift of Psalmes and tongues from the Lord Jesus , so they had allowance from the Church ●o imploy their gifts to the publique edification of the Church . But as such gifts now are not ordinarily bestowed , ( which were at first given chiefly for admiration and conviction of Infidels , 1 Cor. 14.22 . ) so we would not call upon men now , to preferre their ordinary common gift , as more fit for the publique edifying of the Church , before the extraordinary gifts of the holy men of God in Scripture , who by the Spirit were guided to prepare spirituall songs ▪ suitable to all the conditions and affections and temptations of the Church and people of God in all ages . So then the Question is , whether the Psalmes of David , and Asaph , and such other Hymnes and spirituall Songs endited by the Prophets , and recorded in Scripture , be appointed by God , to be ordinarily sung in Christian Churches , or whether laying aside Scripture-Songs , we are to sing onely such spirituall Songs , as shall be endited by the personall ( but ordinary ) gifts of any ordinary Officer or member of the Church ? The former wee hold to be the Truth , others the latter . The Reasons of our Faith and Practise , are these : 1. Taken from the Commandement , or exhortation of the Apostle , Ephes. 5.19 . Be you filled with the Spirit ( saith he ) speaking to your selves ( that is , one to another ) in Psalmes and Hymnes and spiritual Songs , singing and making melody in your harts to the Lord . To the like purpose is his Cōmandement and exhortation to the Colossians ▪ Chap. 3. ver. 16. Let the word of Christ dwell in you richly , in all wisdome , teaching and admonishing one another , in Psalmes and Hymnes and spirituall Songs , singing with grace in your hearts to the Lord . In both which places , as the Apostle exhorteth us to singing so he instructeth us what the matter of our Song should be , to wit ▪ Psalmes , Hymnes ▪ and spirituall Songs ; Now those three be the very Titles of the Songs of David , as they are delivered to us by the Holy Ghost himselfe : some of them are called {non-Roman} {non-Roman} {non-Roman} {non-Roman} {non-Roman} that is Psalmes ▪ some {non-Roman} {non-Roman} {non-Roman} {non-Roman} {non-Roman} that is ▪ Hymnes ; some {non-Roman} {non-Roman} {non-Roman} {non-Roman} {non-Roman} that is , Songs spirituall ●ongs . Now what reason can be given why the Apostle should direct us in our singing to the very titles of Davids Psalmes , if it were not his meaning that we should sing them ? Yea , either we must exclude the Psalmes of David , from the name of Psalmes , and Hymnes , and spirituall Songs ; or else we must be forced to acknowledge , that we are exhorted to sing them , as well as any other . CHAP. V. BEfore we proceed to any further Reasons of the point , let us first ( by the helpe of Christ ) cleare the Objections against this . The Objections are many , and some of them seeme more weighty , and some more light : let us unpartially and evenly ( by the Lords guidance ) weigh them all in the Ballance of the Sanctuary . Object . 1. If Paul had meant Davids Psalmes , or Scripture-songs , it had been an easie matter to have named Davids Psalmes , or Scripture-songs , as David himselfe named his songs , the Psalmes or Songs of David , when he delivered them to the chiefe Musitian , and to his company to be sung . Answ. 1. It may as justly be said , if Paul had meant to exclude Davids Psalmes , or Scripture-songs , it had been as easie to have excluded them by name , and to have limited them onely to such Psalmes and Songs , as the Spirit should suggest unto their hearts . Answ. 2. The Apostle expresly nameth Psalmes , and Hymnes , and spirituall Songs , and they three are the very expresse Titles of the Psalmes in the Psalme-Booke . Now why he should direct them to the very Titles of Davids Psalmes & yet not meane the Psalmes , that beare those Titles , can a good conscience give a good reason for it ? Answ. 2. When David gave his Psalmes and Songs to the Musitians in Israel , it was meete he should set his name to them , or by some other marke make it appeare , that the Psalmes were inspired and delivered by a Prophet of God . But after the Book of Psalmes was generally knowne and received to be of divine inspiration , ( as other Oracles of God ) the Psalmes are as usually alledged in the New Testament , without the name of David , as with it , Luk. 24 44. Asts 13.33 . Object . 2. The Psalmes here committed to the spirituall Singers to be sung , are the words of Christ , which are to dwell richly in us , Col. 3.16 . But the Psalmes dedicated to the sonnes of Corah , were the words of David and Asaph . And so the Holy Ghost calleth them . Not but that the words spoken by the mouth of David and Asaph , where the words of Christ , but that the words which are to be the spirituall songs of the Saints , wherein they are to teach one another , and to sing unto God , they are words spoken to the heart , by the voyce of the Spirit of Christ . Besides , the word of Christ , is properly the Gospel , by way of eminency , in way of opposition to the Law , given by Moses . Answ. 1. The words of David and Asaph , as they were the words of Chtist in the mouth of David and Asaph : so they were the words of Christ also in the mouths of the sonnes of Corah , or any other Singers in the Temple . If any of them did not sing them with the Spirit of Christ as well as David and Asaph spake , and penned them by the Spirit of Christ , it was a sinfull defect in them , but not in the word it selfe ▪ nor in the godly Singers of the Temple , ( such as Heman , and Jeduthun , and others ) who were spirituall , and holy men , and sang them with melody in their hearts , as well as in their voyces . And it will be alike sinfull defect in the New Testament , in such as sing the Psalmes of David , to sing them without some measure of the Spirit of David . For the Apostle expresly requireth , that wee should sing with grace in our hearts . But if the words of David and Asaph , be the words of Christ , and be sung of the Church , with grace in the heart , wee demand whether this act of the Church be not an act of Faith , and of the obedeince of Faith to the word of Christ , in that Text of the Appostle ? Answ. 2. It is an unsafe and unsavoury expression , to speake of the words of David and Asaph , as if they were onely the words of Christ in the mouths of spirituall Singers . For if they were not the words of Christ in the mouths of carnall Singers also , then the holy Scriptures were not the word of Christ , if they be read by a carnall reader . So the unbeliefe of man sh●ll make the faith of God of none effect ; yea the word of God , not to be the word of God . Answ. 3. Let it be considered in the feare of God , whether the words of David and Asaph , sung with grace in the heart unto God , be not as truly and properly ( in the Apostles sence ) the word of Christ , as any Song endited by the private gift of any Saint of God now living ? If so , then the Apostle encourageth us to sing the Psalmes of David and Asaph with their Spirit : If not , then there be Christians now , that are carried by a more infallible Spirit , then the Prophets were in old time . And yet Paul speaketh of the Saints now , as led by the Spirt of God , Rom. 8.14 . But Peter speaketh of the Prophets then , as carried ( {non-Roman} {non-Roman} {non-Roman} {non-Roman} {non-Roman} ) by the Holy Ghost , 2 Pet. 1.21 . Which putteth this difference , that such as are led by the Spirit may erre ; but such as are carried by the Spirit , are carried and lifted above themselves by the Holy Ghost , and cannot erre : and so was David and Asaph . 4. Though the words of Christ be the Gospel , yet the words of David are not to be shut out of the Gospel ; for the Gospel was preached to Israel , when David and the other Prophets were preached , yea and some parts of Moses also , Heb. 4.2 . Joh. 5.46 . Object . 3. But if the Apostle had intended to commend to the Churches the singing of the Psalmes and Hymnes and spirituall Songs of David and Asaph , what need was there for him to exhort either the Ephesians to be filled with the Spirit , or the Colossians , to have the word of Christ dwell richly in them , for such a service ? For any small measure of the Spirit , and of the Word , will suffice to sing the Psalmes of David and Asaph , in their words , and in the meeter and tunes accustomed . But to invent new spirituall Songs , fit to teach and admonish the Church , would require a full measure of the Spirit , and a rich treasure of the word to dwell in us . And therefore Paul biddeth the Ephesians , to be filled with the Spirit , in singing the spirituall songs of the New Testament , as drunkards are filled with wine , and in the strength and spirits of their wine , invent and sing their wanton Sonnets . Answ. 1. Paul did exhort them to be filled with the Spirit , as drunkards be with wine , not that they might invent , and sing spirituall Songs , as drunkards doe wanton Sonnets ; for neither doe drunkards filled with wine , usually invent Sonnets , but sing such as they learned before , when they were sober ; nor doth the Apostle speake of inventing Songs at all , either wanton Songs by drunkards , or spirituall Songs by the faithfull ; but onely to be filled with the Spirit , as drunkards be with wine , that so they might avoyd the riotous and excessive mirth of Drunkards , and employ and improve their holy mirth and joy , to the singing Psalmes and Hymnes and spirituall Songs , for their own mutuall edification and consolation , and for holy thankesgiving and praise unto the Lord . Answ. 2. Though it doe not require such a full measure of the Spirit , nor rich portion of the Word dwelling in us , to sing a Psalme invented and penned to our hands : yet a full and rich measure of the Word and Spirit will be needfull to performe all those duties , which the Apostle in those Texts calleth for . For the Apostle calleth to the improvement , as of the whole word of Christ ▪ unto the teaching and admonishing of one another , so of the Psalmes , not onely unto those two heads , but also besides those , unto a further third end , to wit , unto the singing of them unto Gods praise . Now to be able to improve the whole word of God to these two spirituall ends , and the Psalmes to all those three spirituall ends doth require a full and rich measure both of Spirit and Word to dwell in us . Answ. 3. It will require a full and rich measure both of Word and Spirit to dwell in us , to direct and appoint a fit Psalme , ( out of the Booke of Psalmes ) suitable to the present occasions of singing to Gods praise , and to the instruction and admonition of the Church , according to the present estate of their affections , or afflictions , their consolation , or conversation in hand . Answ. 4. It will require a fuller and richer measure of the Word and Spirit to dwell in us , then a carnall heart would imagine even to utter a Song with such grace in the heart , as might make melody to the Lord ; It requires a good measure of the indwelling Spirit , and word of God to pray in the Spirit ; but much more to sing in the Spirit , wherein our senses delighted with the melody are apt to steale away our hearts from spirituall fervency . Deborah found her heart dull to be awakened , so much as to utter the song , which shee had prepared by the Spirit for her and Barak to sing together , Judg. 5.12 . Awake , Awake , ( saith shee ) Awake , Awake Deborah , utter a song , that fourefold ingemination , Awake , Awake , Awake , Awake , utter a song , argueth in the best of Gods servants , a deepe drowsinesse of spirit , when wee should come to utter a spirituall Song spiritually : like as that fourfold ingemination to the Church of Hierusalem , to Returne , Returne , Returne , Returne , Cant. 6.13 . argueth a deepe and strong aversenesse of the Spirit of the Jewes unto Conversion , and returning to the Lord . Object . 4. The Apostle calleth the whole word of Christ dwelling in us , Psalmes and Hymnes and spirituall Songs , neither doth he limit us to one Prophet more then to another , unlesse you will say , that the words of Christ in the Gospel ▪ or which was prophecied by the rest of the Prophets , were not spirituall songs ; But the Apostle calleth them all Psalmes and Hymnes and spirituall Songs , as well as Davids , if they dwell in the heart . For the words of Christ there , ( to wit , in the heart ) are songs for the Spirit , or else they are no songs to any man . Therefore as yet , to sing the Prophecies of David after our common manner , is no worship commanded or taught us in holy Writ . Answ. 1. It is a groundlesse Assertion to say , that Paul calleth the whole word of God dwelling in us , Psalmes and Hymnes and spirituall Songs . For why then should the Holy Ghost give that style and Title of Psalmes and Hymnes and spirituall Songs onely to the Booke of Psalmes , and to none else of all of the Bookes of the Prophets or Apostles . Againe , if Paul called the words of all the Prophets , Psalmes and Hymnes and spirituall Songs , why then did not the Prophets in their own language pen them with musicall accents , as well as the Psalmes of David and Asaph ? Besides , if the words of all the Prophets were spirituall Songs , why then did the Prophets themselves finde the Bookes of their own Prophecies bitter in their bellies ? Rev. 10.10 . There be many words of the Prophets , that are more fit matter for humiliation and mourning before the Lord , then fit to be sung as spirituall songs●nto the Lord . But suppose there be many words of Christ , and of his Prophets , that are fit matter for spirituall re●oycing ( as indeed all the Doctrines and promises of Grace be ) yet what warrant have wee to sing them , as in some Cathedrall Churches and Colledges , the Bible-Clerks doe sing their Chapters out of the old and New Testament ? Answ. 2. Whether the words of Christ in the Gospel , or in the Prophets , be spirituall Songs or no , yet if the Psalmes of David be also the words of Christ , if they likewise dwell in our hearts , and if they be spirituall Songs too , then it will unavoydably follow , That the same word of the Apostle that commandeth us to sing Psalmes and Hymnes and spirituall Songs , commandeth us also to sing the Psalmes of David and Asaph unto the Lord , unlesse you will say that the Psalmes of David and Asaph , ( though dwelling in the heart , ) are neither Psalmes , nor Hymnes , nor spirituall Songs , howsoever the Holy Ghost entitle them by such names . How then can you say , that to sing the Prophecies of David , doth not yet appeare to be a worship of God commanded or taught in holy writ ? As for our common manner of singing of them , wee shall have occasion to speake to that hereafter . Object . 5. Davids Psalmes considered , not as Scriptures divinely inspired , but as spirituall Songs seeme to be appropriated to the Temple-worship . 1. Because they are appointed to be sung by proper Officers and Musicall Instruments , belonging to the Temple , as appeareth by the Titles of severall Psalmes . 2. Because neither Christ , nor the Apostles in their writings used them at all , otherwise then as the other writings of Moses , and the Prophets , for instruction and illustration , teaching us how to use the same . Those Psalmes therefore as Songs , being proper to that service of the Temple , are abolished with the Temple worship . Answ. 1. Both these Reasons are too slender to confine Davids Psalmes to Temple-worship . For 1. Though some of Davids Psalmes were appointed to be sung by the Officers and Musicall Instruments of the Temple , yet not above one part of three , considering the length of the 119. Psalme . There be an hundred and fiftie Psalmes in all , and of all these not above 57. are appointed to be sung by the Officers and Instruments of the Temple : and Psalme 119. is none of them ; so that two parts of three are free from any expresse reference to the Temple . 2. The matter of some Psalmes doth evidently argue , they were not appointed to be sung alwayes in the Temple ; or at least did agree more properly to other times then those , wherein the Temple stood . The 74th Psalme ( which was a Psalme of Asaph , but joyned with the Psalmes of David ) complained that the enemies had sent Gods Sanctuary into the fire , ( as the Hebrew words be ) and had defiled by casting downe the dwelling place of hir Name to the ground , ver. 7. The 44th Psalme , though it was committed to the sonnes of Corah , yet surely it was chiefly intended ( as Paul applieth part of it ) to the times of the New Testament ; For I suppose it could never be verified of any times of the Jewish Temple , ( first , or second ) that ever God gave up the people of Israel as sheepe for meate , to be killed all the day , to be appointed for the slaughter to be sore broken in the place of Dragons , and covered with the shadow of death , when as yet though all this evill was come upon them , they had not forgotten their God , nor dealt falsly in his Covenant ; nor their hearts turned backe , nor their steps declined from his way ▪ ver. ●7 . to 23. Paul indeed acknowledgeth this very word to be accomplished in the Saints of the Primitive Churches in the Apostles times , ( Rom. 8.36 . ) but where shall wee finde the like innocency , with the like calamitie met together in the children of Israel , whilest the Temple was standing ? And is it credible , the Psalme was confined to be sung in the Temple , where they could not sing it , but with a sad reproofe to themselves for their discord in practise , and yet forbidden to be sung in the Churches of the New Testament , where ( in some ages at least ) they might sing it , both with heart , and voyce , and practise , all of them keeping holy concent and harmony together ? 3. It appeareth by the Titles of such Psalmes as are directed to the Officers and Instruments of the Temple-Musick , That there was something typicall or rudimentall in the manner of singing some of the Psalmes of David and Asaph in the Temple-worship . But this doth no more argue , that the whole service of God in singing Davids Psalmes was typicall or rudimentall , then it will argue prayer to be a typicall and Temple worship , because prayer in the Temple was offered with Incense , and so with the Temple and with the Incense to be abolished . He that will make the Psalmes of David ( as they are songs ) to be types of the spirituall songs of the New Testament , and therefore now the singing of them to be abolished . He might as well say ( with Mr. Smith ) that the Letters in the Scriptures of the old Testament , were typicall , ( typing out the Law written in our hear●s ) and so abolish all reading of the holy Scriptures now in the dayes of the New Testament . 4. As it hath been shewed above , that singing of Psalmes with lively voyce , is not a ceremoniall but a morall dutie , and so continueth now in the dayes of the New Testament ; so it may be as truly said , that the singing of Davids Psalmes , and other Scripture-songs , is in like sort not a ceremoniall but a morall dutie ; and so of like continuance in the New Testament . The Psalmes of David , and Asaph , and the rest , are as full of holy and lively , spirituall , and evangelicall meditations , and affections , Instruments , prayers , and praises , as any that we can expect to be endited by any Officer or member of the Christian Churches now . Yea it is to be feared that the Psalmes compiled by the devoutest Christians now , would fall short of those of David and Asaph , in spirit and life . How then can we make the Psalmes of David and Asaph ceremoniall types of the spirituall songs of the faithfull in the New Testament , when as types are wont to be more carnall , and worldly , and literall , and lesse spirituall and lively , then the antitypes ? But here the anti-types are lesse spirituall and lively then the types . 5. As for that other Reason taken from the practise of Christ , and his Apostles , who in their writings never used the Psalmes of David for spirituall songs as the writings of Moses & other Prophets for instruction and illustration ; this is of as small force as the former . For 1. Writings are not a place or season for the use of spirituall songs . Psalmes are to be used for songs in Church Assemblies , and private Soliloques and Conferences , not in Writings : And yet so farre as Psalmes may be used for songs in writing , Paul so used them in his Epistles written to the Ephesians and Colossians , where he ●nstructeth both Churches , ●nd in them all others to sing these Psalmes and Hymnes and spirituall Songs . Amongst which these Psalmes of David and Asaph , if the● be not principally intended , yet surely they are plainly included ▪ or else they are neither the word of Christ , nor are they Psalmes and Hymnes and spirituall Songs . 2. It is not credible , that Christ never used the Psalmes of David and Asaph for spirituall Songs . For the use of those Psalmes for Songs , was doubtlesse a part of Gods worship whilest the Temple stood . And if Christ had neglected any part of that worship ▪ which was then in force , how then did himselfe say , That it became him to fulfill all righteousnesse ? Mat. 3.15 . Besides , many things Jesus did and said ( and so did the Apostles ) which are not written in the Gospel nor Acts nor Epistles , Joh. 21.25 . And yet this is said , that he with his Disciples sung an Hymne , Mat. 26.30 . And Hymnes is the generall title for the whole Booke of Psalmes ; For though it be translated , The Booke of Psalmes , yet every one that knoweth that language , knoweth the word is , The Booke of Hymnes : So that looke , as when in ordinary speech we say , They sung a Psalme , we meane one of the Psalmes of David or Asaph , ( unlesse some other be named ) because such are wont to be sung in ordinary use ; So when the Evangelists say , Christ and his Disciples sung an Hymne , the people of God would not easily understand any other but one or more of Davids Hymnes , because such were wont to be the ordinary songs used in the worship of God . And surely if Christ and his Disciples had sung any other Hymne , then one of these Psalmes of David and Asaph , which were wont to be sung in their Temples and Synag●gues , the Evangelists who are wont to record farre lesse matters in things which pertaine to Gods worship , they would not have omitted the substituting of an Hymne endited for this speciall occasion , in stead of the Hymnes wont to be sung in the end of the Passeover . The like may be said of Paul and Silas , who are recorded ( Acts 16.25 . ) to have sung an Hymne to God , ( for so is the word ; ) where common understanding would take it for one or more of the Hymnes of David or Asaph , and not any other new invented spirituall song , unlesse some hint in the Text might carry us from the ordinary meaning and use of the word amongst the people of God . Ob●ect . 6. Wee are called upon by David himselfe to sing New Songs , Psal. 96.1 . and oft elsewhere , and such as had gifts then used them for enditing and singing new songs , as Asaph , Heman , Ethan &c. The foure Beasts , Rev. 5.9 . and the 144000 followers of the Lambe d●d sing a new Song ; as did they also , who had gotten victory over the beast , Rev. 15.3.4 . Answ. 1. There is no estate and condition that ever befell the Church and people of God , or can befall them but the Holy Ghost , as he did fore-see the same ▪ so he hath provided and recorded some Scripture-Psalme , suitable thereunto . And these Psalmes being cho●en out suitably to the new occasions and new conditions of Gods people , and sung by them with new hearts and renewed affections , will ever be found new songs . Words of eternall truth and grace , are ever old ( as the Gospel is an eternall Gospel ) and ever new ; as the commandement of love is a new commandement as well as old . As to the new Creature all things are become new , 2 Cor. 5.17 , 18. Daily mercies are to him new mercies , Lam. 3.23 . &c. Duties of Humiliation , which have been of ancient practise in the Church , are to him , as New wine . But to an old and carnall heart , that lieth under the state of vanitie and corruption of nature , there is nothing new , no new thing under the Sun , Eccles. 1.9 . 2. Davids exhortation to sing a New Song , pertained to them in the old Testament , as well as to us in the New . And yet they upon new occasions sang the old Songs of David , and that with , acceptance , 2 Chron. 5.13 . 2 Chron. 20.21 . Ezra 3.11 . 3. Asaph , Heman , and E●han , were men indued with an infallible measure of a Spirit of Prophecy , in enditing those Psalmes , which the Church of Israel received from them . Give us the like men with the like gifts , and we shall receive and sing their Psalmes , as the Church of Israel did the other . 4. The places objected out of the Revelation , admit a further answer , though the former might serve ; the new Song mentioned Rev. 5.9 , 10. may either be understood metonymically for a Donology or Thankesgiving , which the Saints in the Church should give to Christ upon occasion of his revealing a cleare exposition of the Revelation ; or else , if it be understood literally , that they sang that very song , as it is there penned by the Holy Ghost , then it appeareth , that at such a time that Song shall be translated into Number & Meeter , fit to be sung , and shall be sung by the Church , when they shall see such a cleare exposition of the Revelation come to light , as shall provoke them to give glory to Christ , who hath received power to open the booke , and by the same Power hath redeemed his people , and called them to be Kings and Priests unto God his Father . And thus , this place onely sheweth , that it will ●e lawfull to sing other Songs , besides those of David and Asaph : but yet such onely , as are penned by an infallible Spirit ; or else upon speciall occasion , by men of spirituall gifts , which wee deny not . The Song of the 144000. followers of the Lambe , it is not expresly said to be a New Song , but as it were a New Song , Rev. 14.3 . New to them who had been wont to heare the worshippers of the Beast to sing and rejoyce in their own merits , and superstitious devotions : And new also in respect of the renewed affections , wherewith they sang it : But yet the same ancient Song which the sheepe and Saints of Christ , were wont to sing , even in Davids time , of the righteousnesse of Christ , even of his onely , and of their owne blessednesse in his not imputing their sinnes to them . Thus Davids Psalmes in the spirituall use and sence of them are new Songs , or as it were New Songs , to this day , unto all that are renewed by grace , to looke for their righteousnesse in Christ , and not in the works of the Law ; for which David was wont to sing , no flesh living could be justified by them . And though it be said , That no man could learne that Song , but the 144000. who were redeemed from the earth ; yet it is not meant of the words and sentences of the Song , but of the spirituall sence and use of the Song , which no man indeed can learne , but they that have felt the grace and power of their Redemption by the Lord Jesus . As no man knoweth the new Name , but they that have received it , Revel. 2.17 . The Song of those who had gotten victory over the beast , ( Rev. 15. ) is said to be the Song of Moses and of the Lambe , ver. 3. And surely the matter of Moses Song , ( Exod. 15. ) might justly yeeld fit matter for the like Doxology ( or thankesgiving ) upon the like occasion : As the like did fall out in the yeare 88. Rome being spirituall Aegypt , Rev. 11.8 . And the Pope with his Prelates resembling Pharaoh with his Task-masters , and the Spanish Armado marching forth with the like pride and fury , to bring us backe to the Aegyptian bondage ; and the Redemption from them all being alike miraculous ; upon which miraculous deliverance , not onely the matter of Moses Song , but the very words also were then fitly used , and still may be for a spirituall Song of thankesgiving unto the Lord , both for that and the like deliverances . And as for the Song of the Lambe , which those that had victory over the Beast did sing surely all those Songs of David , which celebrate either his own deliverances from Saul , or the deliverance of the Church from Aegypt , or Babylon , or from other enemies , may justly own and beare that Title . For when David acknowledgeth and professeth , that in his Songs , the Spirit of the Lord spake by him , and that his word was in his tongue , ( 2 Sam. 23.2 . ) What Spirit of the Lord was that , but the Spirit of the Lord Jesus ? And what are then such Songs , but the Songs of the Lambe , through whose Redemption the Church and Saints enjoy all their deliverances ? And surely , the Song of the Lambe , recorded ( in Revel. 15.3 , 4. ) seemeth evidently to point at sundry Psalmes of David , out of which it was compiled and collected , and which therefore were suitable and fit to be sung upon occasion of their victory over the Beast , especially with respect and reference to those speciall sentences , which were fetched from thence , though with some small variation , such as is wont to be found in all the Scriptures of the New Testament , quoted out of the old . Rev. 15.3 . Great and marvellous are thy works , Lord God Almightie . Just and true are thy wayes , Thou King of Saints And ver. 4. Thou onely art Holy . Who shall not feare thee , O Lord , and glorifie thy Name ? For all Nations shall come and worship before thee . For thy Judgements are made manifest . Psal. 86.10 . Thou art great , and doest wondrous things , thou art God alone . Ver. 8. Among the Gods , there is none like unto thee , nor any works like thy works . Psal. 111.2 . The works of the Lord are great . Ver. 4. And Wonderfull . Ver. 7. The works of his hand are truth and judgement . Psal. 71.22 . O thou Holy One of Israel . Psal. 86.9 . All Nations whom thou hast made , shall come and worship before thee , O Lord , and glorifie thy Name . Psal. 9.16 . The Lord is knowne by the Judgement which he executeth . Psal. 64.9 . All men shall feare and shall declare the worke of God ; For they shall wisely consider of his doings . In as much therefore as these who got the victory over the Beast , are said to have sang the Song of the Lambe , and this Song of the Lambe is expresly fetched from severall words of praise to the Lambe , in severall Psalmes of David ; One of these two things ( if not both ) will from hence justly be deduced . 1. Either this , That any of those Psalmes of David may be sung to the praise of the Lambe , out of which those words of praise are fetched ( as when the people of God are said to have praised God with such a word in a Psalme , it is meant they sung the whole Psalme ; as , 2 Chron. 5.13 . & 20.21 . Ezra . 3.11 . ) all of them pointing at Psalme 136. Or else secondly , That it may be lawfull upon speciall and extraordinary occasions , to compile a spirituall Song out of Davids words of praise dispersed in severall Psalmes of David , and other Psalmists in Scripture , and to sing them , composed together as a Psalme of praise unto the Lord . And both these willingly admit : For these are still the divine Meditations , and spirituall expressions of the holy men of God in Scripture , which God hath prepared for the setting forth of his own glory . Object . 7. As the Apostle writing to Timothy about Prayer in generall , and prescribing no forme of prayer , it is therefore justly argued , that we are to use no set formes of Prayer at all : So the same Apostle exhorting the Churches to sing , and not prescribing any formes of Psalmes , hence it followeth , that he alloweth not the singing of Davids Psalmes . And whatsoever Arguments , strike against stinted formes of Prayer , strike against all formes of Psalmes also , as stinting and quenching the Spirit , &c. Answ. 1. It is not true , that the Apostle exhorting to Sing , doth not prescribe any formes of Psalmes . For in the same Texts where he doth exhort the Churches and people of God to sing , he doth direct them also to sing Psalmes and Hymnes and spirituall Songs : which are the expresse titles of the very formes of Psalmes endited by David and Asaph as hath been shewed above . Neither can it be truly said , that he alloweth not the singing of Davids Psalmes . Unlesse it might be truly said , that the Psalmes of David , are neither Psalmes , nor Hymnes , nor spirituall Songs . Answ. 2. The Scripture putteth a manifest difference between these two , set formes of Prayer , and set formes of Psalmes ; also between set formes devised and prescribed by men , and set formes appointed by God . Set formes of Prayer the Lord did never ordinarily prescribe unto his people , neither in the old Testament , nor in the New : but set formes of Psalmes no man doubteth , were ordinarily prescribed in the old Testament , and wee suppose in the New also , in the Texts alledged . Againe , set formes devised and appointed by men , I will not deny to be justly rejected by the true meaning of the second Commandement : but God that forbad us to make to our selves any Images or imaginations and inventions for worship , did never forbid himselfe to devise and appoint for us what forme of worship himselfe pleased , either in the old Testament , or in the New . And therefore what ever Arguments strike against set formes of Prayer invented and prescribed by men , there is none of them strike against set formes of Psalmes appointed by God . Neither can it with any colour be pretended , that the Psalmes of David being devised and appointed by the Holy Ghost himselfe , should either stint or quench the Spirit , unlesse it might be thought , that Gods own Ordinance to convey , and quicken , and enlarge the Spirit , should become an impediment and restraint to the Spirit . Object . 8. The edification of the Church and body of Christ under the New Testament , ought to be carried on by the personall and proper gifts of Gods Spirit , Eph. 4.7 , 8.11 , 16. 1 Pet. 4.10 , 11. Rom. 12.4.6 . 1 Cor. 12. But in singing of Psalmes of David , there is no more personall gift manifested , then there is in reading a stinted forme of Prayer . Answ. These Scriptures prove that God hath given the gifts of the Spirit for the edification of his Church : and that they who have received the gifts of the Spirit , should employ them to the edification of the Church . And some of those Scriptures prove also , that they who haue received any gifts , though outward gifts of wealth and honour , should improve and employ them to the good of the Church . But none of them prove , that all the edification of the Church should be carried on by the personall and proper gifts of the present members of the Church . For then the Church should not be edified now in these dayes by the gifts of the pen-men of Scripture , whether Apostles , Prophets , or Evangelists , which is expresly repugnant to some of the Scriptures alledged by you . For in Eph. 4.8 . to 13. and in 1 Cor. 12. it is expresly said , that God gave Apostles , Prophets , and Evangelists , for the edifying of the Church , till the whole body of Christ be perfected at the day of his comming . And least you should dreame of new Apostles to be raised up in every age , the Holy Ghost telleth us , the Church of the Jewes at their last conversion shall be built upon the foundation of the Lambes twelve Apostles , Rev. 21.14 . The twelve Apostles of the Lambe shall have a fundamentall influence in the rearing and building of the Church of the Jewes , not by their resurrection to life againe in those dayes , but by the power of the Spirit breathing in their gifts and writings . And as Abel being dead yet speaketh , Heb. 11.4 . and that to edification : So the Apostles though dead speake also ; and David being dead speaketh , and singeth likewise to the edification of the body of Christ , till we come to sing Hallelujahs in heavenly glory . Say not these writings of the Apostles and Evangelists , of David and the Prophets , doe not speake to the edification of the Church , but as they are expounded and applyed by the spirituall gifts of the Ministers and people of God in each age . For the very reading of them is an Ordinance of God , and no Ordinance of God is empty and beggarly , and destitute of the Spirit : which is the vanitie of mens traditions , and may not be imputed to any of Gods Ordinances . Neither ought you to say , That in singing the Psalmes of David , there is no more personall gift manifested , then there is in reading a stinted forme of Prayer . For 1. in reading a stinted forme of prayer , there is no gift of the Spirit at all manifested , but rather ( as I conceive ) a manifest breach of the second Commandement of God , which is a grieving of the Spirit . But in singing of the Psalmes of David , there is a gift of the Spirit manifested , even the gift of obedience to the command of the Apostle . And that is the personall gift of him that singeth . And secondly , all the treasures of the gifts of the Spirit breathing in the Psalmes of David are likewise manifested in the reverent and holy singing of them . You might more truly have said , there is no more personall gift of the Spirit manifested in singing the Psalmes of David then in reading the Psalmes of David ; because either of both those duties are alike acts of obedience to Gods Commandement . But if you had so said , your objection had answered it selfe . Object . 9. Many of Gods people now have gifts to compose spirituall Songs , as well as carnall Poets to make carnall Sonnets , or as drunkards that make Songs of Gods people . Now every one that hath a gift is to administer it by Christs Command , 1 Pet. 4.10 . And if any for want of experience of such a gift in themselves , should question it , they may consider the promise of powring out the Spirit in a more plentifull measure , now in the dayes of the New Testament , then in the old . Answ. 1. Though many of Gods people have gifts to compose spirituall Songs , as well as carnall Poets carnall Sonnets , and Drunkards prophane Sonnets ; yet that will not argue , that the spirituall Songs , which many of Gods people have gifts to compose , are fit to be sung in the publique holy Assemblies of the Saints , no more then the carnall and prophane Sonnets of drunken Poets are fit to be sung in civill Assemblies . Let drunken carnall Poets sing their carnall Sonnets in their Tavernes and Ale-houses , and such of Gods people as have received a gift to compose a spirituall Song fit for their private solace , sing it in their private houses . But every spirituall Song , fit for private solace , is not fit to be sung in the solemne Assemblies of the Church for publique edification : no more then it is fit for every private Christian who hath a gift to compose a spirituall prayer to utter and powre forth the same in the publique Congregation of the Church . Answ. 2. It is more then probable , that many of the people of God in the old Testament had gifts to compose spirituall Songs , besides David and Asaph : and yet unlesse their gift were carried along by an infallible Spirit , they were not received among the Songs of the Temple . Answ. 3. Suppose that spirituall Songs composed by an ordinary gift , might be received among the publique Songs of the Congregation , yet will it thence follow , that the Church shall be bound to sing onely such Songs , and deprive themselves of the Psalmes , and Hymnes , and spirituall Songs of David and Asaph , which were composed with a farre larger measure and power of the Holy Ghost ? Answ. 4. It is readily granted , that as every man hath received a gift , so let him administer and dispense it , according to the Text alledged , 1 Pet. 4.10 . But yet in Christs way , every private gift is not fit for publique Administration ; nor every publique gift fit to be administred to the shouldring out of a greater gift then it selfe . Answ. 5. If such as want the experience of such a gift of spirituall Poetry in themselves , should be encouraged to expect it from the promise of powring out the Spirit on all flesh in the dayes of the Gospel , ( Acts 2.17 . ) they might as well looke for the gifts of tongues , and healing , and miracles . For it is the same Spirit ( though not the same measure ) which is there promised to be powred out upon all flesh ; Let every man administer the gifts of the Spirit , according to the measure which he hath received within his own line . Object . 10. But the Lord is as full of the Spirit now to helpe us to endite Psalmes , as in the dayes of David and Asaph . And it seemeth a dishonour to Christ , to dispense his word by reading and singing , without the exercise of the glorious and various Administrations of the spirituall gifts of the New Testament . Answ. 1. The Lord is as full of the Spirit now , and as able to furnish us with a Propheticall Spirit now to endite Propheticall Scriptures , as he did furnish the Prophets in the old Testament . But yet God thought it no dishonour to Christ to leave us the Scriptures of the old Prophets for our edification in the New Testament , as well as in the old . It is the same Spirit of the same Christ that spake by the Prophets of the old Testament , and speaketh in the Saints of the New . And it is no dishonour to Christ to dispense his word , and to guide the body of his Church , as well by the unity of the same Spirit , as by the variety of the divers gifts of the Spirit now . And though we doe not exercise the glorious and various Administrations of the spirituall gifts of the New Testament , in the enditing of New Psalmes , no more then in the enditing of new Scriptures . Yet wee can neither sing the old Psalmes of David , nor read the old Scriptures of the Prophets acceptably to God , nor comfortably to our selves without the exercise of the gracious and various spirituall gifts of the New Testament . Object . 11. Wee have examples in the New Testament , of exercising personall gifts , as well in singing , as in praying and Prophecying , 1 Cor. 14. Which Epistle is directed to all the Saints , 1 Cor. 1.2 . in all places . And consequently , that Church is to be Precedentiall in dispensing personall gifts in this Ordinance of Singing , as well as in any other . Answ. 1. The Directions given in that Epistle to the Church of Corinth , we willingly grant are Precedentiall to all the Churches , as well as the Directions given in other Epistles to other Churches . And the Directions there given be , that in dispensing spirituall gifts , Prophecy be preferred before Tongues , nor any Tongues dispensed without interpretation ; That order be observed without confusion ; That divers may speake without interruption ; That no man may speake without subjection ; That women be not permitted to speake unto usurpation ; That all things be done to edification . And all these Directions are Precedentiall to all such Churches as have received the like gifts . But there is no direction given to the Church of Corinth , or any other , that every man should have a gift of tongues , or a gift of compiling a Psalme ; or if he have a gift of compiling a Psalme for his private use by an ordinary Spirit , that then he should present it to be sung before the whole Church , and the Church to say Amen to his Psalme . For the gift of Psalmes , which the Apostle there speaketh of , was not an ordinary gift to compile some spirituall Ditty in verse , but extraordinary , as joyned with the gift of strange Tongues . For it appeareth by the Context , that the gift of Tongues was used by the Members of the Church of Corinth , foure wayes : 1. In speaking mysteries , ver. 2. 2. In prayer , ver. 14. 3. In singing , ver. 15. 4. In thankesgiving , ver. 17. So that the singing there mentioned , was by an extraordinary gift , as the Tongues were , in which it was dispensed . Object . Indeed the gift of Tongues , wherein these Psalmes seeme to be uttered , was extraordinary , but it doth not follow that the gift of composing those Psalmes was an extraordinary gift , no more then prayer wherewith it was joyned , ver. 15. or Prophecy , ver. 26. Singing Psalmes and Prophecy differing no otherwise then Poetry and Prose ; and if it was extraordinary in the Corinthians , wee have no warrant for publique ordinary singing in the New Testament from any example . Answ. 1. As the gift of Tongues was extraordinary , so was every Ordinance dispensed in it , whether Prayer , or Psalme . or Prophecy , all of them extraordinary , both for sublimity of matter , ( in the Spirit he speaketh Mysteries , ver. 2. ) and for power and demonstration of the Spirit , and for suddennesse and dexteritie of utterance without previous study , or meditation , as Acts 2.4.11 . What though there be an ordinary gift of Prayer and Prophecying , as well as of singing ? Yet neverthelesse the Apostles and Prophets had an extraordinary gift of Prayer and Prophecying : and so had those Corinthians also an extraordinary gift ( though in lesse measure ) of Praying and Prophecying and Singing also . It is not credible that he who would have new wine put into new Bottles , would powre forth ordinary and common matters in new Tongues , and so raise extraordinary expectation of ordinary things . Answ. 2. It is an uncouth comparison , to make no more difference between singing Psalmes and Prophecy , then between Poetry and Prose . In Prophecy we open the Scriptures and Counsels of God : in Psalmes we open the Counsels and thankesgivings of our own hearts ; In Psalmes we sing to glorifie God ; in Prophecy we speake to edifie men ; you might with farre more reason and congruitie have said , That Prayer and singing Psalmes differ no otherwise then Poetry and Prose . And yet there is more difference even between them , then so , as the Apostle James noteth , James 5.13 . Answ. 3. When you say , that if the singing in the Church of Corinth was extraordinary , then wee have no warrant for our publick ordinary singing in the New Testament from any example : Neither doth the Argument follow , nor if it did , is it of any force . For though this example of singing in the Church of Corinth was extraordinary : yet that singing of Christ and his Disciples at the last Supper was ordinary , Mat. 26.30 . And though there were no example of puhlique ordinary Singing in the New Testament , yet it is enough that there is a precept of publique ordinary Singing given to the Churches , both of the Ephesians , and of the Colossians , Eph. 5.19 . Colos. 3.16 . And what the Spirit speaketh to those Churches , it speaketh to all . CHAP. VI . Propounding a second and third Argument , for the singing of Davids Psalmes . HAving thus ( by the helpe of Christ ) cleared the first Argument , for the Singing of Davids Psalmes , and such like Scripture-Psalmes ; Let us now proceed to a second Argument , taken from the end and use of the Psalmes of David . The Psalmes of David and Asaph , and the like , were written for a threefold end , as we see expressed by the Apostle , Col. 3 16. to wit , 1. For Instruction , or Teaching . 2. For Admonition . 3. For singing Praise and Thankesgiving to the Lord . Now if the Psalmes of David , and the like , were written ( as doubtlesse they were ) in the Old Testament for this three-fold end , and each of them of morall ( that is , of generall and perpetuall use ) and none of them abrogated in the New Testament , looke then as it would be a sacrilegious sinne , to take away from the Psalmes either of the two former uses ( the use of Instruction , or Admonition ; ) so it will bee alike Sacriledge to deprive them of the three-fold use , by forbidding them to be sung for praise and thankesgiving to the Lord . Whereto a third Argument may be added , taken from the duty of singing of Psalmes every Sabbath , and the defect of provision of other Psalmes , if the Psalmes of David , and other Scripture-Psalmes be refused . It appeareth from Psalme 95.1 , 2 , 7 , &c. That when we present our selves before the Lord , to heare the voyce of his word ( as we do every Lords day ) wee should come before his presence with singing of Psalmes . If so , then some must have a gift , either to prepare set formes of Psalmes aforehand for every Sabbath day ; or at least a gift , upon the present occasion , suddenly to invent and utter a Psalme fit for the present Sabbath from weeke to weeke : Neither of both which are easie to be beleeved . For if it were so , then doubtlesse Christ would have appointed some or other Officer to attend to this duty of compiling Psalmes , as hee hath appointed Elders to attend to the Ministery of the Word , and Prayer , Acts 6.4 . Or else he would inspire some or other Member of the Church with such a Gift and Spirit of Psalmistry , as might suite the occasions of the Church from Sabbath to Sabbath . But neither of both these doe wee finde , either in the Scriptures of the New Testament , or in experience ; we finde neither Ordinance appointing it , nor Providence granting it . And yet evident it is , that the gracious providence of God , is not wanting in supplying well ordered Churches , with all such gifts of Preaching , and Prayer , and Rule , and the like , as God hath required for the edification of the Church to the end of the world . Neither is it credible , that Christ would take us off from singing the Psalmes of David and Asaph , which were of divine and infallible inspiration , and leave us to an uncertain and common gift of private brethren . If it be said , the Church of Corinth wanted not such gifts of Psalmes , nor such members as did compile , 1 Cor. 14.26 . Answ. It is true , neither did they want gifts of tongues , and of Revelation in the same Text . But these were extraordinary gifts , fit to glorifie Christ in his first ascension into Glory , and fit to commend and confirme the Gospel to Pagans , but no where promised to be continued to Churches in after ages , nor no where commanded to be imitated : much lesse our common gifts , and the Psalmes endited by the same to be substituted in their roomes , and Davids Psalmes to be silenced , that our Psalmes might be attended . CHAP. VII . Concerning the Singers : and first , whether one alone to sing , or the whole Church . THe third Question about Singing of Psalmes , concerneth the Singers . For though vocall Singing be approved , and also the Singing of Davids Psalmes , yet still it remaineth to some a Question , who must sing them . And here a threefold scruple ariseth . 1. Whether one be to sing for all the rest , the rest joyning onely in spirit , and saying , Amen ; or the whole Congregation ? 2. Whether women , as well as men ; or men alone ? 3. Whether carnall men and Pagans may be permitted to sing with us , or Christians alone , and Church-Members ? Touching the first of these Scruples ; It is out of doubt . 1. That a Christian man for his own private solace and edification , may sing a Psalme alone by himselfe ; as Asaph had his Songs by night , Psal. 77.6.2 . It is granted , that he who had a spirituall and extraordinary Gift of enditing a Psalme , might sing it himselfe , and the rest of the Church joyne with him in Spirit , saying Amen : though in the old Testament , he that endited the Psalme , gave it to the Master of Song , to be sung publiquely , by others as well as himselfe . But the Question is of Singing the Psalmes of David and other Scripture Psalmes , whether they are to be sung by the whole Congregation , or by one alone for all the rest , ( the rest joyning onely in the Spirit , and in the close ) saying , Amen ; And to make good this latter way , Object . 1. It is alledged , In the Church of Corinth , one had a Psalme , 1 Cor. 14.26 . And he that had a Psalme sung in the Spirit , and was directed to sing with understanding also , ( that is , in a tongue understood by the whole Church ) that they might joyne with him in Spirit , and say Amen , ver. 15 , 16. Answ. This onely concerned the extraordinary Psalmes , endited by such as had also a gift of Tongues as well as of Psalmes . For therefore it is , that such are directed , as they sing in the Spirit , that is , by a spirituall gift , so to sing with understanding also , to wit , with the understanding of the Church . But this concerneth not the Singing of the Psalmes of David , which now are not given by any peculiar gift to any one man . Object . 2. It is also alledged , That Singing of Psalmes is an act of Prophecy . And the Prophets were to speake one after another , and if any thing were revealed to another that sate by , the first was to hold his peace , 1 Cor. 14.30 , 31. Answ. Prophecy is taken two wayes in Scriptures , to omit other acceptions of the word , not pertinent to the point in hand . 1. Sometimes more strictly and properly , for Preaching , that is , for expounding and applying Scripture to edification . 2. Sometimes more largely , for the publishing of spirituall things to the glory of God , and edification of our selves or others . And in this sence Master Perkins ( in his Propheticâ ) maketh two parts of it , 1. Preaching of the Word . 2. Prayer ; for which he quoteth , Gen. 20.7 . Abraham is a Prophet , and he shall pray for thee ; he quoteth also , 1 Chron. 25.1 . where the Sonnes of Asaph , Heman , and Jeduthun , who were Singers , are said to Prophecy with Harpes . Which argueth that singing of Psalmes as well as Prayer , may in some sence , ( to wit , in this large sence ) be called an act of Prophecy . But in this sence Paul doth not speake of Prophecy ; for hee doth expresly distinguish it from Prayer , and much more from singing , 1 Cor. 11.4 , 5. And in this 14 Chapter to the Corinthians , hee doth plainly distinguish prophecy from singing Psalmes ; for when he exhorteth them to covet after spirituall gifts , chiefly , that they might Prophecy , ( 1 Cor. 14.1 . ) it is not his meaning , they should chiefly covet after the gift of enditing or singing of Psalmes , but rather after the gift of Preaching , to wit , of expounding and applying Scripture to edification . When therefore Paul directeth the Prophets to speake one by one , ver. 30 , 31. He speaketh not of that kind of Prophecy , whereby many may sing one and the same Psalme together , but of the other kind of Prophecy , which is Preaching . Howbeit , true it is also , that if many shall sing severall Psalmes at one and the same time together in one and the same Congregation , it would breed the like confusion in the Church , as if the Prophets should speake two or three , or more of them at once . If it be said , Why , is it not a confusion for so many voyces to joyne together in singing a Psalme , though it be one and the same Psalme ? Answ. No more now in the New Testament , then it was in the Old , when the Trumpeters and Singers were as one , to make one sound to be heard in praising the Lord , and when they lift vp their voyce , with the Trumpeters , & Cymbals , and Instruments of Musick ▪ and praised the Lord , saying , for he is good , for his mercy endureth for ever , 2 Chron. 5.13 . For then God shewed his approbation and acceptance of that concourse and consent of so many voyces together , by filling the house of the Lord with a Cloud , which was a gracious signe of his visible presence with them , and acceptance of them , and of their worship . And surely , If the concourse and consent of so many voyces had been a confusion , doubtlesse it would have been as much displeasing to God in the old Testament , as in the New . For God is not a God of confusion in the Churches of the Saints , whether of the New Testament , or of the old , 1 Cor. 14.33 . And if our desire be , the will of God may be done on earth as it is done by the Angells in Heaven , we reade of a multitude of an heavenly hoast of Angells , praising God , and saying , Glory be to God on High , &c. without any confusion . Object . 3. Scarce any example can be given of any entire Congregation , that sang together , mentioned in Scripture . Answ. 1. Though no example could be given , yet it is a sufficient warrant for the Duty , if any Precept have been given of it in Scripture , and the Precept is plaine in Colos. 3.16 . where the whole Church of Colosse is exhorted to have the word of Christ dwell richly in them , not onely to Teach and Admonish one another , ( as well in the Psalmes , as other Scriptures ) but also to sing the Psalmes with holy melody to the Lord . If God had reserved this Dutie to some select Choristers , he would have given some direction in the New Testament for their Qualification and Election : But since he speaketh nothing of any such select Musitians , he commendeth this Dutie to the whole Church . Answ. 2. It is not safely said , that scarce any example in Scripture can be given of any entire Congregation that sang together . For 1. In Exod. 15.1 . Moses and the chilrdren of Israel are said to sing a Song of Thankesgiving to the Lord . And the same , they , that sang this Song , the same are said soone to forget Gods works , and not to waite for his Counsell , but to fall a lusting , Psal. 106.12 , 13 , 14. which was the body of the people . 2. Christ and his Disciples when they administred and received the Lords Supper , ( which was a Church Act ) they were an entire Congregation . And they after Supper sung a Psalme or Hymne , Mat. 26.30 . To say , that one sang it , and the other joyned in Spirit , saying Amen , hath no foot-hold in the Text . It might as well be said , they all tooke the bread , they all blessed it , and brake it , and gave it , in that one did it , and all the rest joyned in Spirit , and consented , and like enough to the blessing of it , said Amen . 3. It is no straine of wit , but a solid and judicious exposition of the fourth Chapter of the Revelation , to make it a description of a particular visible Church of Christ , according to the platforme and patterne of the New Testament : where , as the foure living Creatures , are the foure sorts of Officers , so the twenty-foure Elders set forth the brethren in the Church , who are as Elders ( in respect of their ripe age , Gal. 4.1 , 2 , 3. ) and twenty-foure , in number , answering to the twenty-foure Orders of Priests and Levites , 1 Chron. 25.9 . &c. And these are all said to joyne together in singing a new Song unto the Lambe , Rev. 5.8 , 9 , 10. Object . 4. If the whole Church should sing together , then all the members were Teachers . For the Apostle biddeth us to Teach and Admonish one another in Psalmes , Colos. 3.16 . But the same Apostle denyeth all to be Teachers , 1 Cor. 12.29 . Answ. Though the Apostle bid us to Teach and Admonish one another in Psalmes ; yet he doth not say , that we should teach one another by singing Psalmes together ; But hee there holdeth forth a twofold use and improvement of the whole word of God dwelling richly in us , and a threefold use and improvement of the Psalmes . The whole word of God dwelling richly in us , is to be improved to the Teaching and admonishing of one another : but the Psalmes are to be improved , not onely to both these ends ( as all the rest of the Word beside ) but to a threefold end also , even to the Singing of Praises to the Lord . Now in this third end , all the Congregation may joyne , in improving the Psalmes thereunto , though not in the Publique teaching or Admonishing of the Church by them , yet in setting forth the Praises , the Counsels , the workes of God declared in them . Answ. 2. Though not every one that Singeth a Psalme , may be said forthwith to Teach or Admonish them that sing with him , yet hee that appointeth the Psalme to be sung , may be said to teach and Admonish the whole Congregation that are to sing it , or heare it . Julian the Apostate , tooke himselfe to be admonished , yea and reproved when the Christians sang in his hearing the 115. and 97. Psalmes ; which declare the vanity of Id●ls , and the confusion of such as worship them , as is recorded in the Church-Story by Socrates , Theodoret , Nicephorus . Answ. 3. Though the Apostle deny all to be Teachers , his meaning is onely to deny , that they are all Teachers by publique Office , to attend upon Expounding and applying Scripture to publique edification : But it was no part of his meaning , either to forbid private Teaching , or Adomition of one another , ( for then Aquila and Priscilla had gone too farre in instructing Apollos , Acts 18.26 . ) or to forbid the quickening and edifying of the Spirit of one another , by singing together Psalmes of Instruction , Admonition , Consolation to themselves , and Prayers and Praises to the Lord . CHAP. VIII . Whether Women may sing as well as Men . THe second scruple about Singers is , Whether women may sing as well as men . For in this point there be some that deale with us , as Pharaoh dealt with the Israelites , who though he was at first utterly unwilling that any of them should goe to sacrifice to the Lord in the Wildernesse , yet being at length convinced that they must goe , then hee was content the men should goe , but not the Women , Exod. 10.11 . So here , some that were altogether against singing of Psalmes at all with lively voyce , yet being convinced , that it is a morall worship of God warranted in Scripture , then if there must be a Singing , one alone must sing , not all , ( or if all ) the Men onely , and not the Women . And their Reason is . 1. Because it is not permitted to a woman to speake in the Church , 1 Cor. 14.34 . how then shall they Sing ? 2. Much lesse it is permitted to them to Prophecy in the Church , 1 Tim. 2.11 , 12. And singing of Psalmes is a kind of Prophecying . One answer may at once remove both these scruples and withall cleare the Truth , It is apparent by the scope and context of both those Scriptures , That a woman is not permitted to speake in the Church , in two cases . 1. By way of Teaching , whether in expounding , or applying Scripture . For this the Apostle accounteth an act of Authority , which is unlawfull for a Woman to usurpe over the man , 2 Tim. 2.13 . And besides , the woman is more subject to Error then the man , ver. 14. And therefore might soone prove a Seducer , if she became a Teacher . 2. It is not permitted to a woman to speake in the Church , by way of propounding Questions , though under pretence of desire to learne for her own satisfaction ; but rather it is required shee should aske her husband at home , 1 Cor. 14.35 . For under pretence of Questioning , for learning sake , she might so propound her Question , as to Teach her Teachers ; or if not so , yet to open a doore to some of her own weake and erroneous apprehensions , or at least soone exceed the bounds of womanly modesty . Neverthelesse in two other cases , it is cleare a woman is allowed to speake in the Church . 1. In way of subjection , when shee is to give account of her offence . Thus Peter Questioned Saphyra before the Church touching the price of land sold by her and her husband , which her husband had concealed by his lye : And shee accordingly spake in the Church to give answer to his Question , Acts 5.8 . 2 In way of singing forth the Praises of the Lord , together with the rest of the Congregation . For it is evident the Apostle layeth no greater restraint upon the women for silence in the Church , then the Law had put upon them before . For so himselfe speaketh in the place alledged , 1 Cor. 14.34 . It is not permitted to the women to speake , but to be under subjection , as also saith the Law . The Apostle then requireth the same subjection in the woman , which the Law had put upon them : no more . Now it is certain , the Law , yea the Lawgiver Moses did permit Miriam and the women that went out after her to sing forth the praises of the Lord , as well as the men , and to answer the men in their Song of thankesgiving ; Sing yee to the Lord , for he hath triumphed gloriously : the horse and his rider hath he throwne into the Sea , Exod. 15.20 , 21. Which may be a ground sufficient to justifie the lawfull practise of women in singing together with men the Praises of the Lord . And accordingly the ancient practise of women in the Primitive Churches to sing the publique praises of the Lord ; wee reade recorded in the Ecclesiasticall History , Socrates 2. Booke , Chapter 18. of the Greeke Copie , and Chap. 16. of the Latine , Theodoret third Booke , Chapter 17. CHAP. IX . Whether carnall men may sing , as well as godly Christians ? THe third scruple about the Singers remaineth , Whether carnall men and Pagans may be permitted to sing with us , or Christians alone , and Church-members ? What wee beleeve in this poynt , may be summed up in these three particulars . 1. That the Church and the members thereof are called to sing to the Praises of God , and to their mutuall edification : For they were Churches of Christ , and members of Churches , whom the Apostle exhorteth to speake to themselves , and make melody to the Lord with Psalmes and Hymnes and spirituall songs , Eph. 5.19 . Colos. 3.16 . 2. That the Praising of God with Psalmes is comely for all the upright , whether received into the Fellowship of any particular visible Church , or no . For so much the words of David hold forth , Praise is comely for the upright , Psal. 33.1.3 . 3. Though spirituall gifts are necessary to make melody to the Lord in singing ; yet spirituall gifts are neither the onely , nor chiefe ground of singing ; but the chiefe ground thereof is the morall duty lying upon all men by the Commandement of God ; If any be merry to sing Psalmes ▪ Jam. 5.13 . As in Prayer , though spirituall gifts be requisite to make it acceptable ; yet the duty of Prayer lyeth upon all men , by that Commandement which forbiddeth Atheisme ; it is the foole that saith in his heart , There is no God ; of whom it is said , they call not upon the Lord , Psal. 14.1.4 . Which also may serve for a just Argument and proofe of the poynt . 1. If by the Commandement of God , and indeed by the light of Nature ▪ if all men be bound to pray unto God in their distresses . ( as even Jonah's Marriners will confesse in a storme , Jonah 1.6 . ) then all men are likewise bound to sing to the praise of God in their deliverances , and comforts ; For the word runneth alike levell , Is any afflicted , let him pray ? Is any merry ? let him sing Psalmes , James , 5.13 . A second proofe may be taken from the generall Commandement to all men upon earth to sing to the Lord , Psal. 96.1 . Sing unto the Lord all the earth , Psal. 100.1 , 2. Make a joyfull noyse unto the Lord all yee Lands , come before his presence with singing . Psal. 68.32 . Sing unto the Lord all the Kingdomes of the earth , O sing Praises unto the Lord . And indeed the grounds and ends of Singing , though some of them doe more peculiarly concerne the Church and people of God ( and therefore they of all others are most bound to abound in this Dutie ; ) yet sundry of the grounds and end of Singing are common to all the sonnes of men , and therefore none of them to be exempted from this service . As , the soveraignty of God , The Lord is a great God , and a great King above all Gods , Psal. 95.3 . And therefore make a joyfull noyse to him with Psalmes , ver. 2. He is to be feared above all Gods , Psal. 96.4 . And therefore sing unto him all the earth . The greatnesse of Gods workes of Creation and Providence , they are other grounds of Singing , and they concern all the sonnes of men in common , Psal , 145.6 . to 10. The Lord giveth food to all flesh , ver. 15 ▪ 16. Therefore let all flesh blesse his holy Name , ver. 21. Let every thing that hath breath Praise the Lord for his mightie Acts , and for his execellent Greatnesse , Psal. 150.2 . to 6. The end of singing is to praise the Lord for his goodnesse , and to stirre up our selves and others to serve the Lord with chearfulnesse & glad hearts . And therefore Travellers , Prisoners , Sickmen , Seamen , being saved from severall distresses by the good hand of God , they are all of them commanded to praise the Lord for his goodnesse , and to declare his wonders before the sonnes of men , Psal. 107.6 . to 32. Object . 1. Against the singing of all sorts of men in the Congregation , carnall as well as Christian , is taken from the examples of Song set forth in Scripture , which both in the old Testament , and in the New , were onely performed by the Church and Church-members . As the Song of Moses at the red Sea was sung by Moses , and the children of Israel , Exod. 15.1 . His other Song , Deut. 32. he was commanded to teach it to the children of Israel , Deut. 31.19 . The Song of Deborah was sung by her and Barak , Judg. 5.1 . Under the Kings of Judah , and after the returne from Captivitie , the Officers of the Church onely sang for the more orderly carrying on of that Ordinance , 1 Chron. 6.31 , 32. & 16.4 . Neh , 11.22 , 23. In the New Testament , Christ and his Apostles sang in a place apart from others , Mat. 26.30 . In the Church of Corinth , none but the brethren had libertie of Prophecy , in Teaching or Singing Psalmes . In the Revelation the foure Beasts , and the twenty-foure Elders , and the 144000. who sung the praises of God and of the Lambe , were apparent representations of the Church her Officers and Members , Rev. 5.9 . & 14.3 . & 15.1 , 2 , 3 , 4. Answ. 1. All these examples prove no more , but what we willingly grant , and what in the former part of this discourse , we have been occasioned to maintaine and prove , to wit , that it is lawfull , not onely for one man alone , but for a whole Church , Officers and Members , to sing the praises of the Lord in heart and voyce together with one accord , and so much all these places doe evince . 2. We live not by examples onely , but by precepts also . And evident precepts have been alledged already , for the generall practise of Singing by all the sonnes of men upon the face of the earth . 3. Some of these examples doe allow even wicked men and Apostates to sing , though it be to upbraide and convince their wickednesse . As that Song of Moses , Deut. 32. was appointed to be sung by the children of Israel , not onely in Canaan , but in their State of Apostasie , and calamitie , When evill should befall them in the latter dayes , Deut. 31.19.21 , 22.29 . Object . 2. It is one of the peculiar priviledges of the Church , that the publique dispensation of the Word is committed onely to them , Rom. 3.2 . & 9.4 . But singing for the matter of it , is nothing else , but the word , Col. 3.16 . And the act of singing in publique , is the publique dispensation of it . Answ. 1. The publique dispensation of the Word , to wit , by Preaching , that is , by exposition and application of the word , and that in way of office , is committed onely to the Church , and to some select members of the Church , chiefly for the Churches sake , though the benefit thereof may redound also to men without . But the publique dis●ensation of the word is not so confined to the Church , but that occasionally men without may publiquely as well as privately , dispense the counsell and will of God both to the Church ▪ and to men out of the Church . And it may be a sinne both in Gods people and in others , not to hearken to it . Pharaoh Necho ( though neither Israelite nor Proselyte ) yet by his Embassadors did publiquely declare the counsell of God to Josiah : and it was a dangerous sinne in Josiah , that he did not hearken to the words of Necho , which the Text saith , were from the mouth of God , 2 Chron. 35.21 , 22. Balaam publiquely dispensed the counsell and word of God throughout the 23. and 24th Chapters of Numbers , to Balack and the Princes of Moab : and it was a desolating sinne in Balack and the Princes of Moab , that they did not hearken to him : and it would have been a sinne in the Church of Israel also , if they hearing of the same , had not received his Prophecies ( which God put into his mouth ) as the word of God . The King of the Philistims reproved both Abraham and Sarah from the word of the Lord Gen. 20.9 , 10.16 . and it had been a sinne in them both , to have neglected his reproofe . Answ. 2. It is one thing publiquely to dispense any Ordinance or worship of God , which is peculiar unto the Church , ( as the Seales , and Censures , and the like : ) another thing to joyne with the Church in such parts of the publique worship of God , which are not peculiar to the Church , but common to all the sonnes of men . Of which sort the publique prayers and praises of God be , and to the Psalmes also ; which though they be dispensed and offered up in the very words of God , yet due praises are not therefore the more undue , because they are offered up in due words Object . 3. It is confusion for the Church and the world to sing together , in a mixt Assembly . Answ. 1. All that are out of the Church , are not forthwith the world , many are called out of the world ( and so indeed all ought to be , except the children of the faithfull ) before they be received into the Church . And such though they do sing with the Church , yet it is not a singing of the Church and world together ; because they are not of the world , but Christ hath called them out of the world , and the world hateth them . Answ. 2. It is no confusion , but lawfull communion , for Church and world to joyne together in a mixt Assembly , to performe such duties , as God requireth of them in common : as to heare the word of God , and the like . In Antioch in Pisidia , the whole Citie almost ( the greatest part whereof were Pagans ) came together to heare the word of God , Acts 13.44 . Was this a confusion ? And what if the Apostles had prayed in that mixt Assembly , and all the faithfull had said Amen to their prayers , and what if Pagans also understanding what they prayed , had said Amen with them , had it been a confusion ? Yea what if in such an Assembly , they should not depart without the publick praises of God in a Psalme , and that whole mixt Assembly should joyne together in the singing of it , would it be a confusion ? If it be no confusion for all sorts of men to joyne together in a mixt Assembly to heare the word of God , because it is a dutie required of them all ; then neither is it a confusion , but a lawfull communion to joyne together in singing the praises of God in a Psalme , because it is a dutie required of them all . David foretelleth , that all the Kings of the earth ( and why not thei● people as well ? ) shall praise the Lord , when they heare the words of his mouth . Yea they shall sing in the wayes of the Lord , that great is the glory of the Lord , Psal. 138.4 ▪ 5. Object . 4. The end of singing is to instruct , admonish , and comfort the Church : but the world must not instruct the Church , the Church having received sufficient gifts by Christs ascension to edifie it selfe , Eph. 4.7 . to 12. This were to borrow Jewells of the Aegyptians to make a golden calfe , and to put the Arke into a Cart , to be drawne by oxen , that should be carried by Levites . Answ. 1. The end of singing is not onely to instruct , admonish , and comfort the Church , but such also as are godly , though out of the Church . Praise is comely for the upright , whether in the Church , or out of it . Nay further , the end of singing is not onely to instruct , and admonish , and comfort the upright ▪ but also to instruct , and convince , and reprove wicked , as hath been shewed , Deut. 31.19 . Answ. 2. The end of singing , is not onely to instruct , and convince , and edifie men but also to praise and glorifie God , Psal. 96.1 , ● Though the Church might be sufficient to edifie it selfe : yet is it not sufficient to glorifie God alone : which is a duty lying upon all the sonnes of men , yea in their kinde , upon all the creatures . Answ. 3. Though the Church have received from Christs ascension sufficient helpes within it selfe , to edifie it selfe : yet if his Providence also cast in other helpes from without to edifie it , it is from the vertue of the same ascension of Christ sitting at Gods right hand ; and such helpes are not to be rejected . Josiah did not well to reject the admonition of Pharaoh Necho : Abraham and Sarah did well to receive the admonition of Abimelech . And yet neither Pharaoh nor Abimelech were of the Church . Answ. 4. The admonition and instruction given in the singing of a Psalme , is rather given by him that penned the Psalme , and by him that appointeth the Psalme to be sung , then by every Singer , unlesse the admonition and instruction be to himself by the words : and unlesse there be a stirring up of affection to himselfe and others , by the blessing of God upon the harmony . Answ. 5. Though it was an abuse of the Aegyptian Jewells , to borrow them to make a golden calfe ; yet it was no abuse of them to offer them to God for the building and furnishing of the worke of the Tabernacle . God forbid any Christian soule should please it selfe in comparing the Praises of the holy and glorious God to the golden calfe ; for though the Singing of the praises of God by carnall men , may be compared to the employment of Aegyptian Jewells to that end for which they are used : yet that end being the praising of God , and in such a way as God hath enjoyned to all men , it is not an employment of Aegyptian Jewels to the making of a golden calfe , but to the Praises of the living God , who is the Saviour of all men , especially of all them that beleeve . Nor is there any resemblance between putting the Arke upon a Cart to be carried by Oxen , which should have been carried by Levites , and the permitting of men out of the Church to joyne in singing the Praises of the Lord . For neither doe the members of the Church ( to whom the Lord hath chiefly committed the singing forth of his praises ) lay aside this dutie , and leave it to Non-Members , ( as the Levites laid aside the carrying of the Arke , and left in the Cart and Oxen : ) neither are Non-Members as a Cart and Oxen , upon whom this dutie was never laid : But are all of them enjoyned , as to heare his Word ▪ and to call upon his Name , so to sing forth the praises due unto his Name from all his creatures . There is much more just cause of feare , lest this new opinion of Rejecting of singing of Davids Psalmes , and disallowing any Psalmes to be sung , but such as are invented by ordinary common gifts , and the same to be sung onely by them that invent them , least this new Opinion , I say , be worse then the new Cart of the Philistims ; for that was to carry the Arke of God to his place ; but this new Opinion tendeth to carry this Ordinance of singing Psalmes out of the Countrey . And there is the like cause of feare least this over-prizing our personall spirituall common gifts , and the Psalmes endited by them , above the Psalmes of David , be not indeed the erecting of a golden calfe , in stead of the Cherubims of the Tabernacle . Object . 5. If Pagans and prophane persons may sing , they may prophecy also in Christs spirituall Temple . Answ. It hath been shewed above , that Prophecy is taken two wayes in Scripture . 1. More properly for preaching the Word , that is expounding and applying Scripture to edification . 2. More generally for speaking or publishing the holy things of God , to the glory of God . In the former of these wayes , it is not for Pagans , or prophane persons , ordinarily and allowably to Prophecy in Christs spirituall Temple , which is his Church . But in the latter way , it is not unlawfull as to say Amen , to the publique prayers of the Church , and thereby to expresse their joyning in prayer , ( which is one act of Prophecy ; ) so to joyne with them in singing Psalmes ; which it hath been shewed above , is a dutie common to them with the Church , as well to joyne with them in hearing the Word . Wherein whether they edifie the Church or no ▪ certain it is , it tendeth to the glory of God , that Gods praises should be set forth by all the sonnes of men . And it is a further glory to God , that such Pagans and prophane persons should sing the word of God to their own conviction and confusion of face : And from both , some edification and comfort redoundeth to the Church , to see the wicked convinced , and Gods Name to be glorified . For it is an honour to God , and a comfort to his Church , that our God is not as their God , our enemies being judges and witnesses . Object . 6. The godly Jewes would not suffer the Samaritans to build the Temple with them , though they offered themselves , Ezra 4.2 , 3. And if singing be Prophecying in any sence , and any way tending to the comfort or edification of the Church , why should we suffer prophane persons to sing with us ? Answ. That the godly Jewes did reject the Samaritans from building with them , it was not out of morall consideration , as if it were unlawfull for Heathens to contribute their assistance to the worship or Ordinances of God ; but out of a ceremoniall respect , because no Heathens or unclean persons might be allowed to come into the Temple of the Lord , Act. 21.28 . 2 Chron. 23.19 . But by the death of Christ the Partition wall of Ceremonies is broken downe : and wee may allow Heathens and prophane persons to come into our holy Assemblies , 1 Cor. 14.24 . which they would not admit . Certain it is , the godly Jewes themselves did receive liberall contributions and oblations from the Kings of Persia , towards the building and maintenance of the Temple , Ezra 7.21 . to 24. and Chap. 8.24 . to 30. which was a morall acknowledgement of the honor due to the God of Israel , as wel by Gentiles as Jewes . If therefore the Jewes would accept acknowledgment of morall homage and service from Heathens and prophane persons to the God of Israel ; why may not Christians accept from Pagans and prophane persons , their acknowledgement of morall homage and service to our God , in singing forth his praises amongst us ? Object . 7. Such carnall and prophane people , are not worthy to take the Name and Praises of God in their mouthes ; nor are they able to make melody to the Lord ; by singing to him with grace in their hearts , as is required , Col. 3.16 . Answ. 1. If we speake of the worthinesse of desert , John Baptist was not worthy to loose the latchet of Christs shooe , much lesse to sing forth his glorious praise . But if we speake of the worthinesse of fitnesse , though it bee true , their uncleane lips are not fit to take the holy word of God into their mouthes ; yet the holy word of God is fit to come into their minds and mouths also , to convince and reprove them of their Apostasie from God , and rebellion against him , Deut. 31.19 . And howsoever they be unfit and unworthy to take Gods Name and Praise into their mouths ; yet surely the Lord is worthy of all Praise and Glory , Blessing and Thankesgiving from them , and all the Creatures which he hath made . Answ. 2. It is true , carnall and prophane persons are not able to make melody , and sing to the Lord with grace in their hearts ; yet that defect doth no more excuse carnall persons from singing , then it doth excuse them from Prayer , which they cannot performe acceptably to God , without a Spirit of grace and faith . To Pray ( and so to Sing ) without Faith is a sinne ; but not pray at all is a greater sinne : the one is Hypocrisie , the other Atheisme . Object . 8. Though the Scribes and Pharisees joyned in the Temple-Songs upon the words of David in the worldly Sanctuary : yet the melody made by such carnall and cleane mouths , was farre more beautifull and glorious , then ours in the Assemblies made with a multitude of all manner of Singers , upon the same words of David and Asaph . For although they that sang in the Temple in those dayes were carnall , yet they were appointed to sing , and were choice Singers , endued with choice ( though common ) singing gifts , which made the service most beautifull , as men call beauty . But the melody of our Assembly compared with theirs , hath no outward beauty in it . So that if their melody were a Type of ours , then the Type is more glorious then the Antitype , which is a dishonour to Christ . Answ. 1. It is no dishonour at all to Christ , that the Type should be farre more beautifull and glorious to the outward man , then the Antitype . Solomon was a type of Christ , and the Temple of Solomon was a type of his body ; and both Solomon himselfe and his Temple were farre more beautifull and glorious then Christ himselfe to the outward man , Isa. 53.2 . Yet this was no dishonour to Christ , whose beautie and glory was so divine and heavenly in the inner man , that all their outward beautie and glory , were but dim and darke shadowes to it . Answ. 2. Wee doe not say , that their melody in the Temple , which was made with voyces , was a type of our melody made with our voyces , and singing the same Psalmes of David and Asaph . For though their Choristers were types of the whole Church , and their instruments of Musicke were types of the inward affections of our hearts , in singing forth the Praises of the Lord , to the honour of his name , to their own edification . Answ. 3. Though their melody might be more beautifull and glorious to the outward appearance , as being more artificiall and more musicall : yet seeing the Spirit of Grace is more abundantly poured out in the New Testament , then in the old , if the holy Singers sing with more life and grace of the Spirit , our melody is the more beautifull and glorious before the Lord , and his spirituall Saints , though theirs was more beautifull and glorious in the outward sence . Answ. 4. Whether the Scribes and the Pharisees were any of them Musitians of the Temple , endued with choice gifts , and appointed to that office , ( as you say ) though wee doe not know it , yet neither will we deny it . But this we dare say , That if they were appointed to sing , so now not any choice order of men , but all the sonnes of men are commanded to Sing , as well as to Pray , as hath been shewed above . Object . 9. Where many sing together , ( as in a great mixt Assembly ) many sing they know not what : and they that doe know what they sing , cannot but see , that many of the Psalmes , which they doe sing , are not suitable to their own condition . And how then can they sing such Psalmes , as Songs of their own ? Answ. 1. The ignorance of men in discerning the true matter , or the right manner of a Dutie , doth not excuse them from performance of the Dutie : we speake of such morall Duties , as the morall Law of God and the Law of Nature requireth to be done . What if a man know not what nor how to pray ? Yet that will not excuse him either from praying himselfe , or from joyning with others that are better acquainted with prayer , then himselfe . So it is here , what if many a man know not what , nor how to sing to Gods Praise ? yet that will not excuse him , either from singing himselfe , or joyning with others , that have more spirituall skill in that kinde then himselfe . Answ. 2. It is an ignorance of a mans selfe , and of the wayes of God ▪ to thinke that any Psalme is unsuitable to his own condition . For every Psalme setteth forth either the attributes and works of God and his Christ , and this yeeldeth me matter of holy reverence , Blessing , and Praise : Or else it describeth the estate and wayes of the Church and People of God , and this affecteth me with compassion , instruction , or imitation : Or else it deciphereth the estate and wayes of the wicked , and this holdeth forth to me a word of admonition : Or else it doth lively expresse mine own affections and afflictions , temptations and comforts , and then it furnisheth me with fit matter and words to present mine own condition before the Lord . But whatsoever the matter of the Psalme concerning God or his Christ , the godly , or the wicked , my selfe , or others , the good or evill estate of one , or other . It ever ministreth fit matter and occasion to me of singing forth the Praises of the Lord , since the Name of God is to be blessed in all , whether it goe well or ill with our selves or others . CHAP. X. Of the manner of Singing . THe fourth and last head of Scruples remaineth , touching the manner of Singing : concerning which a threefold Scruple ariseth . 1. Whether it be lawfull to sing Psalmes in Meeter devised by men ? 2. Whether in Tunes invented ? 3. Whether it be lawfull in Order unto Singing , to reade the Psalme ? The two former of these Scruples , because they stand upon one and the same ground , may fitly be handled together . The judgement of the Churches of Christ in these Points , is doubtlesse sutable to their Practise , That it is lawful to sing Psalms in English verses ( which runne in number , measure , and meeter ) and in such grave and melodious tunes , as doe well befit both the holinesse and gravity of the matter , and the capacity of the Singers . A double ground or reason may be given hereof : The former is this ; If it be lawfull to translate and turne the Hebrew Bible into English Prose in order to reading , then it is lawfull also to translate and turne Davids Hebrew Psalmes , and verse into our English Psalmes and Verse , in order to Singing . But the former of these , is a confessed Truth , and generally received amongst Protestants ; except onely Mr. Smith , who had a s●ngular conceit in this Point , That all Letters in the writings of the old Testament were typicall ( ●yping out the Law written in our hearts : ) and therefore 〈◊〉 ●●ve all reading of the holy Scripture to be abolished under the New Testament . But Christ himself commanded his Disciples to search the Scriptures , Joh. 5.39 . And how shal they search ●hem , except they reade them ? And the noble Beraeans are commanded for searching the Scriptures , in the examining of Pauls Doctrine , Acts 17.11 , 12. which how could they have done without reading ? And wherefore did all the Apostles and Evangelists write the New Testament in Greeke ? a language of all more generally knowne then the Latine , and therefore much more then any other in the world , as Tully himselfe testifieth Pro Archiâ Poetâ : was it not for this end , that the New Testament might be read , and generally understood of all Nations ? And where it was not understood , there it might most easily be translated out of a language well knowne unto the severall language of every Nation ? And as for the old Testament , it was translated to their hands out of the Hebrew into Greeke almost three hundred yeares before the Apostles times . Yea wherefore did God commit the whole Counsell of his will and word to writing , for the edification and salvation of all his people , but that it might be read and understood of them all ? If then it be the holy will of God , that the Hebrew Scriptures should be translated into English Prose in order unto reading , then it is in like sort his holy will , that the Hebrew Psalmes ( which are Poems and Verses ) should be translated into English Poems and Verses in order to Singing . The Consequence is evident and undeniable . For presupposing that God would have the Scriptures read of English men as well as of other Nations , then as a necessary meanes to that end , he would have the Scriptures translated into the English Tongue , that English People might be able to reade them . In like sort , presupposing that God would have the Psalmes of David , and other Scripture-Psalmes to be sung of English men , ( as hath been evinced above in the second Point ) then as a necessary meanes to that end , he would have Scripture-Psalmes ( which are Poems and Verses ) to be translated into English-Psalmes ( which are in like sort Poems and Verses ) that English People might be able to sing them . Now as all Verses in all Poems doe consist of a certaine number , and measure of Syllables ; so doe our English Verses ( as they doe in some other Nations ) runne in meeter also , which make the Verses more easie for memory , and fit for melody . A second ground of this Point is this : If it be not lawfull to translate Hebrew Psalmes ( which are Verses ) into English Verses , which runne in number , measure , and meeter of syllables : ) then it is not lawfull to expresse the elegancy of the Originall language in a translation ; for it is an artificiall elegancy which the holy Pen-men of Scripture used that they penned the Psalmes , and such like Poeticall books of Scriptures not in prose , ( which men use in common speech ) but in verses , which observe a certain number and measure of syllables , and some of them run in meeter also , as those know that know the Hebrew , and as Buxtorf . sheweth in his Thesaur. pag. 629. Now surely then it were a sacrilegious nicenesse , to thinke it unlawfull lively to expresse all the artificiall elegancies of the Hebrew Text , so farre as we are able to imitate the same in a translation . Yea doubtlesse it were a part of due Faithfulnesse in a Translator , as to declare the whole Counsell of God , word for word ; so to expresse lively every elegancy of the Holy Ghost ▪ ( as much as the vulgar language can reach ) that so the People of God may be kindly affected , as well with the manner , as with the matter of the holy Scriptures . And for the English Tunes that wee use in singing of Psalmes , take this for a ground ; Since God hath commanded us to sing Psalmes and Hymnes and spirituall Songs , and amongst others , those of David : and yet withall hath hid from us the Hebrew Tunes , and the musicall Accents wherewith the Psalmes of David were wont to be sung . It must needs be that the Lord alloweth us to sing them in any such grave , and solemne , and plaine Tunes , as doe fitly suite the gravitie of the matter , the solemnitie of Gods worship , and the capacitie of a plaine People . As , to instance in a like case , when the Lord instituted the Paschall Supper , and therein a whole Lambe to be eaten , the head , feet , and purtenances , and made no mention what drinke they should use in it , whether wine , or water , or beere , or other liquor ; It was therefore left to their libertie , to use any such liquor as they were wont to drinke fit for such meate as was to be eaten , and for such stomacks as were to feed upon it : So here when the Lord appointed us to sing Davids Psalmes , and doth not appoint us in what Tunes , He therefore plainly leaveth us to our libertie , to make use of such Tunes as are suitable to such an Ordinance ▪ and to them that partake in it . Object . 1. It will not follow , that because the word is to be dispensed in a knowne tongue , and so translated into it ▪ therefore Hebrew Songs into English Song . For the former , we have the warrant of the Word to dispense it for edification , exhortation and comfort ; but no word for the other , nor no gifts of that kinde given for the Churches profit , to dispense the word this way . Such Songs therefore , and such Tunes ( which are called grave Church-Tunes ) are not of God . Nor doe I beleeve that the Levites invented any New Tunes , I have no faith to beleeve that ever God betrusted mans corrupt nature , to frame any thing in Gods worship to his praise . But suppose God had so farre honoured the worldly Singers then ; yet it will not follow , that the Lord Jesus alloweth us the like libertie now . He will not now allow any flesh to boast in his presence , who is not able to bring to passe so much as a good thought . Answ. To weaken the argument for translating Hebrew Songs into English Songs and Tunes , taken from the like warrant of translating Hebrew Scriptures into English Scriptures ; This objection denieth , that we have either the like word , or the like gift , or ▪ the like libertie . Whereto our answer is , wee have all alike equally . For 1. that wee have the like word for singing Hebrew Songs , hath been proved above , out of Colos. 3.16 . & Eph. 5.19 . And the same word that commandeth us to sing them , commandeth us also the translation of Hebrew Songs into English Songs , as a necessary meanes to the acceptable singing of them . For if we should sing Hebrew Songs in the Hebrew tongue , the People ( the body of the Church ) should sing without understanding , which were directly contrary to the Apostles Direction , 1 Cor. 14.15 . 2. That we have also the like gift of translating Hebrew Songs into English Songs , as well as Hebrew Prose into English Prose , is evident by the event . For wee have not onely as many but more Translations of the Hebrew Psalmes into English Psalmes , then of the Hebrew Bible into the English Bible . If it be said , such a gift of translating Hebrew Songs into English Songs , is but a Poeticall gift , not a spirituall gift . Answ. It might as well be said , the translating of the Hebrew Scriptures into English , is not a spirituall gift , but a Grammaticall , or Rhetoricall gift . Whatsoever the art or skill be , Grammaticall , Rhetoricall , Poeticall , they are all of them gifts of God ( though common ) and given chiefly for the service and edification of the Church of God . 3. That we have also the like liberty of inventing Tunes , appeareth from what hath been said already ; For if God have given us liberty and warrant to sing Psalmes and Hymnes and spirituall Songs , then we must sing them in some Tunes . Now the Tunes of the Temple are lost and hidden from us , so that wee cannot sing them at all ; and therefore we must sing such other Tunes , as are suitable to the matter , though invented by men . But you doe not beleeve that the Levites ever invented any New Tune . Answ. Either the Levites invented New Tunes , or the Psalmists delivered musicall Accents , and Notes together with the Psalmes : which seeing we understand not , either wee must not sing a● all , or we must make use of such Tunes , as are invented by others . But you cannot believe , that ever God betrusted mans corrupt nature , to frame any thing in Gods worship to his Praise . Answ. Then you cannot beleeve , that ever God betrusted the Hebrew and Greeke Scriptures , to be read in the Christian Churches in English words ; for all English words are framed by English men , in corrupt nature , to wit , without the immediate assistance of the Holy Ghost in the framing of them . And if wee may not make use of Tunes invented by men for the singing of the Psalmes , then neither may we make use of words invented by men for the Reading of the Psalmes , and other Scriptures . The one is as much a worship of God as the other : And English words are as much an invention of man as English Tunes . But least you should begin hereupon to take up a scruple against the Reading also of Scriptures in English words , as well as against the singing of Psalmes in English Tunes , and both upon this pretence of the inventions of men in the worship of God , be not ignorant , that such godly men as have been desirous of Reformation , and most zealous against humane inventions in the worship of God , they alwaies intended such humane inventions in the worship of God , as had no warrant but the wit and will of man , not such as had warrant either from consequence of Scripture , or light of Nature , or civill custome . For a woman to cover her head in time of publique Prayer , or Prophecying , and for a man to uncover his head , the Apostle warranteth both from the light of Nature , and the custome of the Churches , 1 Cor. 11.4 . to 16. The Kisse of love in holy Assemblies was warranted , not by divine institution , ( for then it were a sinne in us to neglect it now ; ) but by occasion of civill custome in those Nations ; where , it being usuall in their Civill Assemblies to greet one another with a kisse of love , The Apostles doe not disallow the use of it in holy Assemblies , but onely require the sinceritie and holinesse of the love expressed in such kisses , 1 Cor. 16.20 . 1 Thes. 5.26 . 1 Pet. 5.14 . These Apostles did not beleeve in this Point , as you doe , that God never betrusted corrupt Nature , to frame any thing in Gods worship to his Praise . It is true , mans corrupt Nature cannot bring forth a good thought , to wit , a gracious thought , and that of it selfe , but yet by the helpe of Christ , it may bring forth both knowledge by Tongues , and Tunes by Musick ; and that with as good allowance in the New Testament as in the Old. God did as much disallow any flesh to boast in his presence in the old Testament , as in the New , Jer. 9.23 , 24. But what cause hath any flesh to boast , either of his spirituall , or common gifts ? Seeing both are gifts , and received of God : and if received , why should men boast , as if they had not received them ? 1 Cor. 4.7 . Object . 2. To sing with mans melody and meeter , doth not hold forth any spirituall gift of Christ , but onely the art and nature of man : whereas Prayer and Preaching doe hold forth spirituall gifts . And the tuning of Scripture by mans art , it is no gift of Grace , neither doth it redound to the praise of Grace . Answ. Though Prayer and Preaching doe hold forth spirittuall gifts , yet all the Duties that tend to edification , doe not hold forth spirituall gifts , but some of them common gifts onely . The reading of the Scriptures tendeth to edification , as being it selfe an Ordinance of God , though exposition afterwards be added also , which is another Ordinance , Deut , 31.11 , 12 , 13. And yet reading of the Scriptures is no spirituall gift . Aquila , and Symmachus , and Theodotian , translated the Hebrew Scriptures into Greeke , and yet none of them were endued with spirituall gifts , or at best but common . To say Amen at the end of a publique Prayer , tendeth to edification ; and yet Amen may be said without holding forth any spirituall gift . But that which is ground of your scruple seemeth to be this , that that which is no gift of Grace , how can it redound to the Praise of Grace ? But the Answer is ready , that such things as helpe either the understanding , or the affection , and are appointed of God for his worship ; they do tend to edification , and so to the praise of grace , though they may be performed by a gift of God in Nature or art , without any spirituall gift of Grace : Translation of the Scriptures into the Mother-Tongue , and the reading of them in a knowne tongue , doe both of them helpe the understanding : and being appointed of God , they tend to the edification of the people in the Grace of Christ . The translating of the Psalmes into verse , in number , measure , and meeter , and suiting the Ditty with apt Tunes , doe helpe to stirre up the affection : And the singing of Psalmes being appointed of God , they tend to make a gracious melody to the Praise of God and edification of his People . The sound of Aarons Bells , and the blast of the silver Trumpets , and the workmanship of Hiram ▪ the Tyrian in Solomons Temple , did none of them hold forth any spirituall gift of grace : The gift of God in Nature and Art might ●each them all . Yet all these being appointed by God , the putting forth of these gifts did tend to the edification of the Church of God in the Grace of Christ . Object . 3. The Meeter of the late Translators , though it come nearer to the Originall , then the former Meeters , yet not so neare as the Prose . They frame their words and sentences more to the Meeter , then the Prose . Yea they sometimes breake the Attributes of God , and for the verse sake put Jah for Jehovah : which is a mangling of the word . Answ. The meeter and verse of the late Translators , cometh as neare to the words and sence of the Originall ▪ as doth the Prose ; especially considering they doe withall expresse the holy Art of the Originall Hebrew Poetry , which the Prose doth not attend unto . Neither doe the Translators breake the Attributes of God , when for the verse sake , they put Jah for Jehovah ; For both Jah and Jehovah doe hold forth one and the same Attribute of God , even his eternall being . The Evangelists and Apostles give us a patterne of greater changes of the Attributes of God , then that ; any yet without breaking of the Attributes of God , and much more without mangling of the word of God . It is an usuall thing with them to translate Jehovah the Lord , Mat. 22.44 . with Psal. 110.1 . And yet Jehovah holdeth forth his eternall essence , the Lord his Soveraigne Dominion . It were sacrilegious Blasphemy to call this changing either the breaking of Gods Attributes , or the mangling of his word . Besides , it s very rare when the Translators doe make any such change of Jah for Jehovah : and to prevent all stumbling , either of your selfe , or others at it , I suppose they will helpe it in the next Edition of the Psalmes . Object . 4. What delight can the Lord take in such Praises of himselfe , where sinfull men , or the Man of sinne hath an hand in making the melody ? Answ. God delighteth that his will should be obeyed : at least he abhorreth that his will should be disobeyed , though by sinfull men , 1 Sam. 15.22 , 23. Since God commandeth all men in distresse to call upon him , and all men in their mirth , to sing his Praise , what is mortall sinfull man , ( Dust and Ashes ) that he should forbid , what God hath commanded ? God knoweth how to allow , yea and to reward what is his own : when yet he taketh no pleasure in the sinfull manner of performance of any Dutie . God tooke notice of Ahabs humiliation , and rewarded it with respite of temporall judgements , though he tooke no pleasure in his sinfull hypocrisie , 1 Kings 21.27 ▪ 28 , 29. And yet they that had an hand in making the Melody of the English Psalmes , ( whether in old England or New ) were men of a better spirit then Ahab . But I can but marveile , why you should put in the man of sinne , as having any hand at all , in making this Melody . For neither the man of sinne ( by whom I suppose you meane Antichrist ) nor any Antichristian Church have had any hand in turning Davids Psalmes into English Songs and Tunes , or are wont to make any Melody in the Singing of them , yea they reject them as Genevah Gigs ; And they be Cathedrall Priests of an Antichristian spirit , that have scoffed at Puritan-Ministers , as calling the People to sing one of Hopkins Jiggs , and so hop into the Pulpit . God keepe all Anti-Psalmists from the like Antichristian Spirit . They that have been in Antichristian Churches can tell you ▪ that Popish Churches are not wont to sing Davids Psalmes translated into verse in their own Countrey Meeter , but they onely sing the Prose of Davids Psalmes in Cathedrall Notes . Which how farre your selfe close withall , I leave to your selfe to consider . CHAP. XI . Of Reading the Psalmes in order to Singing . THe last scruple remaining in the māner of singing , Concerneth the order of singing after the Reading of the Psalmes . For it is doubted by some , and concluded by others that reading of the Psalmes is not to be allowed in order to singing . We for our parts easily grant , that where all have books and can reade , or else can say the Psalme by heart , it were needlesse there to reade each line of the Psalme before hand in order to singing . But if it be granted , which is already proved , that the Psalmes to be ordinarily sung in Publique , are Scripture-Psalmes , and those to be sung by the body of the Congregation . Then to this end it will be a necessary helpe , that the words of the Psalme be openly read before hand , line after line , or two lines together , that so they who want either books or skill to reade , may know what is to be sung , and joyne with the rest in the dutie of singing ; It is no unwarrantable invention of man , brought into the worship of God , to make use of such meanes , which the light of Nature teacheth us ▪ to be either necessary or convenient helpes , either to the hearing or understanding of what it said in the worship of God . Scaffolds erected in Meeting houses are inventions of men ; no expresse precept , nor example in Scripture calleth for them ; and yet the light of Nature easily suggesteth it , that they helpe to hearing , and so to edification , in as much as they draw multitudes of people to sit within the Ministers voyce ; That which helpeth the very outward sence of hearing , helpeth also knowledge and understanding , and so edification . And therefore no man taketh exceptions at Scaffolds as inventions of men ▪ though they be used to helpe forward Gods worship , and spirituall edification ; because they are not brought in , nor used for spirituall meanes immediately ▪ but remotely , so farre as they are fit to helpe the outward sence of hearing and so understanding . Of like use is reading in order to Singing . It giveth the People to heare , and so to understand , what is to be sung , that so they may joyne with the rest in singing of the Psalme : and by Singing be stirred up to use holy Harmony , both with the Lord and his People . Object , 1. The Scripture mentioneth no ordinary reading in any Church , but that which is joyned with interpertation . Answ. 1. The Scripture doth expresly mention Baruch to have read the word in a Church Assembly , without adjoyning any interpretation to it , Jer. 36.6 , 7. Answ. 2. As Preaching , of the word is an Ordinance , so reading the word in order to Preaching , is an Ordinance also . In like sort , as singing of Psalmes is an Ordinance , so reading the Psalmes in order to singing , is allowable also . Answ. 3. It is mentioned in Scripture , that the children of Israel did all joyne in singing the Song of Moses at the Red Sea , Exod. 15.1 . Now it is not credible , that they who were bred and brought up in bondage , were brought up to reade . It were much if one of a thousand of them could reade . If most of them could not reade , how could they joyne in singing that Psalme , unlesse some or other read , or pronounced the Psalme to them ? Answ. 4. Though it be true , that the Church of Israel had such an Ordinance amongst them , that after the reading of the Law , or the Prophets , some or other of the Priests or Levites , or Prophets , were wont to expound the same to the people , ( Acts 13.15 . & 15.21 . Neh. 8.7 , 8. ) yet the very reading of the word it selfe was also an Ordinance , though no Exposition followed , Deut. 31.11 , 12 , 13. Deut. 27.14 . to 26. Object . 2. The Scripture prescribeth not what Officer shall performe this act , to reade the Psalme in order to singing . Answ. The Scripture prescribeth this , as it doth many other matters of ordering Gods house , to wit , under generall Rules . It is no where expresly prescribed in Scripture , who shall be the Mouth of the rest in the publique Admonition , or Excommunication of an Offendor ; yet by generall Rules , it may easily be collected , That publique dispensations of the Church , doe ordinarily pertaine to the publique Officers of the Church . Any of the preaching or ruling Elders may warrantably goe before the people , in putting the words of the Psalme into their mouths . Object . 3. This reading of the Psalme doth hinder the melody , the understanding , the affection in singing . Answ. If a mans prejudice against reading doe not hinder himselfe , Reading hindreth none of these ; not melody , for the Reading is not in the art of singing , but in the pause ; nor the understanding , for it helpeth such as cannot reade , or want Books to understand what is to be sung , which otherwise they could hardly perceive ; nor the affection , for when the melody is not interrupted , and the understanding furthered , the affection is rather helped then hindred ; or if it be hindred , lay the fault where it is , rather in a coy , or cold heart , then in a distinct and intelligent Reading . CHAP. XII . Answering the Objections brought from the ancient Practise of the Primitive Churches . OBject . 1. That practise which was anciently used in the Churches immediately after the Apostles times , is most probable to be nearest the constitution of the Apostles ; and that practise which followed a great while after it , is most probable to be furthest off ; as the water is purest and clearest , nearest the fountain , and runneth more troubled , and muddy afterwards . Now the practise of singing Psalmes , which were made by the faithfull , was first in use : For those Psalmes which the Primitive Christians used before day in the time of Persecution , wherein they sang Praises to Christ their God ( as Pliny writeth to Trajan ) they are said to be made of the faithfull . These were in use , even in Johns time , after he was called from Banishment ( after Domitians death ) to order the Churches ; which practise also continued about three hundred yeares ; wherein there was more purity in Doctrine and Discipline , ( as useth to be under Persecution ) then afterwards . Answ. 1. This Syllogisme falleth short of Truth in both the Propo●●tions : For it is not alwaies true , that the practise which was used in the Churches immediately after the purest times , is nearest to their constitution , ( as the water is purest and clearest next the fountaine ; ) and that which followeth a great while after it , is furthest off . As water neare the fountaine may fall out to be troubled , and so become lesse cleare and pure , then in his running course further off . The night following the day , though it be nearest to the day , yet it is more darke , then the day following after , though it be further off from the day before . The Elders and People that lived in the dayes of Joshuah , they served the Lord : but when that Generation were gathered to their Fathers , there arose another Generation after them , which knew not the Lord , and they did evill in the sight of the Lord , and served Baalim , Judg. 3.7 . to 11. Paul forewarneth the Elders of Ephesus ; He knew that after his departure grievous Wolves should come in amongst them , not sparing the flocke , Acts 20.29 , 30. And Eusebius complaineth out of Hesesippus , That after the Apostles times , the Church did not long remaine a chast and undefiled Virgin , Histor. Eccles. lib. 3. cap. 26. 2. Neither is it true , that the practise of singing Scripture-Psalmes followed a great while after the Apostles times , as if the faithfull had onely made use of their own personall gifts in compiling Psalmes for the first three hundred yeares . For it is evident that in the next Century after the Apostles times , the Church did ( as Tertullian testifieth , Apologet , Chap. 39. ) Deo canere , either de Scripturis Sanctis , or de proprio ingenio , that is , either out of the holy Scriptures , or out of their own gift . Yea and Pliny himselfe , ( which is all the Testimony you alledge of the Churches practise for three hundred yeares ) he doth not expresse what Psalmes they sang , whether out of the holy Scriptures , or out of their own gift , or that any one alone did sing , but that they did Carmen Christo quasi Deo dicere suo invicem , Plin. Epist. lib. 10. Epist. 97. Which Tertullian and others expresse , they did Caetus antelucanos habere ad canendum Deo & Christo , Apologet. cap. 2. They met before day to sing Praises to God and Christ , and to confederate Discipline . 3. Though they had made use of their personall gifts , more then they did in the times of the Primitive Persecutions , during the first three hundred yeares , yet that would not argue they neglected the use of Davids Psalmes ; much lesse would it incourage us to neglect the use of Davids Psalmes now . During the times o● those bloudy Persecutions , as the sufferings of the Saints abounded , so did their Consolations ( through Christ ) abound also . As God honoured sundry of them with miraculous gifts , so especially with a large measure of spirituall joy in the Lord , which might furnish them with more enlargement of heart , to compile Psalmes to set forth his Praise , then God is wont to bestow in more peaceable times . 4. Though sometimes they sang Scripture-Psalmes , and sometimes spirituall Songs by personall Gifts : yet both sorts evidence the judgement and practise of those times , touching vocall Singing . They did not onely make melody to the Lord with Grace in their hearts , but with Songs also in their mouths . Yea Justin Martyr , ( who flourished within fiftie yeares after the Apostles time ) or whosoever was the Author of those Questions and Answers ad Orthodoxes amongst his works , though he speak of Musicall Instruments , as utterly unfit for Church Assemblies , yet simple singing with the voyce he much magnifieth ; as that which stirreth up the heart to spirituall joy , and holy desires ; as that which subdueth the passions and concupiscences of the flesh ; as that which scattereth the evill suggestions of spirituall enemies ; as that which watereth , and refresheth the soule to fruitfulnesse in good Duties ; as that which stirreth up courage and constancy in wrestlings for the Truth ; and as that which giveth some medicine to all the griefes , which befall a man through sad and sorrowfull Accidents in this life , Justin in Answ. to Q. 107. 5. After the three hundred yeares after Christ were expired , yet not long after the times of Persecution returned in the dayes of Julian the Apostata , when the Christians of Antioch , together with the women and children , sang such Psalmes of David as cursed and reproached Heathen Idolls and Idolaters , Socrates Eccles. Histor. lib. 2. cap. 16. in Gn. cap. 18. Theodoret expresseth by name . Psal. 115. & Psal. 68. Histor. Eccles. lib. 3. cap. 17. 6. Although before the three hundred yeares were expired , wee reade in Eusebius , that one Nepos ( though a Millenary ) was well respected , as for other good gifts and works , so for divers Psalmes and Hymnes composed by him , ( which some brethren did willingly use a long time after ; ) yet wee suppose , that was such a practise , as your self would not allow , to sing set formes of Psalmes invented by men , and to continue to sing them after their departure , and in the meane time , to refuse set formes of Psalmes endited by the Holy Ghost ; as if the Psalmes endited by an extraordinary measure of the Spirit , were more uncleane , then the Psalmes endited by the common gift of an Ordinary Elder or Brother . Object . 2. Samosatenus the Heretick , ( who denyed the Diety of the Lord Jesus ) was the first that within those first three hundred yeares , opposed this singing by personall gifts . Answ. Not out of respect to Davids Psalmes , but to avoyd the Hymnes which did set forth the Glory and Godhead of Christ , and to bring in Psalmes , which did set forth his own Heresie , and therewith his own Praises , as Eusebius testifieth , Eccles. Hist. lib. 7. cap. 24. in lat . cap. 30. in gr. Object . 3. The practise of singing Davids Psalmes was a later invention , brought into the Church of Antioch by Flavianus and Diodorus . And hence this custome was taken up by Ambrose and Augustine : but vehemently opposed by one Hilary a Ruler there , because they sang out of a Booke . Hence Augustine turned a Patron for it , forced thereto rather by the importunity of the people , then of his own accord : as being destitute of weapons out of the word of God for it : and therefore afterwards repented of it , and wished the Custome removed . Answ. 1. Tertullians testimony alledged above , doth evidently evince , that the singing of Scripture-Psalmes ( and so of Davids was in use in the Church , before Flavianus and The●dorus were borne , Apologet. cap. 39. For Tertullian was about 140. yeares before them . 2. The practise brought in by Flavianus and Diodorus , was rather some new fashion of singing Davids Psalmes , then the singing of them . For as Theodoret reporteth it , they were the first that divided the Quire of Singers into two sides , and appointed one side of them to answer the other in the singing of them : and used the same at the Monuments of the dead , and that sometimes all the night long . But these inventions savoured rather of superstition , then of pure Primitive Devotion : though they wrought a good effect upon Theodosius , when Flavianus sent those Songs to be sung at his Table , to moderate his wrath against the Citizens of Antioch ; see Theodoret , Hist. Eccles. lib. 2. cap. 24. Zozomen , Hist. Eccles. lib. 7. cap. 23. 3. It is spoken without warrant of Antiquity , that Ambrose and Augustine tooke up the practise of singing Davids Psalmes from Flavianus and Diodorus . For neither did they bring it in , ( as was shewen out of Tertullian ; ) nor is the slacknesse of some Churches in receiving an Ordinance , a just exception against the Ordinance , but rather a just reprehension of their negligence . And so much doth Augustine confesse in his 119 Epistle , chap. 18. Where speaking of this practise of singing of Psalmes , though it be , saith he , so usefull to the stirring up of the heart in godlinesse , and to kindle the affection of divine reading : yet the custome of Churches is divers about it , and the most members of the African Churches , Pigriora sunt , have been more sloathfull in receiving it . In somuch that the Donatists doe reprehend us , that wee sing soberly the divine Songs of the Prophets , whereas they inflame their drunkennesse ( as it were ) by a Trumpet of exhortation to the singing of Psalmes , composed by their own humane wit . By which reproofe of the Donatists , it may appeare that the custome of singing Davids Psalmes was in use in the African Churches , and in Millain also of former times ; and that the Custome brought into the Church of Millain to keepe the people awake in their night Watches against the Arrian violence , was the singing of Psalmes after the Easterne manner , with more curiosity of Musicke , and one side of the Singers answering another . And of this is Augustine to bee understood in the ninth booke of his Confessions , chap. 7. 4. It is not true , That Augustine became a Patron of singing Davids Psalmes , rather forced to it by the importunity of the people , then of his owne accord . For hee saith expresly in the same Chapter of the same Epistle ; That the practise of singing Psalmes and Hymnes is to be done without doubting , seeing it may be defended out of the Scriptures , in which wee find both the Doctrines , and Examples , and Precepts of Christ , and of his Apostles for it . And the same Augustine in his first Tome and third Rule , ( as it is titled ) Nolite ( saith he ) cantare , nisi quod legitis esse cantandum . Quod autem non ita Scriptum est ut cantetur , non cantetur ; that is ▪ doe not sing but what you reade is to be sung , but that which is not written that it should be sung , let it not be sung . Nor is it true , that Augustine repented , that the custome of singing Davids Psalmes was brought into the Church , or that he wished rather it were taken away . For though when hee saw his heart more taken up with the melody of the Tune , then with the sweetnesse of the matter , he could have wished the sweetnesse of the melody removed from his owne eares , and from the Church : yet still he would have them sung after the manner of the Church of Alexandria , and Athanasius : And then correcting himselfe ; But when J remember , saith he , my Teares which J powred out at the singing of thy Church , in the first restoring of my Faith , and how J am still moved , not with the Song , but with the matter sung , when it is sung with a cleare voyce , and convenient tune or modulation , J doe againe acknowledge the great utility of this Institution . And though he doe waver between the perill of delight to the sence , and experiment of wholsomnesse to the soule : yet his scruple was not of the lawfulnesse of singing Davids Psalmes , but partly of the pleasantnesse of the Tunes ( which might be more artificiall , then the gravity of the Ordinance required ) partly of the expediency thereof to himselfe , till his heart were more spirituall . His writing against Hillarius jubentibus fratribus , doth not argue , he wrote against his will , but by a good call , in defence of singing Davids Psalmes against a man that tooke up any occasion to carp at Gods Ministers , August . Retract . lib. 2. cap. 11. Object . 4. Besides it is to be noted , that Formes of divine Service and Letanies begun to be used at the same time , in many places . In the French Churches , and in Constantines Cour● and Campe , both himselfe and his Souldiers using a Forme of Prayer , the Churches ( as is wont under Christian Magistrates ) growing proud and lazie . At which time they had also their Regular and Canonicall Singers appointed hereunto by Office : The Psalmes composed by private Christians ( whom they call Idiots ) being interdicted in one and the same Counsell of Laodicea , till at length all was turned into a Pageant in the yeare 666. the fatall figure of Antichrist : it being impossible ( as it seemeth ) that the lively gifts of Gods Spirit in his people , should breath any longer when Formes are once set up in the Church , &c. Answ. Though Constantine appointed a forme of Prayer to his Souldiers , ( Euseb. lib. 4. de vit. Constantin . cap. 20. ) yet wee doe not reade that hee limited them to the use of it ; much lesse that formes of divine Service and Letanies were brought into the Church in his time , nor scarce of an hundred yeares after . Neither were Regular and Canonicall Singers brought into the Church in his time . The Councell of Laodicea which allowed them , and interdicted Psalmes composed by divers Christians , was neare about sixty yeares after him . 2. Their forbidding any to sing , but such as were appointed to sing , ( Concil. Laodic . Can. 15. ) though they did it to abuse the Peoples abuse of the Psalmes by singing out of Tune ; yet their care might better have been bestowed in learning the people to know and keepe the Tune , and in advising such as had lowd and strong voyces , and were skilfull of Song , to have led and kept the people in a decent melody . But otherwise for their prohibiting of singing of Psalmes composed by private men , and the reading of any books in the Church , but the writings of the Prophets and Apostles , as they doe in Canon 59. that so they might establish the reading of Scripture-bookes , and the singing of Scripture-Psalmes . It is so farre from superstition , that it tendeth rather to preferre divine Institutions , above humane Inventions . When they interdicted the Psalmes composed by private Christians , whom they called Idiots , or as we call them in our language , simple fooles . You are not ignorant that an Idoll in their language signifieth no more but a private man ; and in the same sence the Apostle himselfe useth it , 1 Cor. 14.16 . though the Translators turne it unlearned . Neither doe Formes of Gods Praise stop the breathing of the lively Gifts of Gods Spirit , when the Formes are no other , but such as were indited by the immediate Inspiration of the Holy Ghost ; For when the Psalmes of David , and of other holy men of God , were commended to the Church of Israel , and by them were ordinarily sung in the Temple and elsewhere , would you say it did hinder the free passage of the breathing of the lively gifts of Gods Spirit , either in the Ministery of the Priests , or in the writings and Sermons of the Prophets ? Surely Elisha found it otherwise , 2 Kings 3.15 . and the whole Church of Judah . As for 666 ( which you call the fatall figure of Antichrist ) judge you in your own soule before the Lord , whether it doe more savour of an Antichristian spirit , for the whole Church to sing the Psalmes of David with one accord , or to sing Te Deum , or some other Anthem devised by a private spirit , one man alone ? Sure it is ( as we said before ) Antichristian Churches doe utterly reject the singing of Davids Psalmes in the Meeter of each Nation in their Mother Tongue , yea and do reproach such Psalmes as Genevah jiggs ; so farre are they off from closing with singing of them as an Invention of their own . Object . 5. Let no man thinke , that the singing of Davids Psalmes is an Ordinance of God , because many Christians have found their affections stirred ( as Augustine also did ) in the singing of them . This doth not justifie this practise , no more then it doth Preaching by a false calling , because some have found conversion by it : no more then it doth the receiving the seale of the Supper in a false Church , and that with the Idolatrous gesture of kneeling , because some have found quickning and strengthening Grace therein . For Gods goodnesse many times goeth beyond his Truth . Answ. We cannot say , That Gods goodnesse goeth beyond his Truth , though sometime he shew a man mercy out of his way . For we have the truth of Gods word to testifie , that so sometime he doth as Saul found converting grace in going to Damascus to persecute the Saints . But this we say , that when God doth thus , he either convinceth a man of the error of his way , before he shew him favour in it , ( as he did Saul ; ) or else the way it selfe , or Dutie is of God , though there be some falling in the circumstance of it . Many of Israel that came to the Passeover in Hezekiahs time in their uncleannesse , yet they found mercy with the Lord . But it was because the Ordinance and Duty was of God , the failing was onely in the manner of Preparation to it , 2 Chron. 30.18 , 19 , 20. But if Micah set up an invention of his own in his house , though he may promise himselfe a blessing in some orderly circumstance of it , ( as he did Judg. 17.13 . ) yet let him be sure he shall finde a curse in stead of a blessing , according as God hath exprest it , Deut. 7.26 . It is granted and bewailed , that there hath been found some sinfull failings in sundry circumstances of some Ministers callings : And yet because the substance of the calling was of God ; many have found saving blessings in attending on their Ministery . And the Lords Supper administred by them being of God , though the gesture in which it was received was corrupt , the Lord was pleased to accept and blesse what was his owne , and to passe by sinnes of ignorance in his people . But can it ever be proved that when any practise of Gods worship hath been but an humane and Antichristian invention , that it hath been neverthelesse blessed with the communication of spirituall affections , and that not seldome and rarely , but frequently and usually ; not to one or two Saints , but generally ; not to the weakest , but to the strongest Christians ? We are verily perswaded no such instance can be given since the world began . God is not wont to honour and blesse the wayes of superstition , with the reward of sincere devotion . But surely God hath delighted to blesse the singing of his holy Psalmes , with gracious and spirituall affections , not onely in Augustines time , & in Justine Martyrs before him , but from age to age to his Saints , usually , generally , and abundantly : so that doubtlesse the servants of God defraud their soules of much spirituall good , and comfort , who defraud themselves of the Fellowship of this Ordinance . But ●ere is the misery of the present age , that those Ordinances that men have practised , either without the knowledge of the true grounds thereof , or without the life and sence of the comfort of them , or without the sincere love of them , they have therefore afterwards in the houre and power of Temptation cast them aside , and so forsaken the holy Institutions of God , to embrace & please themselves in their own imaginations . How much more safe were it , for humble and sincere Christians , to walke in Gods holy feare , and in sence of their own ignorance , infirmities , and temptations , to suspect their own private apprehensions , and humbly to beg a Spirit of Light and Truth , to lead them into all Truth , and meekly to cons●lt with Brethren without setting up any Idoll or forestalled Imag●nation in their hearts , before they resolve to runne a by-way , to the griefe and scandall of their Brethren . It is a Palsey distemper in a member to be carried with a different motion from the rest of the body : The Lord heale our swervings , and stablish us with a Spirit of Truth and Grace in Christ Jesus . FINIS . 
A60542	----	A vindication of an Essay to the advancement of musick from Mr. Matthew Lock's Observations, by enquiring into the real nature and most convenient practise of that science / by Thomas Salmon ... Salmon, Thomas, 1648-1706. 1672 Approx. 110 KB of XML-encoded text transcribed from 58 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2004-11 (EEBO-TCP Phase 1). A60542 Wing S419 ESTC R4592 12376274 ocm 12376274 60619 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A60542) Transcribed from: (Early English Books Online ; image set 60619) Images scanned from microfilm: (Early English books, 1641-1700 ; 226:4) A vindication of an Essay to the advancement of musick from Mr. Matthew Lock's Observations, by enquiring into the real nature and most convenient practise of that science / by Thomas Salmon ... Salmon, Thomas, 1648-1706. N. E. Wallis, John, 1616-1703. [5], 85, 20 p., [1] folded leaf of plates : ill. Printed by A. Maxwell and are to be sold by John Car ..., London : 1672. Written in reply to an attack on his "Essay to the advancement of musick by casting away the perplexity of different cliffs." Locke retorted in "The present practice of music vindicated." In the form of a letter to Dr. John Wallis. The 20 p. at end contain a letter to the author, signed N.E., concerning his Essay and Locke's reply. Reproduction of original in Library of Congress. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. 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Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Locke, Matthew, 1621 or 2-1677. -- Observations upon a late book entituled, An essay to the advancement of musick. Musical notation. 2004-04 TCP Assigned for keying and markup 2004-04 Apex CoVantage Keyed and coded from ProQuest page images 2004-08 Jonathan Blaney Sampled and proofread 2004-08 Jonathan Blaney Text and markup reviewed and edited 2004-10 pfs Batch review (QC) and XML conversion A VINDICATION OF AN ESSAY To the Advancement of MUSICK , FROM Mr. MATTHEW LOCK' 's OBSERVATIONS . By enquiring into the real Nature , and most convenient Practise of that SCIENCE . By THOMAS SALMON , M. A. of Trin. Col. Oxon. A senis Notis , ah ! qualis mutationum mora , confusio clavium , substitutio vocum ? videas plerosque an indigneris , bonam aetatem impendisse huic arti , & exiguum tamen profecisse , perfectos annis prius quàm ejus . modi lectione . Erycii Put. Musathena . LONDON : Printed by A. Maxwell , and are to be Sold by John Car at the Middle-Temple-Gate , 1672. To the READER . MOrefields , or the Bear-Garden are entertainment only for the Rabble : And , should I spend my time in wrangling , scratching , pulling by the hair , and such like ; the Reader would have good reason to think himself but rudely treated . I shall therefore ( after I have a little caress'd my good Friend , and old Acquaintance , The Observer ) enquire into the nature of Musick , that we may a little discern what commerce it maintains betwixt its Theory and Practice ; and if we can obtain them both to vote in favour of our Hypothesis , we shall have just Encouragement to engage with the Objections . To the Eminent and Learned Dr. JOHN WALLIS , Savilian Professor of Geometry in the University of Oxford . SIR , HAving in a Letter ( of Feb. 7. ) received your Approbation of my Essay , ( than whom , none was better able to judg , whether it was agreeable to the true nature of Musick ) I was not much sollicitous what the less-learned part of the world thought concerning it . But then , that Learned as well as Royal Society , having in their Transactions ( published Febr. 1671 / 2 N. 80 ) upon their Judgments recommended it to publique practise ; I must confess it was more than I expected , to be now so killingly convinced , and utterly destroyed by one single , though he was a very grand Observer . And indeed , Sir , what ruin may I not expect from such a formidable Encounterer ? who , when I hop'd to have obtain'd a little respect by professing my self Graduate of one of the most Noble Universities in the World , at one puff ( Observe p. 38. ) turns me into a Jack-an-apes , and all those venerable Ancestors we study , into great Bears . Now , Sir , for my part , I had never skill enough in my life , to take a Man in pieces , and make him up into a Monkey : Wherefore I must stand staring and gazing upon my Antagonist as the Gigantick-Champion of Musick ; to which purpose , he is pleased ( P. 30. ) to call himself the great Goliah ; and his small Adversary , little David ; though before that ( P. 9. ) it lay in his way to call me Hercules : And so powerful he is , Sir , in this juggle of converting , that I am confident , at the same time he is able to turn me into a Mouse , and an Elephant . Well , there are no hopes , but we must be undone : for we may pretend and expect what we will ; 't is impossible there should be any dealing with ' or resistance made against such a mighty man as this . Wherefore I am resolved humbly to request and entreat all manner of men to believe , That I am and do whatever he would have me ; for there is nothing in the world does so spoil an ingenious jest , as for some silly people to get a whimsey in their heads , That I am of a sober conversation : Whereas if they will but be so kind to their own diversion , as to grant me a Sot and a Cox-comb , then would they set Ralpho's Lice and Maggots a wrigling , p. 5. Then we should have Burlesque upon Poetry , and Verses upon Burlesque ; and that so violently , that if no body will bestow printing them , he 'l print them himself ; if no body thinks them worth answering , he 'l answer them himself : so very careful he is for the recreation of mankind . But , Sir , I must remember you of one thing , That when I was supposing my self , I was willing to suppose my self one of the least things I could suppose my self ; that when this huge Destroyer came , I might creep into an Augur-hole , or behind the Wanscot ; but I was afraid even to do that too ▪ for if you observ'd how archly he transposes and perverts my words , ( p. 8. ) you would take him for a living Mouse-trap . However , having timely apprehensions of his coming , I was not out of all hopes to escape , did there not go before him a terrible fellow in Buff , an Epigrammatical Poetaster ; this man , Sir , ( one would think ) dealt only with Pen , Ink , and Paper ; but alas ! he was arm'd with all the Instruments of Cruelty ; and heated with such an implacable Malice , that he sentences me ; first , To have my Hide taw'd till it was tender ; then to have the foresaid intimate Garment , my Skin , to be fley'd off whilst I yet remain'd alive : nay further , could he have got a Rime for defunct ( which it seems was the word he designed ) I must also have been eaten alive with Pepper and Salt , three days after I had been defunct . But 't was well for us , his Pegasus was jaded ; and so , farewel him . Next comes the Observer himself , whose remarques were fitter to be contemn'd than taken notice of ; yet their Author being of so great fame and employment , I shall strictly examine each Page ; which trouble I am the more willing to undergo ; because after this Observer I suppose none will dare to make Observations ; there being few men of greater Skill ; of greater Malice , none . Observ. p. 1. The Essay is , at first dash , found abusive , false , insignificant , contradictory , and ( in some parts ) impossible ; which to save himself the labour of proving , he supposes ; and accordingly to save our selves the labour of disproving , we suppose is not ; and so far we are even . But indeed , 't is no great matter which is true ; for the business does not lye in pro & con , but the way of propounding . He has ( saith the Observer ) been liberal to evince the intricate and difficult way of your proceeding , by an Experiment of his . Now , Sir , there is no such rugged uncompliant way of evincing , as that of Experiment ; for thereby things will obstinately appear just as they are . And of all other Experiments , those of Arithmetick have lest of congé in them . Ha Sausebox ! Dare you prove , that we require 81 different alterations ( Essay p. 33. ) ? Now , Sir , these Numbers are so cross-grain'd , that all the Money and Interest in the world could not bribe 9 times 9 to be 79 , they will make 81. And no Musician can deny , but that there may be 9 Cliffs , and that every Cliff sets all the Notes belonging to it in different places , which must at the least be more than Nine . ( For though G of the Base , and one G upon the Treble , both stand upon the lower line ; yet I am confident , he so far abominates my Octaves , that he will scorn to save Nine by that shift ) . So that proving them to make 81 alterations of the Notes , and my Notes always to stand in the same place , this is the abusive rugged way . Whereas the smooth taking way had been to have invited our angry Observer to the Tavern , fill'd his belly with a good Fish-dinner , and made it swim agen ; then might a man have drawn forth an Hypothesis with acceptance ; if so be one had been cautious all the while to have acknowledged that the old way was rare , convenient , and indeed best ; but it would be an infinite kindness and obligation if they would practise a new one ; which the worse it was , the greater kindness it would be to accept it . And this had been the modest way . But now , Sir , you know it is the way of us speculative people , if we can but once demonstrate a thing to be easie and plain , we use to accept it without further charges of entertainment . And if this won't agree with the practical , then without doubt there is something more in it than we know of , and must be put among those things which are good in speculation , but not profitable to practise . And now , Sir , lest my Reader should be a little drowsie , you must give me leave to change the mood , and be more pleasant upon this subject of recreation . P. 2. Do but turn over the leaf , and you will find me indebted to the Observer for a Tale ; and indeed , Sir , I was never so indebted to any man in my life ; for he hath described himself to be an arrant fool , out of good will to prevent all ventersome young men from being the like . There he stands like a frightful Scare-crow stuff'd with straw , an old Hat , and a Muckinger , holding forth his arms ; See here young men ! When I was a School-boy , &c. then was I Lucifer-like ; which some wicked people say , was as proud and false as the Devil ; but I don't believe that was his own meaning of it in this place , though afterwards he tells us plainly , He was wise in his own eyes ; that there was more hopes of a fool than of him . Sir , one would long to be acquainted with the Observer , to know what kind of man such an ill-begun boy hath made . But whatsoever he is , we thank him for his good advice , though we cannot admit the force of his Argument , That if he was a fool when he was a young man , therefore all other young men must be so too . Which is all the pertinent application I can dev●ise P. 3. And now our errant Observer promises , To keep within compass ; where ( having just finished his own Character and Education ) he is pleased to insert mine : Which I will not examine , because I have already professed my self to be , and do , whatsoever he says , except in the business of my forlorn Fssay . I must acquaint you , Sir , That it happened amongst the happenings of my life , to have to do with this Observer , wherein I did my do , civilly and kindly ( as he himself confesses , Lin. 17. ) and several others also , were the favours he received from our Family , which he promises ( and we have experienc'd in these Observations ) always to acknowledg . And indeed , such kind inclinations are as natural to him , as 't is for a stone to tend towards its center . For how can a sweet Musical Ingenuity , be any way tainted with the least Rudeness or Ingratitude ? Especially being terrified in the days of School-boy , with that dreadful Apothegm of Lycosthenes , Si ingratum dixeris , omnia dixeris . But I did that which was able to cancel all Obligations . Pity ! ah pity , Sir , the common fate of Scholars , who are all possessed with one incurable madness , To be ever enquiring into the reasons and nature of things . Hence came the cause of my present ruin ! My canting Questions , and my niblings after Solutions . And here , Sir , I am resolved to lay you something in the blame : for it was you that spoil'd me , by letting me know , That the satisfaction an Octave created , did proceed from an exact duple-proportion , which it ever observed , with some other such like heathenish things . And this , by my reading , got such possession of my Pericranium , as you can scarce imagine . Particularly , when I was a young trader in Philosophy , Father Galtruchius told me in the first Chapter of his Musical Institutions out of old Boetius and Ptolomy , Quod , voces in Musicâ neque plures neque pauciores esse possunt , quam septem , ( i. e. ) there could be neither more nor less than seven Voices , which are the seven intervals included in eight Notes . Not that Seven were all the variety the Ancients had : for Aristoxenus , who was Contemporary with Alexander the Great , and Scholar to Aristotle , tells us in his first Book , p. 20. Edit . M. Meibomii , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . That the Notes then in use , especially for humane voice , reach'd two Eights and a Fifth ; which ( not counting the Fifth inclusively ) is just twenty Notes , the compass of our modern scale from Gamut to Ela. But then this vile Aristoxenus did so confirm me in my beloved Octaves ( the same page ) where he thinks that Notes might upon their account proceed ad infinitum , that I have ever since doted upon them . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . That an Octave was of such an incomparable good nature , as if you added a greater , or less , or equal consonant to it , it would still be Consonant , which he thought would hold to infinite ; but will not come to pass so much as in two Fifths ( where the present division of Cliffs is ) or any other consonants of the same kind , which being added together , make a most unpleasing discord . These Learned men , Sir , were those Midsummer-Moons which influenc'd my brains to think an Octave to be a compleat Cycle of Musick ; which , in the greatest compass , still enjoyed it self in one and the same Oeconomy . And this , Sir , makes me still so mad as to think , that though my new Scale doth divide it self at every Octave , p. 11. yet it does not divide confusedly , or Tinker-like , instead of mending one hole , make two . But , Sir , these uncontroulable Proverbs are able to undo any man living . And then for his Poetry , he is altogether as invincible . From whence you see my misery in dealing with this man of Proverbs ! And for Burlesque , if not Twin to Hudibras , yet certainly he is his own younger brother . But I omit these Titles , as ( perhaps ) only my own private Sentiments . Come therefore ( as I. Philips calls thee ) , Come thou Apollo , thou sign of a Sun-Tavern ; come and behold the annual circuit of thy rival Luminary ; see the like circulation of the imitating blood . Or like a Bowl , or like a Wheel , Or like the Damask-Rose you see . Fye upon it ! Observer , I believe thou observest , that they will not Rime , which is the only thing necessary to Verses . Therefore ( good Hudibras ) give me leave to retreat to Prose . A Diagramm For the Uniting of Speculative and Practicall Musick ; By rendring the Order and Proportions of the Intervalls ▪ into Practick notes upon their own constant lines & spaces . And here I intend to give an account of this Whirlegig , because I think it does something turn and hindg Speculative and Practical Knowledg together : so that we will a little look into the grounds of Musick , and steer our course accordingly . Mr. Morley ( otherwise than the Ancients did ) in his Introduction , p 3. instructs his Scholar Philomathes , That there were in Musick but six Notes , which are called by those several names , Ut. Re , Mi , Fa , Sol La , ( And why but Six , I leave the Observer to vindicate . ) Now He , and their Nomenclator Guido , being both in a mistake for that , have ( as some think ) caused a great deal of confusion , by directing men to follow that in practise , which stands upon a false foundation , even against the very nature of the thing . Thus they begin at every Tetrachord , and so march up to the Hexachord , and then down to the Tetrachord again ; whereas the business is not done by Fourths and Sixths , but by a circulating Octave . Which they were something sensible of ; and therefore , after the two first Tetrachords , began Ut again at the next Note ; that every Octave . Note might have the same denomination as well by its Syllable , as its Capital Letter . And this the Observer is so exceedingly angry at ( because I take some advantage thereby to plead for my Octaves ; and therefore seem to have some reason , why men should involve themselves in my perplexities , as he says p 27 ) that he thinks it rational , for the future , to take the Alphabet endwise , even to W , X Y , Z ; though he add four more Notes to the Scale above Ela. But 't is well for me , All men are not so spiteful : Forreigners , who retain Ut and Re , have generally added the seventh Monosyllable Bi ; and therefore I doubt are something guilty of circulation , which is thereby brought to pass at every Octave . But our own Countrey-men have much out-done all the Musicians in the world not only by pursuing the same circulation , but in so ordering the Monosyllables , that the same should always signifie an interval of the same proportion . Which , Sir , was first taken notice of by your self , in your most ingenious Letter of March 20 1664 / 5 , to the R. Society , representing Musical Harmony to the eye , in one of Mr Henry Laws his airs , rendred in Parallelograms . If you please to review my Whirlegig , you will find in what order those Monosyllables circulate , and how each of them is assigned to its own proportion : thus to bid one sing from the precedent Note to Sol , is as much as to say , Sing an interval , whose two terms are in the proportion 9 / 8 , and after the same manner to La 10 / 9 to Fa 16 / 15 , which being repeated , the odd Note Mi 9 / 8 comes and compleats the Octave ; and this was the Note ( though in another name ) which our good friend Mr. Guido , after he had added together a couple of Tetrachords , wanted to compleat his Octave . Now the Rations of any of those numbers being continued , return the proportion of the Consonant required to be constituted by them : Thus 9 / 8 × 10 / 9 the sum 90 / 72 — 5 / 4 which is a Practical Third major ; three Notes including the two intervals , Sol , La ; and if all seven were continued , the aggregate would be 18662400 / 9331200 — 2 / 1 a duple proportion . This Account will be exact for any intermediate Concord ; but that 10 / 9 × 16 / 15 will not constitute a true Hemiditonus , as is demonstrated by R Des Cartes in his Musical Compendium , p. 32. where he gives an account of that 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which will accordingly happen , and is most clearly explain'd by that truly Noble Person of Honour in his Animadversions upon him , p. 76. From whence it comes to pass , as also from the difference of the major and minor Tones ▪ that Practical Musicians tune some Notes bearing , that there may be a common respect and intercourse from any one term of the Musick , to another . So that we have in that compleat Cycle of an Octave , the Mathematical proportions united to the Practical Notes ▪ always signifying Sol La Mi Fa Sol La Fa , &c. ● / 8 10 / 9 9 / 8 1● / 15 9 / 8 10 / 9 16 / 15 o : ma : To : mi : Ton : ma : Hemito : To ▪ ma : To : mi : Hemitonium Which do run round , and will run round ( in spite of any man's teeth ) according to the foresaid detestable circulation ; and this we may call naming the Notes according to their proportions But the Notes are also allotted to so many Letters of the Alphabet , to shew the order of their procession in the Septenary , and the distance of one Note from another , that is more than a single Interval ; for from Sol to Sol , may be either a fourth or a fifth wherfore the Alphabetical Letters make the distinction from Sol in G , to Sol in D , a fifth ; from Sol in D ▪ to Sol in G , a fourth . And for this purpose the Letters in the Circle are assigned to the Monosyllables of proportion ; which we have in the Diagram conveyed to the Lines and Spaces ▪ and rendred in practical Notes , in their most natural posture ; the half-Notes being possessed of those Letters , which may properly be called their own homes . Thus they are all possessed of their own lines and spaces ; and , if we can but withstand the furious Invasions of our Adversary , shall never change their habitations . And now , Sir , I can't tell what to think is become of my Observer all this while ; either he is fallen asleep by reason of these drowsie Mathematicks , or else he is stamping and staring that ever such things as these should be committed in the face of the Sun it self ; and ind●ed I should hardly have ventur'd it , had it not been lately reported , That the Sun appear'd with a Circle about it , perhaps in our defence against this Apollo , its new Corrival . From whence I take courage to say , That this Circle doth best demonstrate the nature of the Diatonick ▪ Scale , exhibits to the eye its half Notes , and shews that two whole ones stand betwixt them on one side , and three on the other , which is a Tritonus ; and the former Semicircle ( which consisted of two whole , and two half-Notes ) a Semidiapente . These being added together , constitute an Octave , as their Rations also do : 810 / 576 × 23040 / 16200 the sum 18662400 / 9331200 — 2 / 1 And were it not , Sir , for making my Opposer stark mad with this canting-Philosophy , I would separate the Margin of the Circle from its Radii ▪ and by the circular motion thereof demonstrate , 1. Which are the proper assignments of all regular Flats and Sharps in any position of Mi ? 2. Why Mi keeps that order , to be first in B , next in E , A , D &c. And why if there be but one regular sharp , Mi is there situated , and in what order all the rest ? 3. To transpose a Lesson from any Key given , to any Key required ; and shew which must be the Sharps and Flats in that Key ? 4. For accommodation , to bring any Key filled with what regular Sharps and Flats soever , into some Key where all the Notes are natural . Which thing , though long custom , and a laborious computation , have made some men perfect in ; yet even to several expert Masters it has been a very pleasant speculation to behold those numerous Rules which a deep experience had wrought into their judgments , now ( by one turn of the Circle ) clearly represented to their eye , with all the Reasons and Order of the Diatonick Scale . But these Phaenomena requiring a movable Instrument more than a Diagram , I cannot here any further prosecute them ; only assuring the Reader , That I am very ready to communicate this or any other small knowledg I have pick'd up , to any ingenious person . I shall only add this one Corollary ; That since in natural Keys we may have all the variety of Thirds , and Sixths , and Sevenths , or what ever else a Composer can either desire or invent with all his regular Flats and Sharps ; how happy would it be for the ease of Musick , and the exactness of Tuning , if the same proportions were ever fixed to the same places of the Septenary , i. e. Mi always in B. I know the present Make and Compass of Instruments ▪ won't kindly comply with this Proposal ; but surely , ● were well worth the while for Instruments to be contriv'd accordingly , both for the excellency of Musick , and advantage of its attainment . For whereas the Keys of an Harpsichord are now tuned in a common dilured proportion , they may hereby be made capable of the most accurate exactness ; and though a vulgar ear may not be able to judg the difference between a Greater or Lesser Tone ; a true lesser Third consisting of 9 / 8 × 16 / 15 or a false one of 10 / 9 × 16 / 15 yet there will be a dissatisfaction , though it be not evident in what particular to complain , as Practical Musicians have experience when they play a Lesson in a forc'd unnatural Key ; which is the same thing as if the Instrument were out of tune . The eye is pleased with a concurrence of proportions , the natural casting of a shade , and the exactness of some Oriental Colours , whose just limits it can neither distinguish nor determine , but only satisfie it self in that whole accurate heap of enjoyment . It may not be able to descry every disordered Atome , or give an account of each little unpleasing spot ; yet will it have an aversion for that soil'd impurity which is thereby caused . Thus those little inharmonical relations only in general offend the ear , and make a kind of unaccountable resentment ; but if remedied by an accurate tuning , which the stability of proportions would produce , we might justly expect more powerful charms from the more exact harmony . Since therefore Musick consists in Proportions , and 't is by them alone that it has an influence upon the soul ; I reckon it a most sure consequence , That by how much the more accurate those Proportions are , the stronger must their influence be . But this is only to join Madness to Phrensie : What , add Whimsey to Whirlegig ! I am guilty ; and if the Observer will but forgive me this one digression , I will pardon him every thing that ever he did in his life , or ever shall do , or any of his posterity , an hundred years after his death . Nay further , I will give him leave at present to ease his stomach with one Objection . Obj. To what purpose are all these Mathematical Contrivances ? Will they teach a man to make Air , or maintain the point of a Canon ? Ans. We are not now discoursing the power of Phansie , or how far it is capable of direction ; which without doubt ought to be very much left at liberty to the excellent Masters of it : but here we consider the true reason and scientifical foundation according to which we ought to proceed . And truly this is the very Objection I always expected ; for our Observer neither understands nor loves these things , any more than a Horse does Nutmegs ( You see , Sir , how he has infected me with an ugly Proverb ) But though this be his humour , yet there are a great many inquisitive and ( as some say ) ingenious people , who desire to know the nature and reason of Musick ; the Proportions wherein it consists , and the Arithmetical Laws which it observes . These admire the glorious order of its composure , and the infinite wisdom of him that created it in so great Proportion : To what other purpose does the Astronomer consider the Heavenly Revolutions , and the exact courses of those bright Luminaries ? After all his study , he cannot stop the course of the Sun , or add one short day to his fleeting years ; yet he looks not upon his time as unprofitably spent , though he only contemplates , and never puts forwards so far as the compiling of an Almanack . And I know several learned men who value such a Speculative person far beyond a Practical Col●●ctor of Months and Eclipses , &c. who writes himself 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , or a well willer to the Mathematicks ; when perhaps he has scarce positive knowledg enough to determine , whether we have always the same Moon , or every Month a new one . I need not from hence urge , how truly noble it would be for a Practical Musician , to build upon such a Scientifical and steady foundation : nay farther , there is good reason to think , that it will afterwards be of as great advantage , as it is of accomplishment to him . For the promoting of which purpose , I should have begun at the very division of an Octave and have given the Proportions of lesser Concords ; have shewn how we came by those assigned intervals of Notes and half Notes ; but that our Observer is so exceedingly impatient when he is thus tortur'd with Numbers , that he will not let me tarry so long . I will therefore take for granted , that 9 / 8 is the Proportion of a Major Tone ; because if you divide a string into nine equal parts , and stop one of them ; the other eight to the string open , will ( to any Musicians ear ) give that sound which is called a whole Note . Which is true of all the other Intervals and Concords , thus : If you divide a string into three equal parts ; stop one , and the other two , to the string open , will be a practical Fifth ; as is more at large exactly described by the acurate Mersennus , from the use of an Instrument called the Harmonical Canon : Libro primo de Instrumentis Har. Propos. 4. as also by Guido himself . This is evident both to the Ear and Eye ; but then adding all the Intervals of the Circle together , they composing an aggregate of a duple proportion ( as hath been said ) no less demonstrate the just assignment of each of their proportions , according to Mathematical consideration . The proportions of which Notes and half-Notes being most incompaably by English Musicians distinguished by particular Names , as Sol always a Major Tone , Fa an Hemitone , &c. ( as they are placed in the Cycle of an Octave ) and these naturally circulating in a certain order , according as they are assigned to the first seven Letters of the Alphabet ; we may by the help of those pointed Segments in the Diagram , unite this Speculative to our Practical knowledg . There I find the Sol , La , &c. the Names of the circulating Proportions in their Alphabetical order landed upon Lines and Spaces ; Though originally Notes were only planted upon the Lines , ( as now the Letters of Tableture are ) but then the number of them did so distract the Eye , that it was thought convenient every space should also signifie the distance of a Note from the Line either above or under it . An account of which we have from the most excellent Gassendus in his Introduction to the Theory of Musick , Tom. 5. where he tells us , that Kircher had found at Messane a Song described upon eight Lines ( it seems they had some affection to an Octave ) which were begun with the first Letters of the Grecian Alphabet . But then Guido composing the Scale , did upon the sorementioned reason set the Notes in space also , though even then the time was writ separately over the head of the Notes , as is now in Tableture ; and they used the Alphabetical Letters , which were significative of the Notes , instead of them , ( as I have in my Essay to the Base of the Lute , for the help of young beginners ) till about Three hundred years ago Jean des Murs of Paris found out those Characters which we now use to express Time and Tune together . You may then please to look back upon the foregoing Diagram , and you will find the first Note in the lowest of the four Lines ; track him to G , which is our terminus à quo , from whence to the next Note in space , ( which is united to A ) is the Interval La ▪ or 10 / 9 ; from which to the Note B transfix'd by the second Line , is the odd Interval Mi , or 9 / 8 ; and these two Intervals of the three including-Notes GAB , added together , constitute in their least terms 5 / 4 , the proportion of a Greater Practical Third , as your ear may experiment if you divide the string into five equal parts ; stop one , and the other four , to the string open , will give the sound required . After which manner you may proceed , till you have compleated an Octave ; and then the very reason and nature of the thing will force you to circulate , as my abusive , impertinent , contradictory , impossible Hypothesis doth require ; which my Observer doth rather scold at , than either understand or confute . As these things are true in Speculation , so will every Practical Musician bear witness to them , That the same order of distances comes about agen at every eight Notes , as in a suit of Lessons the regular Flats and Sharps are always the same in every Octave . By which discourse I have not only endeavoured to clear my Hypothesis , to vindicate my Reputation for circulating in an impertinent Octave ( which , let the Observer say what he will , is the very nature of Musick , both to its division , and the return of the Similar Notes into the same places ) but also attempted to unite the Theory and Practise . From whence those honourable Servants of His Majesty would be esteemed as truly learned , as they are indeed ingenious , in this Science ; when their Judgments are as richly laden with the nature and reasons thereof , as their Phancies and Inventions are , with the ravishing pleasures of its performance . 'T is impossible to conceive how much so happy an union would conduce both to the glory and advancement of Musick , its bonds and fetters would be taken off , when the serious Mathematician could be able to reduce his Speculations to practise ; and agen the aery composer could render an account of his charms , in a Mathematick Theory . And now Sir , I find my self sunk into the tedious stile of my Essay . But that I may a little recover my self , and consider the sentiments of my Observer : If you please to review the North-corner of Magdalen-Colledg-Quadrangle , there he sets hugging himself and grinning ; I thought ( says he ) how our young man would undo himself by doting upon his Philosophy , and tyring his Readers with a heavy story of Proportions ; these are the sad effects of Superparticular and Superpartient . Whereas , if he had been at all acquainted with the winning complaisance of the Town , he would have entertain'd them with Burlesque and Interludes ; some tickling raillery intermixt with a sly hint , and a long dash . — This Sir , I must confess my self unable to do ; and therefore I most earnestly entreat you , as you have any kindness for me , or desire of your own refreshment to read over that awakening peal , that Poetical alarm , to Ralpho ▪ P. 4. Ingenious Ralpho ! — And then the Observer's own answer to the same . P. 5. Thou self-denying Ordinancer , Why — And I am the more earnest to obtain this request , hoping hereby absolutely to allay the anger and vengeance wherewith he is inflamed . For truly , Sir , if you will believe me ( or any friend please to ask the Observer himself , he will find ) I never in my life the least disobliged my incens'd Antagonist ; but by this one thing ▪ of not suffering those Verses to be printed before my Essay . Of which unkindness I am now so sensible , that I am endeavouring all the satisfaction I can invent ; to which purpose I would feign perswade the Stationers , to print them before all the Books that come out next Term : but they grumble at taking up so much paper . Though I am not out of all hopes to have them set at the beginning of the Catalogue of Books , because they will indifferently serve for all sorts of Books in all Arts and Sciences . And if this won't satisfie him , I believe there are few people but will think him very unreasonable : but though this may allay him for the future ; yet we are still engaged in the past attacks of his fury ; especially , P. 6. Where he would feign perswade you to believe , the encouragement and reception my Essay hath obtain'd , proceeded from my diligence to promote it ; and this , Sir , I must not dispute , because I have promised to submit to whatsoever he affirms . Yet it does so vex his Spleen , that he cannot but immediately vent himself by drolling upon those places of his profess'd Obligations ; which , Sir , you are well acquainted with , and know them to be of such vertue and modesty , that a person of his behaviour must needs quit them , as he hath lately done . And this , Sir , I would by no means have written , but to shew you , that the most malicious Page in his Book may justly fly in his own face . However I must always admire his most noble skill in composition , which almost all people have a just value and esteem of ; but that he must thence become so tyrannical , as to think all the Musick of the Kingdom depends upon his pleasure , and no man may pretend to be able to write a lesson , otherwise than he will permit him , is something more than comes to his share ; especially since there are so many ingenious Gentlemen of this Profession , that never any Prince in the world was served with more than his present Majesty . P. 7. It deserves a smile to see how arrogantly he assaults my Publisher ( a person who for his knowledg and industry in Musick deserved rather his encouragement than envy ) for complaining that the ancient and modern Authors were obscure in their Musical writings ; so that we ought to believe they were very easie and plain when our Observer read them ; and we may safely believe they were : for there is a cross thing , the restraint of Languages , that makes 〈◊〉 believe they may have layn abed and slept all their days , for any thing the Observer knows ; who is capable of reading few more than Mr. Morley , Mr. Simpson , Mr. Greeting 's instructions for the Flageolet ; and above all , his good friend and hirer , Mr. John Playford ( who so learnedly stiles himself ) Philo-music● . P. 8. Now , Sir , I must acquaint you that our Observer hath two excellent Eyes : one to see things with , that no body else can see ; and one , not to see those things which every body else can see . With this later he can look upon a printed page , like a piece of clean white paper ; or else the letters will appear so double that he can't read one word . And with this negative eye he read the four first pages of my Essay , where I so largely treated of the divine institution of Musick : Which ( I said ) needed nothing else , nor could have any thing greater to command acceptance , than a challenge of its Institution from divine Providence it self , who had provided a peculiar faculty for its reception . ( Which I since find the eminent Dr. Willis place in some peculiar Schematismi of the Cerebellum , Anat. Cer. Cap. 17. ) the early use of it in holy Writ by Jubal , and that it was a sacred means to allay Saule evil spirit . After all this the Observer comes blinking with his foresaid eye , and admires that , amongst the many advantages of Musick , I should not so much as take notice of its divine Use , notwithstanding the many commands and examples recounted in holy Writ to that purpose . Now , Sir , though he admired at me , yet I must entreat you not to admire at him ; for there is a private reason ( which I omit ) why the Observer did not know God , Jubal , and Saul to be Scripture names : And the same reason must deserve your Charity , when he attempts a profane jest in Scripture-phrase ; because you must suppose he did not know it to be holy Writ . But this not-seeing Eye being closed , he opens his other , which is his left eye and that looks something a squint ; With this he sees such revelations and visions as never appear'd . This was but one glance , and then he shuts it ; but privately unites them both into one , which , like Polyphemus's , is placed at the very top of his fore-head . By the advantage whereof , P. 9. He looks beyond Sea , where Musitians have much respect , large rewards , ( as no body that I know of ever contradicted ) and many advantages to enrich themselves ( if they please ) . And at home too &c. I must confess , Sir , within the narrow circuit of my progress ( as he says ) I was scarce so much acquainted with any , as the Observer himself ; and , I know not what was the matter , it never yet pleased him to purchase an Estate Though I have since been acquainted with several that live very nobly and gentilely upon this Profession ; as they may well do since his present Majesty hath augmented the revenue to the Gentlemen of his Chappel almost double : Yet this being procur'd by one whom our Observer envies , and hath rail'd at in print ; 't was a thing that could not possibly be seen with either of his eyes , though it was the just acknowledgment of his Prince's most gracious munisicence ▪ I must here , Sir , most humbly entreat your pardon for troubling you with these late Pages , which are impertinent to my design ; and I would not have inserted them , but that I was unwilling to leave any one side unanswered ; as also to satisfie the Reader , that what I omit of such stuff for the future , may as well proceed from his ungrounded envy and malice , as what I have at present examined . And now after so long an entertainment of his Wit and Drollery , his Burlesque and Battery ; The Observer comes to his business and presents you P. 10. With the Old Gamut , Sanca Panca's Pudding ( as he likens it ) : and truly , Sir , I am so much a Scholar as to think it sitter to be eaten than learn'd without Book . Which , if you please to review according to the Observer's own delineation , more plainly discovers in every Column that old mistake of making six notes to be the compass of Musick ; as also the beginning every sett of Syllable ▪ ( when my abusive Octave did not ●●oil their sport ) at a Fourth , which ●●s C●r●●s at the end of his 6. Chap. Mus. comp . unkindly calls , a certain monster , or deficient , imperfect product of an Eight . Neither is there any thing in those names to express the true nature of Musick , but the circulation of the Capital Letters , which is the only thing the Observer thinks fit to be altered , to escape all suspition of my perplexities . I am sure it is false in our present practice to subscribe ( as he there does at the botom of the Scale ) B naturalis , when Mi stands in E la mi , which proceeds from that unnatural deduction of Six Notes . And that this is an old obsolete mistake , we have the honoured Mr. Simpson of our opinion , Comp. p. 113. For that B naturalis , whose Ut stood in C , being distinguished from B duralis , whose Ut stood in G , ( which is an excellent piece of unuseful knowledg , that I believe few men now trouble themselves with ) was called Properchant ; so that the six Notes did not reach so high , as to touch B either flat or sharp ; but in our modern Musick we acknowledg no such thing as Properchant , every Song being of its own nature either flat or sharp . So he . Which shews , if the Observer had but any kind compliance with the judgment of him whom he pretends to esteem , that he need not think there is so great vertue in those admirable charming words of the Gamut , which I suppose produce their effects by being seal'd up , and carried in the pocket ; though I would entreat him in his next to open them , and shew their operations ; for without doubt , Sir , he intends to do something ▪ having resolved in his Conclusion , pag. 39. that he will vindicate this old Scale , except he meet with a better ; ( which I am sure , Sir , you know to be impossible ) so long as there is any Paper or Ink in the world ; nay so long as he is able write his own Name . A Champion so faithful , so trusty to his cause , that I believe all Europe is not able to match either his constancy or valour ; a subscription , Sir , worthy to be registred in the Chronicles of the most bloody Warriers to subscribe ones self so long as one is able to subscribe ones self , Sir , your Servant is vastly more couragious than barely to subscribe ones self , Sir , yours till Death . Having duly admired the Observer's so brave resolutions ; we next consider the Cliffs , and the Lines upon which those powerful words are placed ; concerning which I will give you the best account I can find . That because it would be too distracting to the eye , to have always before it ten or more Lines and spaces , which the whole Scale did require ; Musicians did by assigning a certain Note ( which they call'd the Cliff-note ) to one Line in a Staff , shew by consequence which five or six Lines they had taken out of the Scale for the use of that part , wherein they were concern'd ; which caused all those variations and difficulties I have complained of , and must still have been endured , had there been no remedy found . But since 't is the nature of Musick to have a circular as well as progressive motion , which former doth so influence all composition , that 't is impossible to pass seven Notes without considering the next seven to lie in the same posture ; I thought it would be worth my while ( that I might save so vast a trouble ) to fix them , according to their own circular nature , always in the same lines and spaces , as you may see in the preceding Diagram , where C returns naturally into the lower line , and the half notes ( though you do suppose regular flats and sharps ) stand in the same place in all Octaves . And I can at any time take what Notes soever are useful to any part , by those two only Postulata , which you may see are agreeable to the nature of the thing ; and in answer to the Objections , will be further evident . The Objections Answered . Pag. 11. Thus having vindicated my new Scale for confusedly dividing it self at every Octave ; I proceed to the Observer's grand Objection . Of making the same note or tone to be in several places at the same time ; and this is attended with so great a retinue of Observations , that the Reader may easily perceive , here lies the stress of the controversie , and that too in the Observer's own opinion : immediately adding , and from this I make my exceptions against his whole Book . Now , Sir , do I entirely love the Observer , for pointing out this nicking evidence upon which all our business depends : In some loose Writers we might have gone hunting and hawking , and only found some scattering Objections ; but here my most kind Antagonist hath brought it to an head . Wherefore stand fast Eassayer ! methinks I feel thy pillars tremble , and the whole fabrick of thy Hypothesis shake ; But I 'le pull down the Observer in my ruin , and crush him with five times the weight of his own Objection . That way which requires an absurdity five times over ▪ is much more to be exploded , than that which requires it but once . But the Observer's old way does require the same ( condemning ) absurdity , five times , which the Essayer's new one requires but on●● ▪ Therefore the Observ●●●● old way 〈◊〉 much mo●● to 〈…〉 the Essayer's new one . The second Proposition needs only to be proved , which is done in this following Scheam . A Scheme To demonstrate , that by the movement of the old Cliffs , G sol re ut , A●la mi re , B ▪ fa b mi , C sol fa ut ; are in five Different Places at the same time The Essay allows them but once Different when thay stand irregularly upon their leiger lines out of their own Octaves as the Observer Sherveth in this following Scheme Now with all my power I have endeavoured rightly to understand the Observer's chief Objection , laid it down in his own words ; and if he gets any thing by it , let him save his Lapis calaminaris , and put it in his eye . Here I expected he should have quarrel'd me , for placing G sol re ut , in the line , which he does in space : but that appears so natural in the Diagram , and I had so pleaded the justice of it , Essay p. 45. that he takes not the least notice of it . If he was angry for setting the same G sol re ut , in the Leiger space , which would naturally fall in the line ; he must be extraordinarily commended for his kindness , who out of meer love and tenderness would not mention one tittle of that chief dislike . But those Notes upon the Leiger lines being exoticks taken in only strangerwise for their trade , and commerce , ( as I answer'd to this almost same Objection , Essay p. 73. ) I suppose he was satisfied 't was not considerable . And it seems more compliant with the nature of the thing : for a stranger to wear an unusual Garb in a Foreign Country , does not make him less known but more exposes him to observation . That we may take things in a little more dependant order than he has laid them down , I must consider his excellent contrivance of a double relish , as having some affinity to the grand objection ; but here our Observer is become inventer , that if he cannot find things ridiculous he may make some . P. 15. Which , whosoever reviews will without doubt think the Observer and all the things in the house stood upon their heads , when he found it out , but the best jest is , it positively contradicts , what he said before , so necessary is it for every man that observes truth , to be ever mindful of what he hath once said ; as the learned Lilly of old advised . For if I do allow G sol re ut to stand in two places , why doth he not write the double relish , as 't is in the Diagram ? If I do not , then what becomes of his grand Objection which supposes it . P. 12 , 13 , 14 , 16. All that remains is but a small Pickaroon with two Guns , which are so far from doing any execution , that they do but more clearly discover my method to the Readers apprehensions . These I have described as the two only requisites of my Hypothesis , in the second figure of the Diagram ; and are so far from being Objections as that they appear most natural Conveniencies . The first , which he mentions , ( p 12. and 13. ) , you will find to be according to the very nature of Musick ; which having concluded one Octave , begins the next , and continues it in the same posture , it did the first . Though there is so great assistance given by the Leiger lines ; that as occasion is given but very seldom thus to alter the Octave in Vocal Musick so in instrumental , the Octaves ( especially upon the Harpsechord ) lie so uniform , that 't is done without any trouble . And as it would be easie to instruct a Scholar , that after he has proceeded to F in the fourth , by the notice of a new Octave letter , he is to go forwards with the first line agen , and the notes in their same former distances ; so this method would be indeed scientifical , and would make him not only practise according to the right rules , but also give him to understand the true nature of Musick , which the old Scale of Gam-ut did in no wise signifie . The Observer hath been pleas'd , in this twelfth page , to write his Notes with two ascititious lines underneath ; and he might , if he pleas'd , write them with six : but I never take any more liberty to maintain my Notes in their constant places , than he requires to his alterations , i. e. one line over or under the five , when occasion is . If it be requisite to proceed very far into another Octave , we change the ●●tter , and write ( that which he calls ) the new-found reformed way , but , according to the Diagram , appears to be the most easie and natural method of Musick . P. 14 , 16. The other reputed difficulty , he hath contriv'd a Canon on purpose to demonstrate ( which is no more than I had a particular Cut for to explain Ess. p. 39. ) ; and 't is this , which you may see in the second figure of the Diagram , that , if I rise or fall eight Notes , I continue the second Note in the same place the first stood , only with a different Octave letter . And what more natural ? than for two Octave notes ; which are so much the same , and have the same equivalent respect to all other Notes , should stand in the same place ? And what more easie for the Practicioner's eye to apprehend ? Certainly 't is far more easie to be known , when the Octave-Note stands in the same place with the letter prefixt , than when he must count three lines , and three spaces from the first note , where ( according to the Observer's way ) its-Octave must have been placed . And if he contrive a thousand Canons , he can bring me to no other absurdity than these two natural requisites , the conveniency whereof I think more self-evident than any thing in the Guidonian Scale . P. 27. For the ten last pages which contained only a Canon to shew the necessity of that , which might better be done otherwise . The Observer may now be pleased once more to observe , that , As by the Postulata in the Diagram , we comprehend any part of Musick which can be assigned ; so by the assistance which the Leiger-lines afford us , it may done without any great incoustancy to the letters of our beloved Octaves . For , we may ascend six Notes above our Octave , viz. from F fa ut , to D la sol re , and descend four from Gam ut to double D sol re , without altering the letter ; as you may see in the third figure of the Diagram , where every five lines are made capable of two entire Octaves . That any man may satisfie himself ( however our Observer would gull his implicite Readers ) our Method is , not only most facile , but also agreeable to Musick of the greatest compass ; for in the Lute and Organ which require two systemes of lines , we have before us as many lines and spaces as will contain four entire Diapasons , more notes than are in the whole Scale of Gamut . If he still grumbles that Scholars can't tell which is a Contratenor , or Lower mean , or the like ; for them that can't understand the nature of the thing , let there be writ over them , This is a Cock , and that is a Bull ; which I take to be an easier remedy than to learn all the variety of old Cliffs . And about the consinement of Mi , with the avoiding regular flats and sharps , I have already delivered my judgment in the description of my whirlegig , which I shall not now repeat . P. ●8 . The next thing which he confutes , is my argument , for proving the hard names of the Gam ut useless , viz. that they cannot declare any note to be in a different Octave , because those names are not different in every Octave . This is false ( saith the Observer ) for the Cliffs and Scale distinguish them , by Capital , Single , and Double Italick Letters . Very good ! The Cliffs distinguish them , and therefore we must learn without Book , those names which do not distinguish them . Sir , 't is as excellently argued as if the Observer should prove that all men must wear different shoos , because they are distinguished by their faces . Now to allay my hopes of the least success , he here insinuates a Question , so very profound and unaccountable , That there be many hungry Gapers , who remain seekers , and I ( saith he ) with them . The thing is this , that by beginning my Octave with G , I contradict that Classical Horn-book he learn'd , which began ( when he was a School-boy with great A. Now Sir , though this was haled in , only for an opportunity to shew his education ; yet rather than my worthy neighbour shall suffer for his suggestion of the Dominical Letter , I will insert as much as I know of the matter . The reason why I began my Octave with G , was , because the general practice of Musicians is so to do : which I profess'd never to contradict , but when there were very good advantages to be gained thereby . ( Ess p 41. ) especially mine being a circular way , it was no matter where I began , so long as the letters went round in their own order . But the Original I suppose was this , that Guido in the year 1024. recovering Musick out of its dark ruins , ( which those unhappy times had caus'd ) compil'd that Scale which we are now discoursing about : So that the assignment of the Alphabetical letters being altogether in his power , he began the Tamut with the first great letter of his own name , that he might perpetuate his memory to posterity . Which ( if we considet the nature of the thing ) will appear very reasonable ; for though G have the first sound assigned to it , yet A is the first Musical interval ; there being nothing of Musick , without comparing two sounds together ; that G is in truth only the term from which the sound A arises , as F to G , &c. which may be easily perceived , by the circle in the Diagram . I was once tempted to think , that G had been imposed by the Greeks themselves , because of its sound and figure in which 't is written ; that they having assign'd the Letters to the Notes ; as , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which was a long-time their lowest note ; did , when they added the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , impose 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to that , because they would not alter their former assignation . But then Γ being the third letter of their Alphabet , and not the seventh as in ours , could no way suit the Nature and Designes of their Musick . P. 29 , 30. The next business is to shew that other design of the Γ am ut words ( for he will not now assert them to demonstrate the place of Mi , to which purpose I had prov'd them insufficient ) , They consist of Syllables purposely chosen as most proper for opening the mouth , and putting fo●th the voice , &c. Though there is nothing more known , than that Guido took them accidentally out of the hymn for the service of St. John Baptist : And if Dum queant laxis had begun that Hymn , then the very Dum would have been that widening Syllable to have open'd the mouth for the first grave tone . But to consider them ; first of all comes the incomparable Ut ; which if I try , abruptly forces my tongue against the roof of my mouth , ( as he describes an inconvenient Syllable ) but I don't know how 't is with the Observer ; perhaps his tongue is hung with the wrong side upward . These ( Ut and Re ) though some have laid them aside , yet some ( says he ) have not . But I must confess , I hardly know them used by any , but the North-Country Wagoners , neither do they use them as good to put forth their voice , but to stop their Horses . Foreigners do indeed still use some fictitious words composed of them , but they are so sensible , how unfit ours are for to express the nature of Musick , that they have alter'd the composure , and writ F ut fa , G re sol ut , A mi Lare , &c. according to Gassendus . Mersennus , and others . But he says , It is not the Name , but the Thing he contends for ; and therefore I would have these insignificant hard names laid aside , that we might the sooner come to the enjoyment of the thing it self . P 31 Some unknown misfortune having spoiled our Observer's eyes ; He is now resolved for the future to be guided by his seeing ▪ feeling , hearing , and understanding Nostrils , which is a most excellent expression to discover a further advancement of his Learning : for had he not been promoted from the foresaid Hornbook to his Accidence , he could never have known those enlightning Epithets of a Noun Substantive . And the first thing his united Senses and Understanding discover , is ▪ That I begin to learn the Monosyllables from an Hemitone : Strange ! Composition begin or end with half a Base ! Something must be said , though I have often told him , That those Syllables are not learn'd for any a●ry pleasantness in themselves , but as Rudiments , whereby we may distinguish Notes and half Notes , both single and united , in greater Intervals . For which purpose , there is good reason to think they would be the more serviceable by how much they had the less of ▪ airiness in them ; they would thereby less affect the Fancy , but make a much deeper impression upon the Judgment , when those Notes must be pick'd out of the Book by the Understanding ; which if they were placed according to his compos'd order , would flow forth like some common Tune from an aery apprehension . Wherefore it seems rational , not only to begin at Mi or Fa , but at any radius of the Circle , that the voice may set loose , and sing an half Note when it pleases , with a flat third , or sharp seventh , or whatsoever comes to pass in the Diatonick Scale : and this will easily be done , if we begin at each Note , and sing the Cycle of an Octave . In doing of which , it would be very advantagious to sing Fa more broad ( like the Germans ) that it may naturally form the mouth to a flatter sound than La , which is composed of the same Vowel , but is pronounced a whole Note . But all of a sudden , our Observer is grown so exceeding jovial and merry , one would wonder what happy occurrence had so revived the Cockles of his heart ; nay , and lest the extasie should overcome his belief , he says , he is as sure on 't as two Two-pences make a Groat . Well , the joy is this ! Madam Mi is gone a rambling out of her Apartment , and turn'd Quean . And as sure as four Two-pences make two-Groats , let her ramble into all the Apartments about Town ▪ she shall never want a Gentleman-Usher so long as the Observer continues able to man her . But hear , O ye Pupils ! I have reported , you are obliged to learn the distances backwards and forwards . In this ( the Observer says ) I am so horribly ●out , that 't is impossible for any flesh to sing , play , or compose without it . This I said , and this the Observer says with an impossibility it should be otherwise : so that there is no difference betwixt us , but only he is resolved that I shall be horribly out , though I say the same thing he does . For without doubt a man must be able to count his distances : but the question here is , Which is the most difficult or easie way , and which of these two ways is to be chosen and used . P. 32. The Observer can no longer conceal his resentments against any propagating the knowledg of Musick ; and because I have but transcribed the 75 page of Mr. Simpson's Compendium ( where he carefully assists the Invention , and provides against the Lapses of young beginners ) , the Observer says , I abuse that person whose memory is precious among good and knowing men . Whom indeed I greatly honour , for that double accomplishment of his exemplary life , as well as excellent skill ; and know nothing more necessary , than to commend the former to my Observer's imitation ; who would not have had him stained his credit by instructing Novices ; which was his crime to do , and my abuse to take notice of . However , I shall still dare to assert , That because the Chords in different Cliffs were intricate to discern , therefore he interposed the Figures ; which are needless , according to my contrivance of Octaves , where all Notes are situated , in all parts , the same . And though some men may , by long custom and experience , be excused from that trouble ; yet even their apprehension would be much more quick and clear , if they always proceeded in the same united method . But should it not , I have as much as I intended , in the place he cites , viz. That it would be very advantagious for young Composers ; which is evident , if it may but be granted , That what remains always the same , is much easier to be known , than what appears in many different positions ; as the Notes do according to him , where in every part they are different , and have a different Cliff to distinguish them And this is as much to the purpose to perswade a beginner to learn my way , as ( to use his own comparison ) if a Mother should teach her Child , that a great black B stands for Block-head . And so I leave him and his little four-legg'd School-fellow together at their Books , one a thumbing , and the other a gnawing them . P. 33. At length he comes to consider the applying my Essay to Instrumental-Musick . And here 't is worth the while to read over the Paragraph , that you may see how he holds his foot in his hand , without being able to determine which way he should take . Wherefore he once resolves , That I do not understand the French Musick ; that I mistake their placing G in the lower line , which is only for dancing . And indeed , if this was not a mistake enough to make me ridiculous to the whole world , the Observer writ his Book to little purpose . O hold my sides ! That ever fellow should write an Essay , and mistake Toes for Fingers ! Think that intended for the hand , which was only contriv'd for the Policy and Government of the foot ! Certainly never any man , but he whose brains were sunk into his heels , would ever like this mad dancing method . And let this be resolv'd upon as the Answer for the Violin , though he thinks it fit to strengthen it with one period more ; That though the French Musicians have thus debauch'd their treble-Musick to dancing ( as I think our Observer hath done much worse to Ribaldry ) ; yet all other parts they write as we , and the rest of the Musical world . And 't was well for me this drop'd from him , or else he had prov'd my whole Invention to have been an hundred years old . Now , Sir , let us caress the loving kindness of our Observer , who bethinking the storms and hazards of the Sea , will out of his meer goodness contradict himself , that he may save as the labour of a Voyage into 〈◊〉 . ●or that which he just now asserted ●o be done there only for Dancing , has also ( as he says ) been done at home by Dr. Tavernor and his Contemporaries , so long ago as the very , very time of King Henry the 8th . And Sir , I am apt to think , that all those were not Dancing-Masters , and composers only for the Cat and Fidle . Wherefore if this won't do , he will revenge himself with such a piece of rusty malice , that my reputation must needs fester , gangren , and be quite cut off after it ; for he can produce their compositions with that very individual G in the very same line , where I would make the world believe , I invented it . And this cannot but please him , for so long as an impertinent Scholar , a starter of questions , a nibler at solutions , did not invent it , 't is no matter who did ; all 's well , and so well , that I believe my Observer can for the future produce some composition in some Cliff , in some King's reign or other , that has any letter of his rational Alphabet in the lowest line . But how little this is to the purpose , any one may perceive , who considers my design was the perpetual fixing the same letters always in the same lines and spaces , whatsoever they were , though I was more willing to place G in the lower line because it was so before in the Base , and conveniency had perswaded many to use it in the treble . So that this is the invention I pretend to , the dividing of Musical Orthography into Octaves , ( which was before parted into Clis●s of five Notes distance ) that all the Notes , in all parts , may stand in the same places , to save the trouble of learning their perplexed variations ; and to give every Scholar a propriety in all sorts of Musick , that he may play from the writing of any instrument , as if it were his own ; which I have experienc'd before several judicious persons , by playing mutually from the same common character , either upon the Lute or Harpsechord . And this very thing which our Observer so abominates , I do undertake , he shall ( for one Pint of Wine ) confess reasonable to be done . For if one that has always learn'd in G sol re ut Cliff , should beg a dispensation to transcribe some of Mr. Playford's Psalms from the unusual C sol fa ut , into his own domestick G ; that reduction of Cliffs ( as they call it ) , would without doubt be granted , upon such a valuable consideration . Now all the difference betwixt their reduction of Cliffs and my Essay , is , That my Notes are always ready reduced , and found in the same order , which they are put to the trouble of reducing upon every new occasion ; and they grant it to be done , only to help the infirmities of Learners , which I arrogantly deduce from the Principles of Musick . P. 34. Next comes Madam Viol : for our Observer will needs have her a distressed Lady , and prosesses himself able to play nothing , but John come kiss me now ; and if she turn away her head , Fortune my foe . For my part , I cannot help his inclinations ; If he should fall in love with the top of a Bedstaff ; 't is nothing to me . But though he is not able to enlarge his captivated Fancy above those two amorous Ayres ; yet I know many persons of good repute , that play excellent suits of Lessons , upon this very same ridiculous , plausible , healthy , sickly tuning , as he is pleased to put a parcel of words and likenesses together . And I must tel him , that those foresaid persons play every suit entire of Lessons upon the same key ( as I suppose also the Observer does upon every Instrument but the Viol , where he is put beside his byass by the coy Lady ) so that there is no need of tuning the strings up and down , as he would make his Children and Underlings believe . But O sad misfortune , in so great an adventure ! The Lady is both pinnion'd and fetter'd . Before , she had a fair liberty ; now , she is confined to One. Just as if she had all on a sudded married , become honest , and shut the Observer out of doors . O sad misfortune indeed ! Heretofore you might play upon all keys alike , ( i. e. ) well upon none : for the strings were all ( except one ) tuned fourths asunder ; and whenever struck open , made a horrible discord and jumble . Whereas in the Consort-Lyra tuning propos'd , we have the use of those two most eminent Keys G and D ; in the former whereof you may naturally have a Greater in the later a Lesser Third , without so much as the least altering any one string ; which conspiring harmony will ( as I said ) with an unstopt freedom , eccho forth at the end of every Lesson , that you may , at the same time , enjoy the melody of the Lyra , as well as the intelligence of Notes . But I wonder our Observer , who never durst so much as pretend to the Viol , should so boldly fall upon our Publisher , whom he acknowledges a profess'd Violist , and whom he may justly reverence , both for his years and knowledg . But attend his words : 'T is strange that he should be ignorant of the impossibility , &c. And I think so too , if there had been any : we may assure our selves , that a Master of so long experience would never have commended impossibilities to the world . Well! 't is no matter for that : here 's an argument , Sir , commands attention . The example he sets down was made for Children , therefore ( it seems ) the Universal Character can reach no farther . Though this Argument had one leg in the Parenthesis , and t'other out ; yet I am resolv'd it shall not escape our consideration . But now , Sir , we have taken care the Argument do not escape us ; our next business is to consider , how we shall escape the Argument . I first thought to deny the Antecedent , because few men play a greater compass than was contained in that Lesson ; but then doubting that cogent Illative ( it seems ) , I thought the Consequence might be a little lame , especially considering the Observer's foresaid Hornbook , in which are contain'd those very same 24 Letters which constitute the most Learned Books in the World. Which being taken notice of , may save us from any such sudden violent Conclusion , as he would make ; That because the Rudiments of Octaves are advantagious to young beginners , therefore ever after they must be useless , and an hindrance . The next thing is an Appendix to his Objection Le grand , which I have answered in a particular Scheme , that demonstrates his way incumbred with five times the same inconveniency . Only at the end of it , he entails a small surmise of his own : for whereas I never required or used more than one ascititious line over or under the Five ; he will have a speedy commission for the raising of three , four , or more ; as though he was in all haste making a Ladder to climb the three-square place of preferment . But at last finding he had made only a little wrangle upon the Viol , and being angry the Stationer had already sold more of my Essays , than his durst venture to print Observations upon them ; He humbly supposes the Author has bought them all himself . Well said Colonel Coker ! But though the Author never bought any of his own Books , yet he has several of the Observers and given them to his Friends , that they might see what sort of Arguments th●● great Opposer is forced to use , and how exceeding angry he is , by how much he has the less to say . P. ●5 . Rattle Bladder rattle . Now co●● Harps●chord , Virginals , Organs ; which the Observer asserts to be compleat Consort if rightly managed . And therefore 't was , Sir , I suppose the little Gentleman - Jack an-apes allowed them two staves of Lines , which contain four whole Octaves and they are able to fill any blew-bladder in the world . But this is only a little Proverbialraillery of the Observer's : We will therefore consider the nature of those Instruments . And here I must lay down , That except a man hath been given very much to Span farthing , he never embraces above eight Notes at a time with one hand , and they may be found in less than the same number of Lines , which the Observer requires . Though by the way I must mention the difference ; that sometime his Lines and Spaces signifie one thing , and sometimes another ; and each hand pester'd with a distracting-difference ; in mine , they are both and ever the same . Ay! but good Sir ( says the Observer ) , you can't carry on your Lesson perhaps , without the hopping and skipping of your humble servants BMT upon all occasions . Now for the honest BMT , I have commanded them to signifie fopdoodles , fools-caps , saucinesses , or any thing else the Observer pleases to have them , except bawdry ; and that , I will in no wise allow them to signifie : which if ever out of compliance with the Observer , I should be perswaded to ; yet I charge them that they signifie so only in his own private meditations . Here , Sir , I must acquaint you in favour of the foresaid honest BMT , that t' other day I met with a curious pair of Phanatical Harpsechords made by that Arch Heretick Charles Haward , which were ready cut out into Octaves , ( as I am also told he abusively contrives all his ) in so much that by the least hint of BMT , all the Notes were easily found , as lying in the same posture , in every one of their Octaves . And that , Sir , with this advantage , that so soon as the Scholar had learn'd one hand , he understood them both , because the position of the Notes were for both the same . I must confess that by reason of so great a distance , I have not yet received my Letters from Rome and Vienna , that I cannot positively assert what Signior ●roscobaldi , or Froberger have done ; but 't is generally believed that even their Organs are disposed after the same Heretical manner . But for Monsieur Samboneer , as being not so far from home , I am fully assured his Harpsechord did comply with the Octavian BMT ; insomuch that he could never be perswaded in all his life to put a Sharp between B and C , or E and F ; but just , in the same position as our Whirlegig , he runs round with an half-note , and three whole ones ; with another half-note , and two whole ones ; and then the first circulating half-note again . What a base fellow was this Monsieur Samboneer ? I am confident this Monsieur Samboneer shall never agen be put into the Catalogue of Europaean Organists , when the Observer next musters them , to give me battle ; which alas ! Sir , how should a feeble Fssayer withstand , especially when Dr. Bull is plac'd in the front . Yet this the Fssayer resolves to assert , and then betake himself to his heels , that these foresaid great men never made any thing in their lives , but might be writ with a clear facility according to the impossible Fssay . But perhaps you may look upon this only as a bold assertion ; I must therefore acquaint you , that my Stationer , to vindicate us from Mr. Thetcher's childish lessons ( as the Observer calls them ) does intend this long vacation to print one of the best and most difficult suits of Lessons he can meet with , according to our contradictory Fssay . Well , but for all this , the Observer knows a thing will do my business for me ; and 't is a thing , Sir , so pertinent to the matter in hand , that it requires your serious consideration ; the Essayer is naturally of a rubical complexion , and was it ever known that a man of a rubical Complexion ever writ good Essays ? Now , Sir , you see what a malicious Caviller he is , a vile fellow , to endeavour to spoil my Marriage ! Perhaps my Mistress might never have seen it ; for Love ( the Poets say ) is blind : Or else she might have taken it for a modest blush , but to the very abyss of envy , he tells all the world , I am not capable of blushing . What shall I do in this case ? If I quote Dr. Lower de Sanguine , who says , Such persons , by that errancy of the blood , have a greater confluence of spirits to the brains , and therefore may be capable of writing Essays ; perhaps he 'l contemn him as too much a Scholar , and too little a Musician . Wherefore to save a further trouble , he may e'en reflect upon himself , and he 'l find good reason to pardon me , since nature is much more excusable , than vice . P. 36. Comes our Imperial Lute ; in which the Observer hath no more reason to be positive , than if he had been treating of the Simick or Epigonium ; yet thus he enters , Alas poor dumb thing ! all that innate sweetness and excellency the Essayer talks of , is but as absolute a tale of a tub as ever wanted bottom . Nay Sir , and this bottom he most maliciously explains to be the very substantial bottom of Truth : Which is in plain terms to call it a Sounder , a flam , or a Cokerisin , or whatsoever else he pleases to call it , when he begins his calling agen . Now who could expect the poor dumb Lute should receive any kind usage from an Observer that begins so terribly ? But let us be content , and we shall hear more presently ; for he will open his budget , and draw you forth , That true excellency which is peculiarly hers , which is the making a compleat consort with the stop of one hand only , which he , ( the Essayer ) notwithstanding his gay commendations , has absolutely rob'd her of . O brave Lute ! 'T was well for thee thou was not dead before the Observer was born , and without doubt this new reveal'd excellency shall keep thee alive for ever for the future . We will therefore a little understand this treasure of excellency . A Lutinist hath commonly upon his left hand four fingers ; all these four are upon great and eminent occasions made to stop a compleat consort . Hold it fast , here 's the excellency , which I doubt is something in danger . For the Harpsechord pretends to stop twice as many Notes with both hands , whilst thou poor dumb thing can use but one hand for that purpose , and the thumb too only becomes an insignificant supporter . Nay ▪ and this prating Harpsechord will pretend to stop and strike these Notes with the same hand , at the same time ▪ which the poor dumb Lute cannot do ; but making a compleat Consort with the stop of one hand only , remains a poor dumb thing , till 't is struck with the other hand ; and then it becomes a speaking thing , like its imitating Gittar , or like the Viol or Violin : but then , Sir , what think you of the Dulcimer , which is a speaking thing ▪ without ever being a stopt dumb thing at all ? And if I don't think the dazling glory of this new reveal'd excellency sufficient to confound all my assignment of the Notes to the Lute , instead of the Tableture , and those incomparable advantages , which I shew'd to be their consequence ( and he hath not the least impeach'd ) ; then must it be imputed to my blind stupidity in not perceiving the worth of a new reveal'd excellency . Now , Sir , the Essayer having a mind to be cross , I 'le tell you what he says . That though the Observer did prove the Harpsechord and Organ to be something a greater compass than the Lute ▪ and the Viol or Violin to humour a loud or soft Note ▪ which the for●●r were not capable of , the Sagbuts and Cornets to continue a sound : Yet he did not prove , that those Excellencies which were separately the credit of other Instruments , were not here united into one , to consummate the perfection of the Lute : which was my assertion from those various passions it does excite ( Essay p. 60. ) . Nay , and that he may be altogether as ill-natur'd as the Observer , he suspects that newreveal'd excellency to be only a treacherous discovery of its imperfection . P. 37. Whatsoever the Lute gets by the shift , 't is clear the Master 's utterly undone . For by my happening upon the pitiful unmasterly Arrons Gigue , for an example to shew the sailing or rising of an Octave , the two Notes remaining in the same place with a different Letter ( as comes to pass twice in that Lesson ) . Therefore all people must conclude that same Arrons Gigue to be the supreamest Master-piece which ever the eminent Mr. Rogers plaid or composed for the Lute ; and so Mr. Rogers is abused and undone . Well , Sir , but how if people won't conclude so ? then I suppose 't is no abuse , and the Observer concludeth nothing to his purpose . But I know something a little more to my purpose ; That this very eminent Mr. John Rogers can assure the Observer , or any man else , That he hath seen a suit of Lessons excellent and difficult beyond exception ▪ upon that pleasant tuning proposed in the Essay , writ according to the Universal Character , and from thence play'd upon the Lute . Which looks a little like that paltry argument whereby Zeno confuted the Philosopher , That there might be such a thing as motion . Thus , Sir ▪ I abused Mr. Rogers , abused the precious memory of Mr. Simpson : nay , in the very first line of his Book , the Observer lays down ▪ That the whole Universal Character was Abusiveness in the abstract : but I know one lusty Abuse in the concrete ▪ for which I would be loath to exchange all the Abuses in my Book . That unparallel'd assront committed by the Observer in his Dedication ; where he makes those Gentlemen who are employed in the Sacred Service of His Majesty's Chappel , to be Patrons of his Ribaldry and Railing ; whereby he has so far libel'd their Reputations , as to make the world b●●●●ve th●se Addresses to be most acceptable to them , which were presented in the basest language . Certainly it had been more proper for him when he found his stomach so foul , and his gall to overflow , rather to have called for his Bason to ease himself , than his Ink horn to make a Present to persons of such Place and Ingenuity . And indeed nothing could have abated that true respect I bear for any person that pretends the least Service to their S. Majesties , but that necessity which now lies upon me in replying to those Observations in which the Author has so basely abused , not so much me , as his own Royal fellow-servants . P. 38. That which remains , is only a blind business of translating a Greek Alstedius ; which I must confess not to understand , no more than our Observer . Does he mean out of Greek , or into Greek ? neither of which has ever been done yet , that I ken off ; therefore riddle my Riddle . And then for that stinking story that savours of some old Onion-like Fornicator , with his gray-head and green-tail ; I dismiss it as altogether unanswerable . But since the Observer hath been so liberal as to bestow two Copies of Verses upon me , I will borrow one to re-pay him , out of that excellent Epigrammatist , Val. Martial , lib. 3. Epigr. 43. Mentiris juvenem tinctis , Lentine capillis Tam subitò corvus , qui modo cygnus eras . Non omnes fallis , scit te Proserpina canum , Personam capiti detrahat illa tuo . And therefore how unbecoming such things are , will be an easie consequence ; which if I had the least inclination to Poetry , I would translate ; but at present I shall remit the Observer to his Friend I Philips for construction . P. 39. To conclude ( says he ) , The experience of those young men ( children , long since His Majesty's happy restauration ) who have attained to that eminency in Musick by our Scale ▪ will convince him , there is no necessity of taking up a man's whole life in the drudgery of that Science . But Sir , I 'le e'en resolve for once , as the Observer resolves , That I won't be convinc'd . For these excellent young men before his Majesty's happy return , did ( many of them ) perfectly understand the Rudiments of Musick ; and have for these dozen years since , been constantly encouraged by the favours of a gracious Prince's Court , assisted by the lively Instructions of the most excellent Masters , but much more by their own natural ingenies , in that continual employment to which they had dedicated themselves : so that I will not be convinc'd , however these persons are indeed excellent and incomparable , That therefore Musick hath been always of very easie attainment to such as take it up only for a recreation or pleasure ; or that there is no drudgery in the Principles of this Science ; which was my Assertion , and ought to have been his Consequence , if he would have made his very concluding Conclusion any thing to the purpose . There is one scrap of his Argument still behind . These Gentlemen attained to that eminency in Musick by our Scale . Therefore , Sir , I suppose this Scale is the causa sine quâ non , of their eminency ▪ 'T were pity but this Scale was cut in Aablaster , and shew'd amongst the Tombs . But I am apt to think , they came no more to be eminent for having learn'd this Scale , than the Macedonian conquered the Eastern world , because his name was Alexander ; or that any man whose Name is Alexander , is now able to conquer the world : though 't is probable , that dreadful Name is still more like to make the Asiaticks run , than the uncouth words of the Gamut are to inspire a man with Musick . Well , Sir , I have staid so long upon this Argument , till I find it has at last calv'd a Parenthesis , and this Parenthesis takes after its Dam , and is argumentative too . This Scale is the only Universal Character , by which all People , all Nations , and Religions converse . Now , Sir , if it were not for the abusiveness of the thing , Experiment ; I would lay a suit of Lessons of the eminent Mr. John Rogers , in the Character he plays them , before the Observer , to be performed upon the Organs . But that 's , alas , too abusive . 'T is long since that the Lute hath abandon'd the difficulties of the Scale , and so lost the Observer's favour and knowledg . But , Sir , if all men learn the Gamut , then the Gamut is an universal thing , and all men have the Gamut . So if all the Nations of Europe learn ABC ▪ &c. then the Alphabet is an universal thing ; and so all the Nations in Europe have ABC , &c. And so , and so 't is impossible to prove , that there ever was any confusion at Babel , or need of any present agreement , because the rudiments of all Nations are the same both for their Languages and Musick . Now I give the world joy of this happy agreement ; for I profess 't was the first time I was well satisfi'd in it . Though I still doubt , that the different Nations spell various syllables with those universal Letters , and have got a confounded trick , to call the same thing by different names , that I can't for my life understand them , unless I put my self to the trouble of learning them all without book . And I am also a little doubtful , that the Musicians do take out of their Universal Scale five different lines for every different part , and so the Notes stand in different places , that though I should know their scituation in the Mean , yet they would all give me the slip , when I came either to the Base or Treble . So that all the universality the Observer can pretend to , is , that all the world is troubled with universal variations . Let us consider , All men hitherto play in F fa ut cliff for the Base therefore F fa ut cliff is an universal Character ; all men play in C sol fa ut for the Mean , therefore C sol fa ut Cliff is an Universal Character , exactly the same ; as , because all English or French-men speak English or French , whether they be in Europe or America , therefore English and French are two Universal Characters . But how absurdly he fetters a different Universal Character to each particular part of Musick , is apparent to any that understand the nature of the thing . As though 't was no matter how great the difference and confusion were , so long as they were Universal , and all men agreed them to be Universal . Which is one of the most slippery quirks I ever met with in my life , to prove , That an Universal Difference would make an Universal Character , as well as an Universal Agreement . That noble design of reconcilin Languages , may something discover our intentions , where to all Nations one thing must have only one and the same Character ; that when any person of what speech soever sees it , he may yet apprehend what is intended thereby , though each man will still call it after the custom of his own Countrey . Thus if by one Harmonious writing we place the Notes of every Octave and Part in the same scituation , each Voice and Instrument will have a propriety therein ; and by being able to play or sing any one part , we shall be able to play or sing in all parts , as you may see more at large in my Essay . And there is very good reason it should be so : for as a Tune is the same Tune , whether sung in Base , Mean , or Treble ; so in each of them the Notes should be all placed upon the same Lines and Spaces . Having now made some particular return to every Argument or Pretence I could find in each page of the Observations , I can't but think how he 'le wince and fling at Mathematicks for the future , how he 'le laugh at the nature and reasons of the thing . But the Theory and Practise of Musick are fastned together by so strong a Chain of Consequences , that I would advise him to consider these following Propositions , before he make himself ridiculous . The Five Propositions . I. That Musick consists in Proportions , and is subject to Arithmetical Laws . Which all learned Musicians in all Ages of the Would have asserted . II. That the first and most natural division of Musick is into Octaves , where the Notes and Half-Notes always circulate in the same order : As is demonstrated by Practical Experience as well as Speculative . III. That the Rudiments of learning Musick ought to be agreeable to the nature of the Science . Wherefore we cast away those insignificant hard words of the Gamut , which proceed according to Sixths and Fourths , retaining only the circular Alphabetical Letters for every Octave , and the Monosyllables Mi , fa , sol , la , to signifie the Proportions . IV. That 't is most easie , as well as most natural ▪ by one perpetual constancy , to place the same Notes of every Octave , in the same lines and spaces , that the numerous variations of Cliffs may be avoided . V. That since in this one Universal Character of Octaves ▪ we may comprehend all parts of Musick , 't is needless to engage in those difficulties which encrease our trouble , and confine our knowledg to a lesser compass . I have exposed these Propositions to the Observer's consideration , out of a grateful requital , because he so generously confess'd the one Objection upon which he refused my whole Book ; & if he can but confute these Pragmatical propositions , I wil be so well satisfied , that he shall not need to answer one word of my Vindication besides . But I confess , I do not yet think my self confuted , by his alledging an absurdity , which is five times more considerable his own way ; or by shewing that I make use of two natural Phoenomena of Musick ; which is all , with a little scurrilous raillery , he pretends to oppose against my whole Essay ; where in the Contents I had sum'd up so many advantages , which he could not in the least deny to be consequents of it . Had I , Sir , sooner understood what thoughts the sober and ingenious part of the world entertain'd concerning the Observations , I should not have troubled you to read , nor my self to write a Vindication from them ; which I have lately received a much better account of from a more Honourable hand , and beg your permission to adjoin it . I am , June 1. 1672. SIR , Your most humble and most obliged Servant , THO : SALMON . FINIS . To Mr. T. S. SIR , HAving received considerable advantages from your Musical Essay , &c. I was much concern'd to see so happy a Design so scurrilously traduced . But the abusiveness of the Language sufficiently bespeaks his spite to your Person , rather than any sober dislike of your Essay ; that it is plain his design was not to return an Answer , but a Libel ; and when he had bark'd , and grin'd , and shew'd his teeth , his fear kept him at a distance , so that though he wrote an Answer , yet was afraid to meddle with the Controversie . But your Credit is too sacred to be be-spatter'd by all his Ribaldry ; and by throwing dirt at a person of so unblemish'd Fame , he only dirty's his own fingers . I hope you will laugh at , and contemn his malice , and by no means think him worthy a Reply . I am confident , there are few that have read both , that expect one ; I am sure they cannot , if they understand either . And as for Tapsters and Drawers , the great admirers of your worthy Adversary ( who think , he hath utterly bafled all your Musical Essays , out of Hudibras and the Accidence ) you need not much care for satisfying them ; especially since there is no question , but that a man of an ordinary capacity might so improve himself in one weeks time at Billingsgate , as to answer sufficiently his most substantial Objections . And , really , some of it is so nasty , that a modest man would be afraid to touch it with a pair of Tongs ; and it s nothing but use that hath made himself not ashamed of it ; you may see the same page divided betwixt Scripture and Ribaldry ; Lust got into Paradise , and the Goat once more upon the Sacred Altar , as if he had meant to droll Religion out of the world , and revive the Worship of Cotytto's Temple . His 38 th page hath words so nasty , one would have thought he had spoken through a Clyster-pipe , and like the Apocryphal Beast , 2 Esdr. 11. 10. the voice had not come out of his head , but the midst of his body . As for his whole Book , he himself confesseth , p. 27. one third part of it to be nothing to the purpose : And of the poor Thirteen Leaves that remain , I find upon just account , That they are stuff'd with II dull Copies of Verses , XXIX merry Proverbs , III Scraps of Latine , IV Sentences of Scripture , A Bawdy Story , A Sacred Anthem , O bone Jesu , &c. mixed in a general heap of Nastiness . Besides many pretty Quiblets and smart Rhithms , that come in as luckily , as if he would have cap'd Verses with you . He scorns to have one Period depend upon another , but will have every Sentence set up for it self ; and truly the Book is nothing but Thrums and Shreds , which being stitch'd together with blew Thred , look like a Taylor 's Apron , or a Fool 's Coat . I find his very first Sentence , line 7 ( as well as many other ) to be such pitiful Nonsense and false English , that I should have left him , as a very Dunce , to the correction of the Rod and Ferula , had he not told me in the next page , that he understood the degrees of Comparison ; yea , and that moreover he had once learn'd the Syntax ; and again , p. 31. that he happily remembred the definition of a Noun , to be either seen , felt , heard , or understood : which 't is strange he should pretend to , and yet take falsity , insignificancy , and contradictory , for three Noun Substantives , p. 1. Which truly may well be , since Musick is the only thing , where he can do more than pretend ; though herein his Objections are so insignificant , that , were it not for that genuine malice , wherewith he always writes , I should have thought you had hired him to have credited your Essay . Some of his Objections only shew the natural advantages which Musick obtains by your design ; others are so contradictory , that they fall together by the ears among themselves , like the fighting-race of Cadmus's Serpent's teeth ; and you need only look on , for they naturally destroy one another . And really , a short expectation is requisite , and will be sufficient : for , though I scarce know any new thing ever proposed , but it always met with some angry Antagonist ; yet the true nature of the thing , and the greatest conveniency , have , in spite of all opposition , at last gain'd a general acceptance . One that has had but a small insight into Musick , may easily perceive , how , ever since the days of Guido , 't is continually altering into a greater ease , as well as excellency . Musicians have not long cast off those perplexed distinctions of Mood , Time , and Prolation , the Ligatures of the long Notes , with the strict observance which way they wagged their tails ; and many more troubles they are now unwilling to undergo , which you may read more of in Mr. Morley . But I remember particularly in his Second Part , p. 104 , he gives a more perspicuous way of pricking Canon : And this ( saith he ) I thought good to shew you , not for any curiosity which is in it , but the easiness and commodity which it hath ; because it is better than to prick so , as to make one sit five or six hours beating his brains to find out the following part . But such hath been our manner in many things heretofore , to do things blindly , and to trouble the wits of Practitioners . As I know Musicians are now more ingenious than those resolute Blades whom the good old man had just cause to be angry at ; so I do not know of any Persian Statute that has be'n since made to forbid them to accept of any thing that shall be proposed for the ease and advancement of Musick , which is the present controversie . I am a little more concern'd in that doughty Objection , where he destroys your Reputation in Musick , because you once studied Physick . Pretty subtle ! Packolet's Horse had a wooden Peg in his head , therefore M. L. must needs have a crack in the place where the Peg should have been . I appeal to any sober man , Whether this be not as rational a conclusion , as can be drawn from the other in disgrace of your Book . For had your Adversary read Plato , or Athenaeus , Porphyrie , or Jamblious , the excellent Physician Celsus , or amongst the Moderns , Paracelsus , &c. he would have met with those that studied Musick upon the very account of curing Diseases ; and that both consist in making and producing Harmony . He might have remembred ( if he had ever known it ) that the Ancients were so sensible of this , as to make the one God Apollo , Patron of both the Sciences . But alas ! Don Quixot and Riblais have wrote nothing of the Subject , and therefore I hope you will pardon the mistake . So that in good earnest , had this Author any such learned design , as I have met with in a Pamphlet that was wrote in our late Warrs , where the Author ingenuously confessed , That he wrote that only to make the number of his Books just Two-dozen ; or else had he designed to have begg'd the pity of the World , by discovering his nastiness and ignorance , as Beggars expose their Ulcers to raise compassion ; I say , had either of these been his reason , I should have applauded his design : But for a man , when he raves , to think himself serious and rational ; nay , and to be angry with every body else , that will not think so too , is certainly the grand distemper of Bedlam , and too plainly shews , that the poor man wants trepaning in the Peg-place . But I 'le tell you what is a great design of his , and which most about London are sensible of , That he takes upon him to be a general Confounder of all Musical undertakings ; in so much as he never wrote any thing in his life , but in contradiction to some other men , who would fain have known something as well as he ; but he resolves they sha'n't , and therefore whoever pretends , must justly suffer . If any man speak of the Theory of Musick , Have at him ! In his Epistle to Mr. Simpson's Compend . He is one of our New Lights ( of which this Age hath been monstrous fruitful ) . He is a Speculator how many Hairs-breadths will reach from the top of Paul's Steeple to the Center of a Full-Moon ; and demonstrate , That the thousandth part of a Minute after , there will be so many thousand more Hairs necessary , by reason of the Earth's or Moon 's motion . And hereby he thinks that he has so undone all Mathematicks , as no Gentleman will ever after study a Science which is so despised and droll'd upon . And for Practical Musicians , he is also in as great a rage at them too , when ever they lye in his way ; witness his Little Consort , and that fury he was in for his unfortunate Musick , April 1. 1666. where he is so severe upon those Gentlemen that were performers of it ( however it suited best with his occasions to commend them in his Book against you ) , that he plainly tells them in his printed Vindication , That it was not his business to find Eyes , Ears , or Honesty , for any ; or to answer for other mens faults : And then roundly concludes ; In fine , this Vindication offers at no more , than denying those to be judges in Science , who are ignorant of its Principles . Thus the Dictator . So that whether Speculative , or Practical , no man must judg but himself ; though how unfit he is to judg of the nature of Musick , who understands nothing of a Proportion wherein it consists , I leave even himself to judg . I must again renew my Entreaties , That since all sorts of persons have hitherto despised his Raillery , you would not give him occasion to be proud of an Answer ; or have to do with a person who is of such a defiling Fancy , that can turn the bare Letters of the Alphabet into Bawdery , and make the most obliging page in your Book to be an abuse of some deceased Patriot . I have read a story of Agamemnon , that he kept his ( otherwise lewd ) Queen chast for ten years together , only by the graveness of the Odes , he enjoyn'd her to sing and play till he return'd . I have nothing to entreat of your Antagonist , but that he would compose some such Odes for his own use ; and that you would let him alone in that most necessary employment , since that all persons are satisfied , His Design has ever been to discourage Musick , yours to advance it . Norwich , May 28. 1672. Your Friend and Servant , N. E. Notes, typically marginal, from the original text Notes for div A60542-e250 [ Here insert the Diagram . ] 
A36257	----	A treatise concerning the lawfulness of instrumental musick in holy offices by Henry Dodwell ... ; to which is prefixed, a preface in vindication of Mr. Newte's sermon concerning the lawfulness and use of organs in the Christian church, &c. ... Dodwell, Henry, 1641-1711. 1700 Approx. 342 KB of XML-encoded text transcribed from 117 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2005-12 (EEBO-TCP Phase 1). A36257 Wing D1821 ESTC R14256 11844371 ocm 11844371 49804 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A36257) Transcribed from: (Early English Books Online ; image set 49804) Images scanned from microfilm: (Early English books, 1641-1700 ; 26:11) A treatise concerning the lawfulness of instrumental musick in holy offices by Henry Dodwell ... ; to which is prefixed, a preface in vindication of Mr. Newte's sermon concerning the lawfulness and use of organs in the Christian church, &c. ... Dodwell, Henry, 1641-1711. The second edition, with large additions. [2], 84, [3], 143 p. Printed for William Haws ..., London : 1700. Reproduction of original in Library of Congress. Marginal notes. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. 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Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Newte, John, 1655?-1716. -- Lawfulness and use of organs in the Christian church. Music in churches. Church music -- Church of England. 2005-04 TCP Assigned for keying and markup 2005-04 Apex CoVantage Keyed and coded from ProQuest page images 2005-05 John Latta Sampled and proofread 2005-05 John Latta Text and markup reviewed and edited 2005-10 pfs Batch review (QC) and XML conversion A TREATISE Concerning the LAWFULNESS OF Instrumental MUSICK IN Holy Offices . By Henry Dodwell , M. A. To which is prefixed , a Preface in Vindication of Mr. Newte's Sermon , concerning the Lawfulness and Use of Organs in the Christian Church , &c. From the Exceptions of an Anonymous Letter to a Friend in the Country , concerning the Use of Instrumental Musick in the Worship of God , &c. The Second Edition , with large Additions . LONDON , Printed for William Haws , at the Rose in Ludgate-street , MDCC . THE PREFACE TO THE READER . THE Learned Author of the folfowing Treatise , having read a Sermon , Preached at Tiverton , in the County of Devon , Concerning the Lawfulness and Use of Organs in the Christian Church , occasioned by the late Erecting of an Organ in the Church of that Parish ; and the Answer to it , set forth by an unknown Author , entitled A Letter to a Friend in the Country , concerning the Use of Instrumental Musick , in the Worship of God , &c. Wherein he found this Practice of our Church , after a popular manner represented as Jewish and Popish , inconsistent with the Purity and Sincerity of the Gospel Worship , and introduced without sufficient Warrant , either from the Scripture , Apostolical Practice , or present Authority , &c. He was concerned at the Abuse and Misrepresentation , having a just esteem for the Reformation , and for the English Constitution , which is by far the best Part of it , and so approved of , by the most eminent Foreign Divines , as will appear by their Opinions concerning it in the following Discourse . As to its being a perverse Imitation of the Jewish Practice , and inconsistent with the Purity and Simplicity of the Gospel Worship : He has so fully and closely Answered the Allegations of the Adversary , that 't will be a vain Attempt to make a Reply to him . But from so silly , as well as false and groundless an Aspersion , as its being Popish , he thought it not worth the while to Write any thing in its Vindication , since 't is no other than an old base and scandalous Objection , against the innocent Rites and Ceremonies of the Church of England , which has been Answered over and over again , to the Confusion , though not Silence of a restless Party . However , since he was pleased to favour me with a Copy of his Treatise , which , it seems , partly through my Occasion and Request , but more through the Importunity and Solicitation of some Friends , he has oblig'd the World with , with Liberty to prefix a Preface to it , in Vindication of that Sermon , from the Aspersions and Mistakes , as well as Misrepresentations of the Answerer . I shall beg leave of the Reader , to detain him a little , from his perusing the Treatise it self , while I briefly Reply to his most material Objections , and rectifie some Mistakes and Abuses which will be found therein , in Defence of this innocent and useful Practice of our Church . But I shall not think my self obliged to follow him in every needless Excursion from the Subject in Hand , into the whole Controversie between us and the Diffenters ; or throw away so much Time as it would take up , to Reply to every trifling or contemptible Remark , or those captious Questions which are made in it . The Answer seems so Artificially to be formed , that it may be read without consulting the Sermon , or comparing them together , otherwise some imperfect Citations , and other abusive Reflections there in would be too apparent . And 't is to be observed , That it supposes all along a Separation of Instrumental from Vocal Musick in the Service of God ; whereas , the drift of the Sermon , is to join them together , and to shew , That the one is more Orderly and Harmonious and Beneficial for the other . And after all the tedious Harangue is made , there is no tolerable Reason given , why , if we do allow of Vocal Musick , we should not also allow Instrumental , which does so very much improve the same , and mainly conduce to chear the Mind , to excite the Aflections , to help out and assist the Voices , and to keep them from the greater Discord in our Devotion . But to be more particular , the Answerer begins with a fly but false Suggestion , to make it a little the more popular , That the Organ was Erected at a time when the Poor were ready to Starve , and when there was a stop put to Trade by the Prohibition of Clipt Money , &c. Now in that very Year , when the Organ was Erected , the Poor had the most ample Provision made for them in the Parish of Tiverton , that ever they had . The Poors Book at that time amounting to 946 l. 14 s. 4 d. ½ , which was above 100 l. more than ever they had before in one Year : Besides , in publick standing Donations Yearly , they have about 400 l. more , and in private Charities very considerable to my own knowledge . Neither was the Erecting the Organ any Expence at all to the Parish , as 't is insinuated ; for the far greater part of the Money risen to defray its Expence , was by Subscriptions ; and the remaining part was taken out of Money in Arrears due for Church Rents , which without Sacrilege could not be employ'd but for the Churches use ; and that being a very decent one , and needing but little reparations , the Parishioners thought fit to employ a part of the Surplusage towards the Erecting of the Organ , which had been Sacrilegiously pulled down before . So likewise the Sallery of 30 l. per Annum for the Organist , goes Yearly out of certain Rents and Dues belonging to the Church , without being a burden to the Parish . What the Answerer says concerning the Dedication to the Bishop of Exon , is very trifling , and needs no Reply . And his several times accusing the Author of the want of Charity , and making many spightful Reflections upon Protestant Dissenters , is very groundless , for he cannot find any such thing throughout his Sermon , nor such Instances of the eructation of his Gall , nor of the stiring up of his Spleen , in the Course of his Life , as he would insinuate . But methinks it should be very strange that the Answerer should accuse the Author of the want of Charity , or any one else , when his Pamphlet from the beginning to the end , has so very little of it , 't is scarce any thing else but a malicious Invective against the Church of England ; and a scandalous Intimation , which is another way of accusing her , as being Popishly affected , and that her Rites and Ceremonies partake of the Innovations and Superstitions of the corrupt Church of Rome . Abundance of this sort of Dirt is thrown upon her at every turn ; but 't is easily rub'd off . And tho' there is really nothing in the Accusation , nor any tolerable ground for such a Report , however it comes to pass , that among the unthinking , injudicious and deluded Multitude , it is frequently given cut as a popular Argument against any thing in the Service of our Church , which our Adversaries dislike , or rather , which they would seem to be offended at , more out of a pretence to keep up a Separation , than that any Offence can be justly taken at the things themselves . And that this is no uncharitable or groundless surmise , is evident from their Aversion to Alterations , in the time of the Sessions of the last Convocation , as they were before in that of 1660. And the Conference at the Savoy , when they might have been satisfied in any thing , could they have agreed in what would have satisfied them ; besides a total Subversion of the English Constitution , which is at this time in an especial manner , and always has been since the Reformation , the greatest Bullwark of the Protestant Religion against Popery , of any in the whole Christian World. And 't was sadly apparent what great advances Popery made in the late times of Anarchy and Confusion , when this excellent Constitution was subverted , and thro' the Policy of the Church of Rome , her most Zealous and Religious Defenders were traduc'd as Popishly affected , and by their Instigation cut off , because in truth they were the most irreconcilable Enemies to the Tyranny and Corruption of that Church , as any People whatsoever : Witness , besides the Royal Martyr himself , the incomparable Arch-Bishop Laud , * who ; if Times would have favour'd him , had Zeal and Courage , and Learning , and Interest enough to have driven Popery out of any Kingdom in Christendom : And for certain the return of it in this Kingdom , will for ever be prevented , whatever is pretended by ill designing Men , if the Doctrine and Discipline of our Church be but maintain'd with a like Resolution and Christian Bravery , as he maintained them , when he adorned the See of Canterbury . The sticking close to which , is the readiest Course that can be taken to keep out Popery , and nothing else will be able to do it . For notwithstanding the Out-cry of Popery be at every turn made against our Church Service , ( which is one of the grossest and foulest Slanders that ever was invented or credited , and could proceed from nothing so much as an ill Design against her , * or from great Ignorance of what Popery is ) were this excellent Constitution destroy'd , Popery in all probability would soon destroy the Protestant Religion quite , and we should be clearly over-run with the Tyranny , as well as Superstition of that corrupt Church , which at present domineers over so great a part of Christendom , and threatens Ruin and Desolation to all the rest . We see too much what would be our own Case , by the barbarous Persecution of the Protestants in France , Savoy , &c. notwithstanding the Edicts , and Oaths , and Declarations of those Princes to the contrary , if we should through the subtilty of the Court of Rome , be perswaded by any of our Dissenters to alter our English Constitution , or so much as admit of the desired Comprehension , under the plausible pretence of Union ; but in truth it would be a means of dividing and weakning us the more among our selves , than we could hope to win from abroad . 'T is plain we might gratifie our Enemies thereby , but we should never oblige our Friends , nor strengthen our Interest , nor one jot the less be calumniated as Popish . But that the Church of England is free from any such Imputation of Popery , is so clearly and candidly evinc'd by the learned Dr. Hooper , the present Dean of Canterbury , in his excellent Treatise on that Subject , at the end of the London Cases , that it will be needless for any one to say more to it ; for those that will not be convinced of the contrary by his Reasons , do but expose their Ignorance to the World , or what is worse , their Prejudice or ill Design . Among other things , which some of those who dissent from us dislike , and against all Honesty and Reason make to be a part of Popery , is the Practice of Instrumental Musick in our Church Service : But 't is a very ridiculous Argument to say so , because the Church of Rome uses it , and very uncharitable and unjust ; while the generality of Protestant Churches abroad ( as well as ours at home ) which are any where established , have the use of it , as well as that , and have had so ever since the Reformation . Our first Reformers were certainly wiser than to account that for Popish , and to be quite abolished , which was as useful then in the Christian Church as before , and which they did Reform where they found it grosly abused , but did never think fit to abolish the use of it , or account it a piece of Popery to be cast off . Those excellent Men were not possessed with such a Spirit of Opposition , as against all Sense and Reason to run away from every thing in Divine Worship , which the Papists did use or allow ; this would be bad indeed , and a much greater Errour than that which they pretend to avoid ; for then they must disown God , and his Son our Saviour Jesus Christ , because the Papists believe them ; then they must lay aside the Hierarchy , because the Papists maintain it ; and have no Places , nor Times set a part for divine Worship , nor set Forms of Prayer to address themselves by to the great God of Heaven and Earth , because the Papists have them ; nor indeed have any Decency or Comliness in the House of God , because such are to be seen in the Church of Rome . No , 't is the Corruptions and Superstitions of the Church of Rome we are Reform'd from , and 't is not requisite we should be still a Reforming what is thought Decent , Regular , Primitive and Edifying in our Church . And I Challenge any , even the most Bigotted Dissenters from the Church of England , to shew any one Superstitious Rite , or corrupt Doctrine of the Church of Rome , which is allowed or maintained in our establish'd Church . They may accuse the Surplice for being such , but with what shew of Reason to satisfie an unprejudiced Man ? Why , they may as well account a Black Gown to be Popish , or a Judges Scarlet , being the Grab of the Whore of Babylon ; or a grey Cloak , because it is worn by some of the Friars . And so for the * Cross after Baptism , for there is no such in it , the Ministers making that Sign as a significant Ceremony , that in Token hereafter , the Child which is Baptized , shall not be ashamed to confess the Faith of Christ crucified , &c. is no more Popish than the speaking those Words is Popish ; nor those decent and significant Rites and Ceremonies , which our Church Governors have thought fit to appoint , for the more orderly and solemn Performing the Service of God in his Church , are no more Popish than the Time and Place of Prayer , nor the kneeling at it ; nor that very Form of Prayer which our Saviour taught his Disciples . And the use of Instrumental Musick is no more Popish than the use of Vocal is , since they are both made use of in the Protestant , as well as Popish Churches , and both for the same excellent Ends , namely , for the more lively and affectionate Praising of the Goodness of God , and the more effectual raising their Minds in Devotion towards him , as well as to regulate the Voices of the People , and to make them the more Harmonious . And nothing is more evident , than that the generality of Protestant Churches abroad , as well as ours at home , do use Instrumental as well as Vocal Musick in the Worship of God. I give Instances in the Lutheran , as most of the Foreign are , which are planted in Germany , such as the Dominions of the Elector of Saxony , the Duke of Brandenburg , the House of Lunenburg , and many imperial Cities , in the large Territories of Denmark , Sweden , Poland , Russia , &c. Also in the few Churches which were Reformed according to Calvin's Model , in part of Switzerland and Holland . The Reformed in France I do not mention , because they have been all along so kept under , as not to be able to obtain an Establishment according to Primitive usage and their own Desire , otherwise they would have had the Hierarchy , and I Question not a like Decency in their Church Service , as other Reformed have . This they Zealously Petitioned for in the time of Cardinal Richlieus Administration . * But that great Minister was too Politick to admit of their Petition for an Hierarchy , foreseeing that such an Apostolical Institution , and those Decencies in Divine Worship , would make their Church too Beautiful and Regular , and soon draw many from the Romish Establishment to their Communion . Now this use of Instrumental Musick so universally obtaining in most , if not all National Protestant Churches , being a proper help to excite and enliven Mens Minds in Devotion , as well as to regulate their Voices , as most unprejudic'd People find ; it is no great matter if some few of singular Humours , and unreasonable * Scruples are dissatisfied about it , and dislike such a Practice . For 't is impossible to please every Body in any one established Church whatsoever . The Rules for Decency , however Innocent and Instructive , will not meet with such an universal Approbation but some will be prejudic'd against them , and then 't is much , if through the Craft of others , they be not easily brought to dissent from them . There is scarce any one part of our Church Service , though never so excellent and edifying , but some or other dislike it , and some dislike all ; shall we therefore lay aside our Book of Common Prayer ? 'T is very unreasonable surely , unless there were a better substituted in its room ; and such a one I believe , neither this Age nor the next will be able to produce . But to please whom shall we be perswaded to lay aside or alter our Church Service ? Why , some few , who will not otherwise join with us therein . I am well satisfied could that heal or remove the Schism that is among us , it would have been done a long while since . But our Church Governours know too well , that the Spirit and Genius of the dissent , is of such a Nature , that nothing will satisfie that Medly of People , and the different Parties concerned in it , otherwise their Charity is so great , that they would have condescended to the Satisfaction of the meanest Party . But then again , their Prudence does direct them to consider , there is a far greater number of People , which make a more considerable Body of the Catholick Church , which would be offended if that Service , and this excellent Constitution were laid aside ; and who then should be rather satisfied ? Those who are for a regular and decent Church Service , according to the Primitive Pattern , as that of the Church of England is , or those who being Biassed by some unreasonable Scruples oppose the same , and are really for no such thing . And what does it matter if some few inharmonious Souls do dislike the Organs in our Church , as some others through Prejudice dislike our Church Service ; and both through extreme Ignorance , or an ill Design , account them Popery . Will it be reasonable to expect our Governours should so far neglect their Duty to the Church , and their regard to the most considerable Body of Protestants , to gratify these few , by altering the one , and laying aside of the other ? When at the same time , by such a silly Objection of Popery , ( which is given by many as a common Term of Reproach to any thing which they do not like in the Church ) they must also accuse all Foreign Churches of the same Guilt , while all of them well approve of our Church Service , and of Instrumental Musick too . And it is very little to the purpose to Object against the universality of this Approbation , as the Answerer does . Because some very considerable Dutch Churches have no Organs in them , as that at Leyden for Instance , and some others , though they may be supposed to be of Ability to procure them . But I am credibly inform'd , that there are Eight Churches in that City , and only one without Organs . Why , there are none in the Popes Chappel at Rome , and yet this is no Argument that they are not approved of by the Pope in the Romish Church . All this Out-cry of Popery is nothing else but Artifice and Design against our Church , without any tolerable Reason , or justifiable Grounds to support the Imputation , chiefly raised and fomented and encouraged by the Papists themselves , that they may by means of that , Slander , Distract and Divide us , and make us become an easier Prey to them . This is so very evident , that in that little Tract , called Foxes and Firebrands , set forth by Dr. Nalson , it is undeniably so . It being a Specimen of the Danger and Harmony of Popery and Separation ; wherein is proved from undeniable matter of Fact and Reason , that Separation from the Church of England , is in the judgment of Papists , and by sad Experience , found the most Compendious way to introduce Popery , and to ruin the Protestant Religion . By this means Popery does by degrees continually get Ground , and our Protestants not uniting among themselves , for want of joining in our excellent Church Service , will not be able to hinder the Progress of it for the future . And to speak freely , an ungrateful but certain Truth , I concur with some worthy Men in believing , * The Imputation of Popery may be clearly laid at the Dissenters Door , and we have no reason to account any thing Popery in the Kingdom , nor to fear any Danger of it , but from those few who are professed Papists themselves , or such as too near agree with them in Principles and Practices , * and who are , and always have been their prime Agents and Instruments , I mean the several Sects among us , which dissent from the Church of England . Which Church is by far the greatest , if not the only Support of the Protestant Religion and Interest , and consequently the greatest Enemy the Church of Rome has in the World. 'T is look'd upon to be so , by those of that Communion , and therefore is it become the Object of its greatest Fury and Envy ; to destroy which is its greatest aim , and if by any means it can be effected , they may truly think they have done the business of the Reformation . This Church had beyond others of the Protestant Profession , a great advantage in the Reformation , for when Luther , who first began to reform the Errors and Corruptions of the Church of Rome , and to separate from it , had made a great step that way ; he notwithstanding left a great many things unreformed , which were offensive and could not be justified by Primitive Anquity , such as the two great number of Ceremonies , and almost all the external Worship in the Church of Rome ; Auricular Confession , the use of Crucifixes in Devotion , but without Adoration ; the absurd Pictures of the Trinity , and the Doctrine of Consubstantiation , determining the Mode of the real Presence , instead of the absurder Popish Doctrine of Transubstantiation . Afterwards Calvin carried on the Reformation at Geneva , to which Place he was invited by the Citizens , A. D. 1536. when they had expelled their Popish Bishop , who was also their Temporal Lord , and refused to re-admit him , unless he would disclaim Popery , upon whose refusal they took the Government of Church and State into their own Hands , which soon occasioned great Disorders and Confusions . And upon this , to gratifie the Magistrates , and yet to keep the Authority of the Church ; he suits his Model of Government to the exigence of the Times , and upon this account , was in a manner necessarily obliged to make a direct opposition to Popery , the great Measure of his Reformation , for which Reason he laid aside the Hierarchy , notwithstanding its being Primitive and Apostolical , because he must not come near the Popish Government . But yet he plainly approves of it , and very sharply rebuked those English Men who did dissent from it . If any ( says he ) be found , that do not reverence such an Hierarchy , ( i. e. such as is in England ) and subject themselves to the same with the lowest Obedience , I confess there is no Anathema , whereof he is not worthy . However his Model was never received in the Church of England , nor suited to it , and his assistance was not accepted by Arch-bishop Cranmer , who with Bishop Latimer , Bishop Ridly , Dr. Taylor , and our other worthy Reformers , had the Honour of Martyrdom , for the sake of that transcendent Part of the Reformation , which they had established among us . This was so admirably well contriv'd as to be in the moderate way between that of Luther , and the other of Calvin . They did not carry matters so high , as this latter , by running from one extreme to the other , That because the Church of Rome was over-run with Abuses from the Hierarchy ; and its Service burdened with a vast number of Ceremonies , and the outward Ornaments of the Church , being so extravagant , had almost destroyed the inward Beauty of it , and turned its Worship into Shew and Appearance , and made to affect more the outward Senses of the People than their Hearts and Minds ; therefore he did not seek to reform those Abuses so much , as to destroy the Ancient Government of the Church , and utterly to abolish all its Rites and Ornaments . Which , says the Learned Puffendorf , proved a main Obstacle to the increase of the Protestant Religion , and caused an aversion and Animosity in the common People against that sort of Reformers , and increased their Zeal for that Religion which they had received from their Ancestors . Neither did our Reformers fall so low in their establishing the Reformation , as Luther at first did , by retaining too much of the Popish Service , and making very little Alterations in outward Matters . But they kept an excellent Mean , and a regular Disposition of the whole Constitution , according to Primitive usage , before Popery had Corrupted it . Their Business was to Reform the Christian Church from Popish Superstition and Error , and not to fashion it according to their own Humour and Fancies , or for the pleasing of others , to make a direct Opposition to Popery the measure of the Reformation . But the Method they took , was by Examining into what was most agreeable to the Sense of the Scriptures , and the Opinion of the Primitive Church , concerning those Rules for Deceny , Order and Edification , which these only recommended in general to the Governours of the Church : But the particular appointment of such things , was left to their Prudence and Care , so as to fit particular People and Nations , only they were to be careful so to manage the Affairs of the Church , as not to do any thing in contradiction to those general Rules of the Apostle : Let all things be done unto edifying . And Let all things be done Decently and in Order . Agreeable to which , those excellent Men our English Reformers , settling the Doctrine , Discipline and Worship of our Church , did not fly so high , as not to allow the Papists to be right in any thing , nor go so low as to comply with them in any one Superstition and Corruption , which two Extremes the other Reformers fell into , but ours keeping the middle way between them , did by their moderate and discreet Proceeding , produce our incomparable Establishment , which we are now blessed withal , beyond any other Protestant Church . For which Reason , ours is look'd upon as the Center of Union , and Harmony of all the Protestant Churches in the World. And so accounted by the most eminent Foreign Divines , whose Judgment and Opinion of it , I should here set down , but lest I be too tedious , I will mostly Refer to them in the Margin . Casaubon , a very learned French Man , says , The Church of England comes nearer the Form of the flourishing Christian Church of old , than any other . It hath taken a middle way betwixt those Churches which are amiss , either through Excess or Defect . If my Judgment doth not deceive me , the most sound part of the whole Reformation is in England . And by its being in England , he means plainly that part of the Reformation which is Established by Law in the Church of England . This I quoted in the Sermon , but 't is strangely wrested by the Answerer to a contrary meaning . His learned Country-man the famous Bochart , who was the Glory of the French Reformed , speaks very great things in the Praise of the Church of England , not only as his own Opinion , but of all the Pastors of the Reformed Religion in France . To the same effect speaks Peter du Moulin . See also what Characters of Commendation are given of it in those three Letters written to the Bishop of London , by Monsieur le Moyne , Monsieur l'Angle , and Mr. Claude , concerning the Nature of our present Differences , and the unlawfulness of Separation from the Church of England , Published by Dr. Stilling fleet , in the latter end of his History of Separation . Monsieur le Moyne , in his Letter to Dr. Brevint , and Published by Dr. Durel and Dr. Durel himself . To which I will add , what Monsieur Ronee a French Ambassador in England , once told King James I. when he saw our solemn Rites and Services : That if the Reformed Church of France had kept the same Order among them , which we have , be was assured , that there would have been many Thousands of Protestants more than now there are . If we look farther abroad , and take the Opinions of the Learned from Geneva . In the first place , Calvin gives a very ample Testimony in Commendation of the Doctrine , Discipline and Worship in the Church of England * . Next to him Beza , in his Letter to Arch-bishop Whitgift . Spanhemius , Professor at Geneva , in his Letter to Arch-Bishop Usher , A. D. 1638. And his Successor John Diodate , in his Answer to the Assembly of Divines at Westminster , when they desired his Opinion about their Proceedings . If we look into Holland , we have the two famous Vossius's , the two Junius's , Grotius , and other excellent Men , giving the like Testimony . And these are the Men of the greatest Note , who have been of Calvin's Reformation . Then for the Lutheran Churches , they are all for us , we have their Approbation and Agreement in Discipline and Worship , as Denmark , Norway , Sweedland , &c. So that we may well say with Arch-Bishop Bramhal , All Protestants , both Lutherans and Calvinists , did give unto the English Church the Right-hand of Fellowship . But yet no Luther , no Calvin , was the square of our Faith , &c. And is it not now very strange , That this excellent Church , so great an Ornament to the Reformation , and so much applauded and commended by all Foreign Divines , whose Articles and Canons , and Homilies , and Rubricks , so plainly directing , its being truly Orthodox in Doctrine , Government and Worship , and so expresly declaring against the Superstitions and Corruptions of the Church of Rome , from which it is so well Reformed , should by the Artifice , and Design and Perswasions of that corrupt Church , be notwithstanding represented as Popish , and by some Ignorant , and other Hypocritical designing Men , be look'd upon as such ? This is strange indeed , and what amazes all sincere Protestants , both at home and abroad to consider of it * . So much I have thought fit to say in a general Vindication of our Churches Rites and Service , and the use of Instrumental Musick , from the Imputation of Popery , because these things are many times hinted as suspected of it in the Answer . But I shall now attend to what it says more particularly . Several Pages are taken up with Remarks and Observations upon the Argument for this Practice , from the Light of Nature , or the natural fitness of the thing : And for saying , The early and general use of Instrumental Musick , seems to argue such a way of Worship to proceed from the Dictates of natural Religion . But methinks this obvious distinction will be able to Vindicate that Particular from so great a Clamour ; and shew the Instance is brought by the Answerer out of Dr. Taylors Ductor Dub. to be little to the purpose . That by the Light of Nature , or the Dictates of a natural Religion , I do not mean such a Primary , and Necessitous Preceptive Dictate , as is perpetually Obligatory upon all People , and upon all Occasions , Necessitate Precepti , as the Phrase is ; but that it is Secondarily so , and directive to all Nations : The natural fitness of Musick prompting them to the use of it , at least to a general Assent and Approbation , as the effect abundantly shews that it does . And to this agree the Writers which I have met with upon this Subject , Dr. Hammond mentions how early it was used by Moses , Miriam and the Prophets , upon a Religious account . And as to the Heathen Practice , he quotes Homer , giving an account of the Greeks usage of Musick in the Praise of their Gods , &c. And just before he has these Words . The universal usage of Instrumental Musick , among all Nations that we read of , gives Cause much rather , to assign it a Place in the natural Religion , which the common Light of Reason directed all Civilized Nations to , in attributing Honour to God , than to number it among the Ceremonies of the Mosaical Law. Dr. Wetennal , Bishop of Cork speaks much to the same effect . To these I add two others , Mr. Baxter calls it an Help partly Natural , and partly Artificial , And Dr. Hickman , in his Sermon at the Anniversary Feast of the Lovers of Musick , says , That God is to be Worshiped with solemn Musick , is so ancient and so universal an Opinion , that it may well be looked upon , as one of the Prime Notions of a rational Soul , one of the fundamental Laws of Nature , which like the Worship of God it self , we receive not by Imitation , but by Instinct . It was not inculcated into us by Education , but we sucked it in at our very Birth , or rather it was infused into us at our Creation . And as the Opinion , so the Practice of it is universal too , and therefore the Psalmist directs his Precept not to the peculiar Church of God , but to All Lands , to serve the Lord with gladness , and to come before his Presence with a Song . To which I will add the Words of a very eminently Learned Man , who speaking of Instrumental Musick , says , It has the Advantages of being Recommended by Natural Religion , and of having been required by Divine positive Institution , &c I suppose I need not seek for better Authorities to justifie the drawing an Argument from the Light of Nature , for this Practice in the Christian Church . However , I can by no means allow the Case of Sacrifices , Dancing , and Circumcision , to be of a like validity in point of Argument , as he pretends : For , to his first Instance , in the Case of Sacrifices , I Reply , That tho' Sacrifices be discontinued in the Times of the Gospel , because the use of them is abolished ; and the reason of their being abolish'd , is because of the great Sacrifice of our Saviour on the Cross , of which they were but so many Types and Figures . This Substance being come into the World , leaves no Reason for those things , which were but the Shadows of him to continue . The same Reason cannot hold as to Instrumental Musick ; which is granted by our Adversary , to have been established in the Worship of God under the Law. But we cannot find either any Reason for its discontiuance in the Times of the Gospel , or where the use of it is Abolish'd , or spoken against by our Saviour , or his Apostles , to warrant its being unlawful now : They all Communicated in the Jewish Church , where that was used . And as long as the use and expediency of it holds good , as it will do in all Ages , being an allowed proper Help to raise the Spirits in Devotion ; it is altogether as reasonable it should be continued in the Times of the Gospel , as well as it was under the Law. * There being such a Sympathy between Sounds and Passions , as are by Turns the Natural Effects and Causes of each other : And if so , then true Devotional Musick will excite or heighten our Devotional Passions , and for that Reason is to be continued still , while Sacrifices losing their proper use , are Abolished . His 2d . Argument , to invalidate the use of Instrumental Musick , is by making it as lawful to justifie Dancing in the Worship of God , as that . And the Reason he draws from the Antiquity of the one , as well as the other , because Miriam and the Women Danced , as well as plaid with Timbrels in the Service of God. And David Danced before the Ark , and devout Men among Gods own People did Praise him in the Dance , &c. They did so in their Processions , when they welcomed the Ark , which did signifie Gods Presence among them , at its being removed from one Place to another . And as they went to meet Saul , when they had the additional Honour of being admitted among the Prophets . And since the Modes and Circumstances of Reverence in Devotion are alterable , so as they may serve particular Occasions , Where would the Absurdity lie , if now , on some Solemnities , a Grave , Sober and Religious Dance was instituted and allowed by good Authority ? Truly I do not see , neither does the Answerer advance any thing to prove it absurd , but by styling it a Capering Devotion , as among the Corybantes of old . And altho' he adds a Confidence of saying : That no Man of Thought will allow such a Conclusion to pass for Warrantable : He may find the Author of the following Treatise , who perhaps has as close and consistent Thoughts as any Man in the Kingdom , is of another Opinion , and gives such a Reason for it , as I presume he will not be able to Confute . His 3d Argument is by making Circumcision as allowable now , as Instrumental Musick , because of its Antiquity , and the general Consent of Nations for it . To which I reply , That tho' all or most Nations did use the Rite of Circumcision heretofore ; and the Jews most particularly , having an express Command from God for it . As before Abraham the Father of the Faithful was enjoyned in it in token of the Covenant between God and his Seed ; yet this was painful to the Flesh , far from being adapted to their Natural Tempers , as Musick was , only to be observed by a Temporary Command , and to last no longer than the Jewish State was to last . The Institution of which , was to give Admission to the Jewish Proselytes , and to distinguish them from other Nations , in imitation of which , the Egyptians , Phaenicians , Syrians , Arabians , AEthiopians , and other Gentiles , might take up the same Practice , and yet be no Argument for its continuance still , neither does any one say , that I know , That consent of Nations is an Argument of validity , when it is nothing else but Imitation , and therefore the refutation of Mr. N. from Dr. Taylors Duct . Dub. lib. 2. p. 371. is very needless . For the Instituted Rite of Circumcision among the Jews , which might be imitated by the Gentiles , was to cease of course in the times of the Gospel , when another initiating Rite , viz. that of Baptism was appointed to succeed in its Place : But Instrumental Musick was not to cease , nor to have any other Rite to succeed it ; neither was it made use of at that time in the Jewish State , or Heathen , nor since in the Christian , meerly because of the consent of Nations for it : But because it had the Institution of God at first , the prescriptions of all Ages since ; no where forbidden ; and by Experience found to be a great help to Devotion , being adapted to the Tempers of Men , and to which they have a natural Inclination ; wherefore it may be as useful and fit for the times of the Gospel as before ; and being plainly practised by the generality of all Nations , Christian and Heathen , may without any false Logick be admitted as an Argument for an universal Practice , and for better Reasons to be observed than Circumcision . The 2d Argument made use of , in Defence of the Organ , needs no Vindication from the Exceptions of the Answerer ; neither do I see an Absurdity in saying , That the inspired Prophets introduc'd into the Church among the Jews , the use of such Instruments as were thought fit by them , being so Divinely Inspired , to raise the Spirit of Devotion among the People , &c. Being so Divinely Inspired , shews sufficiently it was a Direction from God ; and therefore he needed not have Carped at the Expression ; [ As were thought fit by them ] had he not left out the following Words [ being so Divinely Inspired ] . But then for a sure Retreat , he says , Shew as a Command in the Gospel , for the use of Organs in publick Worship . So say the Anabaptists , Shews us a Text to command the Baptizing of Infants in the New Testament . And a Man who Marries one too near of Kin to him , may say the same thing , Shew me a Text in the New Testament against it . But I conceive a few Words will take off the edge of the Objection , and shew there is no need of a Text directly to command either of them . For the Reason of a Law continuing , and that Law being no where forbidden , either directly , or by necessary Consequence , it is still in force , and then the Conscience is bound to the observation of it , according to a known Rule of the Canonists , Ratio Legis est nexus Conscientiae . This is agreeable to the Practise of the Church in those several Instances , as well as that concerning Instrumental Musick . The admitting Infants into the Jewish Covenant by Circumcision , was a positive Law of the Old Testament , and for the same Reason , Infants not being forbidden to be admitted into the New Testament Covenant by Baptism , are as capable of receiving the Sacrament of Baptism now , as they were of Circumcision then ; the Reason of it being still the same . And if this way of arguing from Scripture by just and necessary Consequence be not allow'd , then Infants are in a worse Condition since the coming of Christ , than they were before ; and the Gospel Priviledges are now straiter and narrower to them than before , which is very absurd to affirm . So the State of Marriage within the Degrees and Limitations of Lev. 18 , &c. is not expresly Commanded in the New Testament , yet is of force still , and the Reason of it is taken from the Old Test. because it remains still the same , the Old Testment , as to Moral Precepts , being as much the Object of our Faith and Practice as the New : 't is both together , and not one singly makes the Rule we are to walk by . In like manner Instrumental Musick in the Worship of God , being expresly Commanded in the Old Testament , and not being forbidden in the New , and there being still the same Reason for its continuance , does shew the Lawfulness and Expediency of it now , altho' there be no express Text for it in the New Testament . To exact a particular Command or Precept in Scripture for a Practice of this Nature , is as reasonable ( says the Bishop of Cork ) as to require a Text for having convenient Churches , or decent Places to assemble in , for having Seats in Churches , or Cushions to kneel or lean upon , or for any such useful accommodation , and honest Advantage of Divine Worship . So if we do not allow Scripture Consequences ; * How shall we prove Women ought to receive the Sacrament of the Lords Supper ? or that the Sabbath is to be changed from the Seventh to the first Day of the Week , &c. But then 't is said , That Organs or Instruments of Musick were permitted the Jews , for the sake of their Weakness , to stir up their Minds to perform their external Worship with some Delight ; and for this St. Chrysostom is Quoted , and the Author of the Questions and Answers ; in Justin Martyrs Works , for saying this use was to Persons in a State of Child-hood , after the manner of the Law. To the same effect Isidore Pelusiota , Clem. Alexand. &c. And in the Reign of David , 't is intimated , That God suited such means to the Infant State of the Church . To which it may be Answered , That these Fathers do not by their Allegorizing the 150 Psalm , argue against the use of Instrumental Musick Absolutely , but shew rather the true use of it is , because of the Imperfection and Weakness of Humane Nature , and that God condescending to a regard of the same , did not only permit and allow Instrumental Musick in his Solemn Worship , but expresly commanded it . And tho' the Command was delivered by David and the Contemporary Prophets to the Nation of the Jews , yet it is obligatory still , ( at least by way of Direction to the Governours of the Church ) in like State of Affairs , thro' all Ages and People , because the Reasons hereof are not Temporary , but likely to last as long as the World does . So we may make our Appeal to what St. Chrysostom says as the Reason of it , with which agrees Clem. Alexandrinus , that it was Instituted and Commanded rather than permitted , for the sake of Mens Weakness , to stir up their Minds to perform their external Worship with some Delight — . And as he goes on , For that God had a Mind to bring them to a great deal of Diligence by such Allurements . For God considering their Sordidness , and Sloth , and groveling Nature , contrived by this means to awaken them , mixing with the labour of Attendance the pleasingness of Melody . Much like this speaks St. Basil , and from such Authorities as these it was urged , to be as useful under the State of Christians as of the Jews , because they have sometimes the same Deadness and Dulness , and spiritual Indisposition in the Service of God which the Jews had , which lack to be shaken off . And since the Members of the Christian Church , in the performance of their Worship , labour under the same defects of these sorts , therefore they stand in need of some such Helps and Assistances to move their Affections , to raise their Devotion , to shake of their Drowsiness , and to inspire their Thoughts with Chearfulness and Zeal , with Love and Veneration when they make their Addresses unto him in Prayer and Thanksgiving . Neither does this use for those Reasons , in the least reflect upon the Wisdom of our Saviour , by not enjoining of it , as it is not very handsomly insinuated . For our Saviour himself , and his Apostles , did not disallow of , nor speak against the Practice of Instrumental Musick , when they Communicated with the Jews who used it in the Temple ; as certainly they would have done if they had disliked it , or thought it improper for Christian Worship . Neither did the Primitive Christians declare their dislike of it , or judge it unlawful . But the State of the Church did not admit of it at that time , when Christianity was under Persecution , nor Instrumental Musick , as the Answerer Mistakes me , no more than the Jewish did , when under the Babylonish Captivity , they hung up their Harps upon the Willows , and refused to Sing the Songs of Sion in a strange Land , to those who carried them away Captives . And 't is no wonder , that in the Primitive Times of Christianity , there should be a discontinuance of it . For we know the outward Modes and Circumstances of Divine Worship , must give way to the exigencies of the Times , and have been ever Modelled and altered according to the outward State of the Church . And this is the Reason why Instrumental Musick so slowly came into the Church , both Jewish and Christian. At first the State of neither would admit it , when the Jewish Church arrived at a settled Estate , it came in thereto by Gods appointment . The Christian Church remained longer under Persecution and in an unsettled Condition ; and hence it comes to pass , that as the Primitive Christians took up only the most simple way of Singing , such as their Condition would admit , so the advances to Art were more leisarely , and came on by such gradations , as Providence has given way and occasion for . And therefore I said , To the Bene esse and Flourishing State of the Church , the use of the Organ , with respect to the suitableness of the Times , and usefulness of the Thing , does abundantly conduce . The latter part of the Sentence the Answerer leaves out , and then he takes occasion most notably to descant upon his own Fancy . I shall not speak of the Fathers Allegorical Expositions of Ps. 150. without the Literal meaning sometimes , which the Answerer mentions in three Pages , because their Sentiments and Mistakes in this Matter are Discoursed in the Treatise following . Clem. Alexandrinus particularly is observed somewhere , to have spoken against Church Musick , but he does it not in pursuance of the Principles of the Christian , but of a Philosophical Religion then in Vogue ; somewhat like that of the Quietists , or of our Philadelphians , who are for a mental Religion , abstracted from all that is external or sensible . I come now to the next thing to be taken notice of , which is , The Antiquity of Instrumental Musick in the Christian Church . To say when , or by whom it was introduced therein at first , is not certainly known , and for that Reason it is thought to be the more Ancient and more Early received , for it being generally used in Divine Worship by Jew and Gentile , it passed insensibly into the Practice of Christians , as many other innocent Customs , in which they were bred up , ordinarily did . But to make it savour of Popery , the Answerer likes those Authors who alledge it was introduced into the Christian Church by Pope Vitalian , about the Year 656 , or rather , that it may not want the Mark of the Beast in the Revelations , it was say the Magdeburg Centuriators , A. C. 666. He is well pleased if it can be thought to be of Popish Extraction , therefore he mentions it twice , but yet confesses Some think that this sort of Musick was not of so early an use in the Christian Church . 'T is no great matter who is of this Opinion , but there be Authors of good Credit , who make it to be of a much ancienter use by several Centuries of Years . The present Subdean of the Chappel Royal , hath these Words , We may and ought to look upon it , as the necessity of the first Christians , rather than their choice , and that they had not wherewithal to be at the Charge of those Aids and Ornaments to their Religious Worship , rather than that they witheld the Expence because they thought it unlawful , or unbecoming their Assemblies . For no sooner did the Church begin to Flourish , but they grew into Use and Esteem : And we read of St. Ambrose , who lived about the latter end of the Fourth Century , soon after Constantines Time , that he joined Instruments of Musick with the publick Service in the Cathedral Church of Millan , where he was then Bishop ; which Example of his was so well approv'd of , that by degrees it became the general Practice of other Churches thereabout , and has since obtained in almost all the Christian World besides . Others have referred this to another Cause namely , that as Inspiration in singing Psalms , ( which was doubtless an extraordinary Gift common to the primitive Christians ) began to cease , Instruments and Skill were brought in its Room , even as Learning and ordinary Means took place instead of those extraordinary Gifts . The Bishop of Cork says , St. Ambrose took up a more Artificial and Melodious way of Singing from the Easterlings . And Dan. 3. 5. will inform us that the Eastern Practice , had the Sound of the Cornet , Flute , Harp , Sackbut , Psaltery , Dulcimer and all kinds of Musiick in the Worship of their Idol Gods. In the time of St. Ambrose flourish'd St. Basil and St. Chrysostom , who both mention the use of Instrumental Musick as Advantages to the Weak in Devotion , regarding humane Infirmity . And St. Augustine being a Contemporary of St. Ambrose , and who as some say , joined with him in Composing the Te Deum , which at this day is sung in ourChurches , might in all probability be so much moved , as he says he was with the melodious Hymns in the Church , of St. Ambroses * Composing and Improvement . Justin Martyr , or whoever was the Author of the famous Questions and Answers Bound up with his Works , Quoted by * Scaliger and † Eusebius , mentions the use of Instrumental Musick in the Church for the same Reason which St. Chrysostom and St. Basil did before ; which Book is Confessed by all to be very Antient , and to be Writ , some say , in the Fourth Century , the Bishop of Cork says in the beginning of the Third . These Authorities must needs shew that Instrumental Musick was much earlier in the Churches Service than Pope Vitalianes Time , and so could not be introduc'd by him . However , 't is not to be expected we should find this Religious use in the very Primitive Times : But that can be no Objection against such an use of them now , for Christianity was not got then to that Height and Grandeur as to admit of such an Ornament , and we need not stand much upon the early Use of it , since its sober use is of so great an Advantage in Christian Assemblies , now the Art is brought to a greater Perfection than formerly , . And since some Men of great Estates are at a vast Charge to adorn their Houses , and to have the helps of Musick for civil Purposes , it is somewhat unreasonable they should judge the Expence Burdensome in Sacred ones . Whensoever , or by whomsoever this Advantage was at first Introduced into the Christian Church , and made use of inter Sacra , it was certainly done out of a great deal of Wisdom , Zeal and Devotion . And they did therein , but that for which they had so good a President as David , who did the like in the Jewish Church , and what greatly tends to Edification . For Musick may be such , and of that Efficacy , as to carry the Mind as it were into Extasies , filling it with heavenly Joy for the Time , and in a manner severing it from the Body ( as says our judicious Mr. Hooker ) the Harmony of Sounds , if we lay aside the Consideration of Ditty , and Matter framed in due sort , and carried from the Ear to the Spiritual Faculties of our Souls is by a native Puissance and Efficacy , greatly available to bring to a perfect Temper whatsoever is there troubled , apt as well to quicken the Spirits , as to allay that which is too eager , sovereign against Melancholy and Despair , forcible to draw out Tears of Devotion . The Prophet David , having therefore singular Knowledge not in Poetry alone , but in Musick also , judged them both to be most necessary for the House of God , and left behind him to that purpose , a number of Divinely Indited Poems , and farther added Melody both Vocal and Instrumental , for the raising up Mens Hearts , and sweetning their Affections towards God , &c. And why may it not be still an Ornament to Gods Service , and an help to our Devotion , while it makes our Church an Emblem of the Heavenly Quire , which is represented as praising God after this manner , compare Rev. 14. 2 , 3. with 1 Chron. 16. 5 , 42. It cannot be presumed we should have read in Holy Writ of Citharists and Harpers in Heaven , if such Instruments of Musick were offensive to God on Earth ; or say there is no Musick in Heaven : Yet as one well observes , thereis a kind of Heaven in Musick , and such as raiseth the Soul to Angelical Exaltations . If the Temple Worship , ( says the Reverend Dean of St. Pauls , speaking of Isaiahs Vision just before ) be a fit precedent for the Worship of Angels , why may it not be a precedent for the Worship of Christians , whose Worship as pure and as Spiritual as it is , falls vastly short of Angelical Worship , &c. But yet observe what he said before ; Musick whatever it be , or how well soever performed , is of no use or value in Religion , but as it serves the true ends of Devotion — And again , All true Christian Worship , whatever the externals of it are , is the Worship of the Mind and Spirit . It is the Mind only that can praise God , tho' the Tongue must Sing his Praises . The best composed Hymns , the most musical Instruments , the most charming Voices , are but lifeless mechanical Sounds , till they are animated and inspired by the Devotion of the Heart — As far as the Harmony of Voices , or Musical Instruments serve this end , of moving the Affections of the Mind towards God ; they are excellent helps to Devotion ; and 't is only their subserviency to the Devotion of the Mind , which gives them any value , or allows them any place in Religious Worship . So that we may speak against Vocal , as well as Instrumental Musick in the Service of God , if it does not help us in Devotion . And 't is but a foolish Fancy , to think that Organical Musick is a part of Popery , for it is no more such than Singing is . And , notwithstanding the Scofts and Reflections are made on the Men of that Imployment , by the Enemies of Church Musick , we are told , that * Robert Testwood , and John Marbeck , two Singing-Men at Windsor , were as early Protestants as any , and as constant and hearty in the Reformation ; the one suffered Martyrdom for it , and the other was Condemned to be Burnt , but obtained his Pardon for his great Industry and Ingeniousness , in being the first who Composed an English Concordance . Having now given some account of the early use of Instrumental Musick in the Christian Churches , and shewn , That it can neither be Popish nor Jewish , tho used in the Jewish and Popish Worship . It was used in the Christian Church , before Popery had currupted it , and before the Reformation , and since , in almost all Nations and Countries . It came first into the Temple Worship by Divine Institution , and into the Christian Church , upon just and reasonable Grounds , as being a proper Help to Devotion , and a great Ornament to Christian Worship . It was no part of the Mosaical Law , to be abrogated by the coming of our Saviour . It is very advantageous for the stirring up the Affections , and raising in the People a more Heavenly Temper of Mind , when they are about the sacred Offices of Prayer and Praise to Almighty God. It will strike a Reverence and Awe upon their Spirits , and keep their Minds in a grave and serious Temper . It will both raise and calm our Passions , as occasion requires . * True Devotional Musick , will excite or heighten our Devotional Passions ; Why then should any Man think it improper for the Worship of God ? &c. * St. Crysostom is of Opinion , That Organs , or Instruments of Musick , were to stir up mens Minds to perform their external Worship with some Delight . In the Old Testament it served to stir up the Spirit of Prophecy , as in the Case of Saul , When the Prophets came down from the high place , with a Psaltery , and a Tabret , and a Pipe , and an Harp before them , and they Prophesyed . i. e. Their Minds ( says the Bishop of Cork ) being hereby quickened , and their Intentions raised towards God , the inspired Principle in them began to move in the Divine Praise . It is remarkable , That Instrumental Musick alone , is there made use of , as a means to awaken their inspired Souls , &c. Where you find that Learned Man , makes use of the same Expression in a manner , which is so much Carped at by the Answerer , when also to raise the greater Cavil , he makes a notable Remark of false Grammar , of [ these ] instead of [ this ] But 't is to be observed , he first leaves out the remote Antecedent , viz. Instruments of Musick , to which [ these ] in the Sentence plainly refers . So also to shew his Criticisms , he finds fault with this Expression , In the use of Instrumental Musick , that it will regulate untuneable Voices . For the same Reason he may excuse the unprofitable Servant in the Gospel . But this is trisling with a Word . Notwithstanding , there may be many other uses of Instrumental Musick , which it might be proper to mention here ; for it singly , and without Voice or Psalms joyned thereto , served for raising the Soul towards God , for quieting tumultuous Passions , and begetting a sedate serious Temper , fit to receive Divine Impressions , as in the Case of Elisha , being Consulted by the wicked King Jehoram , who being discomposed thereat , and afterwards importuned by him and Jehoshaphat together , he changed his Mind , and for the composing it when disturbed with Passion , said ; But now bring me a Minstrel ; and it came to pass when the Minstrel plaid , that the Hand of the Lord came upon him , i. e. the Spirit of Prophecy , or the inspired Principle of his Soul was stirred up in him . Josephus says , being Inspired at the Voice of the Musick . He directs a miraculous Course for their Relief , on which Words the Learned Munster thus speaks ; * Bring me a Musician , who by the sweetness of his Instrument , may remove this perturbation of Mind , and appease these tumultuous Thoughts of mine , which suffer not the Spirit of Prophecy to move in me . This is directly contrary to what the Answerer has thought sit to deliver as his Opinion , p. 59. where he flatly denys that Instrumental Musick in the alleged Case , was made use of to stir up the Spirit of Prophecy in the Person mentioned . At other times , it generally served for the raising of mens Aflections in the Service of God , for the quickening of Devotion , and preparing their Minds for it , as now it is used in the Christian Churches , Protestant and Popish , Foreign and Domestick . 'T is much abused in the Popish Churches , but regulated by the Reformation in the Protestant , and if we will be but consistent with our selves , the regulating this and other Abuses , is the proper end of Reformation , and not quite to abolish the use of it , because it has been abused , if so , I wonder what we should retain . Luther's Opinion was doubtless for Instrumental Musick , but he did not expresly declare for it at that very juncture , when he began to separate from the Church of Rome , and wrote his Formula miss . & commun . pro Ecclesia Wittenberg , because he was not then clear , what in such outward Decencies he would have settled . But he then professes , He never designed to abolish the whole Order of Worship then in use in the Roman Church , but to Purge it from the vile Additions , with which it was corrupted , and to shew its Godly use — 'T is very plain in that Treatise , he never design'd to Condemn Church Musick and Organs , but as they were abused by the Papists , for he allows much more of Musick in the Communion Service than we do , tho' not so much as the Papists use . Aud whereas the Answerer says , He is inclined to believe , that he never approved , but disliked it . The Reason of which is , from his Quoting H. Eckard , who was one of his Followers , and Superintendent of the Church of Schwattzburg , for saying , * That Luther numbers Instrumental Musick amongst the Badges of Baal , which looks as if he was no Friend to this sort of Musick . But had he Quoted this Disciple of Luthers more fairly in this matter , and not left out what follows , I am inclined to believe , he might have been of another Opinion : For , Luther having reckoned up a large Catalogue of Abuses in the Communion Service , &c. calls Churches , and Altars , and Fonts , and Chalices , and Organs , &c. The Ensigns of Baal , but upon what account ? He does not call them simply so , Sed si singularis aliquis Cultus illis affingatur : But if there be any singular Worship ascribed to them , this quite alters the Case , and for the same Reason he may speak against Churches , Altars , Fonts , &c. as well as against Organs , and so would any one , should they be made Idols of , and not as we say , only Utensils for the more orderly , comely and devout Worshiping of God. To which I will add what Sethus Calvisius Quotes him for , in Epist. ad Senselium Musicum . Plané judico , nec pudet asserere post Theologiam esse nullam Artem quae possit Musicae aequari . So for Calvin's inconsistency in this matter ; 'T is apparent , that he sometimes speaks favourably for it , when he says , * He doubted not at all , but the Christians from the very beginning , Imitated the Jewish Custom in Singing Psalms . Now that we know was with Instruments . And in his Comment on Col. 3. he says , * That it is the Nature of a Psalm , that in the Singing thereof , some Musical Instruments be joyned with the Voice . At other times he speaks against it , and reckons Instrumental Musick among the number of the legal Ceremonies , introduc'd into the Christian Church through inconsiderate Zeal , &c. This certainly is an inconsistency with himself . And from his Temper and Practice , it may without contempt be truly said , That he was a Man of an intemperate Heat and Passion , however great he was as to his Learning and Zeal , in carrying on the Work of the Reformation . And notwithstanding his Opinion , the primitive Christians in the main were of another , and did not think Instrumental Musick peculiar to the Jewish Oeconomy , and so might well be revived under Christianity . Now the Followers of Luther and Calvin , who in all probability , may be supposed to understand their Master's meaning best , have the general use of Instrumental Musick in their established Churches , as in Germany , Poland , Swedeland , Denmark , Switzerland , Holland , and others of the Helvetick Confession ; as well as in England . And tho' it cannot be supposed , that every Parish Church in those Countries , should be able to have so great an Advantage in the Worship of God ; yet their Approbation and Desire of it , is sufficiently shewn by their union with the chief Towns and Cities , where in their respective Countries , their Abilities are great enough to procure it . * Mr. Durel says , The Reformed Hungarian and Transilvanian Churches have them ; and likewise Trumpets sounding at the Church-doors . If they have not in those in Piedmont and France , the Reason of it is , their unhappiness , being suppressed and kept under by the Papal Power . Than that it was not in Scotland , is no more to be wondered at now , than it was not in England in the long Rebellion ; none I suppose , will take a President from them in Devotion , who have now a third time since the Reformation , cast of almost all Decencies in Divine Worship , and for about ten Years last past , have changed their Glory , from being an uniform Christian Church , ( according to the Primitive and Apostolical Pattern ) into the Novelty of a National Conventicle . They have not 't is true , like the * French Nimrod , Dragooned the Episcopal established Church , into a Non-conformity , but they have done almost as bad . But that new Establishment may not be design'd to stand long , being Built upon a bad Foundation : And I have been credibly Informed ; tho' the Cameronian Party have carried the Day , and got Presbytery to be for the present in the Nature of an Establishment ; yet throughout the whole Kingdom , there is not one in Five approves of it , or one in Three is a Presbyterian ; and among the civiliz'd Parts of it , not one in Ten ; and of Persons of the best Quality and Education , not one in Thirteen . I shall conclude this Digression , in the Words of * Diodate to the Assembly of Divines at Westminster ; when they had done the same thing in England , and desired his Opinion of it . What a sad Spectacle is it , to see that Church troden under Foot ! An horrid thing ye have done , and never before heard of amongst the Reformed Churches ! We are struck with Horrour at the change of the glorious Face of that Church ! May God restore it to its high Estate and pitch of Holiness and Glory again . And give true Repentance to the Abettors and Promoters of that Change , which is so Monstrously for the worse , that they may in time make what Satisfaction and Restitution they can , tho' not fully , yet to the utmost of their Power , for the manifold Injuries they have done . And tho' I must confess , I am not of Age enough to remember the Transactions of those Times in England , which the Answerer says go to the Tune of Forty one , yet I utterly deny any Falsity in the Paragraph of the Sermon , p. 16. Relating the Miseries of them ; some of which I have felt : My much Honoured * Father being forced to remove his Family seven times , because of that unnatural War , his Sequestrators threatening to throw his Children out into the High-way : But being all now gone to their proper Place , without making a suitable Repentance , or offering a Satisfaction , I shall leave them to Judgment , without mentioning their infamous Names . And to return , I know not what Reason the Answerer has , for saying , That all the Reformed Churches in Germany , Worship God without Organs . Many of them 't is true , are so suppressed and kept under , that they can no more have the benefit of them , than they can of the Hierarchy ; nor than the French Protestants could of both , before they were unmercifully Banished out of the Kingdom : But these are in the Churches at Hamburg , Munster , Hessen , Cassel , Dort , Heidelberg , and several other great Places , where Peoples Abilities , and their Governours will give them leave . So likewise they are in Helvetia , as at Bazil , Bern , &c. But that they should be any where in the Greek Churches is much , since they are generally very Poor ; for which Reason , in the Eastern Asiatick , they cannot be expected , because they are much Poorer . I will not here omit , what my * Author speaks of , Zanchy particularly , ( because he is Quoted by the Answerer , against this sort of Church-Musick ) and Diodate , two Followers of Calvin . The former says ; * Manifold and great is the use of this Musick , 1st . That the Glory of God may thereby be made more Illustrious and August . 2dly . The mind of Man is after a marvelous sort affected therewith . 3dly . Our Heart being by this Musick made the more Chearful , the Grace of God dwelling in us , is stirred up . The same is the Judgment of Diodate , and many of the later Calvinists , who , tho' it was the Fate of some , of them , to be necessitated to be without Organs in their Churches , have declared their Desire of them . And from this Consent of their Doctors , undoubtedly it is , that Organs are at this Day in use in most Places of the Belgick Churches , and long Time have been , is as evident by the Decrees of their Synods , forbidding this use of them upon Political and Common occasions , out of Divine Worship , and Commanding they should sound nothing but Psalms and the Praises of God. And not only they , but several of the Pastors of the Reformed French Churches , who live in Places where they can conveniently have Organs , have also introduc'd them , as the worthy * Dr. Durel testifies touching the Reverend Rochfort , Pastor of the French Church at Rotterdam , and others . And now with what Confidence can the Answerer say , that the Hungarian , Transilvanian , Helvetian , and all the Reformed Churches in Germany , are those that do Worship God without the use of Organs ) When the direct contrary is as notoriously evident , as any thing can be . So true it is , that all the best established Churches in the whole Christian World do concur with us herein , who are of Ability to make so great Provision for the better carrying on the Worship of God in the Assemblies of his People . That except our Dissenting Congregations , and their Brethren in Scotland , there is scarce any where any considerable Number of Christians Dissent from us , so as not to approve of Instrumental Musick in their Devotion , tho' many be so unhappy as not to have it . But now our Adversaries being pressed with this plain matter of Fact , cannot with any Colour of Truth , deny the frequent use of them in the Churches under the Helvetick , as well as others of the Auspurg Confession , ( which Calvin Signed as well as Luther , tho' they would make the Distance between them to be ir-reconcilably great ) they would seek to evade the chief Design and use of them , by saying , That altho' the Dutch have Organs in their Churches ; 〈◊〉 they pretend not , ( as the Author of the Sermon does ) that they are to exalt their Devotion , and the more to excite their Affections ; but they use them to regulate the Voices of the People , and to direct them in the Tune of the Psalm they are to Sing . In Answer to which , three things will evidence the quite contrary to be true . 1st . Ex Confesso , he grants in the Case of Elisha , That this sort of Musick was enjoyned then , for the quickening of Devotion . And again , Instrumental Musick was Commanded by God then and Blessed for the exciting of Mens Affections in his Service now ; if so 't is very absurd to turn off the stress of the Argument upon the Divine Command as he does there , whereas 't is as clear as the Sun , that the quickening of Mens Devotions , was by the means , and therefore the Design of Instrumental Musick , and not by the Divine Command which enjoyns it . 2dly . The Nature of the thing is always the same ; if it had that Efficacy under the Law , to quicken and excite Mens Affections in Devotion , as 't is certain it had , and for that Reason was enjoyned by the Divine Command , it has not altered its Nature since . And tho' it be granted , there is no express Command for it now , while there is none against it , and the Reason and use of the thing still continuing , it may very well be allow'd and approv'd of , as serviceable for the same end . But , 3dly . Matter of Fact is directly against this Allegation of the Answerer . For , to shew that the Design of the Organ in the Dutch Churches , is to raise Mens minds , and to quicken their Affections for Devotion , and not solely to regulate the Voices of the People , and to direct them in the Tune of the Psalm . It is notoriously evident , as I have an Account from some who have Lived and Conversed among the Dutch , and their Neighbours for several Years , and found it to be their Practice . For the Organs to Play their Voluntaries for an Hour commonly before the Service begins , and while the Congregation is filling ; and then afterwards when the Organ stops , the People Sing a Psalm , and the Organ does not Play all that while to regulate their Voices , but did before to raise their Affections , and to chear their Minds for Devotion : This is done particularly at the Hague , at Amsterdam , at Hambourg , &c. At Hassen , they have a peculiar kind of alternation in Singing their Psalms . The Precentor , or Master of the Musick with his Scholars , who are like our Singing-Boys and Choristers , Sing out the first Verse , with all the People ; then the Organs Play the second . The Musicians and People sing the Third Verse as the First , the Organs Play the Fourth as the Second , Some such way they have at Bremen , Cassel , &c. In many of the Dutch Churches , for the Reasons aforesaid , is the Musick upon their Bells ; where they have Forty or Fifty in a Steeple , upon which they play some taking ravishing Tunes for an Hour or more together , before the Church Service begins , not so much for the calling the People together to their Devotion , because they are to be heard but a little way , being small and well tuned for variety of Parts , to play several Lessons upon , according to the occasions of the Solemnity and the Seasons of the Year ; but the better to fit them for their Devotion , and to strike a reverential awe upon them when they come to Church , to raise the Passions of Joy or Grief , to enliven their minds when dull and heavy , and to compose them when vain and roving , &c. Next he says , It deserves Consideration , That Organs were introduced into the Dutch Churches by some Magistrates against the consent of the Ministers . If so , they shewed a better regard to the welfare of the Churches than the Ministers did , and deserve Commendation for it . But doubtless the Dutch Ministers , would never have Communicated with the Dutch Magistrates in their Churches , where Instrumental Musick was generally used , if they had thought the use of it unlawful in the Christian Church ; neither can we well suppose their Ecclesiastical Synods would ever have suffered it to continue so long as it has done , had they had any interest among their Magistrates or any Authority left in their own Churches , if they had not thought it Expedient also and useful , as well as Lawful in Holy offices , whatever is pretended by our Adversary to the contrary , to favour his dislike of the Dutch Magistrates , for their Adhering to so advantageous a practice , as he Saith against the consent of the Ministers . I need not now , as the Answer would lead me , prove the Discipline of the Church of England exceeds that of the French Protestants Churches , the Dutch , Scot 's , &c. than I need prove the Sun shines at Noon day . And then touching the holiness of its Members in Life and Conversation . He seems very partial by insinuating as if the vast number of Debauched , Profane and Atheistical Sots , were of that Communion , and not among the Dissenters . Truly these are a great Scandal to any Party whatsoever , who profess so holy a Religion as the Christian : And I believe all Parties among us need a great Reformation on that account , and have too little cause to upbraid each other . But yet I knew a very noted old Non-conformist Preacher in the West , who having sufficiently experienced the Practices of his own Party for along time , did some short time before his Death , advise his Children rather to trust a Church of England Man in Dealing than a Dissenter from it . The preceding Discourse I suppose sufficiently Vindicates the Sermon from the Exceptions of the Anonymous Letter written against it . I have answered the main Objections in the Argumentative part , and rectified several Misrepresentations and partial Quotations which are found therein . Should I have followed the Answerer in all his Excursions and needless Repetitions , I should have drawn this Reply to a much greater length ; I fear it is too long already . The Arguments and Authorities I have brought together , do I hope , abundantly justifie the Lawfulness of Instrumental Musick in divine Offices to all unprejudiced Readers , and for others 't is in vain to go about to perswade . And if my Adversary cannot close with the judgment of his beloved Mr. Baxter in this Matter ( who offers the same Arguments I do but with more Strength he says , p. 12. But why with more Strength ? Had he spoken these things it might have been perhaps with a greater Tone ; but surely the reason is the same when fairly quoted , and at large in the very same Words ) I cannot suppose he will close with the Judgment of such great Worthies of our Church as the Judicious Mr. Hooker , Dr. Hammond , Bishop Stillingfleet , Bishop Wetenhall , Dr. Comber , &c. quoted by the Author whose Authorities and Opinions he thought not fit to take any notice of . But by some means or other , the Separation must be kept up , and besure there will never be wanting pretences enough for that purpose . To which I shall subjoin what Dr. Comber says in his Comment on Psalm 98. Since the Glory of God is manifested to all Lands , they ought all to joyn in Praising his holy Name , nnd that by all due means which may express an hearty Joy , particularly by all sorts of Musick , by stringed Instruments , and Voices , and by Wind Instruments also ; for Musick is the Gift of God , and tends not only to express , but to beget the Affection of Joy ; it doth compose the Thoughts , calm the Mind , and put the Soul into a posture of grateful Seriousness , and therefore we shall find it of as early use in Divine Worship as any where else ; and since all Ages have used it so , we may use it in more solemn Places , and on more extraordinary Occasions without just offence to any unprejudiced Persons , especially being Commanded in this and other places of Holy Scriptures . And also the Judgment of Dr. Gauden Bishop of Exon. I know , says that Reverend Prelate , * some have been more at discord with the Liturgy , because they find in Cathedrals , and other great Churches , the use of Musick both Vocal and Organical , have been applied to some parts of it ; which certainly is as Lawful as any Meeter , Psalmody , Hymnology , or singing to Tunes ; which was never questioned by learned and godly Men for lawful in the Worship of God , publick or private , especially that of Praising and giving Thanks : Nay , there is no scruple but that even in Prayer , and the deepest notes of that , viz. Penitentials , both Musick of Voice and Instruments may be so gravely and solemnly applied , as may very much fit the temper of Mens Spirits , and the Spirits of that Duty ; when either sad and solemn with Grief , or chearful and exalted with Joy : Who doubts but David and the whole Church of the Jews served God in Spirit and in Truth , amidst those joyful and Harmonious Noises , they used with Singers and Musical Instruments ? The Gift and use of Musick is so sweet , so Angelical , so Heavenly and Divine , that it is pity God should not have the Glory and Honour of it in his Service , and the Church an holy Comfortable use of it . That such an Orient Pearl may not be used only in civil Conventions , or abused in wanton Carols and vain Effusions , which is to put a Jewel in a Swines Snout : Certainly the Christian Church hath more cause to rejoice than the Jews had , and we see the Angels at Christ's Nativity began the Church Musick with the heavenly Quire. And having given his Judgment for some discreet Regulations of Church-Musick in the next Paragraph , he concludes , It was only fit for those Mens rudeness to abandon Church-Musick , who intended to fill all things with the Alarms of War and Cries of Confusion . But in requital for the Citation of Mr. Baxter and the Assembly of Divines for Instrumental Musick , he brings two Church-men directly against it , as he says . The one Mr. Maxwel a Scotish Divine , and the other Bishop Taylor . I have not seen the Book * he quotes of Mr. Maxwel , and so can say but little to it ; only I cannot imagine what those Reformed Divines are which he agrees with , that should say , Instrumental-Musick is neither a help to , nor a part of Divine or Ecclesiastical Worship . For I am sure , I have Impartially shewn in the foregoing Discourse , the most eminent and learned Reformed Divines , both Foreign and Domestick to be of another Opinion , and therefore I may doubt of the fairness of the Quotation ; or well suppose , without prejudice to the subject in Hand , that every individual Person of Note and Learning , may not have the same Sentiments and good Opinion of it which the generality have . And as for Bishop Taylor , * He is not directly against it , because he allows Instrumental-Musick may add some little advantages to Singing , and in the same Page says , I cannot Condemn it , if it be used as an help to Psalmody . ( But then indeed he says ) It is more apt to change Religion into Air and Fancies , &c. i. e. When it is not used as it ought be , and therefore against the abuse of Church Musick , and preferring that of the Voice before Instruments , which most People doubtless do ; he finds fault when it is made so acurate and curious that none can joyn in it but Musicians , who do not sing and express the Words so plainly , that they which Hear do understand , and by this means the greatest benefit and use of Edification is lost . I shall not enlarge this Discourse by bringing more Authorities in Justification of the lawfulness of Instrumental-Musick in Christian Worship . And I think there needs nothing more be said in Vindication of the use and advantages of it : For I do not find what is written against those mentioned in the Sermon do at all lessen their Expediency . Neither shall I need farther to trouble my self with Answers to the Objections , which I also there mentioned , as commonly brought against Church Musick . But in Vindication of this Practise of our Holy Mother , the Church of England , from those Four popular Objections which are made against it by the * Answerer . I shall give a brief , and I hope a full and satisfactory Reply , and so conclude . One of these we are Threatned with before , and here at first reading being proposed with an Air of Considence in an Argumentative way , may deceive the unwary Reader , if he takes them upon Trust ; but when examined into , will be found to be very fallacious , and to carry more of Popularity than Truth and Weight in them . The 1st . of them is , That the use of Organs in Christian Assemblies for Divine Worship , is Condemned as unlawful by the Book of Homilies . Now that it is so , is so far from being most plain , as he says , p. 82. That scarce any thing can be plainer to any one that heedfully reads that Homily of the Time and Place of Prayer , Part II. ( out of which the Objection is made ) but must see the true use of Organs in Divine Worship is not at all Condemned therein ; but only the great Abuse and Superstitious use of them , as supposed in the Times of of Popery , against which the Homily is mainly bent . This Abuse and Superstition , the Church of England is now sufficiently Reformed from ; and being so , as it is plainly expressed in the Homily , it is very evident , that the use of Organs among other things there mentioned , is so far from being Abolished by the Reformation , or disliked by the Composers of the Book of Homilies , that they are by the very same Homily , which is Quoted by our Adversary , adjudged Decently to be retainedin the Church , as things that God is either Honoured with , orhis People Edified by , which I hope , if made good , will clearly overthrow this the most formidable Objection against the use of Organs in the Church of England . Let us then attend the Place of the Homily , which is towards the latter end of it , and there we shall find , That after it has inveighed very severely against the many Corrupt , Superstitious and Idolatrous Practices in the Church Service before the Reformation ; as against the Images and Idols , and numbers of Altars , with an infinite number of Toys and Trifles , to make a goodly outward Shew , &c. which it rightly accounts , a Mocking and Blaspheming of Gods holy Ordinance : It comes at length to blame those who refused to frequent the Parish-Churches , because they were scoured of such Gay gazing Sights , as their gross Fantasie was delighted with , because they see the false Religion abandoned , and the true restored . This it does under the Representation of a Woman thus Discoursing her Neighbour on that occasion . Alas Gossip , what shall we now do at Church , since all the Saints are taken away , since all the goodly Sights we were wont to have are gone , since we cannot hear the like Piping , Singing , Chaunting , and Playing upon the Organs that we could before . To which the Reply is , But , ( dearly beloved ) we ought greatly to Rejoyce , and give God thanks that our Churches are delivered out of all those things which displeased God so sore , and filthily defiled his holy House and his Place of Prayer . Where , observe , the Complaint of the Person , who refused to come to the Parish-Church , was not among other things , that there simply was no Playing upon the Organs there , as the Answerer would insinuate , but expresly that there was not the Like Playing upon the Organs . The Words are ; Sence we cannot hear the like Piping , Singing , Chanting , and Playing upon the Organs that we could before . Where the Word [ Like ] being Craftily left out , the Sense and Meaning of the Homily is quite inverted . For the Like use of Singing , and Playing upon the Organs , most apparently refers to the superstitious Use , and abominable Abuse of these things , which by the Reformation was clearly taken away ; but the Discreet and Sober use of these in God's Service , was never absolutely Abolished , or ever accounted justly so to be ; neither was it ever the Opinion of the Church of England in the Days of Queen Elizabeth , ( or since ) That Organs in Churches are displeasing to God , and filthily defiling his House , as 't is untruly mentioned by the Answerer in two Places . For 1st . In the Days of Queen Elizabeth , when these Homilies were Composed , and ordered to be read in Churches , it is to be Noted , that the use of the Organ was allowed and approved of every where ; and was in most Parish Churches in England , not only in the greater Towns , but in abundance of lesser ones , in some very small Parish-Churches , where either pious Benefactors , or Peoples Abilities did reach to Maintain them ; and this continued so , throughout her long and happy Reign ; and afterwards , in the Reigns of King James I. and King Charles I. which Practice is so manifest , that it cannot be denyed with any degree of Truth ; which certainly no body could suppose would have been , if it were the meaning of the Homily to Condemn them , and to account them as Displeasing to God , and filthily defiling his House . II. It is also to be considered , That if we allow this Reasoning of the Answerer , from the Homily against the use of Organs , by the same we must argue against Singing too , for that is expresly mentioned with it . Since we cannot hear the like Piping , Singing , Chaunting , and Playing upon the Organs , that we could before . Where the superstitious and corrupt Use of either Singing or Playing upon the Organs , is only adjudged by the Church to be taken away and not the use of either , or both of them to be Abolished . And indeed I think not only from thence , but well nigh as much may be Objected on other accounts against Vocal , as against Instrumental-Musick in the Church , since both are equally capable of Abuse : But yet both of them may be of excellent use , if Grave , Discreet , and Regular , and of singular advantage for the promoting the Praise of God , and the Edification of his People , when skilfully joyned together . And then III. The Opinion of the Church of England is the same as to this matter , with what I have said above , as will appear by consulting the subsequent Words of the Homily , which are these — This ought we greatly to Praise God for , That such Superstitious and Idolatrous manners , as were utterly nought and defaced God's Glory , are utterly Abolished , as they most justly deserved : And yet , those things that either God was Honoured with , or his People Edified , are decently retained , and in our Churches comely Practised . Among which things , our Church does reckon the use of the Organ , wherewith God is honoured , and his People edified , and for those Reasons , was it decently retained , and in our Churches comely Practised , both at the Reformation , and in Queen Elizabeths time , when it Flourished as much as ever , and ever since when it did . 'T is very strange now , that the Church Practice , which is so clear in this matter , should be so strangely misconstrued and misrepresented , as if it spake against the same thing , which it so decently retains and allows , and finds so great Benefit by . But to shew farther , That it cannot be the profest Judgment of our Church to Condemn the use of Organs in it , as the Answerer positively avers it is , from the Homily , altho the obsolete expression of its being delivered from Superstition and abuse in the Place of Prayer , seems repugnant to its constant Practice : Take this short Story , The Lord Chief Justice Cook , was made a Sheriff by King James 1st . with a design of Displeasure , and upon account of his being of the Republican Party . He to excuse himself insisted on a particular of the Sheriff's Oath not then repealed , and perhaps not yet , whereby he was obliged to Prosecute the Lollards for Heresy . Will the Adversary therefore conclude that he was obliged to Prosecute the Protestants under a Protestant Govenment , and after so many Laws made in favour of Protestancy , only because this particular had escaped their observation and was not actually repealed ? Could he think his not Prosecuting the Protestants prevaricating with the design of the Legislators , who had signified their sense by so many more and clearer Laws than were to the contrary ? or could he think , that the sense of the Legislators of the past Age were to over-rule the sense of the Legislators of the present Age in a case of Contradiction ? His 2d . Objection is , That if the Praising of God with Organs be thus Lawful in the Worship of God , then will it for the same Reason be Lawful to introduce other Musical Instruments , in the Worship of God , as Harps , Trumpets , &c. The consequence of which is very true ; and at present in some Organs , there are such Stops , as represent Drums , Trumpets , and divers other sorts of Musick . And where is the Fault , that so useful an Art is now much improved beyond what it has been ? * Dr. Durel informs us , That at Hessen they Sing Anthems , not only with Organs , but with loud Instruments , and Violins too . At Bern they have Cornets , and Sacbuts , which Play in the Churches when they Sing the Psalms . Upon Festival Days they have also Trumpets in Hungaria and Transilvania , which Play at the Church Door , &c. And what if our Church-Governours think fitting to introduce other Rites too ? They may do so , keeping within the Apostles general Rules of Decency , Order , and Edification , and yet not at all Act repugnant to the Nature of the Gospel Worship . For these Modes or Circumstances of Worship being variable , may be altered with respectto different Times and Places . But yet I will not call their Piety and Prudence in Question ; or be so uncharitable to think , they will ever suffer the Church Service to be burdened with such a numerous Company of Ceremonies , as shall be rather an Hinderance than an Help to our Devotion . His 3d. Objection against Instrumental-Musick , is a Syllogism , wherein the minor Proposition , upon which he lays the stress of his Argument is utterly false , and so being denyed , will let the whole fall to the ground . For , The granting Instrumental-Musick to be the most proper means to quicken our Hearts , and to raise our Affections , and to make us the more Devout in the Worshiping of God. Will not in the least impeach Christ and his Apostles of the want of Wisdom in making provision for the Edification of the Church . Altho' we grant that they have not Instituted Instrumental-Musick in the Service of God , for the raising Mens Affections , and quickning their Devotion : And 't is a gross Mistake to say , That they did Institute Vocal Musick , as the Answerer supposes most certainly they did , and that Mistake will destroy his Argument . For the Institution of Vocal Musick , as well as Instrumental , was long before the Writing of the New Testament , and perhaps before the Writing of the Old. We read indeed of no particular Time , when either of them was first Instituted , tho' we may when they were first used . Singing seeming to be as Ancient and Natural as publick Worship . And Instruments must be owned to be helpful to Singing , where an unreasonable Prejudice does not hinder the Understanding . Both were in use before the Law was given ; as the Song of Moses , and the Practice of Miriam do testifie ; but we have no Reason to think this was the first beginning of them , when the one Sung , and the other Plaid . And both being of eternal use , for the raising of Peoples Affections , and quickning their Devotion , where conveniently they may be had ; does not reflect upon the Wisdom of Christ and his Apostles , or the primitive Christians in not having them ; but , if he will , it may upon their Poverty , and the Afflicted State of the Church in their Days , when it was constantly under Persecution , this denyed those Advantages in the Primitive times , which some Prosperous after Ages had . The Apostles Admonition , To speak to one another in Psalms and Hymns , &c. does not exclude Instruments , but allows them where they may be had ; and then they may well exalt their Affections in Devotion , according to the Mind of Christ and his Apostles . I do not here account , and I see no reason I should , that Devotion consists more in Singing alone , than it does with Instruments ; neither is one more Ceremonious than the other . Devotion properly consists in neither , not in the Voice or Musick , not in speaking or Singing , but in the Heart and Mind ; the Affections of which are hereby raised , sometimes by Vocal sometimes by Instrumental Musick , and most likely by both together , when meet Instruments are added to make up the Harmony , the Efficacy is much greater , and to Minds in any indifferent aptitude well nigh irresistible . True devotional Musick will excite or heighten our devotional Passions ; and make us more or less ardent and affectionate , as our Souls and Tempers are disposed , by being more or less freed from , or disturbed with contrary Humors and Passions . His Fourth and last Objection has little of weight in it , but because he has a mind to ask the Author of the Sermon this Question ; Whether according to the Act of Uniformity , and the Constitution of the Church of England , the particular Pastor of a Parochial Church is allowed to introduce new Rites or Modes of Worship into his Parish Church , over and above what are appointed , &c. I will give him this short and plain Answer , That I believe he has not : But then I must needs say the Question is nothing to the Purpose , unless he can prove that the erecting of an Organ in a Parish Church where one formerly stood , and never was pulled down by lawful Authority , is the introducing a new Rite or Mode of Worship , which I believe will be an hard task to do . 'T is certainly a very old Rite which is of more than a Thousand Years standing in the Christan Church . And how long in the Church of England I cannot tell , but we are sure it was a long time before the Reformation , and has continued so ever since , while the Church stood . And the Prescription of so many Years , for such an use is a sufficient warrant for the doing of it , especially with the consent and approbation , and encouragement of the Diocaesan , which is very agreeable to the Constitution of the Church of England . The allowance of which , is as Authentick altogether as the Singing our Psalms in Meeter . And I heartily wish , when the expence of the War is over , that other Parishes who are of ability would follow so good an Example . I am very confident they will have the like Authority to countenance and encourage them , in so pious and Charitable a Design , which none I suppose will distrust the sufficiency of for their so doing . And I Question not but the benefit and advantage of it will abundantly recompence them for their Charges and Experience in procuring and maintaining it . Our Experience herein must oblige us to acknowlege so clear a Truth . And I can with the greatst satisfaction say , That I verily believe since the late erecting of the Organ in our Parish-Church of Tiverton , and much by the means of it , we have as Regular and decent , and I hope as Devout a Congregation as any in the whole Diocess . And for Psalmody , I may be bold to say , much beyond any that I have been informed of . And now , I may presume the Reader will be convinced that tho' as the Answer says Something more has been said against the use of Organs in Sacris , than what is to be found among the Objections in the Author's Sermon ; yet a very mean Reply which has been given by one , will shew that what has been farther and more closely Objected by the Answerer , does not at all invalidate the Lawfulness , Use and Advantages of them in the Christian Church . After all , I have one thing to Advertise the Reader , that to avoid prolixity as much as I well could , writing not a compleat Tract , but only a Preface to one ; I have frequently in quoting the Answerer and other Authors not set down their words at large , but the Sense in brief , referring to them in the Margin ; and that without any the least design of Unfairness or Partiality . And in the whole I hope my unknown Adversary cannot say but I have treated him with all becoming Candor and Civility ; I wish the Reader could say so too , having kept him so long from the following Treatise . John Newte . The Contents . I. THe Apostles Communicated with Instrumental Musick after their declaring against the obligation of the Mosaick Law on Gentile Proselytes : and therefore could not thereby intend to Condemn it as unlawful . p. 1. II. Sodid the Gentiles also as far as it was in the Power of the Apostles to permit them . p. 5. III. The Apostles reasoned from the Law to the Gospel otherwise than our Adversaries do now . p. 7. IV. And indeed were to be presumed most likely to do so considering their Education . p. 10. V. The chief new , Revelation made to the Apostles , was that the Gentiles might be admitted into the new Peculium , Immediatly without Circumcision . p. 13. VI. This was Consequently a repeal of the Mosaical dispensation , so far as it was inconsistent with it . p. 16. VII . Those particulars were indeed inconsistent which are supposed unlawful in the N. T. p. 20. VIII . This inconsistency cannot be pretended in the case of Instrumental Musick . p. 21. IX . The Apostles Argue even in Abrogated instances from the Law to the Gospel so far as the Parity of Reason holds . p. 25. X. The same Reasons which made Instrumental Musick fit for Sacrifices in the Apostles Days , make it fit still . p. 28. XI . The Benefit of Musick in holy Offices thought Natural , and and not ascribed to any Extraordinary Providence . p. 32. XII . The Influences of good and evil Spirits upon Man , such as may be promoted or obstructed by Instrumental Musick . p. 36. XIII . Such a notion of the Spiritualness , of our Religion , as makes uncapable of Sensible Assistants , as is fundamentally inconstent with the Doctrine of the Apostolical Age. p. 47. XIV . The same Reasons that proved bodily worship useful in the Mosaick discipline , prove it so still . p. 52. XV. The worship of God in Spirit not opposed to that which is sensible and Corporeal , but to the literal sense of the Law of Moses . p. 55. XVI . Nothing therefore can be objected to Instrumental Musick that is inconsistent with the Spiritual Nature and worship of the Gospel . p. 61. XVII . Pomp and Magnificence of the External worship is not inconsistent with the desigen of the Gospel . p. 65. XVIII . Magnificence not Repugnant to the simplicity of the Gospel . p. 70. XIX . Sacred Dances not unlawful , but not therefore necessary to be Restored if Instrumental Musick be so . p. 71. XX. The Jewish Circumcision contrary to the design of the Gospel , the Gentiles nothing to our adversaries purpose , the Case of neither of them like that of Instrumental Musick . p. 77. XXI . No Bloody Sacrifices whatsoever were sit for the design of the Christian Sacrifices . p. 80. XXII . No Reason for opposing the first Imposition whilst Lawful , for fear of Rigours afterwards . p. 87. XXIII . The Ceasing of Instrumental Musick . Rev. 18. 22. describes a great Calamity , but does not prove its unlawfulness . p. 93. XXIV . Dr. Lightfoot's observation that the Temple worship was wholly ceremonious , and the Synagogue worship wholly Moral , is not true . p. 97. XXV . The Instrumental Musick had been a Shadow of the Organical worship of our bodies under the Gospel , that would not prove it inconsistent with it , yet that it was a Shadow of it cannot be easily proved . p. 105. XXVI . All Symbols of those times did not foretell any future innovations which should abolish them . Instrumental Musick could not be abrogated by the Organical worship of the body being a Shadow of it . p. 108. XXVII . The Harping in Heaven could not by the Reasoning of that Age , be taken for a Shadow . p. 112. XXVIII . Incense might have been used by the Apostles after the destruction of the Temple . p. 120. XIX . The Reasonings of the Fathers produced by our Adversary in this Cause , are quite different from those of the Apostolical Age it self . p. 125. XXX . The next Age to the Apostles seems to have discontinued Instrumental Musick , without any dislike of it . The true design of the Reasoning from the estate of Child-hood and weak and Beggarly Elements , Explained . p. 128. XXXI . So Explained They conclude nothing to the purpose of those Fathers , or our Adversaries . p. 137. Errata in the Preface . PAge 12. l. 4. Popish r. Popery . l. 28. give r. gave Instances , p. 26. l. 13. Perswasions , r. Pensions p. 31. l. 9. when they had r. when he had , p. 32. l. 13. enjoyned in it , blot in , p. 55. l. 27. blot out them , r. That it is , l. 28. r. Then that it was not , p. 59. l 19. this r. the. ERRATA . PAge 9. l. 1. propagating . p. 33. Leaprosy . p. 44. l. 24. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 l. 25. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . ib. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . l. 26. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . p. 46. l. 18. a Comma after directly . p. 58. marg . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . p. 63. l. 7. divided . p. 63. l. 21. it 's . p. 66. l. 15. Testament . p. 70. l. 19. disprov'd . But. l. 22. [ after ] Scriptures [ add ] now also to have produced the Scriptures . p. 71. l. 12. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . l. 19. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . l. 20. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . l. 24. Bounteousness . p. 73. l. 4. sacred Dancing . p. 74. marg . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the rest of that Testimony of Ignatius is omitted , or false printed . It should be thus , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , &c. Ep. ad Ephes. N. 4. This is continued afterwards p. 75. marg . where it should be blotted out . p. 75. l. 6. Apocryphal . l. 10 , 11. Clemens mentions . l. 15. notoriously . l. 18. improbable . p. 76. l. 13. Instrumental . l. 17. accompanied . p. 77. l. 12 , 13. practic'd . p. 82. l. 28. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . p. 84. l. 19. [ after ] to [ add ] be . p. 87. l. 1. particular . l. 8. Heavenly . p. 88. l. 8. peace . p. 90. l. antep . Deference . p. 91. l. 26. Deference . p. 97. l 7. and the voice of the Bride , shall . l. 18. Festivityes , p. 99. l. 4. was l. 25. del . often . p. 100. l. 16. granted r. grounded . p. 102. l. 4. Antecedent . l. 5. indeed . l. 12. must . l. 20. of the Divine displeasure . l. 21 , 22. Action . p. 104. l. 11 , 12. Writings . p 108. l. 23. of those del . it is twice . p. 116. l. 24. elsewhere . p. 118 l. 15. the things l. 25. Communion . p. 119. l. 2. del . y. p. 120. l. 18. Israelitish . l. 27 , 28. joined . p. 122. l. 24 , 25. Collector . p. 123. l. 8. indeed . l. 11. Christians . p. 126. l. 1. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . p. 127. l. 6. Revelations . p. 128. l. 7. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Concerning the LAWFULNESS OF Instrumental MUSICK IN Holy Offices . FOR proving the Lawfulness of Church Musick now , I desire no more than what is notoriously true in Fact , and not denied by our Adversaries themselves , that it was actually practis'd among the Jews , at least in the Temple Worship , with their Sacrifices and Sacrifical Hymns . Hence I infer , That none who communicated in their Sacrifices and in Hymns Sung on those Occasions , could avoid Communicating with the Instrumental Musick , to which those Hymns were Sung ; and therefore that the Apostles could not avoid it . For the Apostles , who were all made before it was thought lawful to receive any into the new Peculium besides Jews , or Proselytes of Justice , ( who are reckon'd as Jews by Nation upon that Proselytism ) must therefore have been Jews by Nation , and therefore oblig'd upon a National Account to appear Personally before the Lord in the Temple , as all Males were on the three annual Festivals of the Passover , Pentecost and Tabernacles , and to communicate in the Sacrifices and Sacrifical Hymns , Sung to the Instruments appointed for that Service . But this they would not have done , if they had known of any new Revelation forbidding it under the new Peculium . Yet certainly they did it long after they had declared against the Imposition of the Law on Gentile Proselytes ; and therefore could not possibly have been understood to have condemn'd Instrumental Musick by those Declarations . St. Paul himself usually contriv'd to be at Jerusalem at those annual Solemnities , not only to bring the Alms of his Nation , which were to be laid out on those who were then assembled in obedience to the Law , but also to shew that himself walked orderly , according to the Law. The last Act mention'd of him in the Acts before his Imprisonment , and his being sent as a Prisoner to Rome , was his offering the Sacrifice of a Nazarite , purposely to satisfie the many Myriads , who , as St. James told him , were zealous for the Law , and to clear himself from the Scandal of teaching an Apostasy from the Law , and to convince them that he as , a Jew , thought himself oblig'd by the Law of the Temple upon the Jewish Nation . It was therefore impossible that he could , in his former Preaching , have condemn'd that as sinful , which he hereby own'd himself as oblig'd to , on account of his Jewish Extraction . So far he was from condemning Instrumental Musick as unlawful , as that he could not condemn the Sacrifices themselves in Jews by extraction . If therefore our Adversaries will prove even Sacrifices unlawful for Jews by Extraction , they must do it by Testimonies later than this Practice of St. Paul. It must on the contrary appear that all their Testimonies for this purpose , drawn from his Epistles , written before this time , were manifest misunderstandings of his Words , when drawn to a Sense , in which it is impossible that he could intend them , without contradiction to his own Practice . Indeed they can produce nothing to this purpose , even from the latest of the N. T. Writings . The Christians in the Acts had separated before that time from the Synagogue Worship in many Places . But we find nothing there , nor in any of the N. T. History , that they ever attempted it with relation to the worship of the Temple . St. James the Just , the Bishop of Jerusalem , the Bishop of the Apostles , frequented the Temple Worship , not only then when he advis'd St. Paul to do so , but also afterwards , if we may believe Hegesippus and Josephus . For he was Martyr'd there , and the Church of Jerusalem is represented in the Revelations as having Harpers playing to Hymns . The Archetypal Church in all likelihood , after the way of Prophetick Visions , according to the Customs of the Ectypal . And rather the Christian Archetypal than the Jewish , because there is no mention of bloody Sacrifices , but such as became the new Peculium , when the Temple was destroy'd . Nay , Justin Martyr , admits even in his time , that Jews by Extraction might observe the Law of Moses in their own Persons ; on Condition that they would not impose it on the Gentiles . So far St. Hierom's Observation is from being true , that the Rites of the Law were mortiferous after the destruction of the Temple . Thus far therefore it was impossible , that there could have been any Revelation to the Apostles , concerning the unlawfulness of Instrumental Musick . BUT perhaps our Adversaries may say , That the Apostles might allow it to the Jews , such as themselves were ; and yet believe it unlawful for the Gentiles , such as we are now . Indeed the Gentiles were , by the Discipline of the Temple , excluded from the Sacrifices themselves , and the Sacrifical Hymns , and consequently from the Instrumental Musick , to which these Hymns were Sung. They were not permitted to come into that Holier part of the Temple , where the Sacrifices were offered . All Jerusalem was allarm'd by it , when they thought St. Paul had brought an Ephesian Gentile into that part of the Temple . But the Apostles were so far from adding to the severity of that Discipline , that they not only permitted , but obliged , Gentile Christians to partake of that Musick , as far as it was in their Power to do so , whilst the Discipline of the Temple was kept up by such Jews as were by Principles profess'd Enemies to the Christian Religion . They admitted Gentiles indeed into the new Peculium , without the Proselytism of Justice by Circumcision . But plainly on such Terms as oblig'd them to depend on the Terms of Judaism , for the benefits of the Peculium . They were oblig'd to be one Body with the Apostles , to be built and superstructed on them , if they could pretend to any share in the corner Stone . They oblig'd them to be grafted into the natural Olive , if they would have any of the Sap and Fatness of it . This gave a Prerogative and Precedency to the Jews so long as this engrafting lasted , acknowledged by the Apostle himself , when on this account he reckons the Jews first , then the Gentile . For what can that Fatness and Sap of the natural Olive be , but the Mystical benefits of their Sacrifices , and their Temple Solemnities ? The Gentiles therefore , as oblig'd to Communicate with the Apostles , must also have Communicated with the Sacrifices and other Solemnities of the Temple , in order to the obtaining those Mystical Benefits , of which the Jews were made partakers by those Solemnities , among others , by their Hymns , seconded with Musick , not only Vocal , but Instrumental . How so , if that Instrumental Musick had been unlawful , even to the Gentiles ? A Doctrine , in it self so incredible , ought in Reason to have very evident Proof before it be receiv'd . And what Proof can our Adversaries pretend to that can be thought so evident ? Have they any express Testimonies of the N. T. that Musical Instruments in the Service of God are unlawful , sufficient to countervail that notoriety of Fact , avowedly practic'd to the contrary ? If this cannot be pretended , have they at least any evident Prohibition of it , that might make it unlawful for the future , when this dependence of the Christian Church on the Jewish Establishment was to expire ? I know no Evidence of either kind that themselves pretend to , Well then , will they pretend to any evident Proof of any other Proposition , from whence this must necessarily follow ? They tell us indeed , that all the Jewish Law , that was not Moral or Judicial , was in course not only to cease to be obliging , but also to begin to be unlawful , from the Promulgation of the Gospel . But what Proof can they produce for this Proposition , so crudely and so generally express'd ? No plain Testimony of the N. T. that I know of . Can they therefore say , that it is at least supposed in the Reasonings of the N. T ? Where do they find that the Apostles argue , that any thing was to be antiquated under the New Testament for no other Reason , but because it was prescribed under the Old ? So far from that , that we have many Examples of the Apostles , and Apostolical Writers , Reasoning from the Old Testament to the New. The Adversaries of Tythes pretend that Tythes are not to be paid to the Ministers of the Gospel now , because they were imposed as a Duty to the Levitical Priesthood . St. Paul argues directly contrary , that because the Levitical Priests lived by the Altar then , therefore they , who Preach the Gospel now , should also live by the Gospel . He reasons the same way when he proves , that because the Law required that the Ox's Mouth should not be muzled when he trod out their Corn , ( that was the ancientest way of Threshing , in imitation , as it should seem , of their Treading out their Vintage ) therefore the Clergy shoul partake of the Contributions of the Church , which themselves laid out for the use of the Poor , who were maintained by those Contributions . So he allows the Reasoning against Christians Marrying Persons of another Communion , from the Jews Obligation not to Marry Persons of another Nation , in order to their Propogating a holy Seed . So he also Reasons himself , that , as the Jews did allow that the holiness of one Parent was sufficient to entitle their common Off-spring to the Foederal holiness of Circumcision ; so the holiness of one Parent , by the Rules of Christianity , was also sufficient to entitle the Children of such Marriages to the Foederal holiness of Christianity by Baptism . This he supposes , when he thence infers , that the Believer was under no Obligation of breaking such a Matrimonial Contract , on account of that Objection insisted on for doing so , that is , of the holiness of the Seed , with which such Marriages were conceived inconsistent . For himself had Circumcis'd St. Timothy on account of his Mother who was a Jewess , tho' his Father was a Heathen . No doubt , on account of the receiv'd allow'd practice of the Jews , whom he design'd to gratify by doing so . On the same Topick his Fellow-labourer St. Clement concludes the Sacredness of the Gospel Ministry , from all the ways God had used for asserting the inviolable Sanctity of the Levitical Priesthood against Laical encroachments . How contrary is this whole way of Reasoning , to that used by our Adversaries , on many others as well as this Occasion ? And yet it was indeed no other than what was to be expected in their Circumstances , considering the History of those Times . Our Adversaries may be pleased to remember , that when those Scriptures were Written , ( on which they ground their contrary way of Reasoning ) the whole Church was Govern'd by the Apostles , whose place of Residence , as of a Body , was at Jerusalem . They may remember farther , that the Apostles themselves , as Jews , were possess'd with the same prejudices of Education as the rest of their Nation , in favour of their present Establishment , and against unnecessary Innovations . St. Paul had Persecuted the Church on account of his Zeal . And St. Simeon for the same Reason had got the Sirname of Zealot . And St. Peter's concern for the Law he had been bred in , appeared on all occasions . His Hunger could not make him eat what his Education had oblig'd him to believe common and unclean . And he avoided eating with the Gentiles , that he might avoid offence of the Jews which came from Jerusalem . It also thence appear'd how cautious the Apostles themselves were oblig'd to be , in admitting Innovations , if they would maintain the good Opinion they were possess'd of , with their own Charge of Jerusalem , who were also , as St. James assures us , Zealous of the Law. We have therefore reason to believe , that they would not admit of any Revelation that was not very clear against the then received Opinions . Whatever their own private Opinions might have been , yet we have reason to believe that they would not have ventured to publish and practice Opinions in favour of Innovation , without such Evidence as as might satisfie others as well as themselves , if they would preserve the good Opinion of the Zealots mentioned by St. James , and keep them with their Zeal from Apostatizing from the Christian Religion , notwithstanding Innovations so contrary to the Opinions they had been bred in . But where can our Adversaries find any Testimony so express in the Writings of the N. T. that all the Ritual and Ceremonial Precepts of the Law were to be abrogated upon the promulgation of the Gospel , that even the Jews by extraction should be discharg'd from the Obligation , under which they had been formerly , of observing them ? Whence can they prove that thenceforward it must have been unlawful by the Law of Christianity for them to observe them , tho' with no regard to the former divine Legislation , which had impos'd those ceremonial Precepts on the whole Peculium , but , on account of the humane Authority , whereby particular Churches may provide for their Bodies , without imposing on other Churches of equal Authority with themselves ? Whence can they prove , that even Gentile Churches , who never were oblig'd by the ceremonial Law , whilst they continu'd Gentiles , might not by the Authority of their particular Bodies , resume any of those Rights if they should judge them edifying in their own Circumstances , without any regard to the Legislative Power , by which they had been formerly imposed ? I know very well , our Adversaries of the Separation are possess'd of Opinions very contrary to what I have now discours'd . But if they will be pleased to examine them impartially , they will find no better Authority for them , than the modern Systems since , and the School-men before , the Reformation , and the Reasonings of some Fathers , not near to , nor acquainted with , the Originals of Christianity . But these are Authorities by which they are unwilling to be concluded in other Cases . If therefore they will be true to their Principles , they will do well to lay aside these Prejudices , and see what they can find for those Opinions in the Scriptures themselves , which are the only Authorities they pretend to follow . But when these Prejudices are laid aside , they will not find those things so clearly decided there as they have been used to believe . No , nor in the Writings of the first and purest Originals of the Christian Religion . AND yet I do not deny but that several of the Mosaical Precepts were indeed abrogated by the Gospel , and so abrogated , as that it is now unlawful to insist on them as they were then imposed . What I design , is only to shew that the general way of Reasoning us'd by our Adversaries , neither has , nor can have , the least Countenance in the Writings of the New Testament . This alone will suffice to shew , that before they can make Application to our Case of Instrumental Musick , they should first shew upon what Consequence it comes to pass , that any of the Mosaick Rites are made unlawful by the Establishments of the Gospel ; and then , that this particular of Instrumental Musick is concern'd in that Consequence . This has not been , that I know , attempted by them , tho' absolutely necessary , if they will reason acurately . For this purpose , I shall desire them to remember , that the great dispute of the Apostolical Age , was concerning the Coalition of the Jews and the uncircumcis'd Gentiles into one Society and Communion of Gods peculiar People , in order to the partaking of the same publick Worship on Earth , and their being thereby entitl'd to the Spiritual benefits promis'd by God , as his part of the Covenant , to that peculiar People , which he was pleas'd to own as his , and to receive into his Covenant . For the Principal thing design'd in those new Revelations made to the Apostles in the Acts , was to shew that the Gentiles were to be admitted into the new Peculium , without any Obligation to observe the Law of Moses , as it had been particularly impos'd on the Jewish Nation . That is , without any Obligation to incorporate themselves into the particular Nation of the Jews . This God shew'd by his effusion of his Holy Spirit on Cornelius and his Companions , tho' uncircumcis'd , purposely to let St. Peter know that they were not to be reputed as common and unclean , and uncapable of joyning in Holy Offices on the Terms of the new Peculium , on that account alone of their not being Circumcis'd , as St. Peter hath thought before , when he saw the Vision of the unclean Beasts and Reptiles . The design of this , was not to assert their actual Holiness , or being actually of the new Peculium without Baptism , as many of our separating Adversaries have understood it . That was no Dispute at that time ; but it was only to let St. Peter know that they were capable of being admitted into the new Peculium immediately by Baptism , without being Circumcis'd . So St. Peter understood it , who took care they should be Baptized , tho' he did not insist upon their being Circumcis'd , which he would never have done , if he had thought them as much excus'd thereby from Baptism as from Circumcision . This Revelation to St. Peter , was that which satisfied the rest of the Apostles , when they Expostulated with him concerning his freer Conversation with Cornelius than was allowable by their former Opinions . Afterwards they were farther Confirm'd by the miraculous effusions of the Spirit on the Gentiles Converted by St. Paul and St. Barnabas , without any Circumcision that might qualify them for it . But most of all , by those ordinary Manifestations of the Spirit then accompanying their Baptisms , even of Persons uncircumcis'd ; nay , which Circumcis'd Persons could not pretend to , till they were also Baptized . It being the peculiar Prerogative of our blessed Saviour's Baptism , that it was not only of Water but also of the Spirit . Thence St. Paul argues to the Galatians , as a thing very notorious , that they had not receiv'd the Spirit by any ritual Observances of the Law , but by the Obedience of Faith. And very solidly , even according to the Notions of those times . For the Holy Spirit being own'd for the Principle of Consecration of the holy People , I mean of the Mystical , which was also own'd for the only true Consecration ; it thence appear'd that Baptism alone , without Circumcision , was sufficient for admitting a Person into the Holy People , which was one of the proper Titles of the peculiar People , which were in immediate Covenant with the Supreme Being . NOW this Constitution of the new Peculium was perfectly inconsistent with the Old one . The Old one admitted none to their Sacrifices , by which Gods Covenant with them was transacted , but only Circumcis'd Persons . No Gentiles therefore could be admitted into it till they were first Circumcis'd , that is , Incorporated into the Jewish Nation , and thereby made liable to all the Impositions on that Nation : And that by the express Command of God , who had excluded all uncircumcis'd Persons from partaking of those Sacrifices of the Jewish Temple , and consequently from the Archetypal Heavenly Sacrifices represented by them , and from all the Mystical Benefits of the Archetypal Sacrifices which were apply'd to the Communicants in the external Sacrifices , as well as represented by them . By the new Covenant grounded on these new Revelations , the Gentiles were admitted into the new Peculium by Baptism immediately , without any Obligation to Circumcision , or to Incorporation into the Jewish Nation . Both of them therefore being confessedly divine establishments , were to be receiv'd as far as they were consistent with each other . The first was to take Place confessedly till the second was introduced , because so long it had no Rival that might pretend equal Authority with its self . Afterwards it was to give way on account of that general Authority every Legislative Power has to repeal its own Sanctions , and on the general account that where the repeal is not express , the latter Sanction is to take Place , in Case of inconsistency , as being the Sense of the Legislative Power , at least from that time forwards . This could not have been Disputed , if the Jews had granted , that their own Establishment was design'd only for a time . But observing in the Old Testament , frequent mention of an everlasting Covenant , it was very natural for them to apply it to that of which they were already possess'd , and of which their Education had given them so great an Opinion . And when this Opinion had obtained , it was then very natural for them to gather farther , that God had thereby declared that their present Constitution should last for ever : and that therefore whosoever should pretend to repeal it , either wholly , or in any part , was for that reason to be presum'd not to be from God , because it was in their Opinion so contrary to his former express Declarations against any future Innovation . This Mistake therefore , the Christians of that Apostolical Age Dispute against . They observe in those Writings of the Old Testament , express mention not of one alone , as the Jews conceiv'd , but of two Covenants , an old one which then obtained , and a new one which was to succeed upon the abrogation of the first . Then they prove that it was only the latter of these that could be intended to be everlasting . That the former could not be so , because if it had been so , there could have been no Place for the latter . There could have been no second if the first had lasted for ever . Besides , because the first Covenant is called Old , and that which is Old is ready to vanish away , Heb. viii . 13. And because the Tabernacle of Moses was made in imitation of another Pattern , which had been shew'd him in the Mount. This was observ'd as well by Philo as St. Paul. Understanding therefore by the Tabernacle , the whole Mosaical Dispensation , they thence inferr'd , that all the efficacy of that was derived from this other latter Dispensation , as from that which was Principal in Gods Design , tho' latter in Execution , and in order of time . Hence it followed in this Mystical way of Reasoning , ( which was indeed the properest way of Reasoning in explaining Prophecies ) that the latter Covenant was to take place of the former , and to be taken so far as a Repeal of it , as a practice of both of them were mutually inconsistent . And this way of Reasoning will suffice for abrogating all that part of the Mosaical Establishment , which is supposed to be abrogated in the Reasonings of the N. T. and of the Apostolical Age. I mean with reference to the Design of those Reasonings , that is , as Impositions on the new Peculium . THENCE it appear'd that Circumcision as a Condition of being reckon'd of the new Peculium , that is , as impos'd on Gentiles by extraction , must necessarily be taken away before it was possible that Gentiles , not yet Incorporated into the Jewish Nation , could be counted as Foederally Holy , according to those new Revelations of the Gospel , of which I have already spoken . So also it was necessary that the Peculium must no longer depend on the Temple Sacrifices . For those were not in the Power of the Apostles , nor could they admit whom they pleas'd to them . They were perfectly at the disposal of the Jewish Sanhedrin , who were profess'd Enemies to our Saviour , and would admit no uncircumcis'd Person to partake in them , nor could do otherwise whilst they disown'd the new Revelations of the Gospel by the Apostle . So also that Ceremonial Holiness of abstaining from certain sorts of Meats , could no longer be required in order to the Holiness of the Peculium . For those had never been required from any Nation besides that of the Jews , and therefore could not be expected from the Gentiles , when they were no longer obliged to an Incorporation into the Jewish Nation , in order to their being entit'led to the highest Benefits of the Peculium . Nor could the Jews insist on these things as requisite for their communicating with the uncircumcised Gentiles in Holy Offices , if themselves would partake of the mystical Benefits of the new Peculium , on its own Terms . Their doing so made the Wall of Partition , mention'd by the Apostle ; and made it impossible for them to coalesce into one Body with the uncircumcis'd , as the new Revelation of the Gospel requires . It were easy by this Reasoning to account for all the particulars of the old Mosaical Institution , that are suppos'd unlawful in the Gospel . IF this which I have given be the true Original how it came to pass that some Mosaick Rites have been abrogated by the Gospel ; there will thence follow no pretence for condemning them as universally unlawful now , for no other reason but because they were Duties then upon positive , as well as upon Moral and universally obliging , Reasons . All that will follow from this Topick will be , That only those Particulars of the Mosaick Institution will be thus affected , that are inconsistent with the Gentiles free admission to the highest Priviledges of the new Peculium , immediately without Circumcision or Proselytism of Justice ; and which being admitted would have made that breach of Communion which was principally disputed against by the Apostles and Writers of the Apostolical Age. Those could not be things wherein the uncircumcis'd Gentiles were already agreed , as they were in the use of Instrumental Musick , in their Sacrifical Hymns , and in their publick Solemnities . How could that have made a breach between them , wherein they did not differ ? How could that have excluded Gentiles from the new Peculium , without submitting to the whole Law of Moses , which was already practis'd by the Gentiles , before they concerned themselves to know what had been requir'd by Moses ? How could that have been taken for an Imposition which they had freely taken upon themselves , without any regard to the practice of the Jews ? Then all that Dispute was concerning what might be lawfully impos'd on the Gentiles , not concerning what may be lawfully practis'd by the Jews by Nation . This is so certain , that even the most indisputably abrogated instance of Circumcision , and the Temple Sacrifices were used by the Apostles themselves , as being Jews by Extraction ; by St. Paul himself , the most zealous Opposer of those very same Rites , as impos'd on the Gentiles ; and that after he had said and done so many things against their Imposition . If therefore even these Particulars , neither were , nor could be thought unlawful , How can our Adversaries gather it concerning those many other things against which they can pretend no other Exception but their originally Mosaick Imposition ? The Apostle himself rather implys that some of the Mosaick Institutions did , and ought to , remain according to the design of the Gospel . What else can he mean ? when applying that Passage of Haggai , concerning the state of the Gospel , that That God would shake not the Earth only , but also Heaven , he subjoins the event of that shaking , and tells us , that it signified the removing of those things that are shaken , as of things that are made , that those things which cannot be shaken may remain . What this shaking means may easily be understood from what I have already Discoursed . That Convulsion depended on the inconsistency of the Doctrine of the Gospel , by which the Gentiles were admitted into the new Peculium without any Incorporation into the Jewish Nation , with the Mosaick Establishment , whereby the Peculium was by God himself confin'd to the Jewish Nation , and could not be Communicated to the Gentiles on any other Condition than Proselytism of Justice and Incorporation . This new Establishment must in course remove all these Mosaical Constitutions , which either suppos'd or caus'd this confinement . But all those other Mosaick Constitutions as well Positive as Moral , which were consistent with this enlargement of the Peculium , could not therefore be thought shaken or remov'd by it . If therefore they were not shaken , what can hinder by the Apostles reasoning , why they should not still remain ? Possibly not as to the obligation which they had receiv'd from the Mosaick Sanction ; yet so , at least , as to continue in their own native indifferency , which may qualify them for a new Ecclesiastical Sanction by the Power of the Church . Such an Ecclesiastical Sanction would plainly suppose no antecedent Obligation from the Law of Moses , and therefore could be no Imposition on the liberty of the Gentiles , whilst it pretended to no other right of Obligation than what it receiv'd from their own Act. Nor is there any thing in this Obligation inconsistent with this true notion of the new Peculium , nor repugnant to the union of Jews and uncircumcis'd Gentiles in one Body , on the terms of the new Peculium . Of this nature is the Subject of our present Dispute , I mean Instrumental Musick , as impos'd not by a Mosaical but an Ecclesiastical Authority . I cannot for my part , foresee any solid Consequence from this way of Reasoning of the Apostles , that can possibly affect it . SO far the Apostles were from admitting this way of reasoning us'd by our Adversaries , of making even indifferent things unlawful , upon no other account but that of their former Imposition , in things unconcern'd in the change made by the Gospel ; that even where there had been inconsistency , and therefore a change was really made , they yet allow a reasoning from the abolish'd Constitution of the Law , to that which answer'd it under the Gospel , as far as the Case might be prov'd equal . Circumcision had been appropriated to the old Peculium , and had therefore Baptism substituted instead of it , of which the uncircumcis'd Gentiles were as capable as the native Circumcis'd Jews . Yet I have shewn the Apostle argues from the Holiness of the Seed in Circumcis'd , to the Holiness of the Seed of Baptis'd Persons . So the Gospel Priesthood was not confin'd to the Tribe of Levi , or the Family of Aaron , as that was instead of which it was substituted . Yet in other things I have given instances of Arguments from the Levitical to the Evangelical Priesthood , allow'd by the Apostles and Apostolical Persons . So the Eucharistical Sacrifice , in which Gentiles also might Communicate , succeeded the bloody Sacrifices of the Temple , which had been appropriated to the Jews alone : Yet even here also St. Paul reasons from one to the other , 1 Cor. x. 18. and St. Clemens also in his unquestionable Epistle to the Corinthians . None can doubt but the precept of not muzzling the Mouth of the Ox that trod out the Corn was Levitical and Temporary . Yet the Apostle argues thence also , that the Presbyters also should partake in the Ecclesiastical Alms which they ministred to those who were to be maintain'd by them . If this way of arguing be design'd to prove a Duty in a matter so arbitrary as this is , concerning the Persons who were to partake of the publick Contributions ; it will follow that even in these abrogated Particulars , they still judged it to be the Divine Pleasure that the old Sanction should still continue , where the Reason holds the same . Had the Reasons been , without any regard to the Legislator , drawn from the nature of the things themselves ; such might have prov'd the things rather Prudent than Obliging , and rather fit to be made Laws than to have had any Sanction from the former Legislation . But the Reasoning here insisted on , why the Ox should not be muzzled when he trod out the Corn , is to shew the Sense of the Legislator . Doth God take care for Oxen ? Or saith he it not for our sakes ? Why so , if God had not been to have been regarded in the Duty here insisted on ? If as a Law-maker , then even the Sanction will continue , by which such Laws as these obliged formerly : So they will still oblige as Laws , whilst the same reason continues for which God was at first pleas'd to impose them . If as an infallible Judge of Reason , still it will follow , that whilst the Reason holds , they will be so far from being made unlawful , in such particulars wherein the Reason does indeed hold , that their performance will still be acceptable to God , tho' not commanded by him . Either way of Explication is sufficient to overthrow this whole way of reasoning , as manag'd by our Adversaries . BUT what if we should turn this way of reasoning , us'd by the Apostles , against our Adversaries ? What if we should conclude , That because Instrumental Musick was us'd then in their Temple Sacrifices , therefore it should still be at least fit and acceptable in our present Eucharistical Sacrifices ? I cannot foresee what they could say , why we should not have reason'd as the Apostles did ; or how the Apostles could blame us for doing so ; or why our Adversaries should blame us , who profess themselves such Enemies of Impositions , if they did not impose upon us more than the Apostles , in so easily condemning matters of this nature as unlawful . They can pretend no more condemnation in other places of the Writings of the Apostles in this Case , than in those others wherein the Apostles themselves allow this way of Arguing . And I know no reason from the natures of the things themselves , that even our Adversaries can pretend to be Temporary , or that will not make Instrumental Musick as suitable to our present Worship , as it was to that of the Apostles . No sort of Sacrifices were more proper for Hymns than those that are Eucharistical , and such all ours are now , but were not so in the Days of the Apostles . And the use of Hymns neither is , nor can be denied by our Adversaries , as well in the private Synaxes of the Apostolical Christians , as in the Worship of the Temple . The Hymn to Christ as a God , in Pliny , appeal'd to in the latter end of the second Century , as a very early evidence of the belief of his Deity , seems to have been joined with the Eucharist . For Pliny tells us , on the same occasion , of the Covenant the Christians entred into against all the liberties us'd by wicked Persons . And the publick Singers are mention'd in the earliest distinct Accounts we have of their Offices , not as newly introduc'd , but as actually obtaining without any memory of a late Original . Had the reasons of the things been all that had been requisite for raising of the Affections , I cannot conceive any need our Adversaries can pretend for Singing : That does no otherwise contribute to the raising of the Affections , than as the assistance and Improvement of the Imagination may be supposed to contribute to it . The Singing does not add a new Reason , nor improve the old ones , why the Affections should be raised . But however they do dispose the Affections to follow Reason , more readily and more vigorously than they would if they had not the assistance of a favourable Imagination ; and that by the Nature of the things themselves ; and in that regard , Musick Instrumental also was acknowledged to have the same influence that Singing had by the Imagination over the Affections ; and to add to the advantages of Singing Vocally : So it was that David's playing on the Harp cured Saul of the evil Spirit , by curing that Melancholy which disposed him to receive the Influences of the evil Spirit : So it was that the like use of Instrumental Musick dispos'd Elisha for the Influences of the good Spirit , by composing that Passion which his Zeal against the Idolatry of the King of Israel had put the Prophet into ; it made him capable of being acted by the Spirit of Prophesy . For chearfulness of Temper is one of the Dispositions required by the Rabinical Jews themselves , for fitting Men for Prophesie . That may possibly be the Reason why the Scriptures mention Instrumental Musick as receiv'd in the Schools of the Prophets , especially when they were actually Prophesying ; as it should seem to dispose them for the freer Influences of the Divine Spirit . The Singing Hymns to such Instruments is call'd Prophesying , in the places now mention'd . So far the nature of the Spiritual Worship of the Gospel is from superseding this assistance of Instrumental Musick , as our Adversaries would have us believe , that on the contrary it contributed to it , if we would rather believe the Scriptures and the actual Opinions of the sacred Writers . So Miriam Prophesied with a Timbrel , the Instrument most us'd by Women : So Samuel's Disciples , the Sons of the Prophets , the Candidate expectants of that sacred Gift : They also Prophesie with a Psaltery , a Tabret , and a Harp , and a Pipe : So the ordinary Officers in the Jewish Liturgicks , were to Prophesie with Harps and Psalteries , and Cymbals according to the order of King David , 1 Chr. xxv . 1 ; 2. And Jeduthun is said to Prophecy with a Harp , to give Thanks , and to Praise the Lord , v. 3. Why should we therefore think it strange , that the Church of Jerusalem in the Revelations , should be represented Harping with the Harps of God ? We see it was the proper Employment of Prophets , according to the sense of the sacred Writers ; that is , of those wherein that Church of Jerusalem did so much abound . How could those Sacred Writers judge Instrumental Musick improper for a Spiritual Dispensation , when they thought it so useful in an ordinary way , to dispose Men for the receiving the Spirit of Prophecy . IF our Adversaries would learn from the Scriptures , they should reason from the Opinions received in the Ages of the Sacred Writers , rather than from prejudices imbib'd from Modern Systems . That would be the way to reason as they did then , and the best expedient for finding the Sense of them who were us'd to that way of Reasoning . They pretend that all the efficacy of Instrumental Musick then , was due to a particular Interposition of God seconding his own Institution . Had the Institution been singular and different from the Customs of other Religions , or the event other than what would have been expected , according to the opinions then receiv'd among those who had no regard to the Mosaical Institution ; there had been indeed some pretence for ascribing the Benefit rather to the extraordinary Interposition of God , than to the Natures of the things themselves . The jealous God , who will not give his Glory to another , makes choice of the most unlikely means in the opinions of those with whom he has to deal , when he designs to challenge the Glory of the event , entirely to himself . So it was when he was pleas'd to restore the Sight of him that was born Blind , by anointing his Eyes with Clay : So when Naaman was to be Cured of his Leaprode by Washing in Jordan , rather than in Abana and Pharpar , the Rivers of his own Country : So when he reduc'd the Numbers of Gideon's Army , from many Thousands to 300. Here , on the contrary , those very means are us'd , which even the Heathens themselves had agreed on as most naturally conducive to the same end , and which least needed an extraordinary Interposition of Providence , in the Opinions of those who were to use them . It was easy to foresee that they would ascribe the event to the natural Course , of second Causes themselves , and that , in the way of reasoning suited to their Capacities , they would also think they had reason to do so , and that Gd intended they should do so , whilst he signified nothing to the contrary : And therefore God must have indeed intended they should think so , if he did at all intend they should understand him rightly . And who can think Sauls Servants particularly inspired when they recommended a Musician to their Master , as an expedient against the Ailings caused by the evil Spirit ? The reason in all likelihood why they recommended it , was because they knew it a likely Cure of Melancholy , and they believed withal , that when the Melancholy was cured , the evil Spirit who was confin'd to Rules , could not exercise his Malignity on a subject indisposed to receive his Influences . This is a plain Account how the thing might be done , in their Opinions , by Instrumental Musick , as an ordinary means , without any pretence to Revelation , which they neither did , nor had any reason , to pretend to . The like Account seems most probable of the Case of Elisha , when he also made use of Instrumental Musick for disposing himself to receive the Spirit of Prophecy . He pretends no Revelation for it ; nor indeed could he do so , if he was yet indispos'd for it , till he had us'd the remedy of Musick . For if he had been capable of Inspiration without the use of Musick , he might as easily have answered the principal Question demanded of him , as have used one Revelation for an expedient to qualify him for a second . But it has appeared that the practice was already received in the Schools of the Prophets , which might easily put Elisha in mind of it , when he found his case required it . And for its being receiv'd in those Schools , no divine Revelation is , that I know , so much as pretended . The most likely original therefore , is its natural conduciveness to dispose the Mind for being acted by Prophetick Inspirations . The Heathens used it for that end , purely on account of its natural usefulness for that purpose . The Priests of Cybele , the Galli , advanc'd their Enthusiasm by the use of Cymbals : So did the Bacchae in the Rites of Bacchus , who for the time were transported besides themselves , and knew not what they did , so absolutely they were under the power of that emotion of Mind which they believed Prophetick . They brought themselves to that Condition among other means , by this also of Instrumental Musick . The Passage of Nero , ridicul'd by Persius , is famous to this purpose : Torva Mimalloneis implerunt cornua bombis . To the same purpose , I conceive , may be referr'd those Passages of the New Testament that require our rejoicing always ; that forbid our grieving , as well as quenching , of the Holy Spirit ; that require perfect Concord between married Persons , that their Prayers might not be hindred . By all these things it appears , that , in the received Opinions of those Ages , Cheerfulness of Temper was thought to dispose for the Influences of the good Spirit , and Melancholy for the Influences of the evil one ; and that Musick Instrumental , as well as Vocal , contributed to promote that Cheerfulness , and to remove that Melancholy . These Opinions , being supposed and alluded to in the Scriptures , ought therefore to be taken for the measures of Interpreting them . And what is there in this Hypothesis , that can , in Reason , be suppos'd Temporary ? Can we suppose God to have made new Rules , for the Influences of the two Spirits now , that were not in the Age of the Apostles ? Or , supposing the Rules the same , Can we suppose any Change in the Nature of Instrumental Musick , that may now make it unuseful , for those very same ends , for which it was then believ'd so very Advantageous ? OUR Adversaries , who have been always more intent on the Words , than the Reasonings of the Scriptures , have not , I think , so well consider'd the Rules of Providence , by which both Spirits are confin'd in Acting upon Mankind . The rather , because they are rather supposed than delivered in express Terms . But God does not deal with Mankind Arbitrarily , nor suffer Spirits to Influence him otherwise , than may be consistent with that Free will that he has given him , in order to the making him capable of Rewards and Punishments , and of Political Government . That the good Spirit suggests good Thoughts , and that the evil Spirit tempts by injecting evil ones , is undoubtedly supposed in the Scriptures . But the manner how this is done , is not so clearly Explain'd . Yet it is certain , that neither of them do it to the uttermost of their Natural Power . The Holy Spirit being Omnipotent , could do more Good ; and the Evil Spirit , tho' Finite , yet being so much Superiour to Man , could do more Mischief than we see is done by them . They might assume Bodily Shapes , and propose their Arguments as visibly to us , as we do to one another . But this is not the way of Conversation observ'd . They might impress Ideas immediately upon our Imagination , if God had been pleased it should have been so . But that had been too great an Imposition upon our Humane Liberty . As for that immediate Conversation with them which separated Spirits have with each other , of that we are incapable whilst we our selves are in Bodies . Even our superiour Soul , uses the Imagination , and is incapable of framing any distinct Ideas of things that are not Material . The way therefore remaining , how Spirits may Influence us , without violence to our Liberties , is by their Exciting or Compounding Ideas already in us on fit Occasions , when external Objects are before us , that may Invite us to what is Good , or Insnare us to what is Evil. So the Inspiration of the Good Spirit , is call'd 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , a putting us in Mind of what we knew before , on the Season wherein we are to Practice . For the adapting Thoughts to the Seasons of Practice , is that upon which the Event does principally depend . This therefore the Good Spirit may do undoubtedly , as well in Ideas of the Understanding , as of the Material Faculties . And there was no sort of Prophecy , wherein both sorts of Faculties were not concern'd . Prophetick Dreams had their principal Scene in the Imagination . Prophetick Visions not only there , but also perhaps in the External Senses . The Bath Col. was to the Sense of Hearing . Even the Mosaick Degree of Prophecy , was a Conversation with the Deity , under a sensible Representation , tho' not of any particular living Creature that might have been Represented by an Image . The Jews therefore do reasonably require in him who would be dispos'd for the Spirit of Prophecy , a lively Imagination , as well as a good Understanding . So that no good Man who wants either of them , is by his Goodness alone , dispos'd , as is requsite , for receiving the Gift of Prophecy . But the Imagination requisite for the Influences of the Good Spirit , was such as was Calm and Sedate , free from tumultuous Passions , and ungovernable Fancies , and consistent with the most accurate use of Reasoning . This therefore was the Reason , why the first Christians imputed the Heathen Divinations of the Pythiae , the Sibyls , the Bacchae , &c. rather to Enthusiasm and malignant Spirits , than to a Gift of truly Divine Prophecy , because of the Brutish Transports , and indecent , undisciplin'd , Behaviour , into which those Persons were driven , when they surrendred themselves to the Conduct of those pretended Deities . And what difficulty is there , why grave and grateful Tunes of ( Instrumental as well as Vocal ) Musick might not contribute to the allaying the Passions , and to invigorate the Imagination to such a degree , as would still be consistent with Decorum , and perfect Subjection to the Nobler Faculties , which this Divine Principle kept in possession of their Native Right of Government ? On the other side , the Evil Spirits were not believed , in the Apostles Days , so pure from Matter as they have been since the modern Aristotelean Philosophy , received at Second-hand from the Spanish Arabians , has prevail'd . It was rather the Grossness of their Aërial Cloathing that was then thought to Confine them to these Aërial Regions , and to make them need the Nidour of Bloody Sacrifices for their Nourishment and Delight , and that inclin'd them to that Malignity of Nature , that made the Devils ; that ungovernable Pride , that Envy at the Prosperity of others , that Relish of Cruelty , and doing ill Offices to their fellow Creatures , which are the Characteristicks of those wicked Beings . This being suppos'd , must make them uncapable of Acting the reasonable , but only the inferiour material , Faculties . Their Power therefore was conceiv'd to be only in the Imagination , and the material Faculties depending on it . These being suited to their degenerated Nature , they can therefore Act upon them as far as the Rules of Providence shall give them leave , for the tryal of free Agents , in order to Rewards or Punishments . Their way of Tempting therefore , is to awaken those Ideas which lie Dormant in the Imagination and sensitive Memory , as the effects of vicious Inclinations , confirm'd by frequently repeated vicious Acts. I mean , to awaken them at the Presence of vicious Objects , and suitable Opportunities . This may be allow'd them , if they be permitted to Act upon the Brain , the Seat of the Imagination , and the other material Faculties and Ideas which raise the Passions , and make them Head-strong , and consequently affect the whole Body , in the Disturbances following upon them . Accordingly Madnesses , which arise from Disorders of the Brain , were usually ascrib'd to Devils in those Times . The Excellent Mr. Mead , has long since made this Observation on those Words of the Evangelist : He hath a Devil , and is Mad ; why hear ye him ? Joh. x. 20. So having a Devil , is the same with being Mad , in the Language of that Age. Thou hast a Devil : Who goeth about to kill thee ? Joh. vii . 20. And when the Jews charge our Saviour with Inconsistency in his Discourse , they tell him that he had a Devil , Joh. viii . 48. but more plainly v. 52. Now we know that thou hast a Devil ; Abraham is dead , and the Prophets , and thou sayest , If a Man keep my saying , he shall never taste of Death . So St. John x. 21. These are not the Words of one that hath a Devil . From the Coherence of our Saviour's Discourse , they infer that he had no Devil . The same Opinion is represented by St. Justin Martyr , as the Sense of the Christians of his Age , that Mad Persons were believed to be Daemoniacks . As therefore King Saul was Punished by having an evil Spirit sent him from the Lord ; so also , frequently in the Poets , the ancientest Writers of the Greeks , and the Personators of the eldest Antiquities they knew of , it is mentioned as the Punishment of piacular Persons ; that they were delivered over to Furies , and by them alienated from their Senses , and driven into Madness . So in the Case of Athamas , of Hercules , of Alcmaeon , of Orestes , &c. And their Cure was usually by Expiations and Offices of Religion , rather than Physick , which proved the Aylings to be caus'd immediately by Spirits . Yet sometimes also by Physick , which proved withal , that the Disposition of the matter was removeable by Natural Expedients , and that when it was so , the Evil Spirits had no longer Power to molest those who were so Cur'd , by the Rules prescrib'd to them by Providence . This Hippocrates proves particularly in the Case of the Morbus Sacer. Besides these Distractions of Mind , there were also other Aylings and Diseases inflicted by way of Punishment on Criminals by the Sentence of God , and the Intervention of Evil Spirits . Such were the Falling-Sickness , such were Aylings returning with the Changes of the Moon , such were Leprosies , such several sorts of Fevers and Agues , such all those Molestations which were removable by Charms , and the like suspected means of Covenants and Intercourse with Evil Spirits . For it was the receiv'd Opinion , as Tertullian shews , that the Devils could Cure no Maladies but such as had been caus'd by them , by ceasing to use the Means that had caus'd them , when they were adress'd to in the ways appointed by themselves , and permitted by Providence for the Punishment of those who rely'd on them , and maintained such unlawful Intercourse with the Spirits that had appointed them . They did not so much as pretend to Cure all sorts of Diseases by Charms and Expiations . I believe all those Diseases which were so Cured , may be reduc'd to the Brain ; that part which I have shewn was thought liable to the Devils Influences . I mean , including the Spinal Marrow , which is of the same Nature with the Brain . This also is included in the Part allowed to the Devils to Act by the Romancer , under the Name of St. Clemens , in the third Century ; and therefore a good Witness of the Opinions receiv'd among the Christians of that Age. This is express'd less clearly in the Recognitions , whereof we have only the Translation by Rufinus , in these Words . Ante omnia ergo intelligere debetis deceptionem Serpentis antiqui & callidas ejus suggestiones , qui quasi per prudentiam decipit vos , & velut ratione quâdam serpit per sensus vestros ; atque ab ipso vertice incipiens , per interiores dilabitur medullas ; lucrum magnum computans deceptionem vestram . But more clearly in the Greek , perhaps more Faithfully preserved in the Clementines : 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . It is no great matter whether the Tradition be true , that is mentioned by the Ancients , that the Spinal Marrow of a Man , when corrupted turns into a Serpent . Such as it is , we have it from Authors ancient , and not contemptible , Ovid , Pliny , Plutarch , and AElian . However , we know , even pretended Physiology is taken , by the Mystical Interpreters of the Old Testament , as a Rule of Mystical Interpretation , and doth really serve the end of God , for recommending Mystical Senses to the observation of the Reader , better than truer Physiology , that had not been so well understood by the Readers of those Times . Besides , we know what a Subject the Fall of Man , and the Devils concern in it , under the Allegory of a Serpent , the Old Serpent , as he is called in the Revelations , afforded of Mystical Interpretations . We know withal , that even among the Heathens , a lower sort of Daemons , especially those called Heroes , were usually represented under the Symbols of Serpents , possibly in memory of this Scripture History , as has been observ'd by the late Learned Bishop of Worcester , in his Origin . Sacr. Why might not then this Natural History be adapted to signifie the Seat of the Devils Influence ? There is a not-unlike Experiment pretended by the Pythagoreans , for Explaining their Symbol for Abstaining from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , the rather apposite to this purpose , because they , as well as our Sacred Writers , design'd mystical Senses , especially in their Symbols . But I cannot allow my self at present , to follow this Argument as far as it would lead me . It suffices now , to observe that this Hypothesis seems generally alluded to in the Sacred Writers , especially of the New Testament , and therefore cannot indeed be thought so precarious as our Adversaries might otherwise conceive , if they will suffer themselves to be led away with popular Prejudices , without examining it . The New Testament plainly enough distinguishes the Gift of Healing , which Cured Diseases not caus'd by Devils , directly from the Curing Infirmities caus'd by Devils , which were sufficiently Cured by casting out the Devils that caus'd them . And I think also , that they mention no Aylings of the latter sort , which may not be accounted for by their Power allow'd them by God on the Parts now mention'd . However , this Difference between Divine Prophecy and Diabolical Enthusiasm , seems to have been generally agreed on , that Prophecy requir'd Imagination , but perfected and duly subordinated to the Nobler Faculties ; but Enthusiasm went no farther than the Imagination ; and therefore disorder'd and hindred the Understanding , and the immaterial Faculties depending on it . And our Adversaries must be very difficult indeed in their Concessions , if they can doubt whether Instrumental Musick can affect the Imagination , so as to Compose or Disorder it . Yet this alone is sufficient for disabling Devils to Influence it , if their Power be confined by Providence to disposed Matter , and Musick may indispose the Imagination for their Influences , and it be not withal , in their Power to make or hinder Dispositions . BUT our Adversaries have a strange Notion of the Spiritualness of our Christian Religion , as if all Bodily and External Assistances were now perfectly useless and inconsistent with the Nature of our present Dispensation . On this account , they are averse to all Assistances of our Senses , as well as this of Instrumental Musick . But why should God have Instituted Sacraments for Assisting our Senses , if the whole kind of such Assistances had been so derogatory to the Nature of his new Establishment ? Why should he have allow'd even Vocal Musick , if even our Senses could contribute nothing to the raising of the Devotion of our Spirits ? I know our Adversaries are more willing to impute this Usefulness of Instrumental Musick , rather to the extraordinary Interposition of God , seconding his own Institution . But why should they think it derogatory to the Providence of God , that he should make use of the Power , himself has given to the Natures of Things ? Or why should they deny the Experience of so many Heathens , who , tho' they regarded not the Institutions of the God of the Jews , yet receiv'd the same Practice of Instrumental Musick , on account of the Devotion they pretended to feel rais'd in themselves by it , in their several false Religions . This could be imputable to nothing but the Natures of the things themselves . But where have they learned such a Notion of the Spiritualness of the Christian Religion , that should exclude the Use , or even the Necessity , of Corporeal Assistances . The Scripture is not more express in requiring a Spiritual Worship , than it is in requiring that also of the Body . Our Bodies are Temples of the Holy Ghost , and we are accordingly requir'd to Glorifie God in our Bodies , as well as our Spirits which are his , 1 Cor. vi . 19 , 20. The unmarried Woman , is so to care for the things of the Lord , that she may be Holy both in Body and in Spirit , vii . 34. We are to present our Bodies a living Sacrifice , holy , acceptable to God , which is our reasonable Service , Rom. xii . 1. And our whole Spirit , and Soul , and Body , are to be preserved Blameless unto the Coming of our Lord Jesus Christ , 1 Thes. v. 23. If Service be expected from the Body as well as the Spirit , How can it be disagreeable to the Nature of our Spiritual Religion , that such Parts of Bodily Worship may be retain'd or introduc'd as may in their own Nature contribute to the Worship of the Spirit ? There was indeed near the Apostles times , an Opinion introduc'd among the Philosophers , Numenius perhaps may be the first that brought it in , from whom Porphyry owns Plotinus to have borrowed what he has to this purpose , That the Soul alone was the Man , and that the Body was no part of the Man , but a Prison to the Soul , and therefore preternatural to it , and to be avoided by it , that it might be qualified for a perfect State. And these did indeed so insist on the Spiritual Nature of Religion , as to discharge the Body from any share in it . The Good Man with them was the only Priest , the Soul it self the only acceptable Temple , the Devotion of the Mind the pleasing Sacrifice . And the the way to union with God , was to alienate themselves as much as was possible from the Body , and from the external Societies of Men , and to enure themselves to abstracted Operations of the Mind , in order to the Cultivating of the Spirit , which was the only Power that they thought capable of an Union with the Supreme Being . This is that Philosophical Religion so much Celebrated by Plotinus , Porphyry himself , and Hierocles , and several other of the later Philosophers . Porphyry particularly was very much pleas'd with it , as appears from his Sentences , and his Books de Abstinentiâ , but especially from his Epistle to Anebo , where he does by these Principles undermine all Obligation to the Externals of the Heathen , as well as the Christian Religion . This put him on Starving himself in his Lilybaean Retirement , if his Master Plotinus ( whom he follow'd in these Opinions ) had not reclaim'd him . This seems to be the Original of all that Enthusiasm that has decry'd the external Ordinances and Sacraments even of Christ himself , upon Pretences to greater Perfection , and several Fancies of the old Monks relating this way in Anastasius Sinaita ; of the Popish Mystical Divinity and Quietism , of the Familists and Quakers , of the Bourignonists and Philadelphians , &c. It is strange , our Presóyterian Adversaries who dislike these Consequences in others , so destructive of their own Discipline , are notwithstanding insensible of the advantage they have given to others , of justifying Separation from themselves , by these Pretences of the Spiritual Nature of the Evangelical Worship , by which themselves defended their own Separation from their own Superiours . This might at least have warned them to a more accurate Examination of the Principle , when they found they could not justifie the Consequences which followed from it . For us it is abundantly sufficient that this Doctrine , tho' taught by the Adversaries of the Apostles Age , was notwithstanding perfectly different from the Sense of the Apostolical Church it self . The Hereticks by this means evaded the Resurrection of the Body , pretending the Resurrection promis'd was already past , in their mystical Resurrection from Sin. For the rising of the Body could not be thought a Reward , if the being in the Body was preternatural , and a State of Punishment . Thence also it proceeded , that so many of those first Hereticks defiled the Flesh , as not belonging to them , and condemn'd Marriage , as contributing to confine Souls to Bodies , upon this very Pretence of being themselves Spiritual , and being therefore for a more Spiritual way of Worship . But it is as certain , that this Doctrine was different from the Doctrine of the Apostles , as it is certain the Apostles were for the Holy Treatment and Resurrection of the Body , and that they Condemn'd those for Hereticks , who Reason'd from this Principle insisted on by our Adversaries , of which they had otherwise no better means of Information . How therefore can our Adversaries Reason loosly for the Reformation of Christianity from that same Principle which we see was contrary to the very Foundations of truly Primitive Apostolical Christianity ? Which was the Foundation of most of those Heresies which were then Condemn'd by that Unquestionable Authority . FOR my part , I can see no Difference , in this particular , between the Old and the New Peculium . We have Bodies as well as they , and of the same frail Make and Constitution as theirs were . Our Souls are also of the same Kind , as dependent on our Bodies as theirs , and as apt to be Influenc'd by them . Providence has impos'd no new Rules , that we know of , for the Influences of Good and Evil Spirits , from what were impos'd then . What then should hinder , but that still our Minds should be Influenc'd by the Good and Evil Dispositions of our Bodies as much as formerly ? And that in order to the receiving the Influences of both sorts of Spirits . And certainly they cannot think that Musick has lost any of that Influence on our Bodies that it had formerly . How can they therefore doubt , but that it might still have the same effect on the like Bodies , alike Influencing the same kind of Souls ? The Church is still as much a Body as it was then , and as much oblig'd to Worship God in Assemblies , tho' not confin'd to one particular Nation , as it was then . And the Apostle requires that all Acts of the Worship in Assemblies , were to be perform'd with a design of Edifying the whole Assemblies . He permits no Exercise of Gifts , even of the Divine Spirit there , but such as were for common Edification . But the Edification of Assemblies is not otherwise performable than by Sensible and Corporeal Significations . These are the only means by which the whole Body can Communicate in the Devotion of every particular , by which they can mutually give and receive Edification . It is therefore still as impossible to signifie a great Honour for the Deity Ador'd in such Assemblies but by Signs greatly affecting the very Senses . And what is done in the Name of the whole Body , ought to be suited to the Dignity of the Body represented . That must be by Signs by which Bodies usually signifie their great Respect by the Customs of such Bodies . But Bodies do not usually signifie their great Respect in their Worldly intercourse otherwise than by Pomp and Magnificence . They cannot therefore signifie it in Affairs of Religion by Signs , mean and ordinary . Especially if their Design be to signifie it to the Senses , and for the Edification of others . For certainly Signs which signifie a mean or no Respect on other occasions , cannot be thought to signifie a great one in the Affairs of Religion . It is on the contrary taken as an Affront to Honour excellent Persons in a way unsuitable to their Character , tho' the same Significations might justly be reputed Honourable , if perform'd to an inferiour Person to whom they had been proportionable . This Consideration must make all Significations short of the utmost that can be done dishonourable when paid to an Infinitely Perfect Being . The Magnificence therefore of the Worship of God , ought to be such as it us'd to signifie the greatest Respect to the Senses of the Spectators , if the Respect be to be signified Sensibly . I know not how our Adversaries can deny any part of this Reasoning on the Principles now mentioned . BUT I know they do pretend Authority for this way of Arguing , God is a Spirit , says our Saviour , and they that Worship him , must Worship him in Spirit and in Truth , St. Joh. iv . 24. This is spoken with relation to the Worship of the Jews at Jerusalem , and the Samaritans on Mount Gerizim ; and therefore must signifie something Spiritual in the Christian Religion , which was not so in the Worship of the Jews and the Samaritans . But this might very well be true without making external Worship inconsistent with the spiritual Nature of the Christian Religion . The true Account of this Matter , I take to be this : That in what was common to the Jews and the Samaritans , there were two Parts , the Sensible and the External Part , which was proper to themselves , and which the Christians were not concern'd in ; and the Mystical and Spiritual , which was principally design'd by God , which was thenceforward to obtain as the peculiar Glory of the Christian Religion . So the New Testament is oppos'd to the Old , that it is not of the Letter as the Old was , but of the Spirit , 2 Cor. iii. 6. that is , that the New Testament is really the same with the Old , the same thing in the Spiritual Sense , which was prefigur'd by the Literal Sense , of what was enjoyn'd on the Jews then . Thus the Letter and Circumcision are taken for Circumcision in the Literal Sense , Rom. ii . 27. by a known Hendiadis , and Circumcision of the Heart , is said to be in the Spirit , not in the Letter , v. 29. So the Service in newness of the Spirit , is oppos'd to that which had been in the oldness of the Letter , Rom. vii . 6. And when the Jews understood our Saviour's Discourse concerning Eating his Flesh , and Drinking his Blood in a Carnal Sense , he Corrects their Mistake , by telling them , That the Words he had spoken to them were Spirit and Life , St. Joh. vi . 63. that is , by warning them , that his Words were to be understood not Literally but Mystically . Life is join'd with Spirit in our Saviour's Words , exactly as it is by the Apostle , when he also tells us , that the Letter killeth , but the Spirit giveth Life , 2 Cor. iii. 6. intimating , that the Life promis'd by Moses , when he set Life and Death before the Israelites , was not to be expected from the Observation of the Literal Sense of the Mosaical Law , but the Mystical , which was a strong Obligation to the New Peculium . Because the Mystical Sense even of the old Law , which was the principal Sense design'd by God , was suppos'd to be the same with the Gospel . So Spirit and Truth are also fitly join'd together in the Discourse of our Saviour with the Woman of Samaria . For the Mystical Sense , was the Sense truly intended by God , and the Literal no otherwise then as conveying the Mystical . The Truth here is also opposed to the Shadow . So the Apostle tells us , that the Law was a Shadow of things to come , that is , of those which were to be fulfilled under the Gospel . The Shadow is oppos'd to the Body that causes it , therefore the Word Body as signifying Truth in opposition to the Shadow of the Body , is apply'd to the Realities of the Gospel , even in things not properly Corporeal . So the fullness of the Godhead was said to dwell in our blessed Saviour Bodily . Not like that which was in the Tabernacle of Moses , which was but a Shadow of the true Tabernacle . That the Mosaick Tabernacle was but a Shadow , was granted by the Mystical Interpreters of the Law , as appears from Philo. They gather'd it from the Name of Bezaleel who made the Tabernacle , which signifies so , and from its being made in Imitation of the Pattern in the Mount , which Pattern the New Testament Reasonings suppose to be meant of the Gospel . This way of Reasoning , tho' it would be precarious in other things , yet is the properest for understanding Prophecies , which were usually understood by the God that gave them in that Sense which seem'd otherwise most remote from their Literal Signification . This is so notorious , that not having leisure for it , I cannot think it necessary to heap Examples . Our Saviour's Design therefore in this Discourse with the Woman of Samaria , is to shew that the confinement of the solemn Worship of God to one Place , either Jerusalem or Mount Gerizim , was disagreeable to the Nature of the Worship of the Gospel , and therefore to be Abrogated by it . And as to that particular Design , I take our blessed Lords Reasoning to be this . The original Consecration both of the Tabernacle and the Temple , was by the Descent of a Luminous Body on them , as a Symbol of the Majestatick Presence of God , which the Rabbins call a Schechinah . This visible Appearance at first , was suppos'd to be the cause of the Consecration , which lasted afterwards , long after the visible Appearance it self had disappeared , as the Jews say it did under the second Temple . This way of Consecration , confin'd Consecration to Places . The Schechinah it self , as a Body , could not be otherwise than confin'd . And whilst God was pleas'd to reserve this Power to himself , that besides the Consecration of Men , which was requisite to separate the Place Consecrated from common uses , no Place however should be counted Holy , till God himself had signified his own Acceptance of it , by such a visible Symbol of his own Presence ; it followed necessarily , that if God shewed this Symbol only in one Place , no other Place besides that one could be counted Holy as accepted by him . But the true Presence of God signified by that Symbol , our Saviour observes , and that by the mystical way of Reasoning then receiv'd , to have been suitable to the Nature of God himself , who was a Spirit , and therefore Spiritual , and might as well be ( if God pleas'd ) in Places where no such Appearance was to the Senses , as where it was . Withal , that these invisible Archetypes were the Eternal things that were to hold when the visible Ectypes were abolished ; this was also granted him in the Platonick Reasonings of that Age. When therefore the Gospel was to take place , which was a State of those very Archetypes which were Prefigur'd in the Law , from that time forward God was not to insist on that way of Consecration , by visible Schechinahs which had been required before . But as the separation of a Place from common use , was sufficient on Man's part to Consecrate it , if God should be pleas'd to accept it ; so when this way of signifying the Divine acceptance immediately by a Schechinah was laid aside , the Divine acceptance would be sufficiently signified by the acceptance of the Priest whom God had Invested with an indefinite Authority , of not only representing , but obliging , him to ratifie what he was to do in his Name , in things wherein God had not particularly oblig'd him to expect a more particular Signification of his Pleasure . When therefore this mystical Dispensation was to take place , then as every City was to be equal with Mount Gerizim , or even Jerusalem it self , then the Bishops of particular Cities , were to be equal with the High-Priest of Jerusalem , and might as freely Consecrate as he , and exercise the supreme Power of the Evangelical Mystical Sacrifice within his own Jurisdiction . This I take to be the true Design of our Saviours Discourse in that Place , to prepare both Jews and Samaritans , not to be surpriz'd at this Change , which was punctually fulfill'd in the Event , how contrary soever it seem'd to their present receiv'd Opinions and Expectations . AND what is there in all this Reasoning , wherein our Adversaries can think our present Cause concern'd ? Spiritual we see here , is not oppos'd to Bodily , but Literal , that is Literal of the Law of Moses , where it was to interfere with the Mystical Sense , which was principally intended by the Legislator . Do we revive the Literal Sense as it concern'd the particular Nation of the Jews ? Or do we extend the Obligation of it fartherso as to oblige other Nations , on whom it was not impos'd then , and for whom it was never intended , under the Spiritual Dispensation of the Gospel ? Do we so urge the Literal Sense as to exclude the Mystical , so as to exclude Gentiles from the Benefits of the Law , whilst they do indeed more comply with the true Design of the Legislator , than if they had observed the Literal Sense ? Do we exclude any from the new Peculium , who have the Circumcision of the Spirit , for no other Reason , but because they want the Circumcision of the Letter ? This had indeed been repugnant to the Design of the Gospel , which was to convince us , that , in all things inconsistent , the Observation of the Mystical Sense was to take place of the Literal , and thenceforwards to take away its Obligation . And do we say otherwise ? Or do we say , that Schechinahs are to be expected for Consecrations now , or any other Significations of the Divine Acceptance of what is separated for his use by Men , besides the acceptance of them , who are Authoriz'd in general to represent and oblige him in things whereof he has made no particular exception ? Can they pretend , that our present Dispute has any Relation to those which devided the Jews and Christians in the Apostolical Age ? They very well know , that our present Dispute is wholly between Christians , and has no relation to the Obligation of the Mosaick Law in any Sense . It is very true , that the Literal Sense of the Mosaick Law usually related to External Sensible Things , and the Mystical to Things Insensible and Spiritual . And the Mystical Sense being the Spiritual , may give the occasion why our Adversaries fancy that the Mystical Sense should always relate to Spiritual Things . But it is not being oppos'd to Sensible or Bodily , but Literal , shews plainly that the things concern'd in the Literal Sense , are not consider'd in this Reasoning , as Sensible and Corporeal , And on the other side , in the Reasonings of the New Testament , the Evangelical Institutions even in this World , are all suppos'd to belong to the Spiritual Sense of the old Law. And for that very Reason it is inferr'd , that they were principally regarded by God , because the mystical Sense of the Law was more principally intended by him than the Literal . The whole Evangelical Institution , is , in the same Reasoning , suppos'd to be the Pattern shewed to Moses in the Mount , in Imitation of which , the Tabernacle was to be made . And this in order to the proving , that the Evangelical Institutions were to be Eternal , because the Ideal Patterns of things were in the Platonick way of Reasoning suppos'd to be so . This Eternity concern'd in this Dispute , can only be meant of that which was to last as long as this World ; so the everlasting Hills , Gen. xlix . 26. And the everlasting Mountains , Hab. iii. 6. And the Land of Canaan , is said to be given for an everlasting Possession , Gen. xvii . 8. xlviii . 4. For in this Sense , the Everlastingness of the Gospel , is oppos'd to the Duration of the Law , which was , even in this Life , to give way to a more lasting Establishment . But it is certain , that those very Institutions of the Gospel , which have succeeded the abrogated Institutions of the Law , and which are therefore suppos'd to be Spiritual in this Sense , as Spiritual is oppos'd to the Literal Sense of the Law , are notwithstanding themselves Sensible and Corporeal . So is Baptism , which has succeeded in the Place of the abrogated Circumcision of the Letter . So also is our Eucharistical Sacrifice , which now answers the abrogated Bloody Sacrifices . These therefore must be suppos'd to be Spiritual in this Sense of the Word , notwithstanding their being Sensible and Corporeal . Our Adversaries therefore do certainly mistake the meaning of this Reasoning , when they hence gather that any Observations are contrary to the Spiritual Nature of the Gospel , on that account alone , because they are Sensible and Corporeal . BUT , tho' Sensible Assistances should not be inconsistent with the Nature of Evangelical Worship , yet our Adversaries think , at least , that Pomp and Magnificence must needs be so . One would think , by the gradation , that their Arguments on this Head were more cogent and convictive , but it proves quite the contrary . Not one Text can they pretend against the Pomp and Magnificence of the publick Worship of God. rather all the appearance of Scripture Reasonings is against them . The Worship of the Old Testament was manifestly very Magnificent ; nor can our Adversaries deny that it was so ; what have they therefore to say , why it ought not to be so still ? Can they shew any Text of the New Testament against it as a thing that was to cease and to be no more practis'd ? I know of none they do pretend either in the same , or in equivalent Terms . Can they then pretend any thing inconsistent with it in the constitution of the Gospel , or of the new Peculium ? These things I have shewn to be the true Originals of the abrogation of what was indeed abrogated in the old Mosaick Law. The reasoning of the Old Test ; as well as the positive Precepts of it , rather favour , than contradict , the Magnificence and Sumptuousness of the publick Solemnities of the divine Worship . David would not offer Burnt Offerings unto the Lord his God , of that which cost him nothing . 2 Sam. xxiv . 24. and Malachy makes mean Sacrifices to redound to the contempt of the Religion wherein they were used . He makes them to be a polluting God's Altar , and interprets the offering them as if the Offerers of them had said , The Table of the Lord is contemptible , Mal. i. 7. He Expostulates concerning them farther , v. 8. Offer it now to thy Governour , will he be pleased with thee , or accept thy Person saith the Lord of Hosts ? Plainly intimating , that God did as much expect expensive Sacrifices from those who were able to Offer them , and had reason to do so , as any of their Governours ; and would as much resent the contrary as an affront , as Governours would mean Presents from such as were able to offer great ones . The Reasoning is the very same in Is. xl . 16. Lebanon is not sufficient to burn , nor the Beasts thereof for a Burnt Offering . Arguing for the Magnificence of the Offering from the greatness of the Person to whom it is made . And I have already shewn how in the N. T. the Reason even of abrogated Precepts is owned as still obliging , as a reason approv'd by God. Much more in cases wherein our Adversaries can prove no abrogation , such as is this of Instrumental Musick . But the divine Authority of the N. T. does also plainly approve the same Reasoning . It is a clear instance of it , when our Saviour values the poor Widow's Mites as more than the Offerings of the Rich , who had cast in greater Sums out of their greater abundance , St Mar. xii . 43. St. Luke xxi . 3. This plainly shews , That as God does graciously accept of mean things from those who are able to give no more , so he does not excuse them from Magnificence whose Abilities may afford it . Our Saviour reasons the same way in the case of the Woman who anointed his Feet with the Alabaster Box of very precious Ointment . The same Objection was made then which is made by our Adversaries now , that it might have been sold for much and given to the Poor . Yet our Saviour commends the seasonableness of the Gift , as will as the Gift it self , and returns the Woman an honourable Memorial for it , wherever his Gospel should be preach'd . The Objection would indeed be greater then , when the numbers of the Poor were greater , and the Abilities of the Christians for Contribution were less , than they are now . Yet even so our Saviour did not approve of our Adversaries Reason . He allow'd a liberality in shewing their respect to the Temple of his Body , as a token of what he would also judge commendable if us'd to the material Temples that should afterwards be Consecrated to his Worship . And in giveing a precedent for teaching his Disciples what he would have them do afterwards , and introducing it , he did not allow even the present Necessities of his Disciples to over-rule him . Thus , I am very apt to think , the generality of his Disciples were then inclinable to understand him . And therefore thus , in all likelihood , he design'd they should understand him , when he gave them no warning of misunderstanding him in such a way of Interpreting his Mind as he foresaw them inclinable to follow by the way of reasoning of that Age. It was a receiv'd Principle , that our Saviours Actions , as well as his Discourses , were Prophetical and Instructive . And that they signified many things which were not to be understood at present , but afterwards when they were fulfilled , and when Providence had fitted circumstances for practising them . Especially in things which were not practicable at present , as not fitted to their present Circumstances . This was plainly the Case then in relation to the Subject of our present Discourse . The Poverty of the Apostolical Christians , disabled them for all things Sumptuous and Magnificent . Nor was there then any Prospect of a Change for the better which might make it prudent to provide expresly for the Case . Withal our blessed Saviour knew that his Sense would be gathered from his Actions . Himself had train'd up his Disciples to do so . And the Jews in their mystical Interpretations of the History of the Old Testament had , even in his time , taken up the Custom of gathering the Sense of God from the Prophetick Instincts and Actions of their own Patriarchs . The leaving them therefore to those Inferences , which he foresaw them inclinable to make from his Actions and Intimations was a very prudent , a very sufficient Provision for a Case which was to fall out at such a distance afterwards . THE only Reason this present Adversary insists on for proving the Inconsistence of Magnificence with the Nature of the Worship of the Gospel , is that the Romanists are usually censur'd for their excess in this kind . This he only takes for granted , and draws Inferences from it ; but never offers any Proof that it is indeed blameable . The same way he takes in his use of the other popular Prejudices now disprov'd but , methinks , it would have better become them who so usually appeal from humane Authorities to the Scriptures , ( if they could find any ) that even themselves could judge favourable to their Design , before they had ventured on drawing Inferences . That would have made their Dissent look more like a reverence to greater Authority , than Resentmentand an Aversation to their Adversaries against whom they are concern'd in this whole Dispute . But I cannot , indeed , imagine what they can pretend from the Scriptures against the Magnificence of Gods Worship in those who are able to bear the Burthen of it . They may fancy , perhaps , that the Simplicity of the Gospel may be inconsistent with this Magnificence . But the Simplicity of the Gospel is never ( that I know of ) us'd concerning the Worship of the Gospel it self , but concerning the good meaning of the Persons who Preached the Gospel . It is plainly oppos'd to 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 2 Cor. XI . 3. It is us'd as synonymous with 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 2 Cor. 1. 12. which plainly shew that it signifies Sincerity and Heartiness , only in opposition to double Dealing . But so far it is from implying Inexpensiveness , that on the contrary , it rather sometimes denotes Liberality , when it is used concerning a subject that is capable of it . So , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Rom. xii . 8. As the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is oppos'd to that which is call'd 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 S. Mat. vi . 22. 23. And as the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is oppos'd to 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 S. Mat. xx . 15. as that signifies Bounteouesness and Liberality . In this way of Interpretation the Simplicity of the Gospel signifies the Generosity of the Gospel , and will rather countenance Magnificence than discourage it . BUT our present Adversary is solicitous for the Consequences that may follow from the restitution of Instrumental Musick . He conceives that by the like Inferences we may restore Circumcision and bloody Sacrifices , and the old Custom of Dancing to the Instrumental Musick . And what if we should grant him his last Consequence concerning Dancing , so far at least , as to acknowledge that the Church might lawfully reduce it ? I doubt he would be hard put to it to prove it unlawful . It must be so , at least , if he would confine himself , as they pretend to do , to the Scriptures . He cannot sure think there is any Argument in the irreverent Expression he uses concerning it . It is no other than what Michol would , probably , have used if she had spoken English. But David was contented to bear the Reproach of it , and to justify it against her . And I believe our Adversaries will not easily question but that we are safer in following the Sense of David than they are in following that of Michol . The Design of the Objection in both Cases , both of our Adversaries and of Michol , is to Charge the Posture of Dancing with the Imputation of Levity . As if there could not be Grave and Decorous Dances as well as Grave and Decorous Tunes ; and as if there could not be Grave and Decorous tunes on Instrumental , as well as on Vocal , Musick . At present , it is sufficient for us now , that if their Objection had been true in general , God would neither have allow'd sacred . Dancing then , nor would David have avowedly defended it , nor would God have seconded him in doing so by inflicting a Punishment on Michol for her Prophane upbraiding her Prince and Husband with it , as if in Practising it he had done any thing beneath the Dignity of his Station . If they will defend David in it , they are as much oblig'd , as we are , to own the weakness of this general Charge . I think therefore the Practice , if it had been again receiv'd , secure enough if they will be pleas'd to admit no Objections against it now that would have prov'd it unlawful then . For we have a greater Evidence , than any their Reasons can pretend to that it was not unlawful then . But supposing it lawful , yet the Apostle himself will assure them that all things indeed lawful are not on that account alone to be therefore own'd as expedient . 1. Cor. vi . 12. x. 23. And therefore fit to receive a new Sanction . There will be no more Obligation to revive that ancient Custom now , than many others which were undoubtedly allowable and prudent in those times wherein they were universally receiv'd ; but have now lost the reason that made them useful then , by their being since as universally disus'd . Singularity alone is an inconvenience in a thing indifferent in its own Nature , where there are not more momentous Considerations to make amends for it , and to recommend it . However the genuine Ignatius in his uninterpolated Epistles reasons from allusions to holy Dances and Instrumental Musick . This shews that , whether they practic'd them or not , yet the Christians , of that Age at least , did not Condemn them . And there is reason to believe they did not . The Pythagoreans greatly approv'd them , as we know the Jewish Essenes were great admirers of the Pythagoreans , who derived many of their own Customs to the whole Body of the Christians . Such were their Praying to the East , their great aversness even to lawful Oaths , their Reconciliations before Sunset , their use of Milk and Honey as a Symbol of the new Birth . These things we find the Church possess'd of in very antient Monuments , without any Account of their first Original . And the first and last are not so accountable from any other Original as this of their being brought among the Christians by the universal Conversion of the Essenes . So the Author of the Book of Judith makes the Jews expressing their Joy for the defeat of Holosernes's Army by Dances with Musick also Instrumental . This appears partly from the Greek , partly from the Latin , which in those Apocryhal Books are strangly different . This shews , at least , the Sense of the Jews in that Age wherein that Book first appeared . That could not be later than the Apostles time because Clements mention Judith in his Epistle to the Corinthians . And indeed , within fresh Memory of Ignatius , the Apostolical Church , which was the Head of all other Churches , had notoriously approv'd and communicated with Instrumental Musick , at least in the Worship of the Temple . It is not also improbale but that the Apostles continued it in the Head Church , whether in Pella , or in the Ruins of Jerusalem , after the Dissolution of the Worship of the Temple . That mention of Harpers with it in the Vision of the Revelations has nothing joyn'd with it Characteristick of the Jewish Worship before the Dissolution . And therefore may represent the Fact truly as it was in this Interval between the Destruction of the Temple and the new troubles which befell the Christians in the latter end of Domitian , but especially under Trajan . This is a time wherein we have no Monuments that can inform us any thing to the contrary . And within this time it must have been that St. John saw that Vision in his Exile at Patmos . The eldest Testimony produc'd by our Adversary from Clemens Alexandrinus is considerably later than Ignatius , when the memory of the Traditions of the Apostolical Church of Jerusalem was now much forgotten by the many Disturbances which followed on the Ruin of the Temple . It is not improbable that the Instrmental Musick was the Prerogative of that Supreme Church , as it seems also to have been of the Temple Worship of the Jews in Jerusalem . The Musick usually accompained the Sacrifices , which by the Jewish Law were to be Offer'd only at Jerusalem , we never find it mention'd in the Synagogue-Worship . And this may give a probable Account , why it was not receiv'd in other Christian Churches besides that of Jerusalem . They were form'd in imitation of the Jewish-Synagogues at first , with the same dependance ( in many regards ) on the Church of Jerusalem that the Synagogues had on the Temple . And when after the Decease of all the Apostles , the other Churches succeeded into the full Rights of the Head Church of Jerusalem ; the disorders of the times had so long discontinu'd that Custom even in the Head Church , that tho' Ignatius might , yet it might be very possible that Clemens Alexandrinus might not remember it . No , not even with the Assistance of those old Witnesses of Apostolical Tradition from whom Clemens receiv'd his Informations of the Apostolical Affairs , as he himself tells us . But 't is not likely that any of those Witnesses could be near so old as Ignatius . But the Musick describ'd in the Revelations is such as might likely be practtis'd by the Apostles in the Ruins of Jerusalem after the Dispersion of the Jews , and the Abolition of the Temple-Sacrfices . HOWEVER our Adversary conceives that Circumcision and the old bloody Sacrifices might be restor'd by the same Consequence that Instrumental Musick were , if any Church should think fit to do so . He might well think so , whilst he believ'd that the only Reason which made Circumcision and those Sacrisices unlawful now , was their having been observ'd formerly . But I have shewn how contrary that way of Reasoning is , to the way of Reasoning us'd by the Writers of the N. T. and have thereby prov'd a necessity of settling an Hypothesis , by which we may be able to distinguish what is Abolished from what is not so . And the Hypothesis now given , affords a Rule sufficient , to shew why Instrumental Musick may still be Lawful , tho' neither Circumcision nor bloody Sacrifices were so . That is because Instrumental Musick is no way repugnantto the Constitution of the new Peculium , which is not true of the Jewish Circumcision , nor the Jewish Sacrifices . For no uncircumcis'd Person could partake of the Jewish Sacrifices , and he that was Circumcised , was thereby Incorporated into the Jewish Nation . Whilst these two things were insisted on it was impossible for a Gentile not Incorporated into the Jewish Nation to be admitted to the Benefits of the new Peculium , which was directly contrary to the new Revelations of the Gospel . But our Author urges the Circumcision of other Nations as if their Agreement in it would have gone as far to have recommended it for a Law of Nations as their Consent in Instrumental Musick . But he did not remember that no other Nation that used Circumcision did pretend to use it as the Jews , as a Ceremony of Admission into the peculiar People of God , which is the only Consideration , that made it inconsistent with the Constitution of the Gospel . Several of them seem'd to have us'd it , not as an Initiation to their Nation , but to their Sacerdotal Dignity , to qualifie Men for being admitted to the Secrets of their Religion . So it seems to have been in the Cases of Pythagoras and Apion , who were Circumcised among the AEgyptians . And therefore also among other Nations who deriv'd their Circumcision from the AEgyptians , as particularly the Colchians are said to have done by Scsostris . And perhaps this may be the Reason why the old Peculium is call'd a Royal Priesthood , as well as a Holy Nation , because the right of Admitting into that Nation was equal to that which among other Nations was thought sufficient to confer that higher Degree of Sanctity which all Nations ascrib'd to their Priests above the ordinary Holiness , thought requisite to partake of the National Sacrifices which were common to the whole Nation . But no Nation however beside the Jews pretended to be the peculiar People , who were favour'd with the immediate Patronage of the supreme Being . They could not therefore impose Incorporation into themselves as a Condition of Admission into the new Peculium on other Nations besides themselves , tho' their Circumcision had been design'd as a Right of Incorporation . Their Circumcision therefore not being impos'd as a Condition of the Peculium , had been as Innocent as that of the Jews was , when observ'd only by their own Nation , and not impos'd on others , as a Condition requisite to qualify them for the Spiritual Favours of the Peculium . Upon those terms the Jews themselves , were permitted the use of it whilst they Commnnicated with the Uncircumcis'd Gentiles , in the Offices of the Christian Religion . Much less could it be Condemned in other Nations , who never impos'd it farther than their own Nation . There was therefore neither parity of Reason , nor sufficient Consent of Nations to prove the Jewish Circumcision lawful now , tho' we should on , those Accounts , grant that Instrumental Musick were so . BUT Bloody Sacrifices , our Adversary conceives might at least pretend to them . Not certainly so as to unite all Nations into one Body , which was the true Design of our Evangelical Eucharistical Sacrifices . The Jewish Sacrifices none were capable of , but one only Nation , that of the Jews . The same was the Case of many others of the publick National Sacrifices . None were indeed suppos'd to have a Right in them , but the Nation for whose use they were originally Instituted . Some were as severe as the Jews themselves , to make it Piacular and Capital , if one of another Nation did but come into that part of their Temples , where the publick Sacrifices were Offered . So it appears that it was only the remissness of their Discipline above that of the Jews , that made them allow others that were not of their Nation , to partake of their publick Sacrifices . Augustus when he was in Egypt , would take no notice of Apis , and commended his Grandson Caius , because he would not Pray at Jerusalem . The like was the Practice of Hadrian , who pretended to an Inquisitiveness into all things , and to be a severe Observer of Discipline . And it was a Favour usually desir'd from the Senate , that other Nations might have leave to Offer their Donaries at the Roman-Altars , These are sufficient Evidences of what was generally taken for the Rule , which is the only thing to be regarded in this Reasoning . It is true the Jews allow'd publick Sacrifices for the Persian Kings and the Roman Emperours . But not so , as to suffer any Heathens to partake in them . Yet even this was blamed by the strictest Pretenders to the Observation of the Law among them , the Galileans and the Zealots . Tho' otherwise if any other Nation could admit others to their National Sacrifices , the Jews had more reason to do so . They by their own Confession Worshipped a God , to whom all other Nations ought Duty as well as themselves , which other Nations did not pretend concerning their own Deities . There was therefore no Sacrifice of this kind , that all Nations with their National distinctives could pretend an equal Right to . How could they therefore unite all Nations into one Body , as it was the Design of our Christian Religion to unite them ? None of them pretended to a Right to be confirmed in Heaven , besides that of the Jews , which yet could not unite all Nations , whilst it was believed to be the Right of one only Nation . There were no Bloody Sacrifices in the World , which being received into one Place , gave a Right to all other Sacrifices in the World. I do not now insist on what Porphyry has endeavour'd to prove at large , that the first Sacrifices received among the Nations , were not Bloody , but Innocent , and such as were perfectly agreeable with his Pythagorean Notions , which were for the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . They did not either know or regard the most ancient Example of Abel to the contrary . However he has said very considerable things for it , from the Histories of the Heathens . That is enough to disprove that sort , at least of Sacrifices , from being a Tradition of the Law of Nations . And the Reputation of being 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , had then prevail'd not only in those Cities which had submitted to Pythagorean Legislators , but also among the Romans themselves . I am apt to think this was the Reason , why so many of the good Emperours who affected Felicia Tempora , affected also that their Reigns might be 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , free from the Piaculum of shedding Civil Blood , at least of the better Quality . But the Pythagorean Doctrines were particularly grateful to the Jewish Essenes , who were as I said , the best disposed to the Christian Religion , and who seem therefore to have been extirpated by an universal Conversion , upon the appearance of it . They were most addicted to the Mystical sense of the Law , which is the Foundation of most of the Reasonings of the New Testament . Numenius the Heathen , who first joyned the Mystical Interpretation of the Law of Moses with the Heathen Philosophy , was a Pythagorean , and so was Philo the Jew , and the Essenes , as the same Philo teaches . This alone was sufficient to dispose the Essenes to an aversation to Bloody Sacrifices , and to have the better Opinion of the Christian Religion , when they understood , that by it they could satisfie the Design of the Legislator without them . If they could once free themselves thereby , from the Obligation of the Bloody Sacrifices , required by the Law of Moses , there were no other in view , that were likely to be substituted instead of them , at least by them . But the Mystical Interpretations of the Old Testament , afforded an easier account of the Change which was to be made by the Gospel , and more grateful to the Relish of the Pythagorean Essenes , and the Philosophical Asceticks . The everlasting Priesthood which was to answer'd by that of the Gospel , was suppos'd to be that of Melchizedeck . So 't is expresly called by the Psalmist , as the Apostle has observed : No doubt as granted him by the Mystical Reasonings of those Times . His Sacrifice , ( 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is the Word us'd by Philo , concerning him , as well as by St. Paul , concerning our Saviour ) was Bread and Wine , exactly the same with that of the Gospel . The Notion of a Priest implies an Offering , by the Reasoning in the Epistle to the Hebrews , Heb. viii . 3. And no other thing but Bread and Wine is mentioned in the Story of Melchizedeck , that can be called an Offering . Our Eucharist therefore , must , by this Reasoning , be the everlasting Offering or Sacrifice , relating to his everlasting Priest-hood . The rather because there is a Bread from Heaven , mentioned also in the Old Testament , a very fit original Archetype to answer our Evangelical Terestrial Sacrifice . That was the Manna which was called Bread by Moses , and was indeed Rained from Heaven , and is called the Food of Angels by the Psalmist . No doubt to shew its Heavenly Mystical Nature , far exceeding the Nature of our common Bread. It is called also a Body prepared , as the same Apostle Quotes the Words of the Old Testament . These are the very Expressions us'd by our blessed Saviour , concerning his own Sacrament in St. Joh. vi . He also calls it Manna , Bread from Heaven , and his own Body , exactly according to these Mystical Reasonings from the Old Testament . We never find any mention of an Archetypal Heavenly Beast , answering those Bloody Sacrifices . Yet the whole Benefit of these Sacrifices depended on these Archetypal Patterns answering them in Heaven . Thence follow'd the Obligation of God , to ratify in Heaven what was performed by the Priest on Earth , in giving or denying the Mystical Benefits of the Sacraments , as the Priest shall think fit to give or deny the Sacramental Elements . Thence the Union between the Church Militant and the Church Triumphant , on account of the Union between the Caelestial Archetype , and the Terrestrial Eucharistical Sacrifice . Thence the Union between the Patriarchal Church of the Old Testament , and the Apostolical of the New , because the whole efficacy of those old Sacrifices of Beasts , was derived from their representing and applying the Death of our blessed Saviour , as commemorated and apply'd in our Christian Eucharistical Sacrifice . Thence the Union of all the visible Churches in the World with the Caelestial Church , and among themselves , and the Reason obliging all particular Churches in Earth , to ratify each others Censures , which was that which made their Admissions into Communion , and their Excommunications Catholick , tho' the Acts themselves , were only the Acts of single Churches . The Reason was , because every particular in admitting a Member , intitled the Member so admitted to the Heavenly Church , with which all the particularly Churches in the World were one , and therefore were obliged to own such a Member , for a Member of themselves . And every particular Church in Excommunicating a Member , deprived the Excommunicated of his Right to the Heavenl Church ; which whosoever wanted , could not be owned by any particular Church , which pretended to be one with that which was Heavenly ; of so much consequence was this whole Mystical Reasoning , greater perhaps than our Adversary was aware of . However , this Reasoning gives a clear Account , that tho' Instrumental Musick were as indifferent as we conceive it to be , it would not therefore follow , that it would be Indifferent , or in the Power of any Church , to restore the Custom of Bloody Sacrifices . I know not whether it be worth the while , to take notice of another Consequence , much insisted on by the Party ; that is , the Danger of exceeding in Impositions , if the first Impositions be submitted to . But truly conscientious Reasoners , would first have prov'd the Hurtfulness of many lawful Impositions , if submitted to by the Ecclesiastical subject . The Government might indeed be blamed for it ; but in the subject , ( for whom they are concern'd ) tho' the Imposition were indeed hard , yet submission to it for Peace sake , would for that Reason be highly commendable , as an Act of the greater self-denyal and the greater Zeal for Pecae and Discipline , and the greater Abhorrence of needless Division , whilst nothing Sinful were impos'd . Then they would have given some 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 concerning the due Number that might be impos'd , that might neither be too small nor too numerous . This they would have done , if they had desir'd to have purged themselves to God , and their own Consciences , that they had not oppos'd subjection to those who were over them in the Lord , but Rigours of those who had abus'd the just Authority committed to them . But to stop at the first Impositions , before they can pretend them Rigorous , looks as if Flesh and Blood , as if Stomach and Resentment , as if an aversation to subjection it self , had been the original of their Quarrel . It runs into the opposite extreme , as indeed their Defences of their Schism generally do , as if the Authority it self , not any Tyrannical use of it , were the thing regretted by them . The Topick it self they cannot defend , nor justifie the Consequences of it , who are notwithstanding so forward to warn others of Consequences . There is hardly any thing necessary in Humane Life , but what excess may make pernicious . Eating is so . Yet how great a part do Surfeits make in our Bills of Mortality ? Will they therefore think it reasonable for avoiding Surfeits , to disswade from Eating ? If they had no design of running into an extreme of opposing all Impositions in things indifferent ; our Churches Impositions , ( whatever the Out-cry has been against them ) have been so few , that I cannot tell how , even our Adversaries themselves , could charge our Churches Impositions with being excessive , if they had allowed of any Impositions at all : If they allow of none , they would do well to own that their Disputes are not against Abuses only of Authority , but against Authority it self . Their doing so , would let the Favourers of Comprehension see , that our Disputes are not indeed of so trivial an Importance , as they are commonly conceiv'd to be . That they are indeed , whether we shall have any Authority which our Adversaries shall think themselves oblig'd in Conscience to own , and to be concluded by , when nothing but Conscience can oblige them to it , in a State of Persecution . That is indeed whether we our selves shall have any Body Politick , when they are once receiv'd into it . For we cannot any longer have such a Body than we have the Authority essential to the Constitution of such a Body . Then it would become the Favourers of Comprehension to consider whether any Grants of our Adversaries can make amends for so great a Concession on our Parts , as the Dissolution of our selves ? Or whether any other independent Body in the World , would think fit to admit Enemies to their Constitution , into their Body together with their hostile Opinions ; or whether they could think any Pretences , how fair soever they might seem otherwise , to be sufficient to compensate a Reconciliation of so fatal Consequence . The rather so , because it perfectly discharges Persons reconcil'd on such Terms from all Obligations to perform , what should afterwards be perform'd as a Condition of the Reconciliation on their Parts . For it is only their Difference to our common Authority , that can make them really one with us , when they are admitted into our Assemblies . The giving this up to them as a Condition of their coming in to us , is like opening a Gap which may seem to let them in whilst themselves please , but lets them out again as soon as their old Animosities shall put them on laying hold of new Pretences , or retrieving the old ones . But a regular Admission of them , should be by the Gate . And the same Power of the Keys , which opens the Gate to them at their Admission , should lock them in after they are once admitted . I know no possibility they have of avoiding these Consequences , unless they can shew , either that a Body Politick can subsist without Government , or , that Government can subsist without a right of imposing in things indifferent , either of which indeed would be a great Performance . If therefore ( to avoid the odium of so hard Terms imposed on us , of an Admission which when it is made , shall give us no longer security of their Union with us , than themselves please ) they will pretend a Defference to our Common Ecclesiastical Authority that may keep them ours by Principles afterwards . I could then wish , that they would be pleas'd to consider farther , that when a true Authority is once admitted , That must be allowed to judge concerning the Exigences of the Society to which it is related , and therefore to judge concerning the true mean between both extremes , of what is deficient and what is superfluous . I mean so as to conclude the subject in Affairs of that Nature . This Consideration will shew , that were there indeed any excess , yet the Authority would be responsible for it , but not to the Subject to whom it owes no account , but to God , from whom the Authority is indeed received . This will shew that the subject cannot be responsible for the Sin of the Imposition , so long as there can be prov'd no Sin in submitting to the Imposition , because the Imposition is a right to which the Subject cannot pretend . Where therefore the Sin of Imposition is separable from the Sin of Submission , there certainly the Duty of Submission still holds . The Reason is manifest , because the Subject cannot deny its Duty for a Cause that does not concern it to enquire into , and for which it is not responsible unto God , whatever may be amiss in it . And this will always be the Case , whilst the Impositions are only in matters of their own Nature indifferent . BUT our Author pleases himself particularly with a Passage in the Revevelations , where it is foretold concerning Babylon ; That the Voice of Harpers and Musicians , and of Pipers and Trumpeters should be heard no more in her , Rev. xviii . 22. He urges it modestly , and it became him to do so , having before decried all Arguing from that same Book , because of its Obscurity . The Reason holds in reference to Facts to come . These are the things wherein the Prophetical Style is professedly obscure , even to those who were then living ; not so in Facts , then being or past . These , there is no Reason to believe that God intended to conceal from the meanest Capacities , because they were not likely to hinder the Free-wills which were to contribute their Parts in fulfilling the Prophesies here delivered . And of this kind are the Allusions , for which we are at present concern'd , to the then present Customs of the Church of Jerusalem . But to urge the Authority of this Book , as our Adversary does , with relation to the State of Antichrist , is to urge it in a Sense wherein God usually design'd that his Prophecies should not be understood till they were fulfilled , that they might not give warning to those who were to fulfill them , as they must certainly do , if they could certainly be understood before . Till therefore this Prophesie ( if it relate to Antichrist ) be fulfilled , it is not to be expected that it should be understood so certainly as to be Argumentative . But , to give him the utmost that he can , with any Reason desire , all that he can make of it , is only to have it understood as a Prophesie , not as a Law ; as a Prediction of the event , not as a Determination of what was lawful or unlawful . It is very common in the Prophetick Scriptures , to foretel Judgments by the deprivation of what was delightful on any account , Good or Evil , even on account of Religion as well as Luxury . So Hosea Prophesies that the Children of Israel should abide many Days without a King , and without a Prince ; and without a Sacrifice , and without an Ephod . Hos. iii. 4. Can our Adversary therefore gather , that Kings , and Sacrifices , and Ephods , were Sins then ? No , but it is denounced as the most afflictive thing to them , who in the midst of their Impieties , were full of their Pretensions of Zeal for God and for his Temple , Jer. vii . 4. The like Predictions against the Temple , as a Punishment of the unworthy Worshipers in it , are frequently mention'd on other occasions also , which can by no means be interpreted as a Condemnation of the Temple then , but rather of the People , as unworthy of so great a Favour . So , in the Babylonish Captivity , they are represented as hanging their Harps on the Willows , when their Adversaries insultingly demanded of them one of the Songs of Sion , Psal. cxxxvii . 2 , 3 , 4. We cannot therefore conclude , that the Temple-Songs play'd on their Harps , were sinful then , but unseasonable , not suitable to the Condition they were then in , and the Behaviour that became them in the desolation of the Temple . So God threatens to turn their Feasts into Mourning , and their Songs into Lamentation , Am. viii . 10. Hos. ii . 11. We must not rherefore say , that their holy Feasts or Songs were sinful . All that is imply'd thereby , is only this , that they should be so estranged from Joy , that it should find no place in their holiest Offices , even of Religion . So Job expresses the sadness of his Condition : My Harp also is turned into mourning , and my Organ into the Voice of them that Weep , Job . xxx . 31. So in Isa. xxiv . 8. The mirth of Tabrets ceaseth , the noise of them that rejoice endeth , the Joy of the Harp ceaseth . And in Ezek. xxvi . I will cause the noise of thy Songs to cease , and the sound of thy Harps shall be no more heard . Who sees not , from these and the like Places , that these Expressions are used to describe a State not Sinful but Penal rather and Calamitous ? The same appears from the other things following in this very Text , concerning which we are disputing , of the Revelations . It follows , And no Crafts-man of whatsoever Craft he be , shall be found any more in thee . Will our Adversary therefore say , that all sorts of Crafts are here condemn'd as unlawful ? It is easie to observe , that there is nothing more foretold in these Words , but the failing of the Trade of Babylon , for which she had been so very famous . It follows farther , And the sound of a Milstone shall be heard no more in thee ; and the light of a Candle shall shine no more at all in thee . Must Milstones therefore and Candles be unlawful also ? This only shews a Famine that should befall them , and a want of Corn to employ the Millstone , as cleanness of Teeth for want of Bread to foul them is likewise threatned , Am. iv . 6. Teeth as well as Mills are called the Grinders , Eccle. xii . 3 , 4. It also describes the Disconsolateness of their Condition , when they should want the common comfort of Light. Exactly parallel to the Passage in Jer. xxv . 10. where it is threatned that the sound of the Mill-stone , and the light of the Candle should be taken away . Next it is added , And the Voice of the Bridegroom , and of the Bride , sholl be heard no more at all in thee . The Adversary himself will not , I believe , conclude that the rejoycings in Marriage are therefore unlawful . This is also another way of signifying a very dejected State in the Prophetical Poetick Stile . So Jer. vii . 34. xvi . 9. xxv . 10. Thus it was counted to have no share in those few Solemnities of Joy , which were allowed in States not utterly ruin'd , at least at Nuptial Festialties . So clear it is , that tho' we should grant that these things were to be understood of Antichrist , yet they would not prove the Sinfulness of the things of which he was to be deprived , but the Calamity of the Deprivation . BUT our Author has an Observation from the very learned Dr. Lightfoot , which if it had been true , would , I confess , weaken what I have said for Instrumental Musick ; Christ , says that excellent Person , abolish'd the Worship of the Temple as purely Ceremonious ; but he perpetuated the Worship of the Synagogue , reading the Scriptures , Praying , Preaching and Singing of Psalms , and Transplanted it into the Christian Church as purely Moral . For I have already granted that Instrumental Musick was used not in the Worship of the Synagogues , but of the Temple . But there are no Words of Christ , that I know of , that could be so much as pretended for shewing what he designed concerning these two Worships in General , and much less to shew that this was Christ's design concerning them . We have seen withal , that the Apostles did separate from the Synagogue worship , tho' they never did so from that of the Temple . This would rather imply the contrary to what that great Man has advanc'd , if Arguments were allow'd to proceed universally on either side . But as there is no Text , so neither is there any Reason , to pass this Judgment concerning both these kinds universally . I know not why singing of Psalms should be counted Moral . Especially according to our Adversaries Opinion , which ascribes its efficacy for promoting Devotion , not to its own Nature , but to its divine Institution . This must needs take away the antecedent Reason of its Institution . So far it is from allowing it an Antecedent Reason , that it must necessarily and universally oblige without any positive Sanction . This is usually thought necessary according to the commonly received notion of a Law of Nature . And on the contrary the use of Lots were taken by the Apostles from the use of the Temple Worship , where it was usually made use of , for determining which particular Priests of the whole 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 were to perform the duty of the Week . This could be used by the Jews no where but at Jerusalem , because there was no other place where Priests could lawfully Officiate . But by the Apostles it was made use of not only for choosing a new Apostle of their own order , as in the Case of St. Mathias , but also for determining the Persons that were to be invested with Ecclesiastical Sacerdotal Power . And that very consequently , because the exercise of the Evangelical Priesthood was not confin'd to one place as that of the Jewish Priesthood was , to Jerusalem . This was used so generally , that from thence the name of Clerus came to be appropriated to the sacred Order in opposition to the Laity , as I have often shewn elsewhere . It is therefore a plain instance that the general way of Reasoning will not hold that any thing must be unlawful now , on that alone account , that it had been used in the Worship of the Temple . I know no ground the Doctor could have for this Distinction , but that he seems to have believed , that the Temple worship was universally settled by a positive Law of God , as having no antecedent reason why it should have obliged without such a positive Sanction ; and that the Synagogue worship having no positive Sanction in the Scriptures ( without which our Adversaries allow no proof of a positive Devine Sanction ) must therefore have received the Sanction it pretended to from the nature of the things themselves , and therefore as immutable as those natures of things from which they thought it was deriv'd . This is indeed so far suitable to our Adversaries Principles , granted on popular receiv'd Prejudices , that in things of this nature they allowed no humane Sanction to be of any force . This precarious Supposition did naturaly put them upon finding a Divine original for all the old Establishment of the Worship of the Synagogue , which because they could not pretend to find in the Scriptures , they were oblig'd to derive from the Moral Law , which was indeed suppos'd to derive its Authority from a divine Legislation . But the Moral Law , being founded , as they thought , on the Nature of the things , they must therefore believe its Obligation as Eternal and Immutable , as those Natures were supos'd to be . So on the contrary , because the written Law was written with a prospect on one fixed Place for their solemn Assemblies , which fixation was made by a positive divine Sanction , which was designedly to cease upon the Destruction of the Jewish Temple , and the Dispersion of the Jewish Nation , therefore they think the whole written Law relating to the Temple , was to have an end with the Temple , for the use of which it was contrived . But neither way does the Argument proceed as our Adversaries are concerned for it . The Synagogue Worship not being a thing expressly provided for in the old Testament ) where there is no mention of Synagogues in the latter Sense of the Word ) I should rather have taken for an Argument against the Reasonings of the Nonconformists , from the Testimonies of the old Testament , for the necessity of an express divine Command for every indifferent Circumstance of Divine-Worship when the whole kind of Synagogue-Worship cannot pretend to a divine Command in the Scriptures . And without the Scriptures , there can be no divine Command pretended , by their Principles , but what is Moral , which must therefore be grounded on Eternal and Immutable Reasons , which will not be so easily found for every particular of the Worship of the Synagogue , as our Adversaries may fancy before they consider it . Every atnecedent Reason will not do . For inded no Law , however positive can be thought prudent , that has not an antecedent Reason , that might move the Legislator to add his Sanction to it . But if that had been alone sufficient to oblige the Subject , there could have been no necessity of the subsequent Law. The reason therefore requisite for a moral Law , musts be such as must hold necessarily and universally , and so as to expose the Person who is not ruled by it , not only to inconvenient Consequences , and prejudicial to his Temporal concerns , but so as to involve him in the guilt of sin , with relation to God , and the consequent indefinite Effects af the divine Displeasurs , besides the natural Consequences of the Actions it self . Such Reasons as these , our Adversaries will not be so easily able to find for all the particulars of the Synagogue-Worship , when they shall be pleased to consider it sedately . I am sure the Worship of the Body , and of the Mouth too may be without singing , if they will allow no more natural conduciveness to Vocal Musick for raising the Imagination and the Affections , than they do to that which is Instrumental . The Reasons mentioned in the things Sung , receive no more accession of strength by their being Sung Vocally , than they would by being Sung Instrumentally . I am apt to think the whole Synagogue-Worship was introduc'd after the Captivity perhaps instead of the Schools of the Prophets , that is , after that ordinary way of Educating Prophets in Schools had fail'd of which we find no more mention after the Captivity . From that time forwards the failing of the ordinary use of Prophets is owned in the Scriptures . Ps. lxxiv. 9. Nehem. vii . 65. and Josephus , as well as in the less certain Testimonies of the Rabbins . At least as to Colleges and Schools . Whilst , those ordinary Bodies of the Prophets were still in being , the People seem to have made the same use of them , as was afterwards made of the Synagogues , for performing those parts of the Offices of their Religion with them , which by the Law , were allowed to be performed elsewhere than at Jerusalem , 2. Kings iv . 23. The new Moons and the Sabbaths , are mentioned as ordinary occasions of having recourse to them . If so , the whole Synagogue way of Worship must have been settled by prudential Provisions , which could alone take place upon the failing of the Spirit of Prophesy . Especially if we will not allow any proof of Prophetick discoveries , by those few Prophets which even then remain'd after the Prophetick Colleges were generally dissolved . This our Adversaries are averse to on other occasions . If they be true to themselves on this occasion also , I do not foresee how it is possible for them to pretend any Divine Revelation for this way of Worship in the Synagogues , from those few Prophets yet remaining , whose Writing we have extant . And how can they possibly prove a Revelation that is no where Written ? What then will become of their Negative Arguments from our present Scriptures ? Nor does their Argument hold on the other side , that every particular of the Temple Worship , must for that only Reason , because it was so , be unlawful now . They might indeed infer that its confined use in the Temple must cease , when the confinement of all sacerdotal Offices to that Temple , was its self abrogated and repealed . But they very well know our present Dispute , is not whether Instrumental-Musick be to be confined now , as it was formerly , to that particular Temple . They might say , farther , that the Obligation it then had from that Mosaical Sanction , is expired when the Mosaical Sanction is it self repeal'd from whence that Obligation was deriv'd . But neither is that our present Question , whether the same Instrumental-Musick shall oblige us now , on account of that Mosaic Imposition , which even then was never intended for uncircumcis'd Gentiles , such as we are now . All that can be thence inferred by any regular Reasoning , is , that , upon the Revocation of the Confinement of sacerdotal Worship to the Temple , Instrumental-Musick returned to its own Nature as it was before , either to remain as it was at first , Indifferent , or to receive , or retain , some other Sanction distinct from that . But that it must be thenceforward unlawful , is more than I think our Adversaries will ever be able to prove from this concession alone , that it was formerly a part of the Worship of the Temple . ANOTHER pretence the Adversary has for proving Instrumental Musick abolish'd , is , because it was a shadow of something then to come , of our Praising God with the Organs of our Bodies under the Gospel . This would indeed hold if it so signified somewhat to come , as to be guilty of false Signification , when the thing signified was actually come to pass . If this had been the Case , that , while Instrumental Musick was used , it signified Bodily Worship only to come , our Adversaries would do well to consider how it could have been used by the Jews . even in the time of the Mosaick Law. For it is certain that the Jews used the Worship of the Organs of their Bodies together with their Instrumental Musick , not only of their Mouths as we do , but also of their Feet , in their Religious Dances . If bodily Worship being used at the same time with it made a false signification inconsistent with the futurity which it is pretended to signifie now , Why should it not do so then also ? If even then when it was was designed as a Prophetick Symbol of the Organical Worship of the Body , that same Organical Worship of the Body might notwithstanding be used at the same time with it , Why not now ? This was , one would think , sufficient to shew that it's signification of bodily Organical Worship , was not so essential to it but that , when that particular Reason should fail , it might notwithstanding be continued on other Considerations which might give no pretence of false signification , and inconsistency with the present Innovations of the Revelations peculiar to the Gospel . This I have shewn to be the only true Reason of the abrogation of all the particulars of the old Mosaick Law , as abrogation is understood by our Advarsaries , not only to make things unobliging but unlawful also . But how does our Adversary know that Instrumental Musick was a Type of our bodily organical Worship under the Gospel , or of any other particular Practice now in use ? No other Reason is pretended , but the general precarious presumption that all usages then practis'd , that were not Moral , must needs be so . The Apostle does indeed acknowlege , that of events , they were 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of what we might expect in the like Cases , 1. Cor , x. 11. He also owns that the Law in general had a shadow of good things to come . Heb. x. 1. But that every particular Imposition of the Law was a shadow of some particular Imposition that was to answer it under the Gospel , I know no Text our Adversaries can pretend to that could inform them . Many of the positive , as well as the Moral , Precepts of the Jewish Law , were adapted to the particular Exigencies of that Nation . Many were fitted to the Vices that Nation was generally more inclined to than other Nations , as Idolatry , Covetousness , &c. Many to those they were more in danger of , on account of their particular Situation , the Vices of their Neighbour Nations . Many to other Reasons and customs long since antiquated , as Maimonides has judiciously observ'd from the Caldean Writings by him ascribed to the Zabij . Many to particular Favors of Conversation , which God was in those Ages pleased to grant to other Nations , as well as his Peculium . Such were those of the Waters of Jealousy , of the ways of atoning unknown and involuntary Murthers , and the Oracles of Lots , and Prophets and Urim . Why should we think that such Laws as these should have any prospect farther than those Ages , and that Nation for which they were design'd ? Especially since the reasons of many of them failed long before the Publication of the Gospel ; and when they obtain'd , concern'd no other Nation whatsoever besides that of the Jews . OUR Adversaries might have been pleased to consider that the way of delivering even known Moral Duties under Mystical Symbols , was the usual Custom of those of those earliest Ages , even where no farther future Innovations were ever thought of . Such were the ancient Oracles , the Fables and Parables and dark Sayings and Riddles of the Wise. Such the Pythagorean Symbols , taken up from the Observations of the Customs of those Oriental Nations thro' which Pythagoras had travell'd for Cultivating his Knowledge , by the Inventions of those Nations that were then famous for Inventions . And so the Jews of the Apostles Age understood that by prohibiting the eating of Animals , God's true design was to forbid the Vices , of which those Animals were counted Symbols by the received Traditions of the Physiologers . So Philo and St. Barnabas , that I may confine my self to the Age that I am speaking of . These had no more relation to the times of the Gospel than of the Law , nor could be thought to be more obligatory then , than now . The Vices design'd by those Animals the Jews were oblig'd to avoid as much as we are , and in order thereunto , were obliged to understand the Mystical Senses intended by those Symbols . Nor are we more excused from the Mystical Sense than they , tho' we be not obliged by the letter of the Prohibitions of those Animals . The reason why such things were delivered by Mystical Symbols was not to conceal them from the Persons to whom they were delivered for any time , much less till distant events might come to pass ; but only to dispose the Hearers to receive them with the greater Reverence , according to the Customs of those times , wherein all wise and sacred Documents were so recommended , that too much familiarity might not expose them to contempt . Clemens Alxandrinus has at large shewn that to have been the Fashion of those Ages . But the Symbols we are concern'd for in judging what particulars of the Jewish Ceremonial law were to be abrogated in our Adversaries Sense , so as that from the time of the Publication of the Gospel , they were to become unlawful , and uncapable even of any new humane Sanction , were quite of another kind . These were purposely cotrived to be Symbolical , that they might not be understood till the Gospel was clearly publish'd ; and that , when it was sufficiently published , it might then be understood that all the changes that followed upon the new Revelations of the Gospel , were Originally designed by God. By their not being understood before they found themselves oblig'd , not to admit Gentiles to the Privileges of the new Peculium , without Proselytism of Justice and Incorporation into that particular Nation of the Jews . Perfectly agreeable to what God himself design'd till then . But from that time forward God intended his new Establishments of the Gospel should take Place , whereby Gentiles were to be admitted to these same Privileges , without the Condition of Incorporation . Thence forwards therefore it was necessary that there should be that evidence concerning what was to be abolished , that might satisfie , even the Jews by Nation , of their Duty of admitting Gentile Proselytes into the Peculium , without exacting from them , those particulars of the Mosaick Law , which were abrogated by the new Revelations of the Gospel . For they were Jews by Nation , who had then the Power of admitting into both Peculiums . The Old was in the Power of the Sanhedrin ; the New was in the Power of the Apostles , who were themselves also Jews by Nation , and under the same prejudices of Education with other Jews , from which they were to be reclaim'd by the Evidence of these new Revelations of the Gospel . This being so , it plainly appears , that it is not every shadow that is sufficient for our Adversaries purpose of proving a thing unlawful . A shadow consistent would only return to its own nature of Original indifferency , and would still be as capable as formerly of receiving a new Obligation from a new lawful Sanction . But the Symbolical shadowing , we are here concerned for , was to perfigure and predict a new and ungrateful Innovation of the Gospel , which should in course repeal some Custom , they were then in possession of as inconsistent with it , such could not be the Singing with the Organs of our Body , as shadowed by the old inanimate Organs . For vocal Musick was even then also in present use , not only future . It was not ungrateful to the Jews themselves , and therefore had no need of being conceal'd from them , till the times of the Gospel . It was not inconsistent with any other received Custom of theirs , which might have been abrogated by that inconsistency , not with that very Practice of Instrumental Musick which is pretended to have shadowed it . So far from that , that even then the Jews had been used to Practice them together . There can therefore be no pretence herefor shadowing a thing to come , when that same thing was in present use among the Jews themselves , and which could not therefore seem strange to them , and against which they could not therefore be possessed with any prejudice . SO little our Adversary would gain by it for his purpose , tho' his Observation had been true , that Instrumental Musick had been one of the shadows of the Mosaic Law. But the contrary will appear more likely , if he will be pleas'd to remember , that it is mentioned in Heaven , in the Revelations . Which by the way will make the way of Arguing from those Passages in the Revelations which mention Harping in the Heavenly Jerusalem , stronger than perhaps our Adversary vvas avvare of . For in the Reasonings of the Apostolical Age , the shadows of the Law which were made , as I have shewn , by Bezaleel , are directly oppos'd to the Heavenly things themselves , which are suppos'd to be the Pattern shewn by God to Moses in the Mount that was to be copied by Bezaleel . The shadow is said to be 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , Heb. viii . 5. as an imitation of them . The shadows therefore are call'd 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , to which the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 are professedly oppos'd by the same Apostle , Heb. ix . 23. If therefore Harping have any place in Heaven , it cannot , by this way of Reasoning , be reckon'd among the shadows of the Mosaic Law , which were to be abolished . These Archetypes are the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 hidden in the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 according to St. Paul , Col. ii . 3. exactly answering the Hellenistical Platonical Language of that Age from which the Apostle Reasons . The Platonists plac'd their 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 in the Contemplation of those Ideae in the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . The Pythagoreans from whom Plato borrowed his Timaeus , and who were more closely follow'd by Philo and the Hellenists , call the same thing 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which the Platonists call 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , as appears in their golden Verses . And the same Word is used by the LXXII , who are followed by Philo , who represent the Request of Moses thus , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . And 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 are Terms used in this same matter , by the same Philo. It is further observable , in the same Reasoning , that the Heavenly things are suppos'd to be Eternal . So the Platonists of their Ideae . Their 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 ( so they called their Archetypal Man ) was thought free from that Generation and Corruption to which Individuals were believed obnoxious . So St. Paul , The things which are not seen are eternal , 2 Cor. iv . 8. And eternal in the Heavens , v. 1. and where he speaks of the shaking of the Heaven and Earth , he mentions this event of that shaking , that it should be , that the things which cannot be shaken should remain , Heb. xii . 27. Who sees not that those Words of the Apostle , are designedly us'd concerning these very Changes which were to be made by the Gospel ? And that the Heavenly things , are those which are suppos'd uncapable of that shaking , and therefore to remain ? 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is the Word us'd by St. Paul , and plainly signifies the same thing with 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , in St. John. ii . 17 , and elsewhere frequently . The same Word is used on the same occasion , and in the same Sense by Philo , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 MENON : And we see how he opposes it to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . By this Reasoning therefore , Harping cannot be reckon'd among the shadows , nor can it be supposed abolished by the Innovations of the Gospel , if it be reckon'd among the Caelestials , which are not capable of being affected by the great shaking of the Gospel , and which must therefore remain unmoved under the Gospel Dispensation . This Argument will receive a farther Confirmation , if he will be pleased to remember farther , that the Gospel State supposed in the Reasonings of the N. T. is really suppos'd to be the same with that of the Caelestial Patterns shewed to Moses in the Mount , in imitation of which the Mosaic Dispensation was formed . And that even in this World , before its compleat Perfection , which it is to receive in the future State. Hence it is , that it is said , that the Jerusalem above , is even now , the Mother of us all ; That even now , we are Fellow-Citizens with the Saints in Heaven ; That our 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is there ; That here we are 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , as having here no abiding City ; that we are said to have actually sate down in Heavenly places . Who can therefore wonder , that considers this , if the Heavenly Jerusalem described in the Revelations , represent the present State of the Church of Jerusalem then on Earth ? Our Circumcision is the Circumcision made without Hands , Col. ii . 11. oppos'd to the Jewish Circumcision , made by Hands , Eph. ii . 11. Exactly as our Saviour is said to be a High Priest of good things to come , by a greater and more perfect Tabernacle , not made with Hands , that is to say , not of this Building , Heb. ix . 11. And as he is said , not to have entred into the holy places made with Hands , which are the figures of the true ; but into Heaven it self , v. 24. If the Tabernacle , and the Holy Places made without Hands , be Heaven it self ; why should we doubt , but that the Circumcision made without Hands , should have been then thought Mystical and Heavenly ? The same Apostle gives it else-were , as a Character of the things that were to be abrogated by the Gospel ; that the Reason of their abrogation , was their being made . So he tells us , yet once more signifieth the removing of those things that are shaken , as of things that are made , Heb. xii . 27. It seems plainly to allude to the Ectypes of the Tabernacle which were made by Bezaleel , in opposition to those Patterns of which there is no mention of their being made , but only shewn by God to Moses in the Mount. For their not being mentioned as made , is the same Reason for reckoning on them as not made in this mystical way of Reasoning , as it was to reckon on Melchizedeck's having no Father , no Mother , no Genealogy , no begining of Days , nor end of Life ; because none of these particulars are mentioned concerning him in the Scripture . Nor must this be call'd precarious Reasoning , in Interpreting Prophesies , being the usual way taken , ever since there were Prophesies in the Prediction of disstant future Events . The same thing is suppos'd in all those Places , where the things of the Gospel are called Eternal , in opposition to the things answering them under the Mosaic Law. So the Life promised in the Gospel , is call'd Eternal , in opposition to the Life promised by Moses , in Deuteronomy . So the Salvation of our Lord Jesus , is call'd Eternal , Heb. v. 9. in opposition to that of the Jewish Jesus , the Son of Nun. So his Redemption also is call'd Eternal , in opposition to the many Redeemers mentioned in many places of the old Testament , where the same Word is used in the LXXII . So the Inheritance of the Gospel , is likewise call'd Eternal , in opposition to the Inheritance of Canaan . So the everlasting Destrustion , the everlasting Consolation , 2 Thes. ii . 16 , The everlasting Covenant , Heb. xiii . 20. The everlasting Kingdom . 2 Pet. i. 11. The everlasting Gospel . Rev. xvi . 6. By the same Allusion it is , that the things of the Gospel are said to be things themselves , and the true things . So the Gospel Worshippers , are the true Worshippers , St. Joh. iv . 23. The Eucharistical Bread , the true Bread , in opposition to the Manna of the Israelites , St. Joh. vi . 32. The Holiness of the Gospel , the true Holiness , Eph. iv . 24. The Tabernacle of the Gospel , ( which none can doubt to be Heaven it self ) the true Tabernacle , Heb. viii . 2. For the Archetypal Ideae , were supposed only to have Truth in them , according to the Platonists . So Grace and Truth which came by Christ. is opposed to the Law given by Moses , St. John i. 17. And being stedfast to the Gospel Commuion , in opposition to the Communion of the Hereticks , is said to be the abiding in the Truth . All these Forms of Speech understood according to the Custom of that Age , do plainly suppose , that all the Heavenly Archetypes of the Law were Evangelical , and uncapable of any revocation that shouldymake them unlawful under the Gospel ; and that all the positive Institutions of the Gospel , were reckon'd on as Heavenly , and therefore Harpers , being mentioned in the Heavenly Jerusalem , must needs be supposed to have place among those antient Customs that were not to be abrogated . It is certain that Instrumental Musick could be it self no Shadow , according to the Doctrine of the Gospel , seeing the Evangelical Writers reckon it among the Heavenly Archetypes , which were the Truth and the Body that answered those Shadows . Nor is it any more difficult to prove Harps in Heaven , which the Adversary insultingly requires , than to prove a Circumcision there not made with Hands ; than it is to prove a Manna and a Bread there , that is the Food of Angels . This sure , is an easier Account of that Idiome in the Style of the new Testament , which my late excellent Friend Dr. More , called Israelitismus , than that insisted on by our Adversary . He might have been pleased to remember , two Israelitisms there mentioned , the Mystical , which by the Christians of that Age , was believed to be perfectly the same with their own Constitution , as consisting of a Body of Gentiles ingrafted upon the Apostles , who were themselves Jews by Extraction ; and the Literal , which was in some things contrary to the new Revelations of the Gospel , and so far , as it was so , abrogated by them . And it is certainly much more rational to Interpret them by the Israelitism they professed rather , than by that which they opposed . This was no other than the Native Language that was , in course , to be expected in their Circumstances . But the Event of this way of Interpretation will be quite contrary to what the interest of our Adversaries Cause will require . It will argue that the Israelitish Customs so alluded to , were still receiv'd by the converted Christians , and that they could be no part of those old Isarelitish Customs which were antiquated on account of their inconsistency with the Gospel . This therefore will confirm what I said before , that the Apostles still continued this Instrumental Musick in their capital residence , at least , whilst the quietness of their Circumstances in those troublesome times would allow them to do so . BUT there are Odours also , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , joiined with the Harpers , Rev. v. 8. and the viii . 3. 4. joined with the publick Prayers , exactly as among the Jews . This the Adversary makes an argument of , that it must have been the old antiquated Judaism that was here alluded to , not that which was approv'd by the Christans . I suppose he may think himself the more secure here , because even our Churches do not practice what here seems to have been practis'd by the Apostles . But he might have remembred that there were also several other undoubted Apostolical Practices which have been since discontinued generally , at least in the Reformation . Such were those of the Ecclesiastical Deaconesses , the Kiss of Charity , and the Feasts of Love. He , I confess , cannot account for this , who makes all things either Sins or Duties , thatare taken from Precedents of that Age , and allows no mean between those two Extremes . We can easily do so who believe that the Apostles themselves , as well as other Ecclesiastical Governours , took some things into the use of the Church from the civil Usages of their Age , which as they were prudent then , when they were in Civil use , so they may as prudently be disused now , when they have been so long antiquated as to their Civil use , and the particular Exigencies of those times are now ceased , which were the principal Considerations that then recommended them . But I see no reason why our Adversaries should believe that the use of Incense was not continued , even after the Destruction of the Temple , in the principal residence of the Apostles . It is to this Day practised by a far greater consent of the ancientest Churches , Greek as well as Latin ; nor can we find any Original of it , that can prove it later than the times of the Apostles themselves . It appears in the first and ancientest Liturgies of both Tongues . It is mention'd in those Canons which are therefore called Apostolical , because they who first gathered them into a Body , knew no Original of their Practice short of the Apostolical times . It is St. Jerome's rule , that the Immemorial Customs of each Church should be presum'd to have been Apostolical . This Rule was probably followed by this Author . Thus therefore there is reason to presume that this Custom might have descended from the Apostles themselves . We have indeed an express mention of it in an Author considerably antienter than the Collect of these Canons , that is , of the ancient Hippolytus , the Disciple of St. Irenaeus , and a witness of Apostolical Traditions : So he 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Tertullian is the eldest Latin Christian Writer extant , and he also mentions the cost the Christians were at in buying Frankincense , Tert. Apol. c. 42. Thura plane non emimus . Those are the Words of the Objectors , not of Tertullian . His own Answer follows , Si Arabiae queruntur , Scient Sabaei pluris & carioris suas Merces Christianis Sepeliendis profligari quam Dijs fumigandis . He mentions inded no other use of it but in Burials . He elsewhere excludes it from Sacrifices , where he tells us , That the Oblation offered by the Chrstians was not Grana Thuris unius assis , non Arabicae arboris Lachrymae , &c. c. 30. unless possibly he might intend some Emphasis in the Words unius assis , as a reproof of their Niggardliness in it , as Alexander the great is said to have reproved his Tutor Aristotle , for his having obstructed his native Magnificence , after his Conquering Arabia . This might have been opposed to the greater Expensiveness of the Christians on Franckincense mentioned in the former Place . But I am rather apt to think , that the Case of the African Churches might be somewhat singular . Tertullian mentions their being at first Converted by the Church of Rome , Praesc . c. 36. And as it should seem , at a distance from the Apostles , ib. c. 32. After the Church of Rome had taken a liberty of Innovating from the Practice of the Ephesian College of Apostles , in the keeping of Easter , under Xystus , It might do so in this Case as well as the other . But Hippolytus was originally of the East . It is certain the first Jewish Christians , the Apostles themselves , found it actually practis'd . It is withal certain that they as Jews were prejudic'd in favour of received Customs , so as not to disuse them , but upon some great evidence of Divine Revelation to the contrary . And where can our Adversaries find any express Revelation of the N. T. against this Custom ? Where can they find any new Establishment of the new Peculium inconsistent with it ? On the contrary the Apostle alludes to it in those Words of his , concerning the Alms of the Philippians , when he calls them an Odour of a sweet smell , a Sacrifice acceptable , well pleasing to God. These Words exactly answer the Custom of joyning Incense with their Oblations then practic'd in the Temple Worship , as it was also afterwards among the Christians . I see no reason why the Practice should be discontinued by the Christians . For these were Sacrifices allowed by the Pythagoreans themselves , who were against the bloody Sacrifices then generally received . This is plain from Porphyry . There is therefore no reason why they should be ungrateful to the Essenes themselves , who were of all the Jews best dispos'd to the Christian Religion . Withal they were common to the Jews with the Heathens , and therefore fittest for the old and new Peculium to unite in . So far from any repugnancy to that Union which I have shewn to have been the true reason of the abrogation of those old Jewish usages , which were indeed abrogated by the Christian Religion . If our Adversaries ask how we can discharge our selves from the obligation of these things if we believe them lawful , the answer will be very easie on the Principles now proposed . By being excused from Circumcision , we Gentiles , are discharged from all the Impositions God was pleased to lay on the Jewish Nation , since we are not now any longer oblig'd to any Incorporation with them . And this is sufficient to leave things of this nature in their original indifferency as to Us , as if they never had been impos'd . HOWEVER our Adversary pretends , That the Fathers reason as he does ; that they also own Instrumental Musick peculiarly fitted to that State of Nonage , in which the Apostle supposes the Jews under the old Law. St. Chrysostome makes such Musical Instruments rather permitted than imposed . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Isidore Pelusiote says , they were born with 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . And the Author of the Quaest. ad Orthodox . very probably Justinus Siculus , who lived in the time of Pope Faelix II , tells us , that it is not so proper for a State of Infancy , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , to sing Simply , but to sing with inanimate Instruments , &c. If these things had been true , it would have been an Indignity below the honourable State of the Gospel to have used these things now , and a false signifying that we were not yet past that State of Childhood , from which it was the design of the Gospel to free us . But we must always distinguish between the Reasonings and the Testimonies of those original Conveyors of our Christian Religion to us . In their Reasonings they had no more advantage than other Men : Especially where they lived at any distance , and were therefore any way suspicious of not keeping close to the Reasonings of that Age whose Traditions they pretend to gather by their Reasonings . For of these Reasonings we can also judge as well as they , whether they were agreeable to the Reasonings to which the H. G. accommodated his Revelations , that they might be rightly understood in the sense in which he intended them . For the Reasonings of their own Age could no farther contribute thereto , than as they still continued the same with those of their Age , wherein the Holy Ghost was pleased to discover and publish his new Revlations relating to the peculiar constitution of the Gospel . But the reasonings of the Age of Clemens Alexandrinus , who is the first of those produced by our Author , were by no means fit to inform him in this matter ; much less of those later Fathers , who lived at so much a greater distance from the Age of the Apostles . They cannot , they do not , pretend any one Author of the Apostolical Age who shewed them a Precedent of this way of reasoning . They had none of that Age that ever reckoned Instrumental Musick among the Rudiments and Elements of the Childish State , which were in course to be antiquated as soon as the Peculium should attain to their perfect and adult Age. On the contrary its being mentioned by the Apostle in Heaven , shews that it was impossible by the reasonings of that Age , that it could have been reckoned among the Rudiments and Elements of Children . For there all are supposed to have arrived to the fulness of the measure of the Stature of Christ : Which Words do plainly describe the Age of Adults , in opposition to that of Children . And indeed 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 in that place would be better Translated Age than Stature , being opposed rather to the Age than the Stature of Children . So the Saints in Heaven are said to be perfect , as the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is opposed to 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , not only in the Scripture , but also in ordinary Classick Authors . Nor can I understand how our Adversaries could possible excuse the Apostles themselves from this Notion of Childishness , whilst even they Communicated with this Instrumental Musick of the Temple , if the bare Observance of , that Musick had been taken for an Element and Rudiment of Children . These Reasonings from the Sense and Practice of the Apostolical Age and Writers , are far more certain for proving the Sense of that Age , than the reasonings insisted on by our Adversary from the Sense of those Fathers , who however superiour to us , were yet confessedly later than the Age of greatest Authority , that of the Apostles THOSE very excellent Persons did not sufficiently consider how very easy it was , for matters of this Nature to be discontinued , without the least dislike of those immediately succeeding Ages , that discontinued them . Supposing this Musick proper for the Jerusalem Sacrifices , as they were plainly in the Temple of Jerusalem , there could be no pretences to them in any other Church in the World , besides the Head Church of Jerusalem , where the first Apostle had the same right over all the Churches in the World , as the High Priest of the Jewish Sanhedrin had over all the Jewish Synagogues , in all their Dispersions . This was an easie Account why this Practice of Instrumental Musick might have been reserved to the Apostolical Church , till that Church was utterly extinguished by the Death of the last Apostles . After the last residence of the Apostolical Body at Ephesus , in Trajan's time , all the Churches in the World , were equal to that Church where the Apostles had made their last residence , and equal withal among themselves . Then they might , if they pleased , have taken up that same Custom universally . But were very unlikely to do so , having never till that time used it . And for any one single Church to have done so , when the rest did not so , would have been thought invidious and assuming . It might have been Interpreted as a Challenge of the Catholick Jurisdiction , to have alone exercis'd the Prerogative of that Church , which before had a Right to a Catholick Jurisdiction . So Solomon Interpreted it in his Brother Adonijah , that de desired one of the Royal Concubines . For they also followed the right of the Crown , as appears from the 2 Sam. xii . 8. This was far from the Humility of those Times , and gives a clear Account , why it might have been universally disus'd , how lawful soever it might have been thought otherwise . But this could be no hindrance why it might not have been resumed afterwards , by any particular Church that pleased , when there was no danger of that Consequence . When the memory of the Apostolical prerogative was lost , and when no Title could be pretended for any particular Church in the World , why it should succeed to the Apostolical prerogative . The pretence of the Church of Rmeisfar later than these earliest itmes of Christianity , of which I am now speaking . However it was very natural for their earliest Successors , when they sound this Practice discontinued in Fact , to impute the discontinuance of it , to some disapprobation it had receiv'd from the Christian Religion ; and to bethink themselves of some such Reasons as these produc'd by them why it might have been disliked by them who discontinued it , as unsuitable to the Dignity of the new Peculium . But I have shewn , that this Reasoning of theirs in this particular , could not possibly be the Reasoning of the Apostolical Age , who both actually Communicated with Instrumental Musick , and who allowed it a place in Heaven , which was not accounted the Place of Rudiments and Children , according to the Hypothesis of mystical Reasoning . This is abundantly sufficient to discharge us from any Obligation to be concluded by the Reasonings of these Fathers in this particular , how great a Veneration soever we may profess for their Authority in attesting Traditions , either of their own Age , or the Apostles . Indeed the whole design of this Topick of Reasoning from the State of Nonage and Rudiments was , not to prove the observation , even of the externals of the Mosaic Law unlawful , but the stopping at them , so as not to admit the farther Discoveries of the Gospel . The 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is opposed to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Eph. iv . 13. And to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which was when God sent his son made of a woman made under the Law , Gal. iv . 4. This was to stop at the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 ( so the Law is called , Gal. iii. 24. ) whose Office was to bring us to Christ , if then they refused to be taught by Christ , but chose rather still to continue under the Discipline of the Paedagogue . That was indeeed a keeping themselves back from enjoying the Benefit of that fullness of Age , which , as we have seen , commenced with our Saviour's Dispensation . And it was a listing themselves with Children , to keep still to the Paedagogue , who by the Discipline of that Age , was a perpetual Companion and Guardian of the Morals of unadult Persons , till they reached those Years of Discretion that might make it safe to trust them to themselves . This did not therefore in the least make the practice of the Law Childish , whilst they used it as the Apostles themselves did , in subordination to the new Discoveries of the Gospel , that is , whilest they observed only those particulars of the Law , which were consistent with the Gospel . Which will neither save the ends of those Fathers , nor our Adversaries . The 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 plainly allude to the things wherein those Youths which were under the Discipline of Paedagogues , were usually Instructed . Especially during the former part of that Discipline . That was Grammatical Learning , wherein they were Instructed by their Grammarians and Literators , the Letters themselves being properly call'd 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . But as this Word is used here , it plainly denotes the Ectypal resemblances of the Law , in opposition to the Evangelical Heavenly Archetypes , which were supposed to answer them under the Gospel . So Mount Sinai is said , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , Gal. iv . 25. Here we have the true Notion of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , as it is used by St. Paul. Mount Sinai in Arabia , the portion of Hagar the Handmaid , is supposed to be a 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . That is in opposition to Mount Sion , the Mountain of the true Peculium , which answered is as the portion of Sarah the Free-woman , the Mother of the true Peculium . So the very antient Author teaches , de Montibus Sinai & Sion , by some ascribed to St. Cyprian . Agreeably enough to the Notions of the new Testament , where we frequently find Mount Sion mentioned , as that wherein the Archetypal Mystical Peculium was alone concerned Rom. ix . 33. xi . 26. Heb. xii . 22. 1 Pet. ii . 6. Rev. xiv . 1. This being indeed the Title by which the Peculium is designed in the old Testament , wherein it is so frequently called the Daughter , and the Virgin Daughter of Sion , never of Sinai , tho' thence it was , that Moses received his Law. Accordingly the Jerusalem that is now , is said also to be a 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , that is another Fellow 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , in the same Sense , wherein the Word had been used of Mount Sinai in opposition to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is the Mother of us all . Gal. iv . 26. In both Cases the Worldly Figures are so called in opposition to the Heavenly Archetypes of the Gospel . They are therefore called the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , Gal. iv . 3. Col. ii . 8 , 20. As 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is opposed to 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . It is the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , Eph. vi . 12 , in opposition to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is always ascribed to the Messias . So the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , Heb. ix . 1 , is opposed to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , v. 24. And as I have shewn , that the Church here on Earth is called Heaven , so the deserting the Church is called , the loving this present World 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , 2 Tim. iv . 10. opposed as I said to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of the Messias . These 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 are called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , Gal. iv . 9. They are first called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , as 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 are joyned together . Rom. xv . 1. So the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Rom. viii . 3. The plain Importance of these Expressions seem to have been this , That in the Reasonings of the New Testament , in matters of this Nature , the mystical Benefits represented and covenanted for , by these Symbols of the Law , were never supposed to be performed by the Symbols them selves , otherwise than as they represented and applyed the Archetypes , answering them under the Gospel . Thence it followed that in separation from those Evangelical Archetypes , the Legal Symbols must have been perfectly useless and insignificant , in relation to those greater Benefits expected by them which of themselves they were no way able to perform . So the Apostle to the Hebrews tells us , that it was not possible that the blood of Bulls and Goats should take away sins , Heb. x. 4. Why so , but to let his Nation see the necessary Obligation that lay upon them to qualifie themselves for being received to the Christian Eucharistical Sacrifices , which answered those bloody Sacrifices under the Gospel , if they desired the mystical Benefit of a true Expiation : So he again Warns the Galatians , That in Christ Jesus , neither Circumcision availeth nor Uncircumcision 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , any thing , but the new Creature 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , Gal. vi . 15. Here we see the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 in opposition to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is ascrib'd to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 in Baptism , which was Instituted instead of Circumcision under the Gospel . For the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 was alone to be expected by the Spirit , which was the Prerogative of our Christian Baptism . This was the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Rom. xii . 2. and the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is joined with the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Tit. iii. 5. which could be no other than that of our Christian Baptism , as it is also described St. Joh. iii. 5. This , by the way gives a clear account why the Law is said 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Rom. viii . 3. For Flesh is ordinarily used in the old Testament also as a Symbol of Weakness , as the Spirit is of Strength . And the Apostle plainly warns that the Spirit was not received by the works of the Law , but by the hearing of Faith. Gal. iii. 2. So the Apostle shews that the literal Jerusalem , to which the separating Jews pretended , could give no Title to that Liberty which both Parts agreed to be a privilege of the true Peculium , as the Off-spring of Sarah the Free Woman . So far from that , that he observes that that Jerusalem was even then in Bondage with her Children . But the Jerusalem , continues he , which is above , is Free , which is the Mother of us all . Gal. iv . 25. 26. So he also elsewhere observes , that it was the Seed of Abraham's Faith , not of his Flesh that had a just Right to Inherit the Promises made to his Seed . Rom. iv . 10 , 11 , 12 , 13 , 17 , 18. ix . 7 , 8. This therefore seems to be the true account why the legal Symbols are called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 when compared with the Originals which were to succeed them under the Gospel . The same 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 are also said to be 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , Gal. iv . 9 , Plainly in opposition to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is frequently ascribed to the Mystical Spiritual Benefits expected by them , but in vain . For the Reasoning of the Apostles supposed , that they are really to be expected only from the Rites which were to succeed those legal Symbols under the Gospel . So we read the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Rom. ii . 4. the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , Rom. ix . 23. Eph. iii. 16. Col. i. 7. the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Rom. xi . 33. Alluding all to the Mystical Senses of the Law , and the Benefits signified and conveyed by them . So again the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Eph. i. 7. with relation to the Spiritual 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 so literally poured out then upon the Christians , but not on the dividing Jews , who kept to the literal Institutions of the Law , which afforded them no Riches of this kind , whilst they obstinately persisted in their Separation . Justly therefore they might be stiled in this Sense Poor , when compared with the richer Institutions of the Gospel , which in that Age , yielded these invaluable Treasures of Wisdom and Knowledge in so very great abundance . The same Expression of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 with relation to the mystical Benefits of these external 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 thus explained , is used also in Philo * before St. Paul , as well as Ignatius after him . This is abundantly sufficient to shew , that these are the true Interpretations of the Expressions objected by our Adversaries , according to the Notions and Language of that Age. THESE things thus explained , will make it appear how very different the Reasonings of these Fathers and our Adversaries are in these Matters , from those of the Apostolical Writers from whom they borrow them . The whole design of them as used by the Apostolical Writers , is against Jews , who either would not come over to the Christian Communion on the terms prescribed by the Gospel of Communicating with the Uncircumcised Gentiles in the Holy Offices of the Christian Religion , or who were inclined to a defection from it , as soon as they understood that these terms were expected from them , out of zeal for their former Notions , which were contradicted , and at length abrogated , by these new Revelations of the Gospel ; and out of zeal for their whole Law , which was imposed on them as a particular Nation , and on the Gentiles , whilst their Incorporation into that particular Nation was required by God as a Condition of their Admission into the true Peculium , which now they found repealed by these new Revelations of the Gospel . The using these Rudiments without a design of defection was so far from being blamed by the Arguments now mentioned , that it was practised by the Apostles themselves , as Jews , till the dissolution of the Temple ; that it was urged and insisted on by those many Myriads of believing Jews , who were zealous for the Law , with a perfect good understanding with the Apostles ; that St. Paul himself , who had said most of any against the Obligation of the Law , comply'd with them , and was urged to do so by the chief Apostle St. James , But a breach is plainly supposed in the Arguments insisted on by our Adversaries . A not coming over to Christ , or relapsing from him , and stopping with the Paedagogue who was to , bring them to Christ , was that which was to continue them in , or reduce them to the State of Childhood . This made them Rudiments and Elements , when they went no further than the Mosaick Institutions . This made them weak and beggariy when separated from the Gospel Institutions , which were alone supposed able to confer the mystical Benefits Convenanted for , as well as represented by those legal Symbols . This made them beggerly when they kept them off from the Evangelical Archetypal Symbols , which were thence forwards appointed by God , as the only ordinary conveyancers of that riches of Grace which the separating Jews in vain expected from their own Symbols . This was the true dispute of great Importance in that Age , in which the Arguments now mentioned , were insisted on with great Prudence and Strength . The Error confuted was the depending on Circumcision for the Incorporation into the true Peculium , which could no longer be expected without our Christian Baptism . And the depending on the Temple Sacrifices for all the Benefits of the Heavenly mystical Sacrifice , which were thenceforward to be expected from our Christian Eucharist . The contenting themselves with the literal Circumcision in the Flesh for their intitling themselves to the name of the Seed of Abraham , and the Promises made to them that were so , without the Faith of Abraham in the Messiah , which he had when those Promises were made to him before his carnal Circumcision , as the Apostle observes . Rom. iv . 9 , 10 , 11 , 12. These and the like were the Weak and beggarly Elements spoken of by St. Paul , when depended on for the Benefits which they were not able to perform ; and that in separation from those means by which alone they could be performed by the new Revelations of the Gospel . And this Reasoning was very proper to oblige all Jews to come into the Christian Communion , and to continue in it , if they desired the mystical Benefits conferred formerly in the Jewish Communion alone , before the Gospel Revelations had altered the Case , but not afterwards . But then these Reasonings conclude nothing against the very same abrogated Symbols , if practiced in unity with the uncircumcis'd Believers much less if the same things had been observ'd by the Ecclesiastical Power of the Church , without regard to the old Imposition of Moses . For the latter could oblige all its own Subjects , which the former could not do , being only obligatory to the Jewish Nation . Here therefore there was no Enmity , no Wall of Partition , which might any way tend to the dissolution of their common Body and Communion . Withal it is plain that this Reasoning extends to no other Jewish Customs but those only who were thought to entitle to some mystical Benefits represented and conveyed by them , till God had declared it otherwise by his new Revelations . And therefore it is to no purpose , in reference to this design , to find a thing represented by the Jewish Symbol , unless it be a mystical Benefit , to which it was to entitle from God as a Covenanting Symbol Instituted by him . In vain therefore does our Adversary pretend that Instrumental Musick shadowed our Worship with the Organs of our Bodies . Had that been true , yet it had been nothing to the purpose in relation to the design of these reasonings . That had been a Duty , not a Benefit , which is plainly supposed as pretended to in all the Instances of these Reasonings . It was their losing the Substance conveyed by the shadow , on which all the force of the Argument depends , that is drawn from the Appellation of shadows . The Weakness of the Elements or Rudiments of the Mosaick Law , as argumentative in this Case , implies their insufficiency to convey the Benefits , as their Beggarliness implys their Inability to confer the Mystical Riches that were expected from them . If therefore our Adversary will make Instrumental Musick a Shadow or a Rudiment , he should bethink himself of some Mystical Benefit represented and conveyed by it under the Law , but now conveyed by some other Institution succeeding it under the Gospel . For this is absolutely requisite to make it now an empty Shadow , and a weak and beggarly Element . And what may that be ? Is it the admitting us to the Joys of the Heavenly Society , represented by Instrumental Musick ? And why may not the like use of Instrumental Musick entitle us to that now as well as represent it ? I have shewn that the Gospel Symbols are supposed as best qualified to give us a title to any thing Heavenly , by the Reasonings of the New Testament . I have shewn , that by the same Reasonings the same Title is denied to the legal Symbols in a Statee of Separation from the Communion of the Church . I have shewn that the contrary is supposed , by the same Reasonings , concerning the Symbols of the Church , that they , and they alone , are supposed sufficient to perform what is represented , and Symbolically Covenanted for by them . The weakness and beggarliness of what would otherwise have been useful , do more concern our Adversaries than Us , who practice even their Vocal Musick , as the Jews did , in a Seperation from the truly Original Apostolical Communion . The good God open their Eyes , and make them truly sensible of it . Thus I think I have obviated all that has been said or can be said , from our Adversaries Principles , with relation to my own principal Argument ? And I have not leisure to follow him in things less necessary to my own design . FINIS . Notes, typically marginal, from the original text Notes for div A36257-e180 Ans. p. 2. Anno. 1696. Ans. p. 66. Ans. p. 3. 4. Ans. p. 24. * Called by Mr. Long the Papists Scourge and Horrour . * Nothing can make an honest Man suspect our Church of Popery but his Ignorance what Popery is . London Cases . p. 493. Rev. 17. 4. * This Sign , both Tertullian and St. Cyprian , allow was used from the time of the Apostles , & continued in use in the time of Constantine the Great , and therefore could not be an Invention of the Papists . Opus . p. 326. Mr. Long 's Calv. Redivivus , p. 72. Serm. p. 13. * The judgment of the Foreign Reformed , &c , p. 47. * Scrupulus est formido Temeraria , & sine fundamento , atque adeo nou petest obligare . Amesius de Consc. l. 1. 1. 6. Ans. p. 37. Anno 1680. * I have seen a MSS bearing that Title , which fully proves the matter of Fact , and it is hoped will shortly see the light . * Another MSS written in the time of Q. Eliz , called a dutiful Advertisement to beware of the Puritans by the Papists , and of the Papists by the Puritans ; discovering the great Coherence and agreement between both the Sects , in manifold and divers regardable both erroneous and perillous Positions , &c. See this at large , proved in the Compendious History of all the Popish and Fantical Plots and Conspiracies against the established Government in Church and State , in England , Scotland , and Ireland , from the First of Queen Elizabeth , to 1684. By the Reverend Mr. Tho. Long of Exon. The use of the Crucifix allowed by Mr. Baxter and called , Causa Motiva , &c. Care of Ch. Div. See Mr. Longs Calv. Redivivus , p. 10 , &c. Calvinus in Libro de necess . Reform . Ecclesiae . In his Introduction to History , p. 406. 1 Cor. xiv . 26. 40. His Letter to King James the First . Epist. 40. ad . Clem. Salin . Serm. p. 14. Ans. p. 39. Epist. to Bp. Morley . In the Preface to his Fathers Answer to Perr●n . In his View of the Government and publick Worship of God in the Reformed Churches beyond the Seas , and shewing their Agreement and Conformity with the established Church of England , p. 91 , 92. * At large set forth by Mr. Long in his Calvinus Redivivus . See the Letter to a Member of the House of Commons , shewing the judgment of Foreign Reformed Churches , concerning the Rites and Offices of the Church of England , 1690. P. 494 of his VVorks . Sir Edwin Sandys . * London Cases , p. 493. Folio . Serm. p. 6. Ans. p. 11. Annot. in Ps. 150. Duty of singing , Ch. 2d . 3d , and 4th . On St. Caecilias Day 1695. in Ps. 100. 1. p. 11 , 12. See Origen Sacr. p. 159. Ans. p. ● . * Dr. Sherlocks Sermon at St. Pauls , Novem. 22. 1699. Ans. p. 9. Ex. xv . 20. 9 Sam. 6 , 14 , Psal. 149. 3. 150. 4. Levit. xii . 3. Gen. xvii . Ans. p. 11. Serm. p. 9. Ans. p. 12. Gen. 17. 7. 9. Deut. 29. 10 , 11 , 12. Mat. 28. 19. Acts 2. 39. 1 Chron. 15. 16. 4. 25. 6. 2 Chron. 29. 25. Psal. 149. 3. 150. 4. Duty of Singing , p. 403. Mr. Burket of Infant Baptism , p. 8. In Loc. Ans. p. 21 , 22. Ans. p. 77. In Psal. 150. Paedag l. 2. c. 4. Basil Homil. in Psalm 1. Ser. p. 9. 10. Ans. p. 14. p. 83. Ans. p. 18. Psalm 137. Duty of singing . p. 464. Serm. p. 15. Ans. p. 41. p. 20 , 21 , 22. Ans. p. 17. and p. 32 Dr. Battel in his Serm. of the Lawfulness and Expediency of Church musick , p. 9. A. C. 373. Chap. 2. p. 298. * Lib. Conf. 9. c. 6. * 'T is said he Composed 37 or more . And St. Hilary , St. Gregory and St. Bernard did Compose ! many others for the Service of the Church . * De emend . Temp. l. 7. p. 684. † Hist. Eccles . l. 2. c. 7. H. Isid. Pelus l. 1. c. 90. Ecol . Pol. c. 5. p. 37. Serm. Nov. 22. 1699. p. 12. Is. 6. 1 , 2 , 3. * Dr. Burnet's Hist. of the Refor , mation , Pt. 1. p. 526. Fox's Acts and Monuments . p. 1104 2. 60. p. 1107. 2. 70. * Dr. Sherlock's Serm. p. 7. * Homily in Ps. 150. 1 Sam. 10. v. 5. p. 59. p. 50. ●●n . 3. 13. 16. * Assertemihi Psalten , qui Sc. Instrumenti Melodi i auferat perturbationem animi & tumultuarios in me sedat Cogitationes quae Prophetiae non a imittunt Speritum . Ans. p. 33. * In his Fasciculus Controvers . Theol. Bp. of Cork p. 434. * Com. in 1 Cor. 14. * Psalmus est in quo Concinendo , adhibetur Musicum aliquod Instrumentum praeter Linguam . Comment . in Ps. 33. 2. * View of the Government &c. p. 39. This is flatly denyed by the Ans. p. 43. * Ans. p. 37. See Ravil Redivivus . Letters from the Borders . * See the Judgment of the Foreign Reformed , &c. in a Letter to a Member of the House of Commons ' p. 46. p. 45. * The Reveverend Mr. Richard Newte , Rector of Tiverton . Ans. p. 43. * Durel's View , &c. p. 38. 39. * Bp. of Cork ▪ Ans. p. 56. * On Col. 3. 16. Multiplex & Magnus est usus hujus Musicae , &c. * Vind. Eccles . Angl. c. 27 Ans. p. 43. Serm. p. 16. Ans. p. 37. Ans. p. 5● Dr. Durel nforms , us p. 38. Ans. p. 39. As he says Ans. p. 43. The forth & following v●rses of that Psal. are directed to the Gentiles , to all People in the Christian Church . * In his Considerations touching the Liturgy of the Church of England , p. 35. Ans. p. 49. Entitled the Excellency of the Ch. of England above that of Geneva . * Duct . Dub. l. 3. p. 670. Fourth Edition . Non habet Deum Patrem qui non habet Ecclesiam Matrem . Cypr. * Ans. p. 82 , 83 , and 84. Obj. 1. Ans. p. 82. Ans. p. 82. 83. Obj. II. * In his View of the Government & public worship of God &c. p. 39. 1 Cor. 14. 26. 40. See the Preface to the Book of Common-Prayer , writ by Bp. Sanderson . And of Ceremonies , why some be abolished & some retained . Obj. III. Ans. p. 8● . Ephes. 6. 19. See the Criticks . Proprie Refertur ad Instrumenta , notatque modulationes Artificiosas certiscae●uris & numeris incisas — Psalmos olim ad Harpam h. e. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 vel 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 decantatos fui●●e . Cui rei & Patres Astipulantur , Hilarius , Augustinus & alij . Qui quomodo Mysticum etiam in hoc Instrumento quaesiverint Concentum , iu Ipsorum Scripti● videre est Gualtperus in Loc. Bp. of Cork p. 443. Dr. Sherlock . Object . 4. Ans. p. 84. Notes for div A36257-e15150 I. The Apostles communicated with Instrumental-Musick after their declaring against the obligation of the Mosaick Law on Gentile Proselytes ; and therefore could not thereby intend to condemn it as unlawful . Acts xx . 16. Acts xxi . 20 , 21 , 24. Dialog . cum . Tryphon . II. So did the Gentiles also , as far as it was in the Power of the Apostles to permit them . III. The Apostles reasoned from the Law to the Gospel otherwise than our Adversaries do now . 1 Cor. ix . 13. 14. 1 Cor. ix . 9. 10. 1 Tim. v. 17. 18. 1 Cor. vii . 14. Acts xvi . 1. Clem. Rom. ep . ad . Corin. IV. And indeed were to be presumed most likely to do so , considering their Education . V. The chief new Revelation made to the Apostles , was that the Gentiles might be admitted into the new Peculium immediately without Circumcision . Acts x. 44. Acts xi . 18. Acts xiv . 2● . xv . 4. 12. Gal. iii. 2. VI. This was consequently a repeal of the Mosaical dispensation , so far as it was inconsistent with it . Gal. iv . 24. Heb. viii . 6 , 8. xii . 24. Heb. viii . 7. VII . Those Particulars were indeed inconsistent which are supposed unlawful in the N. T , VIII . This inconsistency cannot be pretended in the Case of Instrumental Musick . Acts xxi . 26 Hebr. xil . 26 , 27. IX . The Apostles argue even in abrogated Instances from the Law to the Gospel , so far as the parity of reason still holds . 1 Cor. ix . 9. 10. X. The same Reasons which made Instrumental Musick fit for Sacrifices in the apostles days , make it fit still . Pli. l. x. Ep. 97. 1 Sam. x. 5. 1 Chr. xxv . 1. Rev. v. 8. xiv . 2. xv . 2. XI . The Benefit of Musick in Holy Offices thought natural , and not ascrib'd to any extraordinary Providence . XII . The Influences of Good and Evil Spirits upon Man , such as may be promoted or obstructed by Instrumental Musick . Apology . de Morb. Sac. Recog . l. v. c. 17. Clem. Hom. x. c. 10. Ovid. Met. xv . v. 389. Plin. N. H. x. 66. Plut. Cleomen . AEli . de animal l. 1. c. 51. XIII . Such a Notion of the Spiritualness of our Religion as makes uncapable of Sensible Assistances , is fundamentally inconsistent with the Doctrine of the Apostolical Age. Ap. Jambli . de myst Egypt . Porphy . vit . Plotin . XIV . The same Reasons that prov'd Bodily worship useful in the Mosaick Discipline , prove it so still . XV. The VVorship of God in Spirit , not oppos'd to that which is Sensible & Corporeal , but to the Literal Sense of the Law of Moses . Heb. viii . 5. x. 1. Col. ii . 17. Col. ii . 9. Heb. viii . 2 , 5. ix . 24. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Philo. Alleg. Leg. l. 11. p. 79. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 de Plantat . Noe. p. 218. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 de Somn. p. 596. XVI . Nothing therefore can be Objected to Instrumental Music that is inconsistent with the spiritual Nature of the Worship of the Gospel . XVII . Pomp and Magnificence of the external Worship , is not inconsistent with the Design of the Gospel . S. Mat. xxvi . 7 , &c. S. Mark xiv . 3. S. Luke . vii . 36. S. Joh. xiii . 7. XVIII . Magnificence not repugnant to the Simplicity of the Gospel . XIX . Sacred Dancet not unlawful , but not therefore necessary to be restor'd , if Instrumental-Musick beso . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Plutarch , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Jud. xv . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , &c. Ep. ad Ephes . N. 4. Strom. 1. XX. The Jewish Circumcision contrary to the Design of the Gospel . The Gentile nothing to our Adversaries purpose . The Case of neither of them like that of Instrumental Musick . XII . No Bloody Sacrifices whatsoever were fit for the Design of the Christian Sacrifices . Suet. Aug. c. 93. Spartian Adri. Porphyry de Abst. XXII . No Reason for opposing the first Impositions whilst Lawful , for fear of Rigours afterwards . XXIII . The ceasing of Instrumental Musick , Rev. 18. 22. describes a great Calamity , but does not prove its unlawfulness . XXIV . Dr. Lightfoots Observation , that the Temple Worship was wholly Ceremonious , and the Synagogue VVorship wholly Moral , is not true . Diss. Cyp. 1. Contr. Apion . XXV . Tho' Instrumental Musick had been a Shadow of the organical Worship of our Bodies under the Gospel , that would not prove it inconsistent with it . Yet that it was a Shadow of it , cannot be easily proved . XXVI . All Symbols of those times did not foretel any future Innovations which should abolish them . Instrumental Musick could not be abrogated by the Organical woship of the Body , as being a shadow of it . XXVII The Harping in Heaven could not by the Reasoning of that Age , be taken for a Shadow . Aur. Carm Pyth. Leg. Alleg. L. II. p. 79. Heb. ix . 12. 2. Thes. i. 9. XXVIII . Incense might have been us'd by the Aposties after the destruction of the Temple . Can. ap . 2. gr Ora. de consum . Mund. Phil. iv . 18. XXIX . The reasonings of tho Fathers produc'd by our Adversary in this Cause , are quite different from those of the Apostolical Age it self . XXX . The next age to the Apostles seems to have discontinued Instrumental Musick with out any dislike of it . The true design of the Reasoning from the State or Childhood , and Weak and Beggarly Elements explained . * 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , Phil. de Ops. M●act , p. 5. XXXI . So explain'd they conclude nothing to the purpose of those Fathers or our Adversaries . Act. XXI . 20. 23 , 24. 
A55066	----	An introduction to the skill of musick in two books : the first, the grounds and rules of musick, according to the gam-ut, and other principles thereof, the second, instructions & lessons for the bass-viol, and instruments & lessons for the treble-violin / by John Playford ; to which is added, The art of descant, or composing musick in parts, by Dr. Tho. Campion ; with annotations thereon, by Mr. Chr. Simpson. Playford, John, 1623-1686? 1674 Approx. 206 KB of XML-encoded text transcribed from 97 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2003-01 (EEBO-TCP Phase 1). A55066 Wing P2480 ESTC R11472 13118854 ocm 13118854 97795 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A55066) Transcribed from: (Early English Books Online ; image set 97795) Images scanned from microfilm: (Early English books, 1641-1700 ; 749:16) An introduction to the skill of musick in two books : the first, the grounds and rules of musick, according to the gam-ut, and other principles thereof, the second, instructions & lessons for the bass-viol, and instruments & lessons for the treble-violin / by John Playford ; to which is added, The art of descant, or composing musick in parts, by Dr. Tho. Campion ; with annotations thereon, by Mr. Chr. Simpson. Playford, John, 1623-1686? Simpson, Christopher, d. 1669. Lowe, Edward, d. 1682. Campion, Thomas, 1567-1620. Art of descant. The seventh edition, corrected and enlarged. [15], 121, [3], 42, 10, [2] p. : ill., port., music. Printed by W. Godbid for J. Playford ..., London : 1674. Added t.p. on p. [2] following p. 121: The art of descant. "Rules and directions for singing the Psalms": p. 71-89. "The order of performing the divine service in cathedrals and collegiate chappels" from Edward Lowe's Short direction for the performance of cathedrall service: 10 p. at end. Advertisement: p. [1]-[2]. 1st edition published in 1654 as "Breefe introduction to the skill of musick, for song and viall." According to Grove's Dictionary of music, but one copy of that impression is now known. 1st edition of Campion's "Art of descant" pub. probably about 1618, under title: "A new way of making foure parts in counter-point." Reproduction of original in Huntington Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. 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Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Music -- Handbooks, manuals, etc. -- To 1800. Violin -- Instruction and study. Viola da gamba -- Instruction and study. Counterpoint. 2000-00 TCP Assigned for keying and markup 2001-12 SPi Global Keyed and coded from ProQuest page images 2002-01 TCP Staff (Michigan) Sampled and proofread 2002-02 TCP Staff (Michigan) Text and markup reviewed and edited 2002-03 pfs Batch review (QC) and XML conversion Iohannis Playford Effigies portrait of John Playford AN INTRODUCTION TO THE SKILL OF MUSICK . IN TWO BOOKS . THE FIRST : The Grounds and Rules of MVSICK , according to the Gam-vt , and other Principles thereof . THE SECOND : Instructions & Lessons for the Bass-Viol : AND Instruments & Lessons for the Treble-Violin . By IOHN PLAYFORD . To which is added , The ART of DESCANT , or Composing MUSICK in Parts . By Dr. THO. CAMPION . With Annotations thereon , by Mr. Chr. Simpson . The Seventh Edition , Corrected and Enlarged . London , Printed by W. Godbid , for I. Playford at his Shop in the Temple near the Church . 1674. PREFACE To all Lovers of MVSICK . MUSICK in ancient Times was held in as great Estimation , Reverence and Honour , by the most Noble and Virtuous Persons , as any of the Liberal Sciences whatsoever , for the manifold Uses thereof , conducing to the Life of Man : Philosophers accounted it an Invention of the Gods , bestowing it on Men , to make them better conditioned than bare Nature afforded ; and concludes a special necessity thereof in the Education of Children , partly from its natural delight , and partly from the efficacy it hath in moving the Affections to Virtue ; commending chiefly these three Arts in the ●ducation of Youth , Grammar , Musick , and Gymnastick ; this last is for the Exercise of their Limbs : Quintil. reports , in his time the same Men taught both Grammar and Musick . Those then who intend the Practice thereof , must allow Musick to be the Gift of God , yet ( like other his Graces and Benefits ) it is not given to the Idle , but they must reach it with the hand of Industry , by putting in practice the Works and Inventions of skilful Artists ; for meerly to Speak and Sing are of Nature , and this double use of the Articulate Voice the rudest Swains of all Nations do make ; but to Speak well , and Sing well are of Art : Therefore when I had considered ●h● great want of Books , setting forth the Rules and Grounds of this Divine Science of Musick in our own Language , it was a great motive with me to undertake this Work , though I must confess our Nation is at this time plentifully stored with skilful Men in this Science , better able than my self to have undertaken this Work ; but their slowness and modesty ( being , as I conceive , unwilling to appear in print about so small a matter ) has made me adventure on it , though with the danger of not being so well done as they might have performed it : And I was the rather induced thereunto , for that the Prescription of Rules of all Arts and Sciences ought to be delivered in plain and brief language , and not in flowers of Eloquence ; which Maxim I have followed : For after the most brief , plain , and easie method I could invent , I have here set down the Grounds of Musick , omitting nothing in this Art which I did conceive was necessary for the Practice of young Beginners , both for Vocal and Instrumental Musick . The Work as it is , I must confess , is not all my own , some part thereof being collected out of other Authors which have written on this Subject , the which I hope will make it more approved . And if in the whole I gain your ingenious Acceptance , it will further encourage me to do you more Service in this Nature . Iohn Playford . Of MUSICK in General , And of its Divine and Civil Uses . MVSICK is an Art unsearchable , Divine and Excellent , by which a true Concordance of Sounds or Harmony is produced , that rejoyceth and cheereth the Hearts of Men , and hath in all Ages and in all Countries been highly reverenced and esteemed ; by the Jews for Religion and Divine Worship in the Service of God , as appears by Scripture ; By the Graecians and Romans to induce Virtue and Gravity , and to incite to Co●rage and Valour . Great Disputes were among Ethnick Authors about the first Inventor , some for Orpheus , some Lynus , both famous Poets and Mu●icians ; others for Amphion , whose Musick drew Stones to the building of the Walls of Thebes ; as Orpheus had by the harmonious touch of his Harp , moved the Wild Beasts and Trees to Dance : But the true meaning thereof is , that by virtue of their Musick , and their wise and pleasing Musical Poems , the one brought the Savage and Beast-like Thracians to Humanity and Gentleness ; the other perswaded the rude and careless Thebans to the fortifying of their City , and to a civil Conversation : The Egyptians to Apollo , attributing the first Invention of the Harp to him , and certainly they had an high esteem of the Excellency of Musick , to make Apollo ( who was the God of Wisdom ) to be the God of Musick : But the People of God do truly a●knowledge a far more ancient Inventor of this Divine Art , Jubal the sixth from Adam , who , as it is recorded , Gen. 4. 27. was the Father of all that handle the Harp and Organ , St. Augustine goeth yet farther , shewing , that it is the gift of God himself , and a Representation or Admonition of the sweet Consent and Harmony which his Wisdom hath made in the Creation and Administration of the World. And well it may be termed a Divine and Mysterious Art , for among all those rare Arts and Sciences , with which God hath endued Men , this of Musick is the most sublime and excellent for its wonderfull Effects and Inventions : It hath been the study of Millions of Men for many thousand years , yet none ever attained the full scope and perfection thereof ; but after all their deep Search and laborious Studies , there still appeared new matter for their Inventions ; and which is most wonderful , the whole Mystery of this Art is comprised in the compass of three Notes or Sounds , which is most ingeniously observed by Mr. Christopher Simpson , in his Division Violist , pag. 18. in these words , All Sounds that can possibly be joyned at once together in Musical Concordance , are still but the reiterated Harmony in Three ; a significant Emblem of that Supreme and Incomprehensible Trinity , Three in One , Governing and Disposing the whole Machine of the World , with all it s included Parts in a perfect Harmony ; for in the Harmony of Sounds , there is some great and hidden Mystery above what hath been yet discovered . And Mrs. Katherine Phillips in her Encomium on Mr. Henry Laws his second Book of Ayres , hath these words : Nature , which is the vast Creation's Soul , That steady curious Agent in the whole , The Art of Heaven , the Order of this Frame , Is only Musick in another Name . And as some King , Conquer'ing what was his own , Hath choice of several Titles to his Crown ; So Harmony on this score now , that then , Yet still is all that takes and Governs Men. Beauty is but Composure , and we find Content is but the Concord of the Mind ; Friendship the Vnison of well tun'd Hearts ; Honour 's the Chorus of the Noblest Parts : And all the World , on which we can reflect , Musick to the Ear , or to the Intellect . Nor hath there yet been any Reason given of that sympathy in Sounds , that the Strings of a Viol being struck , and another Viol laid at a distance , and tuned in Concordance to it , the same Strings thereof should sound and move in a sympathy with the other , though not touch'd : Nor that the sound of a Sackbut or Trumpet , should by a stronger Emission of breath , skip from Concord to Concord , before you can force it into any Gradation of Tones or Notes . More Observations of the mystery of Sounds is learnedly discoursed by the Lord Bacon in his Nat. Hist. 2 Cent. Chap. 1. Ath. Kercherus , a learned Writer , reports , that in Calabria , and other parts of Italy , there is a poysonous Spider , called the Tarantula , by which such as are bitten fall into a frensie of madness and laughter ; to allay the immoderate passion thereof , Musick is the speedy Remedy and Cure , for which they have solemn Songs and Tunes . The first and chief Vse of Musick is for the Service and Praise of God , whose Gift it is . The second Vse is for the Solace of Men , which as it is agreeable unto Nature , so is it allowed by God , as a temporal blessing to recreate and cheer men after long study and weary labour in their Vocations . Eccles. 40. 20. Wine and Musick rejoyceth the Heart , as the Philosopher adviseth , Musica Medicina est molestiae illius per labores suscipitur . AEli●nus in his Hist. Animal . l. 10. c. 29. writeth , That of all Beasts , there is none that is not delighted with Harmony , but only the Ass. H. Stephanus reports● that he saw a Lion in London leave his Meat to hear Musick . My self , as I travelled some years since near Royston , met a Herd of Stags , about twenty , u●on the Road , following a Bag-pipe and a Violin , which while the Musick plaid they went forward , when it ceased th●y all stood still ; and in this manner they were brought out of York-shire to Hampton-Court . If irrational Creatures so naturally love and are delighted with Musick , shall not rational Man , who is endued with the knowledge thereof ? A learned Author hath this Observation , That Musick is used only of the most Aerial Creatures , loved and understood by Man : The Birds of the Air , those pretty Winged Choristers , how at the approach of the Day do they Warble forth their Makers Praise ; among which● observe the little Lark , who by a natural instinct doth very often mou●t up the Sky , as high a● his Wings will bear him , and there Warble out his Melody as long as his strength enables him , and then descends to his flock , who presently send up another ●horister to su●ply this Divine Service The Philosopher s●ys , not to be Animal Musicum , is not to be Animal Rationale . And the Italian Proverb is , God loves not him , whom he h●th not m●de to love Musick . Nor doth Musick only delight the Mind of Man , and Beasts , and Birds , but also conduceth much to bodily health by the exercise of the Voice in Song , which doth cleer and strengthen the Lungs , and if to it be also joyned the Exercise of the Limbs , none need fear Asthma or Consumption ; the want of which Exercise is often the death of many Students : Also much benefit hath been found thereby , by such as have been troubled with defects in Speech , as Stammering and bad Vtterance . It gently breaths and vents the Mourners Grief , and heightens the Ioys of them that are cheerful : It abateth Spleen and Hatred ; the valiant Souldier in Fight is animated when he hears the sound of the Trumpet , the Fife and Drum : All Mechanick Artists do find it cheer them in their weary Labours Scaliger ( Exercet . 302. ) gives a reason of these Effects , Because the Spirits about the Heart taking in that trembling and dancing Air into the Body , are moved together , and stirred up with it ; or that the Mind , Harmonically Composed , is roused up at the Tunes of the Musick And farther , we see even young Babes are charm'd asleep by their Singing Nurses ; nay the poor labouring Beasts at Plow and Chart are cheer'd by the sound of M●sick , though it be but their Masters Whistle . If God then hath granted such benefit to Men by the Civil exercise , sure the Heavenly and Divine Vse will much more redound to our eternal comfort , if with our Voices we joyn our Hearts when we sing in his Holy Place . Venerable Bede writeth , That no Science but Musick may enter the Doors of the Church . The Vse of which in the Worship and Service of God , that it hath been anciently used , and should still be continu'd● may be easily proved from the Evidence of Gods Word , and the Practice of the Church in all Ages : You shall seldom meet Holy David without an Instrument in his Hand , and a Psalm in his Mouth ; Fifty three Holy Meters or Psalms he Dedicated to his Chief Musician Jeduthun , to Compose Musick to them : He was on● in whom the Spirit of God delighted to dwell , for no evil Spirit will abide to tarry where Musick and Harmony are lodged ; for when he played before Saul , the evil Spirit departed immediately . This Power of Musick against evil Spirits , Luther seemeth to think that it doth still remain , Scimus ( saith he ) Musicam Daemonibus etiam invisam & intolerabilem esse . We know that Musick is most dreadful and intolerable to the Devils . How acceptable Divine Harmony was to God in his Worship , appears in 2 Chron. 5. 12 , 13. Also the Levi●es which were the Singers , all of them of Asaph , of Hemon , of Ieduthun , with their Sons and their Brethren , being arrayed in white linnen , having Cymbals and Psalteries , and Harps , stood at the East end of the Altar , and with them an hundred and twenty Priests sounding with Trumpets : It came even to pass , as the Trumpeters and Singers were as one , to make one sound to be heard in Praising and thanking the Lord : and when they lift up their Voice with the Trumpets and Cymbals , and Instruments of Musick , &c. that then the House was filled with a Cloud , even the House of the Lord. The Vse of Musick was continued in the Church of the Jews , even until the Destruction of their Temple and Nation by Titus . And the Vse thereof also began in the Christian Church in our Saviour and his Apostles time . If you consult the Writings of the Primitive Fathers , you shall scarce meet with one that doth not write of the Divine Vse of Musick in Churches ; and yet true it is , that some of them did find fault with some Abuses thereof in the Service of God ; ( and so they would ) now if they were alive ; ) but that condemneth the Right Vse thereof no more than the Holy Supper is condemned by St. Paul , while he blameth those who shamefully profaned it . The Christian Emperours , Kings , and Princes , in all Ages have had this Divine Science in great Esteem and Honour : Constantine the Great , and Theodosius , did both of them begin and sing Divine Hymns in the Christian Congregations ; and Justinian the Emperour Composed an Hymn to be sung in the Church , which began , To the only begotten Son and Word of God : Of Charles the Great it is reported , that he went often into the Psalmody and sung himself , and appointed his Sons and other Princes what Psalms and Hymns should be sung . But to come nearer home : History tells us , that the ancient Britains of this Island had Musicians before they had Books ; and the Romans that Invaded them ( who were not too forward to magnifie other Nation● ) confess what power the Druyds and Bards had over the Peoples Affections , by recording in Songs the Deeds of Heroick Spirits , their Laws and Religion being sung in Tunes● and so ( without Letters ) transmitted to Pos●erity ; wherein they were so dextrous , that their Neighbours of Gaul came hither to learn it . Alfred a Saxon King of this Land was well skill'd in all manner of Learning , but in his Knowledge of Musick took most delight . King Henry the Eighth did much advance Musick in the first part of his Reign , when his Mind was more intent upon Arts and Sciences , at which time he invited the best Masters out of Italy , and other Countries ; whereby he grew to great Knowledge therein ; of which he gave Testimony , by Composing with his own hand two entire Services of five and six Parts , as is recorded by the Lord Herbert , who writ his Life . Edward the Sixth was a Lover and Encourager thereof , if we may believe Dr. Tye , one of His Chappel , who put the Acts of the Apos●les into Metre , and Composed the same to be sung in four Parts , which he Printed and Dedicated to the King ; his Epistle began thus : Considering well , most Godly King , The Zeal and perfect Love Your Grace doth bear to each good Thing , That given is from above : That such good Things your Grace might move , Your Lute when you assay , Instead of Songs of wanton Love , These Stories then to Play. Queen Elizabeth was not only a Lover of this Divine Science , but a good Proficient herein ; and I have been informed by an ancient Musician and her Servant , that she did often recreate her self on an Excellent Instrument called the Poliphant , not much unlike a Lute , but strung with Wire : And that it was her care to promote the same in the Worship of God , may appear by her 49th Injunction . And King James granted his Letters Patents to the Musicians in London for a Corporation . Nor was his late Sacred Majesty , and Blessed Martyr , King Charles the First , behind any of his Predecessors in the promotion of this Science , especially in the Service of Almighty God , which with much Zeal he would hear reverently performed , and often appointed the Service and Anthems himself , being by his Knowledge in Musick a competent Iudge therein . Of whose Virtues and Piety ( by the infinite mercy of Almighty God ) this Kingdom now enjoys a Living Example in his Son and our Gracious Soveraign Charles the Second , whom God long preserve , whose Love of this Divine Art appears by his Encouragement of it , and the Professors thereof , especially in his bountiful Augmentation of the Annual Allowances of the Gentlemen of His Chappel ; which Example if it were followed by the Superiours of our Cathedrals in this Kingdom , it would much encourage Men of this Art ( who are there employed to Sing Praises to Almighty God ) to be more studious in that Duty , and would take off that Contempt which is cast upon many of them for their mean performances and poverty ; but it is their and all true Christians sorrow , to see how that Divine Worship is contemned by blind Zealots , who do not , nor will not understand the use and excellency thereof . But Musick in this Age ( like other Arts and Sciences ) is in low esteem with the generality of people , our late and Solemn Musick , both Vocal and Instrumental , is now just led out of esteem by the new Corants and Iigs of Foreigners , to the grief of all sober and judici●●s V●derstanders of that formerly solid and good Musick : Nor must we expect Harmony in Peoples Mi●ds , so long as Pride , Vanity , Faction , and Discords , are so predominant in their Lives : But I conclude with the Words of Mr. Owen Feltham in his Resolves● We find that in Heaven there is Musick and Hallelujah●s Sung , I believe it is an helper both to Good and Evil , and will therefore honour it when it moves to ●irtue , and beware of it when it would flatter into Vice. J. P. The TABLE . FISRT BOOK . Of the Scale of Musick , called the Gam-ut , pag. 1 Of the several Cleaves or Cliffs , pag. 8 A Rule for the proving your Notes , pag. 10 A Rule for Naming your Notes in any Cliff , pag. 11 A Table of the Comparison of Cliffs , pag. 18 Of the Tuning the Voyce , pag. 19 Of Tones or Tunes of Notes , pag. 22 The Notes their Names , Number , and Proportions , pag. 24 Of the Rests and Pauses , and Notes of Syncopation , pag. 26 A Rule for Keeping Time , pag. 29 Of the four Moods or Proportions of Time pag. 30 Of the Adjuncts and Characters used in Musick , pag. 35 Directions for Singing after the Italian manner , pag. 37 Of the five Moods used by the Grecians , pag. 57 Short Ayres or Songs fit for Beginners , pag. 62 Directions for Singing of Psalms , with the several Tunes , and the Bass under each Tune , pag 73 SECOND BOOK . A brief Introduction for Playing on the Bass-Viol , pag. 91 Several Lessons for Beginners on the Bass-Viol , pag. 105 Instructions for Playing on the Treble-Violin , pag. 109 Several Lessons for Beginners on the Violin , pag. 117 THIRD BOOK . The Art of Descant , or plain way for Composing of Musick in Two , Three , or Four Parts . The Manner and Order of Singing the Divine Service in Cathedral-Churches . An Introduction to the Skill of MUSICK . CHAP. I. Of the Scale of Musick called the Gam-Ut . THe Gam-ut is the Ground of all Musick , both Vocal and Instrumental ; and ( as Ornithoparcus reporteth ) it was composed by Guido Aretinus , about the year 960 , who ( out of six Syllables in the Saphick of the Hymn of St. Iohan. Baptista , ) framed his Musical Scale set down in those six Syllables , as Names for the six Musical Notes . VT queant laxis REsonare fibris MIra gestorum FAmuli tuorum , SO Lve poluti LAbii reatum . VT RElivet MIserum FAtum SOLitumque LAborem . VT RE Mi Fa Sol La VT RE Sol La. These Six Notes were thus used for many years past in that order , ascending and descending ; but in these latter times , Four are only in use , the which are Sol , La , Mi , Fa ; so that Ut and Re are now changed into Sol and La , four being found sufficient for expressing the several sounds , and less burthensome for the memory of Practitioners . Besides the Names of these Notes , there is used in our Scale of Musick , called the Gam-ut , seven Letters of the Alphabet , which are set in the first Column , at the beginning of each Rule and Space , as G. A. B. C. D. E. F. And of these there are Three Septenaries ascending one above the other , G being put first , which is according to the third Letter in the Greek Alphabet , called Gamma , and is made thus 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , ( the first derivation thereof being from the ancient Greeks ) as you may see in the Scale at the end of this Chapter . These seven Letters of the Alphabet are called seven Cliff's , or more properly Cleaves , the other Names and Syllables adjoyned to them are the Notes ; and by these three Septenaries are distinguish'd three several Parts of Musick , into which the Scale is divided ; first , the Bass , which is the lowest part ; secondly , the Mean , or middle part ; and thirdly , the Treble , or highest part ; so that according to these three Septenaries , Gam-ut is the lowest Note , and E la the highest . And this the usual Gamuts in Mr. Morley and others , did not exceed ; but it is well known that there is many Notes in use , both above and below , which exceed that compass , and that both in Vocal and Instrumental Musick , which ought not to be omitted ; for the Compass of Musick is not to be confin'd : And though there be but three Septenaries of Notes in the Example of the Gam-ut , which amount to the Compass of One and Twenty Notes or Sounds ; yet in the Treble , or highest part , as occasion requires , you may Ascend more Notes , for it is the same over again , only eight Notes higher : Or in your Bass , or lowest part you may Descend the like Notes lower than Gam-ut , as the Compass of the Voyce or Instrument is able to extend , the which will be the same , and only Eights to those above . And these Notes of Addition are usually thus distinguished : Those above E la are called Notes in Alt , as F fa ut , and G sol re ut , &c. in Alt. And those below Gam-ut are called double Notes , as Double F fa ut , Double E la mi , &c. as being Eights or Diapasons to those above Gam-ut . I have therefore in the Table of the Gam-ut in this Book , expressed them with double Letters in their right places . The Gam-ut is drawn upon fourteen Rules and their Spaces , and doth comprehend all Notes or Sounds usual in Musick ; either Vocal or Instrumental , yet when any of the parts which it is divided into , viz. Treble , Mean , or Tenor and Bass , shall come to be prick'd out by it self in Songs or Lessons , either for Voyce or Instrument , five lines is only usual for one of those Parts , as being sufficient to contain the compass of Notes thereto belonging : And if there be any Notes that extend higher or lower , it is usual to add a line in that place with a Pen. But all Lessons for the Organ , Virginals , or Harp , two staves of six lines together are required , one for the left hand or lower Keys , the other for the right hand or upper Keys . Therefore he that means to understand what he Sings or Plays , must study to be perfect in the knowledge of the Scale or Gam-ut , and to have it perfect in his memory without book , both forward and backward , and to distinguish the Cliffs and Notes as they be in Rule or Space ; for knowing the Notes Places , their Names are easily known . Also , on the right side of this following Table of the Scale or Gam-ut , there is set four Columns : In the first is the Alphabetical Letters , or Cliffs : The other three shew the Names of the Notes , ascending and descending , according to their several Names and Keys ● In the second Column is set the Names of the Notes as they be called , which is B duralis or B sharp , as having no flat in B mi ; and then your Notes are called as they are set there on the Rules and Spaces ascending . The third Column is B proper or B naturalis , which hath a B flat in B mi only , which is put at the beginning of the line with the Cliff , and there you have also the Names as they are called on Rule and Space . The 4 th Column is the Notes , call'd B fa or B mollaris , having two B flats , the one in B mi , the other in E la mi , placed as the other ; by observing of which , you have a certain Rule for the Names of the Notes in any part , be it Treble , Mean , Tenor , or Bass. In these Three observe this for a General Rule , that what Name the Note hath , the same Name properly hath his Eighth above or below , be it either in Treble , Mean , Tenor , or Bass. There is an old Metre , though not very common , yet it contains a true Rule of the Theorick part of Musick , which is necessary to be observed by young Beginners , and as it falls in our several Chapters I shall insert it : It begins thus , TO attain the Skill of Musicks Art , Learn Gam-Ut up and down by heart , Thereby to learn your Rules and Spaces , Notes Names are known , knowing their places , THE GAM-VT , OR SCALE OF MUSICK . A Second Table of the Scale of MUSICK called the GAM-VT , in which every Key or Note is put in its proper place upon the Five Lines , according to the two usual signed Cleaves or Cliffs , viz. the Bass and the Treble , ascending from the lowest Note of the Bass to the highest in the Treble . D la sol , E la , F fa ut , G sol re ut , A la mi re , F fa ut , G sol re ut , A la mi re , B fa b mi , C sol fa , A la mi re , B fa b mi , C sol fa ut , D la sol re , E la mi , B mi , C fa ut , D sol re , E la mi , F fa ut , G sol re ut , C● fa ut , DD sol re , EE la mi , FF fa ut , Gam-ut , A re . CHAP. II. Of the Cliffs or Cleaves . IN this Gam-ut ( as I said before ) is contained three Septenaries of Letters , which are G , A , B , C , D , E , F. These seven Letters are set at the beginning of each Rule and Space , and are called seven Cleaves ; of these seven four is only usual , one of which is usually placed at the beginning of every Line of the Song or Lesson , either Vocal or Instrumental . The first is called the F fa ut Cleave or Cliff , which is only proper to the Bass or lowest part , and is thus marked on the fourth Line , at the beginning of Songs or Lessons . The second is the C sol fa ut , which is proper to the middle or inner pars , as Tenor , Counter-Tenor , or Mean , and it is thus signed or marked . The third is the G sol re ut Cleave or Cliff , which is only proper to the Treble , or highest , and is signed or marked thus on the second Line of the Song or Lesson . These three Cliffs are called the three signed Cliffs , because they are always set at the beginning of the Lines on which is prickt the Song or Lesson ; ( for Cleave is derived from Clavis which signifies a Key . ) From the place of this Cliff , the places of all the other Notes in your Song or Lesson are understood , by proving your Notes from it , according to the Rule of the Gam-ut . The fourth Cliff is the B Cliff , which is proper to all parts , as being of two natures or properties , that is to say , Flat or Sharp , and doth only serve for that purpose for the flatting and sharping of Notes , and therefore it is called B fa , B mi ; the B fa signifies flat , the B mi sharp : The B fa , or B flat , is known on Rule or Space by this mark [ ] ; and the B mi , which is sharp , by this [ . ] But these two Rules you are to observe of them both : First the B fa , or B flat , doth alter both the name and property of the Notes before which it is placed , and is called Fa , making it half a tone or sound lower than it was before . Secondly , the B mi , or B sharp , alters the property of the Notes before which it is placed , but not the Name ; for it is usually placed either before Fa or Sol , and they retain their Names still , but their Sound is raised half a tone or sound higher . Note , That these two B Cliffs are placed not only at the beginning of the Lines with the other Cliff , but is usually put to several Notes in the middle of any Song or Lesson for the Flatting and Sharping of Notes , as the Harmony of the Musick requires . CHAP. III. A brief Rule for proving the Notes in any Song or Lesson . FIrst observe with which of the three usual Cliffs your Song or Lesson is signed with at the beginning , if it be with the G sol re ut Cleave , then if the Note be above it , whose name and place you would know , you must begin at your Cliff , and assign to every Rule and Space a Note , according to the Rule of your Gam-ut , ascending till you come to that Rule or Space where the same Note is set : But if the Note be below your Cliff , then you must prove downwards to it , saying your Gam-ut backwards , assigning to each Rule and Space a Note , till you come to its place . So that by knowing in what place of your Gam-ut the Note is set , you will easily know its name , the next Chapter directing you an infallible Rule for it , and that by an easie and familiar Example . CHAP. IV. Containing a plain and easie Rule for the Naming your Notes in any Cliff. HAving observed the foregoing Direction of proving your Notes , to know their Places , you may easily know their Names also , if you will follow this Rule : First , observe that Mi is the principal or master Note , which leads you to know all the other ; for having found out that , the others follow upon course ; and this Mi hath its being in four several places , but it is but in one of them at a time ; its proper place is in B mi , but if a B fa , which is a B flat ( as is mentioned in chap. 2. ) be put in that place , then it is removed into E la mi , which is its second place ; but if a B flat be placed there also , then it is in its third place , which is Alamire ; if a B flat come there also , then it is removed into its fourth place , which is D la sol re ; so that in which of these it is , the next Notes above it ascending are Fa sol la , Fa sol la , twice , and then you meet with your Mi again , for it is found but once in Eight Notes : In like mannear , the Notes next below it descending are L sol fa , La sol fa , and then you have your Mi again : For your better understanding of which , I have here inserted the aforementioned old Metre , whose Rules are plain , true , and easie . No man can sing true at first sight , Unless he names his Notes aright ; Which soon is learnt , if that your Mi You know its place where e're it be , 1. If that no Flat be set in B , Then in that place standeth your Mi. Example . Sol la Mi Fa Sol la fa Sol 2. But if your * B alone be Flat , Then * E is Mi be sure of that . Example . Sol la fa Sol la Mi fa Sol 3. If both be Flat , your B and E , Then * A is Mi here you may see . Example . La Mi fa Sol la fa Sol la 4. If all be Flat , E , A , and B , Then Mi alone doth stand in * D. Example . La fa Sol la Mi fa Sol la The first three Notes above your Mi Are fa sol la , here you may see ; The next three under Mi that fall , Them la sol fa you ought to call . Example . Sol la Mi fa sol la fa sol fa la sol fa Mi la sol fa If you 'll sing true without all blame , You call all Eights by the same name . Example . Sol la fa sol sol fa la s●l Sol la fa sol sol fa la sol These Rules and Examples being seriously perused by the Learner , will infallibly direct him in the right naming of his Notes , which is a very great help to the Singer ; for there is nothing makes him sooner mistake his tune in Singing , than the misnaming of his Notes : Therefore for the better understanding the Rule of naming your Notes , by finding your Mi in its several places , cast your eye on another Example , for the like naming your Notes in any Cliff whatsoever , be it Bass , Trebl● , or any Inward Part. For there is no Song pricked down for any part , but it doth imploy some of those Five Lines in this following Example . The which several Parts are demonstrated by those little Arches , or Columns , on the right side of the following Example . Example . Mi in B. Mi in E. Mi in A. This Example expresses the Names of the Notes as they are called in the three removes of your Mi. I have seen some Songs with four flats , as is before-mentioned , that is to say , in B mi , E la mi , A la mi re , and D la sol re ; but this fourth place of D la sol re , is very seldom used , and such Songs may be termed irregular , as to the naming the Notes ( being rather intended for Instruments than Voices ) and therefore not fit to be proposed to young Beginners to sing . And because I will omit nothing that may be useful to Practitioners , I have set down a third Example of the naming of the Notes in all Parts and Cliffs , as the Flats are assigned to all Cliffs . An exact Table of the Names of the Notes in all usual Cliffs , expressed in the Six several Parts of Musick . TREBLE , G sol re ut Cliff on the second Line . Sol la mi fa sol la fa sol sol la fa sol la mi fa sol la mi fa sol la fa sol la la fa sol la mi fa sol la ALTUS , C sol fa ut Cliff on the first Line . Fa sol la fa sol la mi fa sol la mi fa sol la fa sol sol la fa sol la mi fa sol la mi fa sol la fa sol la MEAN , C sol fa ut Cliff on the second Line . mi fa sol la fa sol la mi fa sol la mi fa sol la fa fa sol la fa sol la mi fa sol la mi fa sol la fa sol COUNTER-TENOR . Sol la mi fa sol la fa sol sol la fa sol la mi fa sol la mi fa sol la fa sol la la fa sol la mi fa sol la TENOR . La fa sol la mi fa sol la mi fa sol la fa sol la mi fa sol la mi fa sol la fa fa sol la fa sol la mi fa BASSE . Sol la mi fa sol la fa sol sol la fa sol la mi fa sol la mi fa sol la fa sol la fa sol la mi fa sol la fa First learn by Cliffs to Name your Notes , By Rules and Spaces right ; Then Tune with Time , to ground your Skill For Musicks sweet Delight . A TABLE shewing the Comparison of the most usual Cliffs , how they agree together in the Naming the Notes . SLFSLMFS SLFSLMFS SLFSLM LMFSLFSL LMFSLFSL LFSLMFSL LFSLMFSL FSLMFSLF FSLMFSLF FSLMFS FSLFSLMF FSLFSLMF FSLFSLM SLMFSLFS SLMFSLFS SLMFSLF MFSLFSLM MFSLFSLM CHAP. V. Of Tuning the Voyce . THus having briefly given you plain and familiar Rules for the understanding the nature and use of the Gam ut , it will be necessary , before I set down your first plain Songs , to insert a word or two concerning the Tuning of the Voyce , in regard none can attain the right guiding or ordering their Voyce in the rising and falling of several Sounds which are in Musick ( at first ) without the help of another Voyce or stringed Instrument . They are both of them extraordinary helps , but some Voyces are best guided by the sound of an Instrument , and better , if the Learner have skill thereon to express the several sounds , so that his Voyce may go along with the Instrument , in the ascending and descending of the several Notes or Sounds . And ( if not ) if an Instrument be sounded by another who is an Artist , so the Learner hath a good Ear to guide his Voyce in unity to the sound of the Instrument , it will with a little practice , by sometimes singing with , and sometimes without ) guide his Voyce into a perfect Harmony , to sing any plain Song with exactness ; I mean by Tuning his Notes perfectly , Ascending and Descending , and also in the rising or falling of a Third , a Fourth , or Fifth , and Sixth , &c. as in the following Plain Songs are set down . At the first guiding the Voyce therein , it will much help if you observe this Rule ; for a Third ascending , which is from Sol to Mi , at your first Tuning sound by degrees all three Notes , as Sol La Mi , then at second Tuning leave out La , the middle Note , and so you will Tune from Sol to Mi , which is a Third . This Rule serves for the rising of Fourths or Fifths , &c. as your third Plain Song in the next page directs . 1. Observe that in the Tuning of your Voyce you strive to have it cleer . 2. In the expressing of your Voyce , or Tuning of Notes , let the Sound come clear from your throat , and not through your teeth , by sucking in your breath , for that is a great obstruction to the clear utterance of the Voyce . Lastly , observe that in Tuning your first Note of your plain Song , you equal it so to the pitch of your Voyce , that when you come to your highest Note , you may reach it without Squeaking , and your lowest Note without Grumbling . Here followeth the three usual Plain Songs for Tuning the Voice in the Ascending and Descending of Notes . SLMFSLFS SFLSFMLSLS SMLFMSFL LFSMFLMSLS SLMSMSLMFSFSLMFSSS SLMFSLSLSLMFSLFSF SLMFSLFSSS SFLSLS FLSSSSFLSFSFSFLSFM SMSFLSFMLSLSFLSFM LSSSFSLSSSFSMSLS CHAP. VI. Of Tones or Tunes of Notes . OBserve that the two B Cliffs before mentioned are used in Song for the flatting and sharping Notes . The property of the B flat is to change Mi into Fa , making that Note to which it is joyn'd a Semitone or half a Note lower ; and the B sharp raiseth the Note before which it is set a Semitone or half a sound higher , but alters not its Name ; so that from Mi to Fa , and likewise from La to Fa , is but a Semitone or a half Note , between any two other Notes it is a perfect Tone , or sound , as from Fa to Sol , from Sol to La , from La to Mi , are whole Tones , which is a perfect Sound . And this may be easily distinguished , if you try it on the Frets of a Viol or Lute , you shall perceive plainly that there goes two Frets to the stopping of a whole Note , and but one Fret to a half Note ; so that it is observed that Mi and Fa do only serve for the flatting or sharping all Notes in the Scale , and they being rightly understood , the other Notes are easily applyed to them ; for if G sol re ut have a sharp set before it , it 's the same in sound with A la mi re flat ; and B fa B mi flat , is the same with A la mi re sharp ; and C fa ut sharp , is D sol re flat , &c. as being of one and the same sound , or stopped upon one and the same Fret on the Viol or Violin . For Example : Vnisons . Octaves . For a Discourse of the Cords and Discords , I shall only name them in this part of my Book . PErfect Cords are these , a Fifth , an Eighth , with their Compounds or Octaves . Imperfect Cords are these , a Third , a Sixth , with their Compounds , , all other distances reckoned from the Bass are Discords . A Diapason is a perfect Eighth , and contains 5 whole Tones , and 2 half Tones , that is in all the seven natural Sounds or Notes besides the Ground , what flats or sharps soe're ●here be . But for a further Discourse , I shall refer you to the Second part of this Introduction , entitituled , The Art of Descant , or Composing of Musick in Parts ; my purpose in this Book being only to set down the Rules for the Theorick part of Musick , so far as is necessary to be understood by young Practitioners in Musick , either Vocal or Instrumental . I shall therefore proceed to the next Rules for the Notes , their Time and Proportions . CHAP. VII . The Notes ; their Names , Number , and Proportions . Large . Long. Breve . Semibreve . Minim . Crotchet . Quaver . Semiq . MEasure in this Science is a Quantity of the length and shortness of Time , either by Natural Sounds pronounced by the Voyce , or Artificial , upon Instruments ; which Measure , is by a certain motion of the hand or foot expressed in variety of Notes . These Notes in Musick have two Names , one for Tune , the other for Time or Proportion of Notes to certain Sounds . The Names of Notes in Tuning I have set down in the former Chapter , being Four , Sol , La , Mi , Fa. Those in the Proportion of Time are Eight , as a Large , Long , Breve , Semibreve , Minim , Crotchet , Quaver , and Semiquaver , expressed at the beginning of this Chapter : The four first are Notes of Augmentation or Increase , the four last of Diminution or Decrease . The Large is the first of Augmentation , being longest in sound ; and the Semibreve the last of Augmentation , being shortest in sound : In Time , it is called the Master-Note , being of one certain Measure by it self . All the other Notes , both of Augmentation and Diminution , are measured by or proportioned to its value : The Large contains eight Semibreves , the Long four , and the Breve two . The Notes of Diminution , viz. Minim , Crotchet , Quaver , and Semiquaver , are reckoned to , as the others were measured by the Semibreve ; and , according to the ordinary proportion of Time , two Minims are accounted to the Semibreve , two Crotchets to the Minim , two Quavers to the Crotchet , and two Semiquavers to the Quaver . Notes of Augmentation . Notes of Diminution . CHAP. VIII . Of the Rests or Pauses , of Pricks , and Notes of Syncopation . Large . Long. Breve . Semibreve Minim . Crotchet . Quaver . PAuses or Kests are silent Characters , or an artificial omission of the Voyce or Sound , proportioned to a certain Measure of Time , by motion of the hand or foot ( whereby the Quantity of Notes and Rests are directed ) by an equal measure , the signatures and characters of which are placed over each Note in the Example at the beginning of this Chapter . To these Notes appertain also certain other Rules , as Augmentation , Syncopation , Pricks of Perfection or Addition ; of which , I shall only set down what is necessary to be understood by the Practitioner ; as first , of the Pricks of Perfection or Addition ; next , of Syncopation , or breaking of the Time , by the Driving a Minim through Semibreves , or Crotchets through Minims , which is the beating the Time in the middle of such Notes . Prick Long. Breve . Semibreve . Minim . Crotchet . Quaver . A further Example of the Prick Notes , wherein the Measure of the Time is barred , according to the Semibreve , both by Prick Semibreves , Minims , and Crotchets . Secondly , Pricks of Perfection are used for perfecting of Notes , and are only used in the Triple-Time ; of which , I shall speak more at the latter end of Chap. 10. Thirdly , Syncopation is when the beating of Time falls to be in the midst of a Semibreve or Minim , &c. or , as we usually term it , Notes driven till the Time falls even again . Examp. Of the Tying of Notes . This Example shews , that many times in Songs or Lessons , two , four , or more Quavers or Semiquavers , are Tyed together by a long stroke on the top of their Tails : And though they be so , they are the same with the other , and are so tyed for the benefit of the sight , when many Quavers or Semiquavers happen together , not altering the Measure or Proportion of Time. CHAP. IX . Of the Keeping of Time by the Measure of the Semibreve or Master-Note . OBserve that to the Measure of the Semibreve all Notes are proportioned , and its Measure is expressed ( by a Natural Sound of the Voyce , or Artificial on an Instrument ) to the moving of the hand or foot up and down when its measure is whole ; in Notes of Augmentation , the Sound is continued to more than one Semibreve ; but in Notes of Diminution , the Sound is variously broken into Minims , Crotchets , and Quavers , or the like : So that in keeping time your hand goes down at one half , which is a Minim , and up at the next . For the more ease at first , if you have two Minims , or four Crotchets , as in the Example following , in one Bar , which is the proportion of a Semibreve ; you may , in Minims , pronounce one , two , your hand being down at your first sounding one , lift it up leisurely , and when it is up a small distance pronounce two , and then laying your hand down again begin the third Minim , lifting it up at the fourth , and down at the fifth , &c. Also when you have four Crotchets , pronounce one , two , three , four , that is , the hand is down at one and up at three , and down when you begin the next Bar of four Crotchets , as in this Example . This Rule observe , according to the Measure of those Notes your Semibreve is divided into , be it either Triple , Duple or Common Time. Example . 1 2 1 2 1 2 1 2 1 2 1 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 CHAP. X. Of the Four Moods or Proportions of the Time or Measure of Notes . The usual Moods may not here be mist , In them much cunning doth consist . THere are four Moods , the which are divided into four Tables , that is to say , Moods . Great . 1. The Perfect of the More . 2. The Perfect of the Less . Less . 3. The Imperfect of the More . 4. The Imperfect of the Less . These four Moods were used in former times , but of late years , those of our Nation that have Composed Musick , either Vocal or Instrumental , have made use only of the two latter ; that is to say , the Imperfect of the More and Imperfect of the Less , one being called the Triple Time , the other the Duple or Common Time , these two being sufficient to express much variety of Musick : However , because the Italians do at this day use in their Musick all four , I will not omit to give you the Definitions and Proportions of them in their order , and be more large upon the two latter , because most used by the Practitioners of Musick in this our Nation . Of the two first Moods . 1. THe Perfect of the More is when all go by three , as three Longs to a Large , three Breves to a Long , three Semib●eves to a Breve , three Minims to a Semibreve ; except Crotchets , &c. which go by two ; Mark'd thus , The Perfect of the More . 2. The Perfect of the Less is when all go by two , except the Semibreves , as two Longs to a Large , two Breves to a Long , three Semibreves to a Breve , two Minims to a Semibreve , &c. and its Sign or Mark is made thus , The Perfect of the Less Of the two last or most usual Moods . 3. THe Imperfect of the More is when all go by two , except the Minims , which go by three , as two Longs to a Large , two Breves to a Long , two Semibreves to a Breve , three Minims to the Semibreve , with a Prick of Perfection , which makes the whole proportion of three Minims , and is called a Time : Its Mood is thus signed , and this is usually called the Triple Time. The Imperfect of the More This Mood is much used in Airy Songs and Galiards , and is usually called Galiard or Triple Time ; and is of two Motions , the one slow , the other more swift . The first is , when the Measure is by three Minims to a Semibreve with a Prick , which Prick is for Perfection , to make it a perfect Time , and is usually called Three to One. The second Measure of this Triple Time is to a swifter motion , and is measured by three Crotchets , or a Minim with a Prick for Perfection . This swifter Measure is appropriated or used in light Lessons , as Corants , Sarabands , Iigs , and the like . This swifter Triple Time is sometimes prick'd in Black Notes , which Black Note is of the same Measure with the Minim in the foregoing Example , but is seldom used , because the Minims are the same and serve as well . For Example : 4. The fourth or last Mood , which is called the Imperfect of the Less , is when all go by two , as two Longs to a Large , two Breves to a Long , two Semibreves to a Breve , two Minims , to a Semibreve , two Crotchets to a Minim , &c. and this is called the Dupla or Semibreve Time , ( but many call it the Common Time , because most used ; ) its Mood is thus marked , and is usual in Anthems , Fantasies , Pavans , Almans , and the like ; whose Measure is set down in this following Example . The Imperfect of the Less Note , That when this Common Mood is reversed thus , it is to signifie , that the Time of that Lesson or Song , before which it is so set , is to be Play'd or Sung as swift again as the usual Measure . CHAP. XI . Of the several Adjuncts and Characters used in Musick . 1. A Direct is usually at the end of a Line , and serves to direct to the place of the first Note on the next Line , and are thus made , 2. Bars are of two sorts , single and double . The single Bars serve to divide the Time , according to the Measure of the Semibreve : The double Bars are set to divide the several Strains or Stanzaes of the Songs and Lessons , and are thus made , 3. A Repeat is thus marked , and is used to signifie that such a part of a Song or Lesson must be Played or Sung over again from that Note over which it is placed . 4. A Tye is of two uses ; first , when the Time is broken or struck in the middle of the Note , it is usual to Tye two Minims , or a Minim and a Crotchet together , as thus , The second sort of Tye is , when two or more Notes are to be Sung to one Syllable , or two Notes or more to be plaid with once drawing the Bow on the Viol or Violin , as thus : Thou art not Kind but Cruel . 5. A Hold is thus made , and is placed over the Note which the Author intends should be held to a longer Measure than the Note contains , and over the last Note of a Lesson . 6. The Figures usually placed over Notes in the Thorough-Bass of Songs or Ayres , for the Organ or Theorbo , is to direct the Performer to strike in other Parts to those Notes , as Thirds , Sixths , and the like , to the Ground , as thus : I shall here conclude the First Part , wherein I have set down what is needful to be understood of the Theorick Part of Musick , in the plainest and easiest Method that I could ; not doubting but by it , and a little assistance of some already skill'd in Musick , to guide you to the Practick . A Brief Discourse of the Italian manner of Singing ; wherein is set down , the Vse of those Graces in Singing , as the Trill and Gruppo , used in Italy , and now in England : Written some years since by an English Gentleman , who had lived long in Italy , and being returned , Taught the same here . The Proem to the said Discourse is to this effect . HItherto I have not put forth to the view of the World , those Fruits of my Musick Studies employed about that Noble manner of Singing , which I learnt of my Master the famous Scipione del Palla in Italy ; nor my Compositions of Ayres , Composed by me , which I saw frequently practised by the most famous Singers in Italy , both Men and Women : But seeing many of them go about maimed and spoil'd , and that those long winding Points were ill performed , I therefore devis'd to avoid that old manner of running Division , which has been hitherto used , being indeed more proper for Wind and Stringed Instruments than for the Voice . And seeing that there is made now a days an indifferent and confused use of those excellent Graces and Ornaments to the good manner of Singing , which we call Trills , Grupps , Exclamations of Increasing and Abating of the Voice , of which I do intend in this my Discourse to leave some foot-prints , that others may attain to this excellent manner of Singing : To which manner I have framed my last Ayres for one Voice to the Theorbo , not following that old way of Composition , whose Musick not suffering the Words to be understood by the Hearers , for the multitude of Divisions made upon short and long Syllables , though by the Vulgar such Singers are cryed up for famous . But I have endeavoured in those my late Compositions , to bring in a kind of Musick , by which men might as it were Talk in Harmony , using in that kind of Singing a certain noble neglect of the Song ( as I have often heard at Florence by the Actors in their Singing Opera's ) in which I endeavoured the Imitation of the Conceit of the Words , seeking out the Cords more or less passionate , according to the meaning of them , having concealed in them so much as I could the Art of Descant , and paused or stayed the Consonances or Cords upon long Syllables , avoiding the short , and observing the same Rule in making the passages of Division by some few Quavers to Notes and to Cadences , not exceeding the value of a quarter or half a Semibreve at most . But , as I said before , those long windings and turnings of the Voice are ill used , for I have observed that Divisions have been invented , not because they are necessary unto a good fashion of Singing , but rather for a certain tickling of the Ears of those who do not well understand what it is to sing Passionately ; for if they did undoubtedly Divisions would have been abhorr'd , there being nothing more contrary to Passion than they are ; yet in some kind of Musick less Passionate or Affectuous , and upon long Syllables , not short , and in final Cadences , some short Points of Division may be used , but not at all adventures , but upon the practice of the Descant ; but to think of them first in those things that a man will sing by himself , and to fashion out the manner of them , and not to promise a mans self that his Descant will bear it ; for to the good manner of Composing and Singing in this way , the understanding of the conceit and the humour of the words , as well in passionate Cords as passionate Expressions in Singing , doth more avail than Descant ; I having made use of it only to accord two Parts together , and to avoid certain notable Errours , and bind certain Discords for the accompanying of the Passion , more than to use the Art : And certain it is , that an Ayre composed in this manner upon the conceit of the words , by one that hath a good fashion of Singing , will work a better effect and delight , more than another made with all the Art of Descant , where the Humour or Conceit of the words is not minded . The original of which defect ( if I deceive not my self ) is hence occasioned , because the Musician doth not well possess and make himself Master of that which he is to Sing . For if he did so , undoubtedly he would not run into such Errours , as most easily he falleth into , who hath framed to himself a manner of Singing ; for Example , altogether Passionate , with a general Rule that in Encreasing and Abating the Voice , and in Exclamations , is the foundation of Passion , doth always use them in every sort of Musick , not discerning whether the words require it : Whereas those that well understand the conceit and the meaning of the Words , know our defects , and can distinguish where the Passion is more or less required . Which sort of people we should endevour to please with all diligence , and more to esteem their praise , than the applause of the ignorant Vulgar . Thus Art admitteth no Mediocrity , and how much the more curiosities are in it , by reason of the excellence thereof , with so much the more labour and love ought we , the Professors thereof , to find them out : Which love hath moved me ( considering that from Writings we receive the light of all Science , and of all Art ) to leave behind me this little light in the ensuing Notes and Discourses ; it being my intention to show so much as appertaineth to him who maketh profession of Singing alone , upon the Harmony of the Theorbo , or other Stringed Instrument , so that he be already entred into the Theorie of Musick , and Play sufficiently . Not that this cannot also be attain'd by long Practise , as it is seen that many , both Men and Women , have done , and yet this they attain is but unto a certain degree : But because the Theorie of these Writings c●nduceth unto the attaining of that degree ; and because in the profession of a Singer ( in regard of the excellence thereof ) not only particular things are of use , but they all together do better it ; therefore to proceed in order , thus I will say : That the chiefest foundations , and most important Grounds of this Art are , the Tuning of the Voice in all the Notes ; not only that it be neither too high nor too low , but that there be a good manner of Tuning it used . Which Tuning being used for the most part in two fashions , we will consider both of the one and the other ; and by the following Notes will shew that which to me seemeth more proper to other effects . There are some therefore that in the Tuning of the first Note , Tune it a Third under : Others Tune the said first Note in its proper Tune , always increasing it in Lowdness , saying , that this is a good way of putting forth the Voice gracefully . Concerning the first : Since it is not a general Rule , because it agrees not in many Cords , although in such places as it may be used , it is now become so ordinary , that instead of being a Grace ( because some stay too long in the third Note under , whereas it should be but lightly touched ) it is rather tedious to the Ear ; and that for Beginners in particular it ought seldom to be used : but instead of it , as being more strange , I would chuse the second for the Increasing of the Voice . Now , because I have not contained my self within ordinary terms , and such as others have used , yea rather have continually searched after novelty , so much as was possible for me , so that the Novelty may fitly serve to the better obtaining of the Musicians end , that is to delight and move the affections of the mind , I have found it to be a more affectuous way to Tune the Voice by a contrary effect to the other , that is , to Tune the first Note in its proper Tune , diminishing it ; because Exclamation is the principal means to move the affection ; and Exclamation properly is no other thing , but the slacking of the Voice to re-inforce it somewhat more . Whereas Increasing of the Voice in the Treble Part , especially in feigned Voices , doth oftentimes become harsh , and unsufferable to the Hearing , as upon divers occasions I have heard . Undoubtedly therefore , as an affection more proper to move , it will work a better effect to Tune the Voice diminishing it , rather than Increasing of it : Because in the first of these ways now mentioned , when a man Increases the Voice , to make an Exclamation , it is needful that in slacking of it , he Increase it the more . And therefore I have said that it showeth harsh and rough . But in the Diminishing of the Voice it will work a quite contrary effect , because when the Voice is slacked , then to give it a little spirit , will always make it more passionate . Besides that also , using sometimes one , sometimes another , variety may be used , which is very necessary in this Art , so that it be directed to the said end . So● then , if this be the greatest part of that Grace in Singing , which is apt to move the affection of the mind , in those conceits certainly where there is most use of such Affections or Passions , and if it be demonstrated with such lively reasons , a new consequence is hence inferred , that from Writings of men likewise may be learned that most necessary Grace , which cannot be described in better manner , and more cleerly for the understanding thereof ; and yet it may be perfectly attained unto : So that after the Study of the Theorie , and of these Rules , they may be put in practise , by which a man grows more perfect in all Arts , but especially in the profession of a perfect Singer , be it man or woman . More languid . A livelier Exclamation . For Example . Cor mio deh non langui — re gui — re . Of Tuning therefore with more or less Grace , and how it may be done in the aforesaid manner , tryal may be made in the above-written Notes with the words under them , Cor mio , deh non languire . For in the first Minim with the Prick , you may Tune Cor mio , diminishing it by little and little , and in the falling of the Crotchet increase the Voice with a little more spirit , and it will become an Exclamation passionate enough , though in a Note that falls but one degree : But much more spriteful will it appear in the word deh , by holding of a Note that falls not by one degree : As likewise it will become most sweet by the taking of the greater Sixth that falls by a leap . Which thing I have observed , not only to show to others what a thing Exclamation is , and from whence it grows ; but also that there may be two kinds of it , one more passionate than the other ; as well by the manner in which they are described , or tuned in the one way or the other ; as also by imitation of the word , when it shall have a signification sutable to the conceit . Besides that , Exclamations may be used in all Passionate Musicks , by one general Rule in all Minims and Crotchets with a Prick falling ; and they shall be far more Passionate by the following Note , which runneth , than they can be in Semibreves ; in which it will be fitter for increasing and diminishing the Voice , without using the Exclamations . Yet by consequence understand , that in Airy Musicks , or Corants to dance , instead of these Passions , there is to be used onl● a lively cheerful kind of Singing , which is carried and ruled by the Air it self . In the which , though sometimes there may be place for some Exclamation , that liveliness of Singing is in that place to be omitted , and not any Passion to be used which savoureth of Linguishment . Whereupon we see how necessary a certain judgment is for a Musician , which sometimes useth to prevail above Art. As also we may perceive by the foregoing Notes , how much greater Grace the four first Quavers have upon the second syllable of the word Languire ( being so stayed by the second Quaver with a Prick ) than the four last equal Quavers , so printed for Example . But because there are many things which are used in a good fashion of Singing , which because there is found in them a greater Grace , being described in some one manner , make a contrary effect one to the other ; whereupon we use to say of a man that he sings with much Grace , or little Grace : These things will occasion me at this time first to demonstrate in what fashion I have described the Trill and the Grup ; and the manner used by me to teach them to those who have been interessed in my house ; and further , all other the more necessary effects : So that I leave not unexpressed any curiosity which I have observed . Trill , or plain shake . Gruppo , or Double Relish . Cor — re mi — a. The Trill described by me is upon one Note only , that is to say , to begin with the first Crotchet , and to beat every Note with the throat upon the Vowel [ a ] unto the last Breve ; as likewise the Gruppo or double Relish . Which Trill and Gruppo was exactly learned , and exquisitly performed by my Scholars . So that if it be true , that Experience is the Teacher of all things , I can with some confidence affirm and say , that there cannot be a better means used to teach it , nor a better form to describe it . Which Trill and Grup , because they are a step necessary unto many things that are described , and are effects of that Grace which is most desired for Singing well ; and ( as is aforesaid ) being described in one or other manner , do work a contrary effect to that which is requisite : I will shew not only how they may be used , but also all the effects of them described in two manners , with the same value of the Notes , that still we may know ( as is aforementioned ) that by these Writings , together with Practise , may be learned all the Curiosities of this Art. Example of the most usual Graces . 1 Beating of the Throat . 2 Beating the Throat . 2 Trill . 2 Trill . 1 A plain fall . 2 D●uble fall . A fall to take breath . Another fall like it . Where this Mark is set over a Note , the Trill is to be used . It is to be observed in these Graces that the second hath more grace in it than the first ; and for your better experience we will in this following Ayre describe some of those Graces with words under , together with the Bass for the Theorbo ; in which Ayre is contained the most passionate passages . Abating the Voice A sprightly Exclam . A more lively Exclam . Deh deh doue son fuggiti deh doue son spariti Exclam . Exclam . Exclam . Trillo . g'oc chi de qualier rai jo son ce ner homa i Exclam . cheerful , as it were talking in harmony , and neglecting Aure aure divine ch'er rate peregrine in que - the M●sick . ●rill . Exclamation . sta par●'en quella deh recate nouella dell ' alma Exclam . larger time . Trill . Exclam . luce loro aure ch'io me ne moro deh recate no - Ex●lam . uella deli ' alma luce loro Aure Aure Exclam . reinforced . ch'io me ne moro . And because in the two last lines of the foregoing Ayre , Deh doue son fuggiti , there are contained the best passions that can be used in this noble manner of Singing , I have therefore thought good to set them down , both to show where it is fit to encrease and abate the voice , to make Exclamations , Trills , and Grups ; and in a word , all the Treasures of this Art ; and that they may serve for Example , whereby men may take notice in the Musick of the places , where they are most necessary , according to the passions of the words . Although I call that the noble manner of Singing , which is used without tying a mans self to the ordinary measure of time , making many times the value of the Notes less by half , and sometimes more , according to the conceit of the words ; whence proceeds that excellent kind of Singing with a graceful neglect , whereof I have spoken before . [ Our Author being short in setting forth this chief or most usual Grace in Singing , called the Trill , which , as he saith very right , is by a beating in the Throat on the Vowel ( a'h ) some observe that it is rather the shaking of the Uvula or Pallate on the Throat , in one sound , upon a Note . For the attaining of this , the most surest and ready way is by imitation of those who are perfect in the same ; yet I have heard of some that have attained it by this manner , in singing a plain Song , of 6 Notes up and 6 down , they have in the midst of every Note beat or shaked with their finger upon their Throat , which by often practice came to do the same Notes exactly without . It was my chance lately to be in company with three Gentlemen at a Musical Practice , which sung their Parts very well , and used this Grace ( called the Trill ) very exactly : I desired to know their Tutor , they told me I was their Tutor , for they never had any other but this my Introduction : That ( I answered ) could direct them but in the Theory , they must needs have a better help in the Practick , especially in attaining to sing the Trill so well . One of them made this Reply , ( which made me smile ) I used , said he , at my first learning the Trill , to imitate that breaking of a Sound in the Throat , which Men use when they Leuer their Hawks , as he-he-he-he-he ; which he used slow at first , and by often practice on several Notes , higher and lower in sound , he became perfect therein . The Trill , or Shake of the Voice , being the most usual Grace , is made in Closes , Cadences , and other places , where by a long Note an Exclamation or Passion is expressed , there the Trill is made in the latter part of any such Note ; but most usually upon binding Notes in Cadences and Closes , and on that Note that precedes the closing Note . Those who once attain to the perfect use of the Trill , other Graces will become easie . ] Since there are so many effects to be used for the excellency of this Art , there is required ( for the performing of them ) necessarily a good voice , as also a good wind to give liberty , and serve upon all occasions where is most need . It shall therefore be a profitable advertisement , that the Professor of this Art , being to sing to a Theorbo or other stringed instrument , and not being compelled to fit himself to others , that he so pitch his Tune , as to sing in his full and natural Voice , avoiding feigned Tunes of Notes . In which , to feign them , or at the least to inforce Notes , if his Wind serve him well , so as he do not discover them much ; ( because for the most part they offend the Ear ; ) yet a man must have a command of Breath to give the greater Spirit to the Increasing and Diminishing of the Voice , to Exclamations and other Passions by us related ; and therefore let him take heed , that spending much Breath upon such Notes , it do not afterward fail him in such places as it is most needful : For from a feigned Voice can come no noble manner of singing ; which only proceeds from a natural Voice , serving aptly for all the Notes which a man can manage according to his ability employing his wind in such a fashion as he command all the best passionate Graces used in this most worthy manner of Singing . The love whereof , and generally of all Musick , being kindled in me by a natural inclination , and by the study of so many years , shall excuse me , if I have suffered my self to be carried further than perhaps was fit for him , who no less esteems and desires to learn from others , than to communicate to others what himself hath learned ; and to be further transported in this Discourse , than can stand with that respect I bear to all the Professors of this Art. Which Art being excellent and naturally delightful , doth then become admirable , and entirely wins the love of others , when such as possess it , both by teaching and delighting others , do often exercise it , and make it appear to be a pattern and true resemblance of those never ceasing celestial Harmonies , whence proceed so many good effects and benefits upon earth , raising and exciting the minds of the Hearers , to the contemplation of those infinite delights which Heaven affordeth . This Author having set most of his Examples and Graces to the Italian words , it cannot be denyed but the Italian Language is more smooth and better vowelled than the English , by which it has the advantage in Musick , yet of late our Language is much refined , and so is our Musick , to a more smooth and delightfal way and manner of singing after this new method ; especially by the excellent Compositions of Mr. Henry Lawes , and other excellent Masters in this Art , and was by them Taught for above this forty years past , and is daily used and taught by several eminent Professors at this day . Therefore such as desire to be taught to sing after this way , need not seek after Italian or French Masters , for our own Nation was never better furnished with able and skilful Artists in Musick than it is at this time , though few of them have the Encouragement they deserve , nor must Musick expect it as yet , when all other Arts and Sciences are at so low an Ebb : But I do hope , as Almighty God has most miraculously restored His Sacred Majesty in Peace , whose Virtues and Piety declare Him a Lover and Encourager of Arts , and of Musick especially ; so I hope the Clergy , Nobility , and Gentry of this Kingdom , will follow His Gracious and Royal Example . Of the five Moods used by the Grecians . 1. The Dorick , 2. The Lydian , 3. The AEolick , 4. The Phrygian , 5. The Ionick . OF these Moods , though of little use among us , there is scarce any Author that has wrote of Musick but do give some account of them ; among the Latin , Alstedius , Cassiodorus , and others ; in English , Mr. Butler and Mr. Morley ; therefore not intending to be singular , I shall give you this short Narrative . These five Moods have no relation to those Moods mentioned in the former part of this Book ; those have reference to Notes and Time , these only concern Tune . That which the Grecians called Mode or Mood , the Latins termed Tone or Tune : The design of either , was to shew in what Key the Song was set , and how each Musical Key had relation one to another . These five appertained to the Grecians only , and had their several appellations from the Countries in which they were invented and practised . The Latins reduced theirs to Eight Tones or Tunes , and were by the Churchmen termed Plain-songs . These exceeded not the compass of six Notes , and was to direct how to begin and end in the proper Keys ; which eight Tones or Tunes are printed in the Tenor Part of Mr. Morley's Introduction , pag. 147. The Grecian Moods had these various effects . 1. The Dorick Mood consisted of sober slow Tun'd Notes ( Counterpoint ) where the Composition of Parts goes Note for Note together , be they of two , three , or four Parts , as is set forth in my late Book of Musick of four Parts to the Psalms and Hymns used in our Churches , Printed in Folio , 1671. This Mood had its name from Doria , a civil part of Greece near Athens ; and being solemn , moveth to Sobriety and Godliness . 2. The Lydian Mood was used to grave solemn Musick , the Descant or Composition being of slow time , fitted to Sacred Hymns and Anthems , or Spiritual Songs , in Prose , sometimes in Verses alone , and ●ometimes in a full Chorus of four or five Parts ; which moveth a kind of Heavenly Harmony , whereby the mind is lifted up from the regard of earthly things to those celestial Joys above . This Mood had its derivation from the famous River in Lidia called Pactolus , and the winding retrograde Meander , representing thereby the admirable variety of Sound in Musick , passing by the famous Cities , Philadelphia , and Sardis once the Royal Seat of rich King Croesus . 3. The AEolick Mood , was that which was of a more Airy and soft pleasing sound , as your Madrigals or Fa la's of five and six Parts , which were Composed for Viols and Voices by many of our excellent English Authors , as Mr. Morley , Wilks , Wilbey , Ward , and others : Which Musick by its variety and delightfulness , allayeth the Passions , and charmeth the Affections into a sweet and pleasing temper ; such as was that enchanting Musick of the Harp , provided for King Saul , 1 Sam. 16. That Saul was refreshed , and the evil Spirit departed from him . This Mood had its derivation from AEolia ( a Kingdom of AEolus ) whence he is feigned to send his rushing Winds , which do resemble this Mood , that is so commixt with fancy and airy reports , one part after other . 4. The Phrygian Mood was a more warlike and couragious kind of Musick , expressing the Musick of Trumpets and other Instruments of old , exciting to Arms and Activity , as Almans , and the like . This Mood had its derivation from Phrygia ( a Region bordering upon Lydia and Caria ) in which is that Martial Town Cios , and the most high Hill Idae , famous for the Trojan War. Many Historians have written of its rare Effects in warlike Preparations : Suidas ( in litera T ) writes of Timotheus , a skilful Musician , that when Alexander the Great was much dejected in his mind , and loth to take up Arms , he with his Phrygian Flute expressed such excellent sounds and varieties of Musick , that the Kings passions were immediately stirred to War , and ran presently and took up Arms. But the Story of Ericus the Musician passes all ; who had given forth , that by his Musick he could drive men into what Affections he listed ; and being required by Bonus King of Denmark to put his Skill in practice , he with his Harp , or Polycord Lyra , expressed such effectual melody and harmony , in the variety of changes in several Keyes , and in such excellent Fug's and spritely Ayres , that his Auditors began first to be moved with some strange passions , but ending his excellent Voluntary with some choice Fancy upon this Phrygian Mood , the Kings passions were altered , and excited to that height , that he fell upon his most trusty friends which were near him , and flew some of them with his fist for lack of another weapon ; which the Musician perceiving , ended with the sober and solemn Dorick , which brought the King to himself , who much lamented what he had done . This is recorded at large by Crantzius , lib. 5. Daniae cap. 3. and by Saxo Grammaticus , lib. 12. Hist. Daniae , and others . 5. The Ionick Mood was for more light and effeminate Musick , as pleasant amorous Songs , Corants , Sarabands , and Iigs , used for honest mirth and delight at Feasts and other merriments . This Mood had its derivation from the Ionians of Ionia , which lies between AEolia and Caria , a situation full of all pleasure , whose plenty and idleness turned their honest mirth into lasciviousness . By this Mood was the Pythagorean Huntsup , or Morning Musick , which wakened and roused their dull Spirits to study and action . The abuse of this Mood is soon reformed by the sober Dorick ; for what this excites above moderation , the other draws into a true Decorum . Let thus much suffice to have been spoken of the Grecian Moods . I shall now set down some short Songs , and Ayres for two Voices , very useful for Beginners . Short Ayres or Songs of Two Voices , Treble and Bass for Beginners . A. 2. Voc. TREBLE . W. L. GAther your Rose-buds while you may , old Time is still a flying , and that same Flow'r that smiles to day , to morrow will be dying . A. 2. Voc. BASSE . W. L. GAther your Rose-buds while you may , old Time is still a flying , and that same Flow'r that smiles to day , to morrow will be dying . A. 2. Voc. TREBLE . I. P. COmely Swain why sitt'st thou so , Fa la la la la &c. la. Folded arms are signs of woe , Fa la la la la la la la la la. If thy Nymph no favour show , Fa la la la la la la la. Chuse another , let her go , Fa la la la la la la la la la. A. 2. Voc. BASSE . I. P. COmely Swain why fitt'st thou so ; Fa la la la la &c. la. Folded Arms are signs of woe , Fa la la la la la la la la la la. If thy Nymph no favour show , Fa la la la la la la la. Chuse another , let her go , Fa la la , &c. A. 2. Voc. TREBLE . T. M. NOw is the Month of Maying , when merry Lads are playing , Fa la la la la , &c. Each wi●h his bonny Lass upon the greeny grass , Fa la la la la , &c. A. 2. Voc. BASSE . T. M. NOw is the Month of Maying , when merry Lads are playing , Fa la la la la , &c. Each with his bonny Lass upon the greeny grass , Fa la la la la , &c. A. 2. Voc. TREBLE . B. R. IN the merry month of May , in a morn by break of day ; forth I walkt the wood so wide , when as May was in her pride ; there I spyed all alone , Philida and Coridon . A. 2. Voc. BASSE . B. R. IN the merry month of May , in a morn by break of day ; Sorth I walkt the wood so wide , when as May was in her pride ; there I spyed all alone Philida and Coridon . A. 2. V●c . TREBLE . H. L. COme Cloris hye we to the Bow'r , to sport us e're the day be done ; such is thy pow'r that ev'ry Flow'r will ope to thee as to the Sun. The wanton Suckling and the Vine Will strive for th' Honour , who first may With their green Arms incircle thine , To keep the burning Sun away . A. 2. Voc. BASSE . H. L. COme Cloris hye we to the Bow'r , to spo●t us e're the day be done ; such is thy pow'r , that ev'ry Flow'r will ope to thee as to the Sun. A. 2. Voc. TREBLE . I. G. VVIll Cloris cast her Sun-bright Eye upon so mean a Swain as I ? Can she affect my oaten reed ? or stoop to wear my Shepherds weed . What rural sport can I devise , To please her Ears , to please her Eyes ? Fair Cloris sees , fair Cloris hears● With Angels Eyes and Angels Ears . A. 2. Voc. BASSE . I. G. VVIll Cloris cast her Sun-bright Eye upon so mean a Swain as I ? Can she affect my oaten reed ? or stoop ●o wear my Shepherds weed . A. 2. Voc. TREBLE . T. B. TUrn Amarillis to thy Swain , turn Amarillis to thy Swain , turn Amarillis to thy Swain , thy Damon calls thee back again , thy Damon calls thee back again : Here is a pretty , pretty , pretty , pretty , pretty Arbour by , where Apollo , where Apollo , where Apollo , where Apollo cannot , cannot spy , where Apollo cannot spy . Here let 's fit , and whilst I play , sing to my Pipe , sing to my Pipe , sing to my Pipe , sing to my Pipe , sing to my Pipe a Roundelay ; sing to my Pipe , sing to my Pipe , sing to my Pipe a Roundelay . A. 2● Voc. BASSE . T. B. TUrn Amarillis to thy Swain , turn Amarillis , turn Amarillis , turn Amarillis to thy Swain , thy Damon calls thee back again , thy Damon calls thee back again : Here is a pretty Arbour by , where Apollo , where Apollo , where Apollo , where Apollo cannot spy , where Apollo cannot spy : There let 's sit , and whilst I play , sing to my Pipe , sing to my Pipe , sing to my Pipe , sing to my Pipe , sing to my Pipe a Roundelay ; sing to my Pipe , sing to my Pipe , sing ro my Pipe a Roundelay . A. 2. Voc. TREBLE . W. L. LOve is lost and gone astray being blind hath lost his way . Ve╌nus cryeth for her son . out alass she is undone ! Cupid sor his mother wept , weepin● , thus sate down and slept . A. 2. Voc. BASSE . W. L. LOve is lost and gone astray , being blind hath lost his way . Venus cryeth for her son , out a╌lass she is undone ! Cupid for his mother wept , weeping , thus sate down and slept . For more Songs and Ayres of this nature for Beginners , I refer you to two Books lately published , one entituled , Select Ayres and Dialogue ●or One , Two , and Three Voices ; the other , The Musical Commpanion , containing Ayres for Two , Three , and Four Voices . RULES and DIRECTIONS For SINGING the PSALMS . THe Tunes of Psalms are of general use , all who are true Lovers of Divine Musick will have them in estimation , they may be called Holy David's Musick , they are easie and delightful : Those who are principally concerned , are Parish-Clerks , as being the Leaders of those Tunes in their Congregations , for whose use and benefit , I have set down these following Directions . First , observe how many Notes Compass the Tune is ; secondly , the place of the first Note ; and lastly , how many Notes above and below that , so that you may begin the first Note in such a Key , as the rest may be sung in the compass of your own and the peoples Voices , without squeaking above , or grumbling below . For the better understanding of which , these following Instructions are necessary , which serve also for all other Tunes that are not here ; but when you are perfected in these , I refer you to my large Book lately published in Folio , Entituled , Psalms and Hymns in Solemn Musick of Four Parts ; in which is 47 several Tunes , with the Bass under each Common-Tune , as proper to sing to the Organ , Theorbo , or Bass-Viol ; also variety of excellent Translations of Psalms and Hymns , never before published . The Short Tunes to Four Lines , whose Measure is Eight Syllables on the first Line , and six on the next . These Tunes , in Tuning , the first Note will bear a cheerful high pitch , in regard their whole Compass is not above five or six Notes , from the highest Note to the lowest . To Psal. Consolatory . Oxford Tune Cambridge Tune Litchfield Tune Low-Dutch Tune To Psalms of Prayer , Confession , and Funerals . York Tune Windsor Tune Westminster Tune Ely Tune Worcester Tune Hartfordshire Tune To peculiar Psal. as 25,50,67,70,134 . Southwell Tune New Tune These Tunes are eight Notes Compass above the first , and therefore you must begin the first Note indifferent low . To Psalms of Praise and Thanksgiving . St. David's Tune Martyrs Tune Winchester Tune London Tune London new Tune Norwich Tune Hereford Tune Exceter Tune Long Tunes , most of them usual to Psalms of Eight Lines , which contain Eight Syllables in the first Line , and six in the next . These Tunes are eight Notes in Compass above the first Note , and therefore you must begin the first Note low . 1 Psal. Tune 81 Psal. Tune 113 Psal. Tune 119 Psal. Tune 148 Psal. Tune These Tunes fall four Notes lower than the first Note , therefore begin that indifferent high . 51 Psal. Tune 68 Psal. Tune 100 Psal. Tune 125 Psal. Tune The most usual Common Tunes Sung in Parish Churches , with the Bass under each Tune . Psal. 4. Oxford Tune . O God that art my righteousness , Lord hear me when I call : Thou hast set me at liberty , when I was bound and thrall . Psal. 69. Litchfield Tune . SIng ye with praise unto the Lord , new songs with joy & mirth . Sing unto him with one accord , all people on the earth . Psal. 116. Windsor Tune . I Love the Lord , because my voice and prayer heard hath he : When in my days I call`d on him , he bow'd his ear to me . Psal. 141. Westminster Tune . O Lord upon thee do I call , Lord hast thee unto me : And hearken Lord unto my voice , when I do cry to thee . Psal. 26. Worcester Tune . LOrd be my Judge , and thou shalt see my paths be right & plain : I trust in God , and hope that He will strength me to remain . Psal. 133. Hereford Tune . O How happy a thing it is , and joyful for to see : Brethren together fast to hold the band of amity . Psal. 21. Cambridge Tune . HElp Lord , for good and godly men do perish and decay : And faith and truth from worldly men is parted clean away . Psal. 39. Martyrs Tune . I Said I will look to my ways , for fear I should go wrong : I will take heed all times that I offend not with my tongue . Psal. 25. or 50,67,70,134 . Cambridge short Tune . I Lift mine heart to thee , my God and guide most just : Now suffer me to take no shame , for in thee do I trust . Psal. 134. or 25. New Tune . BEhold and have regard , ye Servants of the Lord : Which in his house by night do watch , praise him with one accord . Psal. 23. Low-Dutch Tune . THe Lord is only my support , and he that doth me feed : How can I then lack any thing whereof I stand in need . Psal. 84. Winchester Tune . HOw pleasant is thy dwelling place , O Lord of hosts to me ! The Tabernacles of thy grace , how pleasant Lord they be ! Psal. 103. Hartfordshire Tune . MY Soul give land unto the Lord , my Sp'rit shall do the same : And all the Secrets of my Heart , praise ye His Holy Name . Psal. 145. Exceter Tune . THee will I laud my God and King , and bless thy name for aye : For ever will I praise thy name , and bless thee day by day . Psal. 73. York Tune . THe L. is both my health and light , shall man make me dismaid ? Sith God doth give me strength & might , why should I be afraid ? Psal. 95. St. David's Tune . O Come let us lift up our voice , and sing unto the Lord : In him our rock of health ●ejoyce , let us with one accord . Psal. Hackney Tvne . REgard , O Lord , for I complain , and make my sute to thee : let not my words return in vain , but give an ear to mee . Psal. 135. London New Tune . O Praise the L. praise him , praise him , praise him with one accord O praise him still all ye that be , that servants of the Lord. Psal. 100. ALl Pple that on earth do dwel , sing to the L. w th cheerful voice : Him serv with fear , his praise forth tel ; cōe ye before him & rejoyce . Psal. 125. Ten Commandement Tune . THose that do put their confidence , upon the L. our God only : And fly to him for their defence , in all their need and misery . First Psalm . THe man is blest that hath not bent , to wicked read his ear : Nor led his life as sinners do , nor sate in scorner● chair . But in the Law of God the Lord doth set his whole delight : And in that Law doth exercise himself , both day and night . Psal. 51. O Lord consider my distress , and now with speed some pity take My sins deface , my faults redress , good L. for thy great mercy sake Wash me , O L. and make me clean from this un●ust & sinful act : And purifie yet once again my hainous crime and bloody fact . Psal. 68. LEt God arise , and then his foes will turn themselves to flight , His en'mies then will run abroad , and scatter out of sight : And as the fire doth melt the wax , and wind blow smoak away : So in the presence of the Lord the wicked shall decay . Psal. 81. BE light and glad in God rejoyce , which is our strength and stay : Be joyful , and lift up you voice , to Iacob's God I say . Prepare your Instruments most meet , some joyful Psalm to sing : Stri●e up with Harp and Lute so sweet , on every pleasant string . Psal. 113. YE childrē wch do serve the L. praise ye his nāe with one accord : Who from the rising of the Sun , till it return where it begun : Ye blessed be alwa●s his name . The L. all Pple doth surmoūt , Is to be praised with great fame . The L. all Pple doth surmoūt , As for his glory we may count , above the Heavens high to be . With God the Lord who may compare , whose dwellings in the Heavens are : Of such great pow'r and fo●ce is He. Psal. 148. GIve laud unto the Lord , from heav'n that is so high ; Praise him in deed and word above the starry sky : And also ye , his Angels all , Armies royal , praise him with glee . Psal. 119. BLessed are they that perfect are , and pure in mind and heart , Whose lives and conversations from Gods Laws never start . Blessed are they that give themselves his S●atutes to observe , Seeking the L. with all their hearts , and never from him swerve . A BRIEF INTRODUCTION To the Playing on the Bass-Viol . The Second BOOK . THe Viol ( usually called ) de Gambo , or Consort Viol , because the Musick thereon is play'd from the Rules of the Gam-vt , and not as the Lyra-Viol , which is by Letters or Tableture . Of this Viol de Gambo there are three several sizes , one larger than the other , according to the three Parts of Musick set forth in the Gam-vt , viz. Treble-Viol , Tenor-Viol , and Bass-Viol . The Treble-Viol plays the highest Part , and its Lessons are prick'd by the G sol re vt Cliff ; the Tenor-Viol , or middle part , its Lessons are by the C sol fa vt Cliff ; and the Bass-Viol , which is the largest , its Lessons are by the F fa vt Cliff These three Viols agree in one manner of Tuning ; where I shall give you the Directions for Tuning the Bass-Viol , which is usually strung with six Strings ( as you may observe on the Figure expressed in the foregoing page ) which six strings are known by six several names ; the first , which is the smallest , is called the Treble ; the second , the small Mean ; the third , the great Mean ; the fourth , the Counter-Tenor ; the fifth , the Tenor or Gam-vt string ; the sixth , the Bass. But if you will name them after they are Tuned , according to the Rule of the Gam-vt , the Treble string , is D la sol re ; the smal Mean , A la mi re ; the great Mean , E la mi ; the Counter-Tenor , C fa vt ; the Tenor or fifth string , Gam-vt ; and the sixth or Bass , double D sol re . Belonging to these six strings there are seven Frets or Stops on the neck of your Viol , which are for stopping the various Sounds , according to the several Notes of the Gam-vt , both Flats and Sharps : For the more plain understanding of which , I have drawn an exact Table in the following pag. 88. beginning with the lowest Note on your sixth string , and so ascending to the highest on the first or Treble string . Your perfect understanding of that Table will much further you in the knowledg of Tuning your Viol ; for which Tuning I will give you two Rules , one by Tableture or Letters , the other by the Gam-vt Rule ; the first being the easiest way to a Beginner , whose Ear at first is not well acquainted with the several distances of Sounds that the Strings are Tuned in , shall by this way use only one Sounding , viz. an Unison , which is to make two strings ( one of them being stopt , the other not ) to agree in one and the same sound : The Letters are Eight , A , B , C , D , E , F , G , H ; seven of these are assigned to the seven Frets on the Neck of the Viol ; A is for the string open , so B is the first Fret , C the second , D the third , E the fourth , F the fifth , G the sixth , and H the seventh . Six Strings . When you begin to Tune , raise your Treble or smallest string as high as conveniently it will bear without breaking ; then stop only your second or small Mean in F , and tune it till it agree in sound with your Treble open ; that done , stop your Third in F , and make it agree with your Second open ; then stop your Fourth in F , and make it agree with your Third open ; then stop your Fifth in F , and make it agree with your Fourth open ; and lastly , stop your Sixth in F , and make it agree to your Fifth open . This being exactly done , you will find your Viol in Tune , according to the Rule of the Gam-vt . Example , Tuning by Letters . Example , Tuning by Notes . D la sol re . A la mi re . E la mi. C fa vt . Gam-vt . D D sol re . The other way of Tuning is by the Rule of the Gam-vt , by distances of Sounds , as in the foregoing Example , thus : The Treble being raised as high as it will conveniently bear without breaking , is called D la sol re , then tune your second four Notes lower , and it is A la mi re ; the third four Notes lower is E la mi ; the fourth three Notes , or a f●at Third lower , is C fa vt ; the fifth four Notes lower , is Gam-vt ; and the sixth four Notes lower than the fifth , is double D sol re : This is the most usual way of Tuning it ; yet there are some Lessons do require it one Note lower , which is double C fa vt , but that is very seldom . Example of the Notes ascending and descending . Your Viol being Tuned , practice to play this Example of the Notes ascending and descending , and by it you shall know your Viol is right Tuned . An exact Table , directing the Places of the Notes , Flat and Sharp , to every Stop on the Bass-Viol , according to the Gam-ut ; beginning at the lowest Note of the Bass on the Sixth String , and ascending to the highest on the Treble . 6 String . Double D ●ol re . Double E la mi. Flat . D D E la mi. Proper . D D Ffa ut . D D F fa ut . Sharp . Sixth string open . Sixth string first fret . Sixth string second fret . Sixth string third fret . Sixth st●ing fourth fret . 5. String . Gamut . Gamut sharp . A re . B mi flat . B mi proper . Fifth string open . fifth string ●●●st fret . fifth string second fret . fifth string third fret . fifth string fourth fret . 4 String . C fa ut . C fa ut , sharp . D sol re . E la mi , flat Fourth string open . fourth string first fret . fourth string second fret . fourth string fourth fret . 2 String . E la mi F fa ut F fa ut , sharp G sol re ut . G sol ●e ut , sharp . Third string open . third string first f●et . third string second fret . third string third fret . third string fourth f●et . 2 String . A la mi re . B fa b mi , flat . B fa b mi. proper . ● 〈◊〉 fa ut . C sol fa ut , sharp . Second string open . second string first fret . second string second fret , second string third fret . second string fourth fret . 1 String . D la sol re E la mi , flat E la mi F fa ut E la ut sharp G sol r● ut . first string open . first string first fret . first string second fret . first string third fret . first string fourth fret . first string fifth fret . It is usual in Lessons for the Bass-Viol , to change the Cliff where the Notes ascend above D la sol re , which is very necessary to prevent the drawing of more lines above ; therefore the Practitioner ought to be perfect in the C sol fa ut Cliff on the middle line , as you see in the five last Notes of the Table ; also this Example mentions the like agreement of Notes in both Cliffs . Example . In this Example the Notes prick'd in the Tenor Cliff , are the same with those in the Bass or F fa ut Cliff , and are stopp'd in the same places on the Viol. This I thought fit to mention , because you will meet with the change of Cliffs in the following Lessons . Observe , that in the foregoing Table the Sharp ( ) before a Note makes it stopt a Fret lower , and a b Flat before a Note a Fret higher ; for two Frets go to one whole or perfect Note , as that Table doth direct : Sometimes you may see a before D sol re , then it is stopt a Fret lower , which is the place of E la mi flat , so if a Flat is set before A la mi re , it is a Fret higher , which is G sol re ut ; the like of other flat or sharp Notes . Also if a B flat or B sharp be set on Rule or Space at the beginning of any Line with the Cliff , that Flat or Sharp makes all the Notes which are in the same Rules or Spaces to be flat or sharp through the whole Lesson . TREBLE-VIOL . These Directions for the Bass-Viol do also serve the Treble-Viol , which is strung and tuned in the same manner , only eight Notes higher , G sol re ut on the Treble is the Eighth above G sol re ut on the Bass , being stopped on the same String and Fret with the Bass ; and so other Notes accordingly . TENOR-VIOL . The Tenor-Viol is an excellent inward Part , and much used in Consort , especially in Fantasies and Ayres of 3 , 4 , 5 and 6 parts . The Tuning of it is the same with the Bass and Treble , for the distance of sound betwixt each string ; but being an Inward Part betwixt both , its Tuning is four Notes higher than the Bass , and five Notes lower than the Treble ; its first or Treble string is tuned to G sol re ut on the third string of the Treble-Viol ; its second four Notes lower , which is D la sol re ; the third for Notes lower , is A la mì re ; the fourth three Notes ( or a flat Third ) lower , is F fa ut ; the fifth four Notes lower than it , is C fa ut ; and the sixth four Notes lower than the fifth , is Gam-vt ; which is answerable to the Gam-vt on the Bass-Viol . For the better understanding of these Tunings severally , viz. Treble or Tenor , observe these two Examples of them , according as their six strings are Tuned by the several Distances of Notes in the Gam-vt . The Treble-Viol Tuning . 1 2 3 4 5 6 String . The fifth string on the Treble-Viol is the same with G sol re vt on the third string of the Bass-Viol . The Tenor-Viol Tuning . 1 2 3 4 5 6 String . The fifth string of the Tenor-Viol is tuned to C fa vt or fourth string of the Bass-Viol . For the Names of the Notes , and their Proportions of Time , I refer you to the fourth and seventh Chapters in the first Book . Some General Rules for the Viol. THere are three sorts of Bass-Viols , as there are three manners of ways in playing . First , a Bass-Viol for Consort must be one of the largest size , and the Strings proportionable . Secondly , a Bass-Viol for Divisions must be of a less size , and the Strings according . Thirdly , a Bass-Viol to play Lyra-way , that is by Tableture , must be somewhat less than the two former , and strung proportionably . 2. In the choice of your Viol Bow , let it be proportioned to the Viol you use , and let the Hair be laid stiff , and the Bow not too heavy , nor too long . 3. In holding your Viol observe this Rule : Place it gently between your Knees , resting the lower end thereof upon the Calves of your Legs , and let your Feet rest flat on the Ground , your Toes turned a little outward , and let the top of your Viol lean towards your left shoulder . 4. In the holding of your Bow , observe this Rule : Hold the Bow betwixt the ends of your Thumb and your Forefinger , an Inch below the Nut , the Thumb and first Finger resting on the Wood , the ends of your second and third Fingers staid upon the Hair , by which you may poise and keep up your Bow. Your Bow being thus fix'd , you must draw it over one string , and then another , in a right angle , about two or three Inches above the Bridge , making each several string yield a clear sound . 5. In the posture of your left hand observe this Rule , place your Thumb on the back of the Neck , and opposite to your Forefinger , so that when your Fingers are to rest on the several Stops or Frets , your hand may have liberty to move up and down , as occasion shall require ; and in the stopping observe , that when you set any finger down , let it not be just upon the Fret , but close to it , bearing it hard down with the end of your finger , and let it rest there , playing the following Notes with your other fingers , until occasion require the moving it ; and be sure not to lift your fingers too high , but keep them in an even distance to the Frets , that so they may pass more readily from Fret to Fret . Also in the Rule of true Fingering , where you skip a Fret , there leave a finger ; and when you have any Notes which are high Notes , that reach lower than the Frets , there the highest Note is always stopt either with the third or fourth finger ; if with the third , then the first and second fingers are ready to stop the two next Notes either ascending or descending from it : But if the highest Note be stopt with the fourth finger , then the Note under it is stopt either with the third or second finger , according as it is either Flat or Sharp ; if Sharp , the third ; if Flat , the second . But whether the highest Note be stopt with the third or fourth finger , the third below it must be stopt with the first finger● which is ever as a guide to the two Notes above it . Lastly , when two Notes which follow one another are stopt with the same finger removed , it is to prepare the other fingers to the aforementioned posture , or to remove them to some other place . This order of Fingering directs the whole Finger-board ( in stopping three Notes which follow upon any one string ) with this proviso , where stops are wide , the fourth or little finger is of more use , than lower down , where the stops fall more close . 6. In the moving your Bow observe this Rule , when you see an even number of Quavers or Semiquavers , as 2 , 4 , 6 , or 8 , tyed together , you must begin with your Bow forward , though the Bow be drawn forward the Note before ; but if the number be odd , as 3 , 5 , or 7 , ( which is by reason of a Prick Note or an odd Quaver Rest ) then the first Note must be plaid with the bow drawn backward . Lastly , in the practice of any Lesson , play it slow at first , and by often practice it will bring your hand to a more swift motion . And now , your Viol Being Tuned according to the foregoing Directions , I have here following set down a few Lessons for to begin with , and over the Notes I have set figures , to direct with what fingers to stop them ; 1 , 2 , 3 , 4 , is set for first , second , third , and fourth fingers ; those which have no figures over them , are the string open . For the usual Graces , the Shake is the principal ; of which there are two , the close shake and the open shake ; the close shake is when you stop with your first Finger on the first Fret , and shake with your second Finger as close to it as you can ; the open shake is when you stop with your first Finger on the first Fret , and shake with your third Finger on the third Fret ; this observe in all stops whatsoever . For other Graces , as Double Relishes , Back-falls , &c. I refer you to the Table of the several Graces in my Directions for the Treble-Violin , which are proper also to the Bass-Viol . Short Lessons for the Bass-Viol . 1 3 1312 12 13 3 2 12 12 2 3 23 1 3 23 2 2 12 2 3 31 3 1 21 2 2 32 31 31 3 1 3 13 1 2 The Ground of Iohn come kiss . A Ground . A Ground . A Ground . A Tune . A tune . A Preludium . An easie Division . A BRIEF INTRODUCTION To the Playing on the TREBLE-VIOLIN . THE Treble-Violin is a cheerful and spritely Instrument , and much practised of late , some by Book , and some without ; which of these two is the best way , may easily be resolved : First , to learn to play by rote or ear without Book , is the way never to play more than what he can gain by hearing another play , which may soon be forgot ; but on the contrary , he which learns and practises by Book , according to the Grounds of Musick , fails not , after he comes to be perfect in those Rules , which guide him to play more than ever he was taught or heard , and also to play his part in Consort ; which the other will never be capable of , unless he have this sure guide . The Violin is usually strung with four strings , and tuned by fifths ; for the more plain and easie understanding thereof , and the stopping all Notes in their right places and tune , it will be necessary that on the neck or finger-board of your Violin , there be placed six frets , as is on a Viol : This , though it be not usual , yet it is the best and easiest way for a Beginner who has a bad Ear , for by it he has a certain rule to direct and guide him to stop all his Notes in exact tune , which those that do learn without , seldom have at first so good an Ear to stop all Notes in perfect tune . Therefore for the better understanding thereof , in this following Example is assigned to those six frets on the finger-board , six Letters of the Alphabet in their order ; the first Fret is B , the second C , the third D , fourth E , fifth F , and sixth G ; A is not assigned to any of the Frets , but is the String open . In this Example you have the names of the 4 strings , and the letters assigned to each fret . The Scale of Musick on the four Strings of the Treble-Violin , expressed by Letters and Notes . The Fourth String or Bass. The Third or Great Mean. The Second or Small Mean. The First or Treble . This Example doth direct the places of all the Notes , Flat and Sharp ; each Note being placed under the Letters , according to their several Stops upon each string distinctly , beginning at the lowest Note on the Bass , or fourth string , and ascending up to the highest on the Treble , according to the Scale of the Gam-vt ; in which you may also observe , that the Lessons for the Violin by Letters are prick'd on four Lines , according to the four several strings ; but Lessons by Notes are prick'd upon five Lines , as appears in that Example . For the Tuning of your Violin it is by Fifths , which is five Notes distance betwixt each string ; for , according to the Scale or Gam-vt , the Bass or fourth string is called G sol re vt , ( and is tuned an eight above Gam-vt on the Bass-Viol ) the third or great Mean , D la sol re ; the second or small Mean , A la mi re ; and the first or Treble , Ela ; as in the following Example the first Note of each string is upon ● , and is known by this signature * under each of those Notes . But for a Beginner to Tune by Eights , will be easier than by Fifts , if his Violin be fretted ; to begin which , he must wind up his first or Treble string as high as it will bear , and stop it in F , then Tune his second an Eighth below it ; then stop the second in F , and Tune the third an Eighth under it ; then stop the third in F , and Tune the fourth an Eighth below that ; and so your Strings will be in perfect Tune . Example of the Tuning By Eights . By Fifts . 2 2 3 1 2 3 2 3 4 2 3 4 Another Example of the Tuning , as the five Notes ascend on each of the four strings , beginning on the Bass or fourth string . * 4 String . * 3 String . * 2 String . * 1 String . G sol re vt . D la sol re . A la mi ●e . E la. Some General Rules for the TREBLE VIOLIN . FIrst , The Violin is usually plaid above-hand , the Neck thereof being held by the left hand ; the lower part thereof is rested on the left breast , a little below the shoulder : The Bow is held in the right hand , between the ends of the Thumb and the three first Fingers , the Thumb being staid upon the Hair at the Nut , and the three Fingers resting upon the Wood : Your Bow being thus fixed , you are first to draw an even stroke over each string severally , making each string yield a clear and distinct sound . Secondly , for the posture of your left hand , place your Thumb on the back of the Neck , opposite to your Forefinger , so will your Fingers have the more liberty to move up and down in the several Stops . Thirdly , for your true fingering , observe these directions , which will appear more easie to your understanding , if in your first practice you have your Violin fretted , as is before mentioned , that where you skip a fret or stop , there to leave a finger , for every stop is but half a Tone or Note , for from to is but half a Note , but from to is a whole Note , therefore the leaving of a finger is necessary to be in readiness when half Notes happen , which is by flats and sharps . Next , when you have any high Notes , which reach lower than your usual Frets or Stops , there you are to shift your fingers ; if there be but two Notes , then the first is stopt with the third finger ; but if there be three Notes that ascend , then the first is stopt with the second finger , and the rest by the next fingers . Fourthly , in the moving your Bow up and down observe this Rule , when you see an even number of Quavers and Semiquavers , as 2 , 4 , 6 or 8 tyed together , your Bow must move up or forwards , though it was up at the Note immediately before , but if you have an odd number , as 3 , 5 or 7 ( which happens very often , by reason of a prickt Note or an odd Quaver Rest ) there your Bow must draw back at the first Note . Lastly , in your practice of any Lesson , play it slow at first , and by often practice you will bring your hand to a more swift motion . As for the several Graces and Flourishes that are used , as Shakes , Backfalls , and double Relishes , this following Table will be some help to your practice ; for there is first the Note plain , and after the Grace expressed by Notes at length . A Table of Graces proper to the Viol or Violin . Smooth Graces . A Beat Explan : A Backfall Expla : A Double Backfall Explan : Elavation Explan : A Springer Expla . A Cadent Explan : Shaked Graces . A Backfall shaked Explan : A Close shake Explan : A shaked Beat Explan : Elevation Explan . Cadent Explan : Double Relish Explan . or thus Explan : Short Tunes for the Treble-Violin , by Letters and Notes . Maiden Fair. Note , That in these Lessons by Letters , the Time is not put over every Letter , but if a Crotchet be over any Letter , the following Letters are to be Crotchets also , till you see the Note changed , and so in ●ther Notes likewise . Maiden Fair. The Kings Delight . The Kings Delight . Parthenia . Parthenia . Iohn come kiss , with Division to each Strain . The Lark , with Division . Ingenious Practitioner , HAving thus ( after the plainest method I could ) set down several Rules and Directions for thy practice on the Treble Violin , by way of Fretting ; which way I have known used by some of the most eminent Teachers on this Instrument , as the most facile and easie to initiate their Scholars : And also by the way of Pricking down Lessons in Letters ; yet do I not approve of this way of Playing by Letters , save only as a Guide to young Practitioners , to bring them the more readily to know all the Stops and Places of the Notes , both Flat and Sharp , as is set down in the Table pag. 96 , 97. And having by this practice come to the perfect knowledge thereof , to lay the use of Letters aside , and keep to their practice by Notes only . And therefore in the Introduction to the Skill of this Musick , I have added some few Lessons both ways , that after thou canst play them by Letters , thou maist play the same again by Notes : Those who desire to be furnished with more Lessons , I refer to a Book lately published , Entituled , Apollo's Banquet , containing above two hundred new Tunes for the Treble Violin , with the most usual French Dances added to them . By the practice of these Rules , and a little help of a Master , I doubt not but thou mayst in a short time become a good Proficient on this Instrument ; which is the hearty desire of thy Well-wisher , J. P. FINIS . The ART of DESCANT : OR , Composing of Musick in Parts . By a most familiar and easie Rule . In Three several TREATISES : I. Of making Four Parts in Counterpoint . II. A necessary Discourse of the several Keyes , and their proper Closes . III. The Allowed Passages of all Concords , Perfect and Imperfect . By Dr. THO. CAMPION . With Annotations thereon , by Mr. Chr. Simpson . London , Printed for Iohn Playford , and are to be sold at his Shop in the Temple . 1674. THere are Nine Concords of Musick , as followeth : A Unison , Third , Fifth , Sixth , Eighth , Tenth , Twelfth , Thirteenth , and Fifteenth ; whereof five are called perfect , and four imperfect . The five perfect , are Unison , Fifth , Eighth , Twelfth , and Fifteenth : Of these , you may not take two of one sort together , neither rising or falling , as two Fifths , or two Eighths . Of the other four , called imperfect , you may take two or three together of one sort , rising or falling , which are a Third , Sixth , Tenth , and Thirteenth . These Nine Concords are comprehended in four , viz. Unison , Eighth , Fifteenth , are accounted as one , for every Eighth is the same . Third , Tenth , likewise . Fifth , Twelfth , likewise . Sixth , Thirteenth , in like sort . So that in effect there are but four Concords . The Discords are , a Second , Fourth , and Seventh , with their Eighths ; which being sometime mixt with Concords , make the best Musick , being orderly taken . THE ART of DESCANT : OR , Composing Musick in Parts . I. Of * Counterpoint . THe Parts of Musick are in all but four , howsoever some skilful Musicians have Composed Songs of twenty , thirty , and forty parts ; for be the parts never so many , they are but one of these four in nature . The names of those four parts are these : The Bass , which is the lowest part and foundation of the whole Song ; the Tenor , placed next above the Bass ; next above the Tenor , the Mean or Counter-Tenor ; and in the highest place , the Treble . These four Parts by the Learned are said to resemble the four Elements ; the Bass expresseth the true nature of the Earth , who being the gravest and lowest of all the Elements , is as a foundation to the rest ; the Tenor is likened to the Water , the Mean to the Air , and the Treble to the Fire : Moreover , by how much the Water is more light than the Earth , by so much the Air is lighter than the Water , and Fire than Air. They have also in their native property every one place above the other ; the lighter uppermost , the weightiest in the bottom . Having now demonstrated that there are in all but four Parts , and that the Bass is the foundation of the other three , I assume that the true sight and judgment of the upper three must proceed from the lowest , which is the Bass ; and also I conclude , that every part in nature doth affect his proper and natural place , as the Elements do . True it is , that the ancient Musicians , who intended their Musick only for the Church , took their sight from the Tenor , which was rather done out of necessity , than any respect to the true nature of Musick ; for it was usual with them to have a Tenor as a Theam , to which they were compelled to adapt their other Parts : But I will plainly convince by demonstration , that contrary to some opinions the Bass contains in it both the Ayr and true judgment of the Key , expressing how any man at first sight may view in it all the other Parts in their original essence . In respect of the variety in Musick which is attained to by farther proceeding in the Art , as when Notes are shifted out of their native places , the Bass above the Tenor , or the Tenor above the Mean , and the Mean above the Treble ; this kind of Counterpoint , which I promise , may appear simple and only fit for young Beginners , ( as indeed chiefly it is ) yet the right speculation may give much satisfaction , even to the most skilful , laying open unto them , how manifest and certain are the first grounds of Counterpoint . First , it is in this case requisite that a formal Bass , or at least part thereof be framed , the Notes rising and falling according to the nature of that Part , not so much by degrees , as by leaps of a third , fourth , or fifth , or eighth , a sixth being seldom , a seventh never used , and neither of both without the discretion of a skilful Composer . Next , we must consider whether the Bass doth rise or fall , for in that consists the mystery : That rising or that falling doth never exceed a fourth , (a) for a fourth above , is the same that a fifth is underneath , and a fourth underneath is as a fifth above ; for Example , if a Bass should rise thus : 1 2 3 The first rising is said to be by degrees , because there is no Note between the two Notes ; the second rising is by leaps , for G skips over A to B , and so leaps into a third ; the third Example also leaps two Notes into a fourth . Now for this fourth , if the Bass had descended from G above to C underneath , that descending fifth in sight and use had been all one with the fourth , as here you may discern , for they both begin and end in the same Keys , thus : G C G C This Rule likewise holds , if the Notes descend a second , (b) third , or fourth ; for the fifth ascending , is all one with the fourth descending . Example of the first Notes . 1 2 3 The third two Notes which make the distance of a fourth , are all one with this fifth following . But let us make our approach G D GD yet nearer : if the Bass shall ascend either a second , third , or four●h● that part which stands in the third or tenth above the Bass , shall fall into an eighth , that which is a fifth shall pass into a third , and that which is an eighth shall remove into a fifth . Though you find here only mention●d and figured a third , fifth , and eighth , yet not only these single Concords are meant , but by them also their (c) Compounds , as a tenth , a twelfth , a fifteenth , and so upwards ; and also this Unison as well as the eighth . This being granted , I will give you an Example of those figures prefixed : When the Bass riseth , beginning from the lowest figure , and rising to the upper ; as if the Bass should rise a second , in this manner : Then if you begin with your third , you must set your Note in A la mi re , which is a third to F fa vt , and so look upward , and that Cord which you see next above it use , and that is an eight in G sol re vt . After that , if you will take a fifth to the first Note , you must look upward , and take the third you find there for the second Note . Lastly , if you take an eighth for the first Note , you must take for the second Note the Cord above it , which is the fifth . Example of all the three Parts added to the Bass. 8 5 Treble 5 3 Mean. 3 8 Tenor. Bass. What Parts arise out of the rising of the second ; the same answer in the rising of the 3 d and 4 th , thus : 8 5 8 5 5 3 5 3 3 8 3 8 This rises 3 d this a 4 th Albeit any man by the rising of parts , might of himself conceive the same reason in the falling of them ; yet that nothing may be thought obscure , I will also illustrate the descending Notes by example . If the Bass descends or falls a second , third , or fourth , or riseth a fifth ( which is all one as if it had fallen a fourth , as hath been shewed before ) then look upon the six figures , where in the first place you shall find the eighth which descends into the third , in the second place the third descending into the fifth , and in the third and last place the fifth which hath under it an eighth . 8 3 8 3 8 3 Treble . 5 8 5 8 5 8 Mean. 3 5 3 5 3 5 Tenor. Bass. Thus much for the rising and falling of the Bass in several : Now I will give you a brief example of both of them mixed together in the plainest fashion , let this following strain serve for the Bass. Example . The two first Notes fall a second , the second and third Notes fall a fifth , which you must call rising a fourth ; the third and fourth Notes fall a fifth , which you must name the fourth falling ; the fourth and fifth Notes rise a second , the fifth and sixth Notes rise a third , the sixth and seventh Notes also fall a third , the seventh and eighth rise a second , the eighth and ninth Notes rise a fourth , the tenth and eleventh Notes fall a fifth , which you must reckon rising a fourth . Being thus prepared , you may chuse whether you will begin with an eighth , or fifth , or a third ; for assoon as you have taken any one of them , all the other Notes necessarily without respect of the rest of the parts , and every one orderly without mixing , keeps his proper place above the other , as you may easily discern in the following Example . Example . 8 3 8 3 8 3 5 3 8 3 8 Treble . 5 8 5 8 5 8 3 8 5 8 5 Mean. 3 5 3 5 3 5 8 5 3 5 3 Tenor. Bass. Let us examine only one of the Parts , and let that be the Tenor , because it stands next to the Bass. The first Note in B is a third to the Bass , which descends to the second Note of the Bass : Now look among the six figures , and when you have found the third in the upper place , you shall find under it a fifth , then take that fifth which is C next from F to B below , is a fifth descending , for which say ascending , and so you shall look for the fifth in the lowest row of the figures , above which stands a third , which is to be taken ; that third stands in D ; then from B to F the Bass rises a fifth , but you must say falling , because a fifth rising and a fourth falling is all one , as hath been often declared before ; now a third , when the Bass falls , requires a fifth to follow it . (d) But what needs farther demonstration , when as he that knows his Cords , cannot but conceive the necessity of consequence in all these , with help of those six figures . But let them that have not proceeded so far , take this Note with them , concerning the placing of the parts ; if the upper part or Treble be an eighth , the Mean must take the next Cord under it , which is a fifth , and the Tenor the next Cord under that , which is a third : But if the Treble be a third , then the Mean must take the eighth , and the Tenor the fifth . Again , if the uppermost part stands in the fifth or twelfth , ( for in respect of the Learners Ear , in the simple Concord I conclude all his compounds ) then the Mean must be a tenth , and the Tenor a fifth . Moreover , all these Cords are to be seen in the Bass , and such Cords as stand above the Notes of the Bass are easily known , but such as in sight are found (e) under it , trouble the young Beginner ; let him therefore know , that a third under the Bass , is a sixth above it , and if it be a greater third , it yields a lesser sixth above ; if the lesser third , the greater sixth . A fourth underneath the Bass is a fifth above , and a fifth under the Bass is a fourth above it . A sixth beneath the Bass is a third above , and if it be the lesser sixth , then is the third above the greater third , and if the greater sixth underneath , then is it the lesser third above : And thus far I have digressed for the Scholars sake . Treb. M. Ten. Bass. Which being prick'd in several Parts , appeareth thus : 3 8 3 5 3 8 3 5 3 Treble . 8 5 8 3 8 5 8 3 8 Mean. 5 3 5 8 5 3 5 8 5 Tenor. Bass. 8 5 8 5 8 5 5 8 5 8 5 8 5 3 5 3 5 3 3 5 3 5 3 5 3 8 3 8 3 8 8 3 8 3 8 3 In these last Examples you may see what variety Nature offers of her self ; for if in the first Rule the Notes follow not in expected formality , this second way being quite contrary to the other , affords us sufficient supply : the first and last two Notes arising and falling by degrees , are not so formal as the rest , yet thus they may be mollified , by breaking two of the first Notes . 8 5 5 8 5 3 3 5 3 8 8 3 How both the wayes may be mix'd together you may perceive by this example , wherein the black Notes distinguish the second way from the first . 3 5 8 5 8 3 5 8 3 In this example the fifth and sixth Notes of the three upper Parts are after the second way , for from the fourth Note of the Bass , which is in from G , and goeth to B , is a third rising , so that according to the first Rule , the eighth shall pass into the fifth , the fifth into a third , the third into an eighth . But here contrariwise the eighth goes into a third , the fifth into an eighth , and the third into a fifth ; and by these Notes you may censure the rest of that kind . (f) Though I may now seem to have finished all that belongs to this sort of Counterpoint , yet there remaius one scruple , that is , how the sixth may take place here , which I will also declare . Know that whensoever a sixth is requisite , as in B , or in E , or A , the Key being in Gam-vt , you may take the sixth instead of the fifth , and use the same Cord following , which you would have taken if the former Cord had been a fifth . Example . 6 3 6 3 The sixth in both places ( the Bass rising ) passes into a third , as it should have done if the sixth had been a fifth . Moreover , if the Bass shall use a sharp , as in F sharp ; then must we take the sixth of necessity , but the eighth to the Bass may not be used ; so that exception is to be taken against our Rule of Counterpoint : To which I answer thus ; first , such Basses are not (g) true Basses , for where a sixth is to be taken either in F sharp , or in E sharp , or in B , or in A , the true Bass is a third lower , F sharp in D , E in C , B in G , A in F ; as for Example . In the first Bass two sixths are to be taken , by reason of the imperfection of the Bass wanting due latitude , the one in E , the other in F sharp ; but in the second Bass the sixths are removed away , and the Musick is fuller . Nevertheless , if any be pleased to use the Bass sharp , then instead of the eighth to the Bass , he may take the third to the Bass , in this manner . 3 3 Here the Treble in the third Note , when it should have past in the sharp eight in F takes for it a third to the Bass in A , which causeth the Bass and Treble to rise two thirds , whereof we will speak hereafter . Note also , that when the Bass stands in E flat , and the part that is an eighth to it must pass into a sharp , or greater third , that this passage from the flat to the sharp would be unformal ; and therefore it may be thus with small alteration avoided , by removing the latter part of the Note into the third above , which though it meets in Unison with the upper part , yet it is right good , because it jumps not with the whole , but only with the last half of it . Example . 1 2 Teble . 8 3 Mean. Tenor. Bass. For the second Example look hereafter in the rule of thirds , but for the first Example here , if in the Mean Part the third Note that is divided , had stood till a Minum ( as by rule it should ) and so had past in F sharp , as it must of force be made sharp at a close , it had been then passing unformal . But if the same Bass had been set in the sharp Key , the rest of the parts would have fallen out formal of themselves without any help , as thus : Treble . Mean. Tenor. Bass. When the Bass shall stand still in one Key , as above it doth in the third Note , then the other parts may remove at their pleasure . Moreover , it is to be observed , that in composing of the Bass , you may break it at your pleasure , without altering any of the other Parts : as for Example . Treble . Mean. Tenor. Bass. plain . Bass. divided . One other Observation more I will handle , that doth arise out of this Example , which according to the first Rule may hold thus : Treble . Mean. Tenor. Bass. Herein are two errours ; first , in the second Notes of the Bass and Treble , where the third to the Bass ought to have been sharp ; secondly , in the second and third Notes of the same Parts , where the third being a lesser third , holds while the Bass falls into a fifth , which is unelegant , (h) but if the upper third had been the greater third , the fifth had fitly follow'd , as you may see in the third and fourth Notes of the Tenor and the Bass. There may yet be more variety afforded the Bass , by ordering the fourth Notes of the upper Parts , according to the second Rule , thus : Example . But that I may ( as near as I can ) leave nothing untouch'd concerning this kind of Counterpoint , let us now consider how two Thirds being taken together between the Treble and the Bass , may stand with our Rule . For sixths are not in this case to be mentioned , being distances so large that they can produce no formality : Besides , the sixth is of it self very imperfect , being compounded of a third , which is an imperfect Concord ; and of a fourth , which is a Discord : and this the cause is , that the sixths produce so many fourths in the Inner Parts . As for the third , it being the least distance of any Concord , is therefore easily to be reduced into good order . For if the Bass and Treble do rise together in thirds , then the first Note of the Treble is regular with the other Part , but the second of it is irregular ; for by rule instead of the rising third , it should fall into the eight . In like sort , if the Bass and Treble do fall two thirds , the first Note of the Treble is irregular , and is to be brought into rule by being put into the eighth , but the second Note is of it self regular . Yet whether those thirds be reduced into eights or no , you shall by supposition thereof find out the other parts , which never vary from the rule but in the sharp Bass. But let me explain my self by Example . Example . The first two Notes of the Treble are both thirds to the Bass , but in the second stroke the first Note of the Treble is a third , and the second , which was before a third , is made an eight , only to shew how you may find out the right Parts which are to be used when you take two thirds between the Treble and the Bass : For according to the former rule , if the Bass descends , the third then in the Treble is to pass into the eight , and the Mean must first take an eight , then a fift ; and the Tenor a fift , then a third ; and these are also the right and proper parts , if you return the eight of the Treble into a third again , as may appear in the first example of the Bass falling , and consequently in all the rest . But let us proceed yet further , and suppose that the Bass should use a sharp , what is then to be done ? as if thus : If you call to mind the Rule delivered concerning the sharp Bass , you shall here by help thereof see the right parts , though you cannot bring them under the Rule : for if the first Note of the Bass had been flat , the Mean Part should have taken that , and so have descended to the fifth ; but being sharp , you take for it ( according to the former observation ) the third to the Bass , and so rise up into the fifth . The Tenor that should take a fifth , and so fall by degrees into a third , is here forced by reason of the sharp Bass , for a fifth to take a sixth , and so leap downward into the thirds . And so much for the thirds . Lastly , in favour of young beginners let me also add this , that the Bass intends a close as often as it riseth a fifth , third , or second , and then immediately either falls a fifth , or riseth a fourth . In like manner , if the Bass falls a fourth or second , and after falls a fi●th , the Bass insinuates a close , and in all these cases the part must hold , that in holding can use the fourth or eleventh , and so pass either in the third or tenth . Thus , or thus . Thus , or thus . Thus , or thus . Thus , or thus . Thus , or thus . In the Examples before set down I left out the Closes , of purpose , that the Cords might the better appear in their proper places , but this short admonition will direct any young beginner to help that want at his pleasure . And thus I end my Treatise of Counterpoint , both brief and certain , such as will open an easie way to them , that without help of a skilful Teacher endeavour to acquire the first grounds of this Art. A short Hymn , Composed after this form of Counterpoint , to shew how well it will become any Divine or grave subject . Lord have mercy upon me , O hear my prayers both Lord have mercy u●on me , O hear my prayers both Lord have me●cy u●on me , O hear my prayers bo●h Lord have mercy upon me , O hear my pra●ers both day and night , with tears pour'd forth to thee . day and night , with tears pou●'d forth to thee . day and night , with tears pour'd forth to thee . day and night , wi●h tears pour'd forth to thee . THE ART of DESCANT : OR Composing Musick in Parts . PART II. Of Tones of Musick . OF all things that belong to the making up of a Musician , the most necessary and useful one for him is the true knowledge of the Key or Mood , or Tone , for all signifie the same thing , with the Closes belonging unto it , for there is no Tune that can have any grace or sweetness unless it be bounden within a proper Key , without running into strange Keys , which have no affinity with the Ayr of the Song . I have therefore thought good in an easie and brief discourse to endeavour to express that which many in large and obscure Volumes have made fearful to the idle Reader . The first thing herein to be considered is the eighth , which is equally divided into a fourth , and a fifth , as thus : The8 The 4. The 5. Here you see the fourth in the upper place , and the fifth in the lower place , which is called Modus Authentus : But contrary thus : The 8 The 5. The 4. This is called Modus Plagalii , but howsoever the fourth in the eighth is placed , we must have our eye on the fifth , for that only discovers the Key , and all the Closes pertaining properly thereunto : This fifth is also divided into two thirds , sometimes the lesser third hath the upper place , and the greater third supports it below , sometimes the greater third is higher , and the lesser third rests in the lowest place : as for Example : The lesser 3. The greater 3. The greater 3. The lesser 3. The lowest Note of this fifth bears the name of the Key , as if the eighth be from G to G , the fifth from G beneath to D above , G being the lowest Note of the fifth , shews that G is the Key ; and if one should demand in what Key your Song is set , you must answer in Gam-vt , or G sol re vt , that is , in G. If the compass of your Song should fall out thus : Respect not the fourth below , but look to your fift above , and the lowest Note of that fift assume for you Key , which is C , then divide that fift into its two 3 ds , and so you shall find out all the closes that belong to that Key . The main and fundamental close is in the Key it self , the second is in the upper Note of this fift , the third is in the upper Note of the lowest third , if it be the lesser third ; as for example , if the Key be in G , with B flat , you may close in these three places . The first close is that which maintains the Ayr of the Key , and may be used often , the second is next to be preferr'd , and third last . But if the Key should be in G with B sharp , then the last close being to be made in the greater or sharp third , is unproper , and therefore for variety sometime the next Key above is joyned with it , which is A , and sometimes the fourth Key , which is C. But these changes of Keys , must be done with judgement , yet I have aptly closed in the upper Note of the lowest third of the Key , the Key being in F , and the upper Note of the third standing in A , as you may perceive in this Ayr. 1 2 3 4 In this Ayr the first Close is in the upper Note of the fifth , which from F is C , the second Close is in the upper Note of the great third , which from F is A. But the last and final Close is in the Key it self , which is F , as it must ever be , wheresoever your Key shall stand , either in G , or C , or F , or elsewhere , the same rule of the fifth is perpetual , being divided into thirds , which can be but two ways , that is , either when the upper third is less by half a Note than the lower , or when the lower third contains the half Note , which is Mi fa , or La Fa. If the lower third contains the half Note , it hath it either above , as La Mi Fa ; La Mi being the whole Note , and Mi Fa but half so much , that is the half Note ; or else when the half Note is underneath , Mi Fa Sol ; Mi Fa is the half Note , and Fa Sol is the whole Note ; but whether the half Note be uppermost or lowermost , if the lowest third of the fifth be the lesser third , that Key yields familiarly three closes ; example of the half Note , standing in the upper place was shewed before , now I will set down the other . But for the other Keys that divide the fifth , so that it hath the less third above , and the greater underneath , they can challenge but two proper closes , one in the lowest Note of the fift , which is the fundamental Key , and the other in the uppermost Note of the same , wherein also you may close at pleasure . True it is , that the Key next above hath a great affinity with the right Key , and may therefore , as I said before , be used , as also the fourth Key above the final Key . Examples of both in two beginnings of Songs . 1 2 In the first Example A is mixt with G , and in the second C is joyned with G , as you may understand by the second closes of both . To make the Key known is most necessary in the beginning of a Song , and it is best exprest by the often using of his proper fift , and fourth , and third , rising or falling . THE ART of DESCANT : OR Composing Musick in Parts . PART III. Of the taking all Concords , Perfect and Imperfect . THe consecution of perfect Cords among themselves is easie , for who knows not that two eighths or two fifths are not to be taken rising or falling together , but a fifth may either way pass into an eight , or an eight into a fift , yet most conveniently when the one of them moves by degrees , and the other by leaps , for when both skip together the passage is less pleasant : the ways by degrees are these . 1 2 3 4 5 6 The fourth way is only excepted against , where the fift rising into the eight , and in few parts it cannot well be admitted , but in Songs of many Voices it is oftentimes necessary . The passage also of perfect Concords into imperfect , either rising or falling , by degrees or leaps , is easie , and so a Unison may pass into a lesser third , or a greater third ; also into the lesser sixt , but seldom into the greater sixt . A fift passeth into the greater sixt , and into the lesser sixt ; as also into the greater or lesser third ; and so you must judge of their eights , for de octavis idem est judiciem ; and therefore when you read an Unison , or a fift , or a third , or a sixt , know that by the simple Concords the Compounds are also meant . Note here , that it is not good to fall with the Bass , being sharp in F , from an eight unto a sixt . As thus : Or thus . But concerning imperfect Cords , because they observe not all one way in their passages , we will speak of them severally , first declaring what not harmonical doth signifie , whereof mention will be made hereafter . Relation , or reference , or respect not harmonical , is Mi against Fa in a cross form , and it is in four Notes , when the one being considered cross with the other doth produce in the Musick a strange discord ; Example will yield it more plain . 1 2 3 4 5 6 The first Note of the upper parts in E la mi sharp , which being considered , or referred to the second Note of the lower part , which is E la mi , made flat by the cromatick flat sign , begets a false second , which is a harsh discord ; and though these Notes sound not both together , yet in few parts they leave an offence in the ear . The second Example is the same descending ; the third is from E la mi sharp in the first Note of the lower part , to the second Note in the upper part , it being flat by reason of the flat sign , and so between them they mix in the Musick a false fift ; the same doth the fourth Example ; but the fifth yields a false fourth , and the sixth a false fifth . There are two kinds of Imperfect Concords , thirds or sixts , and the sixts wholly participate of the nature of the thirds ; for to the lesser third , which consists but of a whole Note and half , add a fourth , and you have the lesser sixt ; in like manner to the greater third that consists of two whole Notes , add a fourth , and it makes up the greater sixt ; so that all the difference is still in the half Note , according to that only saying , Mi & Fa sunt tota Musica . Of these four we will now discourse , proceeding in order from the lesser to the greater . Of the lesser or Imperfect Third . The lesser third passeth into an unison , first by degrees , when both parts meet , then by leaps , ascending or descending when one of the parts stand still , but when both the parts leap or fall together , the passage is not allowed . Lesser 3 d into the unison . Passages not allowed . Secondly , the lesser third passeth into a fift , first in degrees , when they are separated by contrary motions ; then by leaps , when the lower part riseth by degrees , and the upper part descends by degrees , and thus the lesser tenth may pass into a fift . Lastly , both parts leaping , the lesser third may pass into a fift , so that the upper part doth descend by leap the distance of a lesser third . Any other way the passage of a lesser third into a fift , is disallowed . Allowed . Disallowed . In the last disallowance , which is when the upper part stands , and the lower part falls from a lesser third to a fift , many have been deceived , their ears not finding the absurdity of it ; but as this way is immusical , so is the fall of the greater third in the former manner into a fift , passing harmonious ; insomuch that it is elegantly , and with much grace taken in one part of a short Ayr four times , whereas had the fift been half so often taken with the lesser third falling , it would have yielded a most unpleasant harmony . 1 3 4 He that will be diligent to know , and carefull to observe the true allowances , may be bold in his Composition , & shall prove quickly ready in his sight , doing that safely and resolutely which others attempt timorously and uncertainly . But now let us proceed in the passages of the lesser third . Thirdly , the lesser third passeth into an eight , the lower part descending by degrees , and the upper part by leaps : but very seldom when the upper part riseth by degrees , and the lower part falls by a leap . Fourthly , the lesser third passeth into other Concords , as when it is continued , as in degrees it may be , but not in leaps . Also it may pass into the greater third , both by degrees and leaps , as also in the lesser sixth , if one of the parts stand still , into the great sixth it sometimes passeth , but very rarely . 1 2 3 4 Lastly , add unto the rest this passage of the lesser third into the lesser sixt , as when the lower part riseth by degrees , and the upper part by leaps . Of the greater or perfect Third . The greater or perfect third being to pass into perfect Concords , first take the unison , when the parts ascend together , the higher by degree , the lower by leap ; or when they meet together in a contrary motion , or when one of the parts stand still . Secondly , it passeth into a fift when one of the parts rests , as hath been declared before ; or else when the parts ascend or descend together , one by degrees , the other by leaps ; and so the greater tenth may pass into a fift ; seldom when both parts leap together , or when they separate themselves by degrees ; and this in regard of the relation not harmonical which falls in between the parts . Thirdly , the greater third passeth into the eight by contrary motions , the upper part ascending by degrees . The Vnison . The Fifth . The Eighth . The greater third may also pass into other Concords , and first into a lesser third , when the parts ascend or descend by degrees , or by the lesser leaps . Secondly , it is continued but rarely , because it falls into relation not harmonical , thereby making the harmony less pleasing . Thirdly , into a lesser sixt , when the parts part asunder , the one by degree , the other by leap . Fourthly , into a great sixt , one of the parts standing , or else the upper part falling by degree , and the lower by leap . 1 2 3 4 Of the lesser Sixth . The lesser sixt , regularly goes into the fift , one of the parts holding his place ; rarely into an eight , and first when the parts ascend or descend together , and one of them proceeds by the half Note , the other by leap . 1 2 Howsoever the ways of rising and falling from the lesser sixth into the eight in the for●mer example may pass , I am sure that if the Bass be sharp in F fa vt , it is not tolerable to rise from a sixt to an eight . Lastly , the lesser sixth may pass into an eight in Crotchets , for they are easily tolerated . It passeth likewise into other Concords , as into a greater sixt , the parts rising or falling by degrees , as also in a greater or lesser third , the one part proceeding by degree , the other by leap ; or when one of the parts stands . It self cannot follow , by reason of the falling in of the Relation not harmonical . 1 2 3 Of the greater Sixth . The greater sixt in proceeding affects the eight , but it will hardly pass into the fift , unless it be in binding-wise , or when way is prepared for a Close Finally , the greater sixt may in degrees be continued , or pass into a lesser sixt , as also into a greater third , or a lesser third . 1 2 3 These are the principal observations belonging to the passages of Concords , Perfect and Imperfect , in few parts ; and yet in those few , for fuge and formality sake , some dispensation may be granted . But in many parts necessity enforcing , if any thing be committed contrary to rule , it may the more easily be excused , because the multitude of Parts will drown any small inconvenience . FINIS . THE ORDER of PERFORMING THE DIVINE SERVICE IN Cathedrals and Collegiate Chappels . THe Confession and Absolution being read by the Priest in one continued and solemn Tone , the Priest and the whole Quire repeat the Lords Prayer : Thus , Our Father which art in Heav●n , &c. for ever and ever , Amen . Priest. Quire. O Lord open thou our lips , And our mouth shall shew forth , &c. Priest. Quire. O God make speed to save us . O Lord make hast to help us . Glory be to the Father , and to the Son , and to the Holy Ghost . As it was in the beginning is now , &c. world without end , Amen . The Venite is begun by one of the Quire , then sung by Sides , abs●rving to make the like break or Close in the middle of ev●ry Verse , according as it is shorter or longer . Sunday . O 〈◊〉 ●et us sing . & c. ●et us heartily rejoyce in the strength , &c. Monday . O come 〈◊〉 us sing , &c. Let us heartily rejoyce in the strength &c. Tuesday . O come let us sing , &c. Let us heartily rejoyce in the strength , &c. Wednesday . O come let us sing , &c. Let us heartily rejoyce in the strength , &c. Thursday . O come let us sing , &c. Let us heartily rejoyce in the strength , &c. Friday O come let us sing● &c. Let us heartily rejoyce in the strength &c. Saturday O come let us sing , &c. Let us heartily rejoyce in the strength● &c. A●ter the Psalms , a short Voluntary is performed ●n the Organ . After ●he first ●●sson Te Deum is sung , the Priest beginning alone , We ●●aise thee O God , Then ●he whole Quire Answer , We knowledge thee ● &c. which is Composed usually in 4 Parts for sides , by sev●ral Autho●s : Sometimes it is su●g to one of th●se following Tunes of 4 parts with the Organ or without it . Te Deum being ended and the Second Lesson , Iubilate or Benedictus is Sung by the Quire , as they are variously Composed , or else , to one of the following Tunes of 4 parts . These several Tunes of 4 Parts are proper for Quires to Sing the Psalms , Te Deum , Benedictus or Jubilate to the Organ , or sometime without it . A. 4. Voc. Cante●bury Tune . O come let us sing , &c. Let us heartily rejoyce in the strength &c. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. O come let us sing &c. Let us heartily rejoyce in the strength , &c. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. A. 4. Voc. Imperial Tune . O come let us sing , &c. Let us heartily rejoyce in the strength &c. O come ●et us sing , &c. Let us heartily rejoyce in the strength● &c. O come let us sing , &c. Let us hea●t●●y rejo●ce in the s●reng●h , &c. O come le● u● sing , &c. L●t us heartily rejoyce in the s●●ength , &c. These six Tunes are sung in His Majesties Chappel with the Organ to the Psalms , Te Deum , &c. Com●osed by Mr. John B●ow and Mr. William Turner , Gentlemen of His Majesties Chappel . A 4. Voc. O come let us sing &c. Let us heartily rejoyce in the strength , &c. O come let us sing &c. Let us heartily rejoyce in the strength , &c. O come let us sing , &c. Let us heartily rejoyce in the strength &c. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. A 4. Voc. O come let u● sing , &c. Let us heartily rejoyce in the strength , &c. O come let us sing● &c. Let us heartily rejoyce in the strength , &c. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. A. 4. Voc. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. O come let us sing● &c. Let us heartily rejoyce in the strength , &c. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. A 4. Voc. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. O come let us sing● &c. Let us heartily rejoyce in the strength & c● A 4. Voc. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. O come let us sing &c. Let us heartily rejoyce in the strength , &c. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. A 4. Voc. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. O come let us sing , &c. Let us heartily rej●yce in the strength &c. O come let us sing , &c. Let us heartily rejoyce in the strength , &c. O come let us sing , &c. Let us heartily rejoyce in the strength , & c● The followeth the Apostles Creed , which is sung by the whole Quire in one continued solemn and grave Tone : Upon Festivals Athanasius's Creed is sung in the same Tune by sides ; and sometimes it is sung to the Organ to one of the following Tunes of 4 Parts● Whosoever will be saved , &c. that he hold the Catholick Faith. After which the Priest sings , The Lord be with you . And with thy Spirit . Priest. Quire. Let us pray , Lord have mercy upon us . Christ have mercy upon us . Priest. The whole Quire in one Tone Lord have mercy upon us . Our Father which art in Heaven , &c. Priest. Quire. O Lord shew thy mercy upon us . And grant us thy salvation . Priest. Quire. O Lord save the King. And mercifully●hear us when we call , &c. Priest. Quire. Indue thy Ministers with , &c. And make thy chosen people ● &c. P●iest . Quire. Priest. O Lord save thy people And bless thine , &c. 〈…〉 &c. Priest. Quire. Because there is no other that fighteth , &c. O God make clean , &c. Quire. And take not thy holy Spirit from us . After every Collect the Quire Answers Amen . Upon the usual day that the Litany is appointed to be sung , it is sung by two of the Quire in the middle of the Church , near the Bible-desk . The whole Quire answering in the same Tune . O God the Father , &c. have mery upon us miserable , &c. The whole Quire answering the same . O God the Son , &c. have mercy upon us miserable , &c. The Quire Answer the same . O God the holy Ghost , &c. have mercy upon us , &c. The Quire Answer the same . O holy blessed and , &c. have mercy upon us , &c. Priest. Quire. Quire. Remember not Lord , &c. Spare us good Lord● Good Lord deliver us . Quire. Quire. We beseech thee to hear us good Lord. Son of God , we beseech thee , &c. Priest. Quire. O Lamb of God , that takest away the sins , &c. Grant us thy peace . Priest. Quire. O Lamb of God , that takest away the , &c. Have me●cy upon us . Priest. Quire. Priest. O Christ hear us . O Christ hear us . Lord have mercy upon us . Quire. Priest. Quire. Lord have mercy , &c. Christ have mercy , &c. Christ have mercy , &c. Priest. Quire. Quire. Lord have mercy upon us . Lord have mercy , &c. Our Father , &c. Quire. Priest. But deliver us from evil , Amen . O Lord deal not with us after , &c. Quire. Priest. Quire. Neither reward us after , &c. O God merciful F●ther that , &c. O Lo●d ar●se , &c. Priest. for thy name sake . O God we have heard● &c. time before them . Quire. Priest. O Lord arise , help , &c. for thine honour ● Glory be to the Father , &c. Quire. and to the Holy Ghost . As it was , &c. world without end , Amen . Priest. Quire. From o●r enemies defend us O Christ. Graciously look up our , &c. Priest. Quire. Pitifu●ly behold the sorrows , &c. Mercifully forgive the Sins , &c. Priest. Quire. Priest. Favourably with mercy , &c. O Son of David , &c. Both now and Quire. Priest. ever vouchsafe , &c. Graciously hear us &c. O L. Christ. O Lord let thy Quire. Priest. Quire. mercy be , &c. As we do put our trust , &c. We humbly beseech ●hee , &c. Amen . FINIS . Musick Books Sold by John Playford at his Shop near the Temple Church . CAnticum Sacra , the fi●st Set , containing Latin Hymns for two and three Voyces to the Organ , Composed by Mr. Richard Deering , in four books , in fol. price 3 s. 6. d. Canticum Sacra , the second Set , containing Hymns and Anthems for two Voyces to the Organ , some in Latin and some in English , Composed by Dr. Gibbons , Dr. Rogers , Mr. Ma●thew Lock , and others , in three books in fol. price 5 s. Hymns and Mottets for two Voyces to the Organ , Composed by Mr. Walt. Porter , in three books , fol. price 2 s. 6 d. The Psalms of David , Composed in four parts , as they are sung in Parish Churches , in one volume in fol. price 3 s. An Introduction to Musick , both Vocal and Instrumental , with A Compendium o● the Art of Descant , or Composing Musick in parts , newly printed , and enlarged with an addition of The manner of performing Divine Service in Cathedral Churches and College Chappels , published by Iohn Playford , in octavo , price bound 2 s. The Treasury of Musick , containing three volumes of Ayres and Dialogues , published by Mr. Henry Laws , and other Eminent Composers of Musick , for to Sing to the Theorbo or Bass-Viol , price bound 10 s. Choice Ayres and Dialogues , to Sing to the Theorbo or Bass-Viol , being most of the newest Ayres and Songs su●g at Court and at the Publick Theaters , Composed by several Gentlemen of His Majesties Musick , to which in this new Edition are added many more new Songs , and also those Songs sung in the famous Play call'd the Tempest , in fol. price 3 s. The Musical Companion , in two books , the first containing a Collection of choice Catches for three Voyces , the second containing a choice Collection of Ayres , Songs and Glees , some for two , some for three , and some for four Voyces , all bound in one volume in quarto ; the price of this new Edition is 3 ● . 6 d. The Dancing Master , containing above 200 Country Dances , with the Tune to every Dance , and also plain and easie Rules directing the manner and way of Dancing them , price bound 2 s. 6 d. Apollo's Banquet , containing a choice Collection of the newest Tunes , Ayres and Jiggs , for the Treble-Violin , to which is added the Tunes of French Dances used at Court and in Dancing-Schools , with Instructions for such as learn to play on the Treble-Violin , price 1 s. 6 d. Musicks Recreation , containing a choice Collection of Lessons for the Ba●s-Viol Lyra-way , to variety of new Tunings , and also Instructions for the Practitioners , price 2 s. 6 d. Musicks Handmaid , containing a Collection of new and choice Lessons for the Harpsecon or Virginals , price 2 s. 6 d. Musicks Delight , containing new and pleasant Lessons and Instructions for the Cithren , price bound 1 s. 6 d. The Pleasant Companion , containing variety of new Ayres and Tunes for the Flagelet , with Instructions for Learners on the same , price bound 1 s. 6 d. Other Books . THe Psalms of David , Translated into English Metre by the Reverend Dr. Henry King , late Lord Bishop of Chichester , according to the Measure of the common Psalms sung in Parish Churches , published for publick , or private use of Families , in octavo , price bound 2 s. An Antidote against Melancholly , the first part , compounded of witty Ballads , Songs , Poems , and merry Catches , in octavo , price bound 2 s. A Cabinet of Mirth , or the second part of the Antidote against Mela●cholly , containing a choice Collection of merry Tales , witty Jests , and ridiculous Bulls , in octavo , price bound 1 s. Notes, typically marginal, from the original text Notes for div A55066-e540 Tria sunt Omnia . Benedicta sit Sancta & Individua Trinitas . Notes for div A55066-e2880 * B fa B mi. * E la mi. * A la mi re . * D la sol . Notes for div A55066-e31890 * Cou●terpoint , in Latin Contra punctum , was the old manner of Composing Parts together , by setting Points or Pricks one against anoth●r ( as Minims and Semibreves are set in this following Treatise ) the measure of which Points or Pricks were sung acco●ding to the quantity of the Words or Syllables to which they were applied . ( For these Figures were not as yet inven●ed . ) And , because in Plain song Musick we set Note against ●ote , as they did point against point , thence it is , that this kind of Musick doth still r●tain th● name of Counterpoint . (a) If the Bass do rise more than a fourth , it must be called falling : and likewise , if it fall any distance more than a fourth , that falling must be called rising . (b) If your Bass should fall a seventh , it is but the same as if it did rise a second ; or a sixth falling , is but the same of a third rising : and so on the contrary , if the Bass do rise a seventh or sixth , it is the same as though it did fall a s●cond or third . (c) By their Compounds is me●nt their Octa●es , as a third and it● eig●ts , a ●●●th and i●s ●ig●ts , &c. (d) When you have made a formal Bass , and would joyn other three parts to it , set the first Note of your Tenor either a third , fifth , or eighth , above your Bass , ( which of them you please ) which done , place your Mean in the next Cord you find above your Tenor , and your Treble in the next Cord above your Mean , then follow the Rule of your figures , according to the rising or falling of your B●ss , and the other Notes will follow in their due order . (e) If this Discourse of Cordt under the Bass do trouble the young Beginner , let him think no more upon them ( for it is not intended that he should place any Notes below the Bass ) but let him look for his Cords , reckoning always from his Bass upward ; which that he may more easily perform , let him draw eleven lines ( which is the whole compass of the Scale ) and set the three used Cliffs in their proper places ; this done , he may prick his Bass in the lowest five lines , and then set the other three parts in their orderly distances above the Bass , Note against Note , as you see in this following Example . I hav● proposed the former Example of the eleven lines , to lead the young beginner to a true k●owledge of the Scale , without which nothing can be effected ; but having once got that knowledge● let him then compose his Musick in several parts , as be seeth in this second Example . He●e I think it not a●●ss to advertise the young Beginner , that so often as the Bass doth fall a fifth , or rise a fourth ( which is all one , as hath been said ) that 〈◊〉 which is a third to the Bass in the antecedent Note , that third I say must always be the sharp or greater third , as was apparent in the last example of four Parts● in the first Notes of the second Bar in the Mean Part , and likewise in the last Note but one of the same Part ; in both which places there is a set to make it the greater third . The same is to be observed in what Part soever this third shall happen . (f) When your Bass standeth still ( that is to say , hath two or more Notes together in one and the same place ) you may chuse whether you will make your parts do so too , or change them , as you see our Author hath done in the second Note of this present example . If you change them , you may do it either by the Rule of descendi●g or ascending , which you please , so you do but observe formality . (g) He do●h not mean , that such Basses are bad , false , or defective , but that they have ( perhaps for elegancy or variety ) assumed the nature of some part for a Note or two , and so want the full latitude of a Bass in those Notes . (h) but that scruple may be taken away by making the second Note of the Treble sharp , and instead of a fifth by removing the third Note into a sixth . When any informality doth occu● , the Scholar need not keep himself to the first rules of the Bass rising or falling● but may take such Cords as his Genius shall prom●t him to● ( having a care that he take not two eighths or fif●hs together ) rising or falling betwixt any two Parts whatsoever : 'T is true , our Author did invent this Rule of the Figures , as the easiest way to lead the young Beginner to this kind of Composition , in which he hath done more than any that I have ever seen upon this subject ; but this he did to shew the smoothest way , and not to tye his Scholar to keep strictly that way , when a block or stone should happen to lye in it , but that he may in such a case step out of this way for a Note or two , and then return again into it . 
A47407	----	The breach repaired in God's worship, or, Singing of psalms, hymns, and spiritual songs, proved to be an holy ordinance of Jesus Christ with an answer to all objections : as also, an examination of Mr. Isaac Marlow's two papers, one called, A discourse against singing, &c., the other, An appendix : wherein his arguments and cavils are detected and refuted / by Benjamin Keach ... Keach, Benjamin, 1640-1704. 1641 Approx. 414 KB of XML-encoded text transcribed from 137 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2005-12 (EEBO-TCP Phase 1). A47407 Wing K50 ESTC R21273 12566775 ocm 12566775 63351 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A47407) Transcribed from: (Early English Books Online ; image set 63351) Images scanned from microfilm: (Early English books, 1641-1700 ; 320:2) The breach repaired in God's worship, or, Singing of psalms, hymns, and spiritual songs, proved to be an holy ordinance of Jesus Christ with an answer to all objections : as also, an examination of Mr. Isaac Marlow's two papers, one called, A discourse against singing, &c., the other, An appendix : wherein his arguments and cavils are detected and refuted / by Benjamin Keach ... Keach, Benjamin, 1640-1704. xii, [6], 192, 55, [1] p. Printed for the Author, and sold by John Hancock in Castle-Alley on the West side of the Royal-Exchange, and by the Author at his House near Horselydown in Southwark., London, : 1691.. 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Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Marlow, Isaac. -- Discourse against singing. Marlow, Isaac. -- Appendix. Music in churches -- Early works to 1800. 2005-04 TCP Assigned for keying and markup 2005-05 Aptara Keyed and coded from ProQuest page images 2005-06 Andrew Kuster Sampled and proofread 2005-06 Andrew Kuster Text and markup reviewed and edited 2005-10 pfs Batch review (QC) and XML conversion THE Breach Repaired in God's Worship : OR , Singing of PSALMS , HYMNS , and Spiritual Songs , proved to be an Holy Ordinance of JESUS CHRIST . With an Answer to all Objections . AS ALSO , An Examination of Mr. ISAAC MARLOW'S two Papers , one called , A Discourse against Singing , &c. the other An Appendix . Wherein his Arguments and Cavils are detected and refuted . BY BENJAMIN KEACH , Preacher of God's Word , and Pastor of the Church of Christ meeting on Horselydown , Southwark . Job 6. 25. How forcible are right words ! but what doth your arguing reprove ? Isa . 52. 8. Thy Watchmen shall lift up the Voice , with the Voice together shall they sing . London , Printed for the Author , and sold by John Hancock in Castle-Alley on the West side of the Royal-Exchange , and by the Author at his House near Horselydown in Southwark . 16●● . THE EPISTLE DEDICATORY TO ALL THE Baptized Congregations In England and Wales , Who are in God the Father , and in our Lord Jesus Christ , Grace , Mercy and Peace be multiplied . Particularly to the Church of Christ , meeting on Horslydown . Holy and Beloved , IT cannot but rejoice my Soul , when I consider of the exceeding Grace and abounding Goodness of the Holy God towards you his poor and despised Churc● and People , in respect of that clear Discovery he hath given you of most of the glorious Truths of the Gospel , and of the true Apostolical Faith and Practice thereof . You have not made Men , General Councils , nor Synods , your Rule , but God's Holy W●●d : your Constitution , Faith , and Discipline , is directly according to the Primitive Pattern ; God hath made you ( in a most eminent manner ) to be the Builders of the old Wastes , and Raisers up of the former Desolations , and Repairers of the waste Cities , the Desolations of many Generations , Isa . 61. 4. You have laboured to sever the Gold from the Dross , and to build with proper and fit Gospel-Meterials , viz. Spiritual and L●●●ing Stones , well hewed and squared by the Hammer of God's Word and Spirit , and will not take one Stone of Babylon for a Corner ; you will go forth ( as far as you have received Light ) by the Footsteps of the Flock , and feed your Kids beside the Shepherds Tents , Cant. 1. 8. And God of a small People hath graciously made you a Multitude ; you have been helped , and so born up by everlasting Arms , that you have held fast your Holy Profession in the Day of Trial , and exposed all that you have had in the World to spoil and loss , for the sake of Jesus Christ , when many turned their Backs , and exposed the Holy Name of God to Reproach ; and to our further Joy , many of you have of late , more especially in your General Assemblies , shewed your great Zeal for the Name of God , and Care of his Church , in a more than usual manner ; and particularly you have endeavoured to revive our hopes , for the continuation of a faithful and laborious Ministry for the time to come , by striving to promote such Learning and Studies as God's Word directs to ; and not require ( like Israel's Task-Masters ) poor Ministers , as I may so say , to make Brick and allow them no Straw ; but you do now more fully see that Gospel-Ministers ought to have a Gospel-Maintenance , even such as God hath ordained ; that so they might not be intangled with the Affairs of th●● Life , but wholly give themselves up to that great Work they are called to . Go on and prosper , Holy and Beloved , Let not your Hands be weak , nor Satan obstruct or hinder so hopeful a Beginning ; let it appear you do love Jesus Christ more than Father or Mother , more than Son or Daughter ; and labour to reform what is amiss as to those great Evils that abound too much in the Churches of the Saints , tho I hope not so much amongst you as among some others , particularly in respect of Pride and Covetousness , or that base Worldly and Earthly Spirit that is the Bane of Religion , and makes the Lor'd People of so ill a savour in the World ; let your Lives declare whose you are , and to what Countrey you belong ; and as you have a good Doctrine , so labour for a suitable Conversation ; and then , Brethren , what can or will be wanting to make you compleat in the whole Will of 〈◊〉 ? Truly , according to my small Light , I know not , unless it be a restoration of this lost and neglected Ordinance of Singing Psalms , Hymns and Spiritual Songs , which I fear , and partly understand , some of you want light in . I have therefore made bold to dedicate this small Treatise to you all , hoping you will take it from me in good part , and well weigh what is here said , before you judg and condemn it for an Errour . I am afraid of some old Prejudice some of you have taken against this Sacred Truth of the Gospel ( for so I must call it ) ; you can't think you have as yet come to a full attainment , or are already perfect in Knowledg . Besides , I hear you generally own Singing of Psalms , &c. an Ordinance of God ; and indeed I cannot see how any , who own the Bible and New Tastament of Christ to be their Rule , can deny it . Why then , consider whether you have this Ordinance at all , or can be said to sing in any proper Sense : Certainly many of you are wholly without it , as will I hope appear fully , if you read this Treatise quite through impartially . Can ●t be thought the Churches should be enjoined by the Holy Ghost to sing Psalms and Hymns , and yet there 's no coming at the practise of it● without an extraordinary Spirit , or miraculous Gifts ? I have been provoked by our Brother , who wrote against Singing , to set Pen to Paper , and not only by him and his Book , but I have been induced by Multitudes , for several Months , to give him an Answer , so that I hope you will not be offended with me in what I have done . I have much Peace in the doing of it ; and truly , Brethren , the loss of this Ordinance doth , I am afraid , more obstruct the increase of our Churches than many are aware of . What a Multitude are convinced of Christ's true Baptism , and yet refuse to have Communion with our Churches when baptized , because they say , if they ●hould , they must lose this Ordinance of ●inging , which they have an equal Esteem ●or : And how doth it open the Mouths of ●ur Godly Brethren of other Perswasions , ●o speak against us , for being so zealous for ●ne Gospel-Ordinance , and so careless about ●nother , that very few Christians , who have ●ad the greatest Light , Zeal and Piety in ●ny Age of the Church , ever doubted of ? 〈◊〉 grieves me to think there should be a ●reach made in God's Worship among you , ●o whom God hath given so much Light in other Cases . And , O that what is here said , might through the Blessing of God prove a Means to repair it . In a Word , Singing is injoyned ; Some ●hing it is : If we have it not ( but 't is with ●ou ) we would willingly know what your Singing is , or what you call Singing : For we do say and testify , we believe you are wholly without Singing in any proper Sense at all . The Lord give us Moderation ; don't let us be bitter one against another . I shall beg a part in your Prayers , and intreat you to look over what Weakness you may see in this small Tract , for I am , you know , but a Babe in Christ's School , and know but in part . And now to you , my Beloved Brethren and Sisters , ( who meet on Horselydown ) whom I hope I may say are my Joy and my Crown , whose Souls are most dear to me , and whom I can say I truly love and long after ; it rejoices my Spirit to see how generally you are inlightned into this Gospel-Duty ; but 't is no small grief to me to see ( since the Church in such a solemn manner agreed to sing the Praises of God on the Lord's Day ) to find some of you so much offended ; I am perswaded 't is for want of Consideration , for you have no new thing brought in among you . Hath not the Church sung at breaking of Bread always for 16 or 18 Years last past , and could not , nor would omit it in the time of the late Persecution ? And have not many of the honest Hearers ( who have stayed to see that Holy Administration ) sung with you , at that time , and yet none of you ever signified the least trouble ? And have we not for this 12 or 14 Years sung in mixt Assemblies , on Days of Thanksgiving , and never any offended at it , as ever I heard ? What is done more now ? 't is only practised oftner : and sure if it be God's Ordinance , the often practising of it , by such who find their Hearts draw out so to do , cannot be sinful . And on that Solemn Day , when the Church would have it put up , to see 〈◊〉 the Members stood affected about Singing , almost every ones Hand was up for it , or to give Liberty to the Church at such times to sing . And when put up in the Negative , but about 5 or 6 at most ( as I remember ) were against it . Did any one of you , at that time say , if we did proceed to sing at such times , you could not have Communion with us ? which if you had , I perceive the Church , nay every one of us who had born our Burden for many Years , would have born it a little longer ? Besides , did not the Church agree to sing only after Sermon , and when Prayer was ended ? And if those few Brethren and Sisters who were not satisfied , could not stay whilst we sung , they might freely go forth , and we would not be offended with them ; so far was the Church , or my self , from imposing on the Consciences of any . But is it not hard that some of us should so long be laid under a Burden , when the Church generally was against Singing at that time , and you cannot bear it now it is come to be your Lot ? I am afraid the noise of these things are misrepresented abroad , and therefore I thought it might not be amiss to rectify Mistakes in you , or any other Brethren . The matter of Difference that is at present between the Church and some few of our dear and beloved Brethren and Sisters , is not about Singing it self , nor singing with others , for that has been all along the practise of the Church for many Years ( as before I hinted ) but only about singing on the Lords Day , unless it be one Member , except the Judgments of any other are lately changed . But my Brethren will , I hope , seriously consider of the Matter , and labour after that Christian Love , Tenderness and Forbearance the Gospel calls for . We are exhorted to bear one anothers Burdens , and so to fulfil the Law of Christ . For the Lord's sake let us not fall out by the way , and lay things grievous on one anothers Spirits ; for we are not Lords over one anothers Faith , but Helpers of each others Joy. O my Brethren , pray let us all watch against Satan , and strive to keep the Vnity of the Spirit in the Bond of Peace . I must confess , divers of you did much desire me to answer Mr. Marlow's Book before this time , but I hope you will excuse my neglect , for some of you know the occasion of it ; ●tis done now , and in the fear of God recommended to your perusal . And O that the Lord would be pleased to bless it to your Satisfaction , then shall I have cause to praise the Lord that I undertook the Work. I can ●●y you lie near my Heart , and I would do any thing I am capable of to promote Truth and Peace amongst our selves , and in all the Churches of Christ . If any of you should say , How can we be satisfied to have Communion with the Church , when we believe 't is an Innovation ? ( that 's a hard word . ) Ar● you Infallible ? Is there not ground for you to fear you are mistaken , or to think in the least 't is a doubtful case , since so much is to be said for it , and has been so generally received from the beginning by most enlightned Saints , and you your selves with the Church for so long a time been in the Practice of ●t at other times ? Besides , can you find any ground from God's Word , that will warrant you to separate your selves from the Church upon this account ? and also may not the same or like Scruple rise in our Spirits against having Communion with you , who we be●ieve lie short of a plain Gospel-Ordinance , ●nd so , through want of light , diminish from God's Word , as you say we add thereto by doing of it ? But far be it from us to have a thought to act that way towards any of you . Moreover , will not such a practice , of a Separation from the Church upon this account , justify other Godly Christians , who are Members of such Churches who do not sing , ( that are convinced as well as we it is their Duty ) to separate from those Congregations , to joyn with such Churches as are in this practice ? Doubtless that Door that will let you out of this Church , will let others out of those Churches , ( I mentioned before ) and there are not a few such in this City . There is one thing I think good to note here , to prevent any mistake , that tho I call Preaching a moral Duty , yet to preach the Gospel only , appertains to such whom God particularly hath gifted for that Work , and who have a lawful call to it . I shall conclude with the words of the Holy Apostle , Finally , Brethren , farewel : be Perfect , be of good Comfort be of one Mind , live in Love and Peace , and the God of Love and Peace shall be with you . 2 Cor. 13. 11. Which is the Prayer of him Who is , Your unworthy Brother , fellow Servant , and poor Labourer in God's Harvest , B. Keach . From my House near Horselydown , Southwark , April 3d 1691. The Contents of the chief Things contained in the insuing Treatise . WHat it is to sing , Page 5. That there can be no proper Singing without the Voice , pag. 6. 'T is not simple Heart-joy , or inward rejoicing without 〈◊〉 Voice , p. 7. A Metaphorical Singing mentioned in Scripture , p. 7. No mental Singing , as there is no mental praying , p. 12. The Essence of Singing no more in the Heart or Spirit , 〈◊〉 the Essence of Preaching , &c. p. 14. Singing is a musical melodious Modulation , or timing of 〈◊〉 Voice , p. 15. 'T is not praising of God in Prayer , p. 16. Wherein Singing and other praisings of God differ , p. 16 , 17. Several distinct Noises of the Tongue , or bodily Organ , 19 , 20. They that 〈◊〉 not with the Voice , sing not at all , p. 21. Singing th● Praises of God , proved our Duty from the Anti●●● of that Practice , of the Angels singing at God's bringing 〈◊〉 the first visible Creation . The Angels sung also at the ●●nging in the second Creation , or Work of Redemption , 22 , 23 , 24. Singing an Act of the Voice , and also an Act of God's ●●rship , p. 24. The Devil a great Enemy to the singing of God's Praise . 〈◊〉 sing to Christ , p. 25 , 26. An Argument to prove Singing part of God's Worship , p. 27. Singing a Moral Duty , proved by four Demonstrations , ● 30 , to p. 40. An Argument to prove it our Duty to sing Praise to God , ●●ken from its being a part of Natural Religion , p. 41. Singing our Duty , from the Practice of God's People be●re the Law , under the Law , and under the Gospel , p. 41 , 〈◊〉 p. 45. Singing of Psalms , &c. our Duty , proved from Scripture-Precepts , p. 45 , to p. ●2 . Singing under the Law with Instruments of Musick typical , p. 53. Singing the Praises of God proved to be our Duty , because instituted under the Gospel , and injoyned on the Churches , p. 54 , to p. 56. An Argument from thence , p. 59. Obj. We cannot tell how to come at Singing , answered , p. 85. Singing God's Praises , &c. confirmed by a Miracle , as other Gospel-Ordinances were , p. 60. Obj. Singing was done by an extraordinary Gift , therefore we must not sing now ; answered , p. 62 , 146 , 147. The direful Consequents of such an Assertion , p. 63. An Argument drawn from the extraordinary Gift in the Apostolical Church , in bringing in a Psalm , &c. p. 64 , 65. Proving Singing of Psalms our Duty , from the Practice of the Churches next after the Apostles Times , p. 65 , 66 , 67. Shewing the form or manner of singing , and that it ought to be with united Voices , p. 70 , 71 , 72. Singing together with united Voices , proved from the Practice of the Saints under the Old Testament , p. 74 , 75. Proving Singing together in publick Worship our Duty , from Scripture-Prophecies that relate to Gospel-days , p. 75 , 76 , 77 , 78 , 79 , 80. Proving 'tis our Duty to sing God's Praises with united Voices , from the great Noise singing in the Scripture is said to make , p. 83. Four Sylogistical Arguments to prove singing together with united Voices , the true manner of performance of this Duty , p. 85 , 86 , 87 , 89. Shewing what Matter it is we should sing ; that the Matter in general must be the Word of Christ . What is meant by Psalms , Hymns , and spiritual Songs , p. 90. Ephes . 5. 19. Col. 3. 16. distinctly opened , p. 91 , 92 , 93 , 94. Other Hymns may be sung besides David's Psalms , p. 95 , 96 , 97 , 98. & p. 154 , 160 , 161. Shewing who ought to sing God's Praises , and that the whole Church ought so to do , p. 10● . Obj. What ground to sing before or after Sermon , Answered , pag. 102. Obj. What ground for the Church to sing with Vnbelievers , Answered , p. 105 , 106 , 107 , 108 , 120. Mr. Marlow's Book exami●● and answered , p. 111. No Apostacy , or going back to sing God's Praises , p. 112. Speaking and Admonishing one another in Psalms , &c. what , plainly opened , p. 113 , 114. The speaking to our selves in Psalms , Ephes . 5. 19. and Admonishing one another in Psalms , mean● one and the same thing , p. 114 , 115. Paul speaks not to Ministers in those words , but to the whole Church , p. 117 , 118. The folly of Mr. Marlow laid open , about what be speaks of the Essence of Singing , p. 122. His Notion about the Essence of Singing , &c. tends to destroy all External Duties and Ordinances , p. 123 , 124. It confirm Quakerism , and their Silent Meetings , p. 125 , 126. Obj. No Institution for Singing till David's Time , Answered , p. 127 , 128. Obj. Singing of David's Psalms only suited , to Levitical Ceremonies and Temple Worship , answered , p. 129 , 130. Objections about the Matter of David's Psalms , Answered , p. 131. Mr. Marlow's Objections and Cavils against precomposed Hymns , Answered , p. 134 , 135. Like Rule for precomposed Spiritual Hymns out of God's Word , as for precomposed Sermons , largely proved , p. 136 , 137. Obj. Women must not speak in the Church , therefore must not sing in the Church , Answered , p. 139 , 140 , 141. Obj. 1 Cor. 14. 20 , to 34. about an extraordinary Gift to sing , Answered , p. 142 , 143 , 144. What meant by Winter , and time of the singing of Birds , Cant. 2. opened , p. 147 , 148. Obj. Singing in the Temple by an Extraordinary Gift , Answered , p. 146 , 147. Mr. Marlow's Reply to Isa . 52. 8. about the Watch●●● singing together , Answered , p. 149 , 150. The Antitype of Solomon's Temple , not the Church in the 1000 Years Reign , p. 150. Mr. Marlow's Reply to Christ's singing an Hymn with ●is Disciples , p. 151. His Objections from Acts 4. 24. Answered . Dr. Du-Veil's sense of the Greek word Hymnos , p. 151. Mr. Marlow's Reply to Paul and Silas's singing , Answered , p. 153. Obj. Moses's Song by Inspiration , Answered , p. 160. Obj. Prayer under the Law , differs from Prayer under the Gospel , and so singing differs also . There were Shadows and Legal Rites used in them then , largely Answered , p. 162 , 163. Jewish Temple-Worship , Jewish Day of Worship , Jewish M●sick in Worship , the Levites Maintenance , all Legal Rites and Shadows , yet to meet together to worship God ; a time of Worship ; a Maintenance for Gospel-Ministers , and Singing , all moral and perpetual Duties . p. 165 , 166 , 167 , 168. Obj. A greater Measure of the Spirit required to sing than to pray , answered p. 170 , 171. Obj. None must sing but such who are Merry , or have an extraordinary cause so to do , Answered , p. 172. Obj. No Command to sing in Publick Worship , again answered , p. 173. As much Rule to sing before and after Sermons , as to pray at those times , proved , p. 173. The Cause of the Decays in Churches , what , p. 176. Obj. Precomposed Forms Carnal , Answered , p. 177. As much ground to object against precomposed Sermons , p. 179. Obj. David's Psalms , the Original not in Metre , Answered , p. 180. The dangerousness of Mr. Marlow's Cavils about the Form and Manner of performing Ordinances , opened , p. 181 , 182. Singing , a piece of Art , Answered , p. 103. Obj. The Gift for Singing not continued in the Church , Answered , p. 185. Mr. Marlow's unchristian Conclusion of his Book , answered , with Reflections thereupon . p. 186 , 187. Singing God's Praises , an Vniversal Duty , done by all sorts of Men at all times , in Affliction , and at Martyrdom , p. 189 , 190. The Vse and excellent Profit of singing God's Praises , p. 190 , 191 , 192. The Contents of our Answer to Mr. Marlow's Appendix . OTher ways to praise God , than by singing of his Praises , yet that is one way notwithstanding , pag. 16. Dr. Owen is cited by Mr. Marlow to no purpose for his Cause , p. 17. The direct and primary signification of Hymnos , is to sing , or they sung , p. 18 , 19 , 20. Obj. Singing in the Primitive Days , was by a special Gift , Answered again , pag. 21 , 25 , 26 , 27. Mr. Marlow has a bad Cause to plead , appears by the Mediums he uses , shewed in five things , p. 22 , 23 , 24. Inward Joy , Peace , &c. not the Fruit of the special Gifts , but of the Graces of the Spirit , p. 25 , 26. Fillings of the Spirit necessary for Saints in discharge of all Duties , p. 29. Mr. Marlow's Arguing dangerous , proved by one Argument , p. 31. Obj. Women must not sing in the Church , because they must not speak in the Church , again answered , p. 32 , 33 , 34 , 35. Women may speak several ways in the Church , and sing too , p. 33. Not for women to speak in the Church , it is not to usurp Authority over the Man. Singing not Teaching , tho a Teaching in it , p. 34. Women allowed to prophess in the Church , p. 35. What Teaching is in Singing . How all may be said to teach , and yet all Hearers too p. 37 , 38. Mr. Marlow confounds Singing and Preaching together one while , and Prayer and Singing at another , p. 38. Mr. Marlow's Singing in the 1000 Years Reign examined . And what Precepts the Saints shall have to sing then , that do not impower us to sing now ? p. 38 , 39. Every word of a Sermon may be premeditated by the Spirit , and yet be Spiritual , and so may Hymns too , p. 40. What Mr. Marlow says may lay Men under Temptation not to pray at all for want of a Gift , p. 41 , 42. If we must not sing who have not a full assurance of God's Love , we must not also rejoyce in God , p. 42 , 43. We are come to such a Perfection of Divine Worship , as to know what God's Ordinances are , p. 45. One Note more worth observing on Eph. 5. 19. Col. 3. 16. p. 44. Obj. How shall we sing the Lord's Song in a strange Land , answered , p. 45 , 46. Singing a Moral Duty , and more acceptable to God than Sacrifice , or Mosaical Rites , p. 44 , 45. The genuine and proper Signification of the word Hymnos , and Mr. M's Citation of Dr. Owen , examined by another Hand , p. 48. Other Authors upon that Greek word examined , and his Mistakes about it detected , p. 49 , 50. to the end . Reader , before you read , you are desired to correct these Faults that have escaped the Press . PAge 27. last line , blot out , as the Hebrew word signifies . P. 33. l. 22. for in , r. to P. 64. l. 19. for with Miracles , Gifts , r. miraculous Gifts . Appendix , Pag. 19. lin . 32. r. Is the Greek word there , he hymned ? The Introduction . IT cannot but be lamented to see what Temptations many Men have been laid under , by the great Enemy of Truth , in every Age of the World , in their fierce opposition against one or another blessed Ordinance and Institution of Jesus Christ ; and this not only by bad Men , but also by Men fearing God : All which , no doubt , arises , either from their Ignorance , or else from that Prejudice there is in their Hearts against it ; from a fond Conceit that it can't be a Truth of Christ , because they never looked upon it so to be , ( nor some wiser than they ) ; nor are they willing to believe it to be a Truth , since some ( who have not such Light and Knowledg in other blessed Truths ) do practise it : as if , because some Men , who hold and maintain some gross Errors and Falsities , can hold and practise no Truths at all ; whereas 't is evident , the Church of Rome , which is Mystical Babylon , are sound in the Doctrine of the Trinity , as far as I can gather , and possibly in some other Points also : For they believe the Resurrection of the Body , and the Eternal Judgment , and that Christ died without the Gate of Jerusalem : but I am afraid some Men have a Fancy they know all the whole Mind of Christ , and that they need not be taught any other Truths , than those which they have received : notwithstanding can't but know , the Church is but newly come out of the Wilderness , or Popish Darkness ; and not so fully neither , as to be as clear as the Sun , as in due time she shall . Reformation , 't is evident , is a hard and ●●●ficult Work , and ever was ; 't is no easy th●●g to restore lost Ordinances , I mean , such as have for many Years been neglected , and strangely corrupted , through that Antichristian Darkness that hath for so many Ages and Generations overspread the Earth , which is manifest 〈◊〉 respect of Baptism , and Imposition of Hands upon Baptized Believers ( as such . ) One would even stand and wonder to see how many godly , learned , and good Men , should be so dark as to maintain , and that resolutely too , that corrupt Practice of Pedo-Baptism , ( or rather Rantism ) considering it hath not the least footing in the Word of God , but is so directly contrary to the Nature and Constitution of a Gospel-Church , and Administration of New-Testament-Ordinances . But let not those of our own Perswasion much longer wonder at this , since some of them seem as blind and dark in another Blessed Truth , and Sacred Ordinance of the ever glorious God , that hardly was ever opposed as by them ; but hath been generally owned in every Age of the Church , and that by the most godly and enlightned Christians from the beginning of the World till of late days ; and not now neither , but by some People of the Baptized Way , and others who are against all Ordinances . I must confess no Man ( through the Grace of God ) can be better satisfied touching the Truth of Baptism , as practised by my Brethren , than I am , and of the true Order and Constitution of our Churches , and soundness of their Faith in all the Fundamentals of Religion ; yet do I not think we have arrived to such a perfection of Knowledg of all practical Truths , that we need not enquire after any thing which we may not yet have understan●ing in . I must confess , ( as one observes ) that the great Design of Satan is , and always was , to put a Cheat upon God's People , as well as to hold the World in Blindness and Wickedness ; by the one ( saith he ) Satan holds Men in a state of Impenitency , and by the other he deludes Christians to neglect their Duties , and to obstruct their own Comfort and Priviledg . He acts as well in the shape of an Angel of Light , as of a Prince of Darkness , stirring up vain Scruples and Objections , especially in the Minds of weak Christians , and filthy Imaginations in those who have not yet turned to God. I must confess , I my self , when first God enlightned me into his Truth , was an opposer of this Sacred Ordinance ; but it was not for want of Ignorance , and partly through Prejudice , perhaps to such who I esteem , and even looked upon since that time , a corrupt People , and false in their Church-Constitution , and polluted with humane Innovation , or Inventions of Men : the abuse of an Ordinance is subject to raise Mens Spirits to a dislike of the thing it self . But , blessed be God , I have , for near twenty Years last past , been fully convinced of the Truth of the Ordinance I now contend for , and have an equal esteem for it , ( through Grace ) as I have for any other Truth , knowing every Word of God is pure ; and have found no little comfort in the practice of it , publickly in the Church , and in private also . And that all may see upon what Authority we have received , and do practise this Ordinance of singing of Psalms , and Hymns , and Spiritual Songs , I have wrote this Treatise ; and do hope , with the Blessing of God , it may tend to establish such who own it to be an Ordinance of Christ , and convince others , who either oppose it , or through want of Light , live in the neglect of it . Singing of Psalms , Hymns , and Spiritual Songs , an Holy Ordinance of Jesus Christ . CHAP. I. Wherein it is shewed , what Singing is , or what it is to sing , or what the Word doth import . IT may seem strange to some wise and learned Men , that I begin here ; possibly they will say , there is no need to speak a word about this , for all the World are agreed in the Case ; all know what it is to sing , as well as they know what it is to speak . Though this be true , yet I find a necessity to open this Act of the Bodily Organ , as will appear by what follows ; for some Men , it seems , are so confounded in their Thoughts , that they do not know what Singing is , but think there may be a Singing without the Tongue , taking the word [ Melody in the Heart ] to be all the Singing the Holy Ghost exhorts to in the New Testament ; and so would have us believe there is a mental Singing , as well as mental Praying ; nay , which is worse , would wholly exclude all other Singing besides that , which is very hard ; if they should do so by Prayer , it would strangely amuse all good People , viz. that we must have nothing but Heart-Prayer , without a Voice . Others say , that one Person may be the Mouth in Singing , as well as in Praying ; and so a multitude may be said to sing with him , though there is none sings but that single Man , as in Prayer . A third sort there be , I find , who conclude Singing is wholly comprehended in the Ordinance of Prayer , and from hence please themselves that they do sing , when in Prayer they give Thanks to God , or praise God. But very remarkable it is to see how these Men are confounded by this last Assertion , in respect of one Objection they bring against Singing . Object . What will you sing your Prayers ? you may as well go to Common-Prayer , &c. Thus I have heard one or two worthy Men speak , not long since : Why , truly Brethren , it appears you do sing your Prayers , nay , and that always too when you pray ; for I am perswaded you never pray to God for what you want , but you see cause to praise him for what you have received . All that ever wrote of Prayer , that I have met with , do jointly agree , that praising of God , or giving of Thanks , is one part or branch of Prayer , and that part , it appears in your opinion , you sing . And if this be so , pray allow us to sing some Prayers too , and do not charge us with Common-Prayer , unless David's Psalms be a Common-Prayer-Book : And then it will appear that Common-Prayer is of Divine Institution ; nay , and enjoyned on the Churches too in the New Testament ; for we know no Psalms , I mean called so in God's Word , but the Book of Psalms , or Psalms of David . Now these things being considered , I shall shew you what it is to sing , and so remove these Cavils and Mistakes about it . I shall not in this Chapter shew you what 't is to sing with the Spirit , or with Grace in the Heart , that respects the right performance of ●inging , but what it is to sing in our common Acceptation , and in Scripture too . First , It may not be unnecessary to consider of those several distinct and internal Acts of the Mind and Heart of a Man. Secondly , Of those external Acts of the Tongue of a Man. 1. To think , muse , or meditate , is an inter●al Act of the Mind , wherein the Excellency of the Soul is discovered unto a Man 's own ●elf ; as David saith , I am fearfully and wonderfully made , and that my Soul knoweth right-well , Psal . 139. 14. The Soul has its divers Passions , as Fear , Anger , &c. there lie the Desires ; Sense of Want or Fulness ; 't is the Seat of Joy and Sorrow . But yet nevertheless there are several Acts that the Soul can't do without the bodily Organ ; 't is capable of praying , or to joyn wi●● others in Prayer , without the Tongue ; becaus● there are the Desires ( as I said before ) an● God hears and knows the Groans , Sighs , an● earnest Desires of the Soul , as well as if the● were expressed by words , yet ought the Tongu● to be imployed in that Service notwithstanding and not only for the sake of others who are 〈◊〉 joyn in with them in those servent breathings 〈◊〉 Man may put up to God , but it may be expedient when a Man is alone verbally to express his Desires to the Lord , for several reason● which I shall not mention here , it being not 〈◊〉 our present business : Yet nevertheless the So●● without the Tongue can't preach God's Word can't dispute for it , &c. nor do many othe● things ; neither can the Soul , I say , be said 〈◊〉 sing in a proper sense without the Tongu● True , there is a Metaphorical Singing spok● of in the Scripture , so by a Metonymie the Tre●● of the Wood , and Mountains , and Fields 〈◊〉 said to sing ; and thus , in an improper Sense the Heart may be said to sing , when it on● rejoices in God. Many proper Acts of Me● are often in the Scripture ascribed to Veget●bles and Animal Creatures , and many prop●● Acts of Men are attributed to God. Fire and Hail , Snow and Vapours , Mountains and all Hills , fruitful Trees and Cedars , Beasts and all Cattel , creeping things , and flying Fowl are exhorted to sing and praise God , Psal . 148. 8 , 9 , 10. which all know they cannot truly and in a proper sense be said to do . 'T is frequent ( as Mr. Caryl observes ) in Scripture to attribute Acts of Life to Lifeless Creatures , and Acts of Reason to those which have no Sense ; the Earth is said to mourn , Tsa . 33. 9. the Trees of the Forest , as the Hills and the Valleys , are said to rejoice , Isa . 65. 12. 13. the Birds praise God , saith he , by their singing , and the Stars by their shining . Caryl on Job , chap. 38. 7. Now in like manner , if there be any such sort or kind of singing as these Men plead for , viz. a mental singing , i. e. a Heart-singing without the Tongue , mentioned in Scripture , ( tho I must confess I know none ) yet it could be no more a proper singing , than the Blood of Abel , which is said to speak , is a proper speaking : so that if they could shew us in any place of God's Word , where any Godly Man is said to sing , and yet his Voice was not heard , it would signify nothing to their purpose in turning all singing unto Heart-Melody , or inward rejoycing only , without the Tongue expressing of it musically , or in a melodious manner ; for this is just to destroy the Propriety of different Actions and Things said to be done . As to the other Objection , take what Mr. Sid●●●am , in his Treatise of Singing , saith in Answer to this Objection , pag. 208. Obj. But if one say ( saith he ) when one prays all may be said to pray , tho they do but consent , it may be so in singing of Psalms , &c. Answ . It is answered , saith he , All Ordinances must be considered according to their proper nature ; some Ordinances are so to be administred , as that only one at once can perform it , as publick Prayer and Preaching , and yet there must be a distinction even in these ; my Silence in Prayer ought to be when I pray with another , and yet I may be said to pray as well as he , which is the mouth of the whole , because my Heart is with him in the same Petitions , and my Desires go equally with him : but in Preaching , where Silence must be likewise from the nature of the Ordinance , yet , tho I consent fully with the Matter , and agree in all that is said with never so much Affection , yet I can't be said to preach , but only he that speaketh preaches . So now as to Singing , there is a difference likewise of another Consideration , if only one sing , none else can be said to sing , tho they joyn with the Matter and agree to it in their Hearts ; for it is an outward Act , and terminated in the Person that performs it : And tho in my silent Conjunction , I may readily praise God , yet I can in no sense be properly said to sing with others , without I do use my Voice and bodily Organs as they do . This Consideration , saith he , may give light to Men that mind the nature and distinction of Ordinances in their Administrations ; that which is the Confusion of other Ordinances , is the Beauty of this ; for two to preach or pray together at the same time and place , were the greatest Confusion imaginable ; but for an hundred to sing together , is most harmonious and pleasant , so far from the breach of Order , that Harmony is most discovered by it . So far Mr. Sidenham . I hope our Brethren do not think there is Confusion in Heaven , where the Heavenly Host with one Voice-celebrate the Praises of God by singing to him . 2. Further , to prove that Singing properly can't be done without the Voice , it is material to observe the Hebrew word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Psal . 104. 12. where our Dictionaries , as well as our Annotators on the Bible , shew it signifies giving a Voice , and such a Voice too , that is melodious in Odulation , or tuning the Voice . And , saith Reverend Dr. Roberts , To limit Singing only in the Heart , and inward Melody of the Spirit , is utterly besides the Apostle's intent , and contrary to the nature of Singing , and destructive to all Edification or Advantage to others by Singing . Where do we read of singing in all the Scripture without a Voice ? How gross , saith he , and ignorant a Contradiction in the Adject , and absurd Nonsense is it to talk of singing in the Heart without a Voice . Dr. Roberts's Key of the Bible , p. 177. Moreover , Mr. Caryl , whose Learning and excellent Parts and Wisdom shines ( tho dead ) through the World , positively affirms , That Singing is an Act of the Voice , on Job 38. 7. So that it appears from hence , tho there is Heart-Prayer , Mental-Prayer , and that may be said as properly to be Prayer , tho the Voice be not heard ( as in Hannah's Case ) as that which is vocal , yet there is no proper singing but that which is performed with the Tongue . 3. Were it not so , all Mankind are and would be mistaken in one of the common Acts of the bodily Organs , and not be able to resolve so plain a Question , What is it to sing ? or what is singing ? But so easy a Question is this to be answered , that every Child can readily resolve it , that is not above six or seven Years old ; nay , if a Turk , Indian or Pagan should come into our Assemblies , that understands not one word of English , and so can't distinguish in other Acts of Worship the one from the other , yet if he hears us a singing , he knows what that is ; and if but one Man sings ( tho the rest may shew their liking or approbation of it ) if any should say they all sing , every one would say he told a Lie , there was but one Man only who sung ; but in Prayer , that being an Act of Worship , that may be performed without the Voice , 't is quite another thing , all may be said to pray , tho but one is the Mouth . Now this being so , what is become of Mr. Marlow's Essence of Singing ? for tho I shall not answer his Book until I come to the main Objections ; yet what he speaks in that place , and upon that occasion , I shall take notice of ●ere . Now ( saith he ) what can be more plain , ●han that Singing , and other Gifts of the holy Spirit , have their Essence in our Spirits , wherein we are capable of worshipping God , without Verbal and Vocal Instruments of the Body ? These are his very words . I answer , Some have so smiled at this Expression , that they can't tell what he intends by ●t , unless he would shew himself skill'd in Chymistry . But since he meddles with Divine Things , I must confess I am troubled to see such kind of words used , that no Body knows what to make of them : By Essence of a thing , I always understood the Substance or Being of a thing : Now if the Substance and Being of Sing●ng , and other Gifts of the Spirit , ( by which I suppose he means other Duties of God's Worship which are to be performed by those Gifts , ) ●ie in our Spirits , and may be , wihtout distinction , performed acceptably to God , without Verbal or Vocal Instruments of the Body , ●hen farewel to Verbal or Vocal Preaching and Praying too : It grieves my Soul to see the Ho●y Truths of God's Worship invaded . Is not the Essence of Preaching in our Spirits , as much as the Essence of Singing is there ? And are we not as capable in our Spirits to worship God , in all other Ordinances , without the Verbal or Vocal Instruments of the Body , as well as in Singing without Voice , by your Argument ? And let me tell you , you have said more to justify the Quakers Silent Meetings than you are aware of : Nay , 't is an Argument , as far as I know , they may thank you for ; but by this way of reasoning , there is no mo●● need of the poor Body to glorify God in his Worship ; and our Glory , ( viz. our Tongue ) is brought to shame hereby ; and 't is no less 〈◊〉 to rob God of the Glory of his Holy Ordinances , and his Church , and every particular Saint , of the use and comfort of them , so far as 〈◊〉 Body or Members thereof are employed in 〈◊〉 about them , they being of no use at all ; And what is this , but to turn all outward or external Worship , into a spiritual , inward , or heart-business ? The Essence of Singing then , ( if that word may be admitted ) lies no more in our Spiri● than the Essence of Preaching , &c. And sha●● the Quakers , or any other deceived People 〈◊〉 Person , say , ( when they meet together to preach , pray , or sing the Praises of God ) tha● in their Spirits they have the Essence of tho●● Duties , and so perform them to God , notwithstanding there is not one of them verbally and vocally done ; certainly nothing can be more ridiculous . Besides the main part ( Essence too , if you please ) nay the whole of Singing , lies in the Voice . I speak of the act , or thing 〈◊〉 self , not of a right spiritual and Gospel-Performance of it , for he may be said to preach , who has not the Spirit of God to assist him in the doing of it , ( nor is he affected with what he says ) as properly as he that preaches spiritually , or by the assistance of the Holy Ghost in his own Heart . Doubtless , Birds sing as truly as any Men can be said so to do ; and so do those who sing prophane Songs ; t●ere's all the parts of Singing manifested in their Act , so much difference there is between the doing of an Act , or Work , and the Manner , Design , Spirit , and End , in performing of it . Fourthly , to proceed , By Singing of Psalms , Hymns and Spiritual Songs , therefore , we understand a musical melodious Modulation , or tuning of the Voice , expressing our spiritual Joy for edifying one another , and for glorifying of God. 1. And that this is all the Singing the Holy Scripture speaks of , and is meant or intended therein , will yet further appear , if we consider these things following . First , 'T is called the making of a joyful Noise ; Sing a loud unto God our strength : make a joyful Noise unto the God of Jacob , Psal . 81. 1. O 〈◊〉 let us sing unto the Lord , let us make a joyful Noise to the Rock of our Salvation , Psal . 95. 1. Let us come before his Presence with Thanksgiving , and make a joyful Noise unto him with Psalms , vers . 2. So in Psal . 98. 4 , 5 , 6. & 100. 1 , 2. this is the Singing the Holy Ghost bears witness of ; 't is not meerly that in Word , Joy or rejoycing in Spirit , but an expressing of it wi●● a melodious Voice , or by making of a joyful Noise unto the Lord. Secondly , What the act of Singing is , or what it is to sing , may be easily manifested by the Birds of the Air , those melodious Notes they make , God in his Word ( Cant. 2. 12. ) calls Singing ; and 't is easy to know when they sing , and when they do not ; and 't is as easy to know when the Lord's People sing , and which of them sing , and who do not , if Men will not shut their Eyes and Ears , against an Ordinance of Christ , and in opposing of it , render themselves ridiculous to Mankind . Thirdly , Singing is distinguished from Prayer , as another thing differing from any part or branch of it ; and that by the great Apostle himself , and therefore it cannot be comprehended in that great Duty ; What is it then ? I will pray with the Spirit , and I will pray with the Vnderstanding also : I will sing with the Spirit , and I will sing with the Vnderstanding also , 1 Cor. 14. 15. Prayer , all Expositors affirm , consisteth in three parts ( as I hinted before ) : 1. In confession of Sin , &c. 2. In supplication for what we stand in need of . And , 3. In giving of Thanks , or in Praising of God with raised affections , for what Mercies we have received from him . As if the Apostle should say , I will confess my Sins and Wants to God by ●he help of God's Spirit , and with the inward ●ttention , and utmost intention of my own ●pirit , or greatest devotion and Fervour of Af●ections imaginable ; and so will I seek to him , ●nd supplicate his holy Majesty for what I ●ant , and so will I praise him , and give ●hanks to him for all the good things I have ●eceived at his most bountiful Hands . See our ●ate Annotation , Phil. 4. 6. They mention there a Petition or Apprecation of Good to our selves or others ; and also in Prayer , a Deprecation of Evils felt or feared . 3. A grateful acknowledgment of Mercies received , Benefits conferred , and Deliverances vouchsafed ; Implying ( saith he ) that no Prayer is acceptable to God without this Ingredient of thankful resentment of his Favours . Nor can I think that any gracious Soul doth ever leave out this sweet and great part of Prayer when he is at the Throne of Grace , viz. Praising of God : Therefore this the Apostle would do when he prayed . But observe , besides this , and as something quite distinct from it , he adds , And when I sing , I will sing with the Spirit , &c. If therefore Singing were comprehended in Prayer , or praising of God when we pray unto him , then the Apostle uses as great and palpable a Tautology as can possibly be ; nay , and leaves all Men under a Cloud and Mistake , if he meant nothing else ( or no more ) than praising of God in Prayer ; since all the World ever understood a clear distinct difference between those two things , viz. Prayer , or praising of God , and singing of his Praises : for though all right Singing to God is a praising of him , ( nay , and in the highe●● manner that we in our mortal Bodies are capable to do ; ) yet all praisings of God are not singing of his Praise . Moreover , the difference there between Prayer , &c. and Singing , 〈◊〉 clearly hinted by the Apostle James , where he exhorts those in Affliction in an extraordinary manner to pray : James 5. 13. Is any afflicted ? let him pray . And is any merry ? let them sing Psalms . Certainly he wills the Afflicted to praise God , as well as to pray unto him , but to such who are merry , or whose Hearts were greatly lifted up , or affected with the Love , Mercy and Goodness of God , why then , and upon such Occasions , to sing , ye● , to sing Psalms . In which words , by the way , 't is worth noting , to observe , that the Apostle stirs up Christians to perform these Duties more than in an ordinary manner at such● Times and Occasions : for 't is a Man's Duty to pray whether he be afflicted or no ; and so in like manner 't is a Man's Duty to sing the Praises of God , whether he hath such an extraordinary cause and special frame of Spirit upon him , or not . Fourthly , 'T is easy to conceive of Singing , or to know what it is , if we consider how it differs from meer rejoicing in the Lord ; for a Man may rejoice in Spirit , when he doth not signify it by Singing of Praises . 'T is said , our ●viour rejoiced in Spirit , Luke 10. 21. and ●anked his Father ; yet 't is not said he sung ; 〈◊〉 Joy is inward , not known till expressed ; ●●d many times 't is expressed by Singing , tho ●●t always : The end why I mention this , is to ●ew they are two different Acts and Duties ; 〈◊〉 I am enjoined to rejoice , so I am enjoined so from that Joy to sing , Jam. 5. 13. Fifthly , and lastly , to pass over this ; Sing●g is a Duty performed always with the Voice , ●ad can't be done without the Tongue , we may ●ather from the Noise it maketh to the hearing ●f others ; as it is noted in the Scripture : See ●xod . 32. 17. And when Joshua heard the Noise 〈◊〉 the People as they shouted , he said unto Mo●s , There is War in the Camp. Ver. 18. And 〈◊〉 said , It is not the Voice of them that shout 〈◊〉 Mastery , neither is it the Voice of them that ●●●y for being overcome ; but the Noise of them ●at sing , do I hear . They that doubt about ●hat the Act of Singing is , I desire them to ●nsider this Text well , in which 't is to be ob●●ved , that there are several distinct Acts vo●lly performed by the Tongue , and all Man●nd easily distinguish the one from the other , ●nless depraved in their Minds , or under a De●●sion and Temptation of Satan . 1. There is a shouting Noise of the Tongue , ●nd all Mankind know what it is , and can ●eadily resolve any Person about it , when he ●istinctly hears it . 2. There is , it appears , a crying Noise likewise . 3. There is a preaching Voice , or a Noise made that way . 4. A praying , or praising Voice . 5. A singing Voice . And all these distinct from each other . Moses could readily resolve the Doubt that was upon Joshua , when he lent his Ear to hearken to the Noise of the People . Truly I am almost ashamed I have this occasion to speak , and to be so large upon it ; but knowing what I have met withal , from some poor , weak , and doubting Christians , who stumble at Noon-day about the very Act of Singing , not knowing what it is , or at least raise such Objections against it , I have thought good to begin here , and if this may but satisfy them , I shall bless God for what I have said in all plainness ; and do know it makes an easy Passage to the next Chapter , wherein I shall , by God's Assistance , prove Singing ( yea such a Singing , there being no other known to Mankind ) an Holy Ordinance of God , and to be practised in the Congregation of Christians , and in Private also ; only let me conclude this Chapter with two Inferences . 1. If this be so ; then we may naturally infer from hence , that all such who never sing the Praises of God with a Vocal Melody , notwithstanding all those sweet Rejoicings they may have in the Spirit at any time , never sing at all . And if Singing be that which the Great God looks for from , and enjoins upon his People , and every one of them , that then they lie short of their Duty , and want an Ordinance . Moreover , if it be our Duty , and that which belongs to God , it is to take away one great part of his glorious Praise , yea , the highest manner of performance of it we are capable of ; and so it is a robbing of the Holy God , as well as it deprives their own Souls , and the Souls of others of much sweet and Heavenly Joy and Refreshment . We may also infer , that those , who think they may be said to sing with him that sings , when they approve of the Matter of his Song , and are affected with it , are mistaken , seeing there is no proper mental or Heart-singing , or joining that way with others in Singing , as there is in the Duty and Ordinance of Prayer . For all may be said as well to preach , who like and approve of what a Preacher saith , as they may be all said to sing , who sit and hear one Man sing with delight , when they themselves hold their peace and sing not . CHAP. II Wherein 't is clearly demonstrated , and proved , that Singing of Psalms , Hymns , and Spiritual Songs , is an Holy Ordinance of God , and part of Gospel-Worship , and continues an Ordinance for ever , by the Antiquity of it . Arg. 1. MY first Argument shall be taken from the Antiquity of this Practice , 't is as ancient as this World ; the World , and Singing of the Praise of God , came even in together , or very near each other . I have respect to that triumphant Singing of the Angels . When Jehovah laid the Foundation of the Earth , Job 38. When the Morning Stars sang together , and all the Sons of God shouted for Joy. I find an Eminent Writer paraphrasing thus on these words , viz. Where wast thou when I laid the Foundation of the Earth ? &c. at which sight the Morning Stars sang together , and all the Sons of God shouted for Joy. Taking the words as carrying an Allusion to , or a Similitude taken from some noble Buildings or Structures , whose Foundations use to be laid with Solemnity , and with Singing or shouting Acclamations . See Mr. Caryl on the Place , who after he hath given several Opinions of Men about these Morning Stars , some supposing they mean the Stars in the Firmament of Heaven , he gives two Reasons to prove , by them are meant the Angels of God. There are some ( saith he ) who take these Stars Metaphorically or Figuratively , for the Angels , and then their Singing is proper : And there are two Reasons given why , by the Stars in this place , we should understand the Angels . First , If we consider the Truth or Course of the History ; because the Earth being created the first Day , the Stars were not in being till the Fourth ; unless we comprehend them ( as was said before ) as to their Matter and Reality , under those words of Moses , In the beginning God created the Heaven and the Earth . But as to their Appearance and Formality , so they were not till the fourth Day ; and if so , how could they sing together the Praises of God at the laying the Foundation of the Earth ? A second Reason is given from this Chapter afterwards , Vers . 31 , 32. Canst thou bind the sweet Influences of the Pleiades ? ( or seven Stars ) or loose the Bands of Orion ? &c. Here the Lord treats with Job about the Stars in proper Senses ; therefore probably the Morning Stars here mentioned , are not to be taken Properly , but Tropically , for the Angels . And then he goes on to prove how fitly the Angels may be called Stars , &c. And from this of the Stars or Angels Singing , he infers ; First , Singing is an Act of Divine Worship , they sang to the Glory of God. Note , Secondly , saith he , Singing is an Expression of Joy : 'T is very remarkable the Angels sang at God's bringing forth the first Creation , to teach us our Duty , and how we should celebrate the Praises of Jehovah , by Singing for the Works of the first Creation ; doubtless this was , and is , the Will of God , and we are to pray that we may do the Will of God on Earth , as the Angels do it in Heaven , i. e. do what is his Will , and do it so , viz. with all readiness Mr. Caryl tells us , They are not worthy to be reckoned Sons of God , who have not a readiness , or present disposition in them , to join with all , or any of his true Sons in this Work to celebrate the Praises of God at his graciou● Appearances in his mighty Works of Mercy , &c. Secondly , As the Angels sang at God's laying the Foundation of the first Creation , so also they sang at the beginning , or bringing in the second Creation , as Mr. Caryl also observes , even at the Birth of Christ , they sang , Glory to God on High , and on Earth Peace , good Will to Men. To teach us that as we should sing the Praises of God for the Works of Creation , and so much the more for the Work of Redemption . Shall they sing to see the good Will of God towards us , and shall we be dumb ? Shall we , who are thus raised to Glory , and magnified by the mighty God , not sing , or imitate the Angels , to join together , with united Voices , to sing and celebrate his Praises ? When the Disciples rejoiced and sang those Hosannahs to Jesus Christ , Blessed be the King that cometh in the Name of the Lord ; Peace in Heaven , and Glory in the Highest , Luke 19. 38. the envious Pharisees , saith Mr. Caryl , did not like the Musick ; and therefore said unto him , from among the Multitude , Master , Rebuke thy Disciples . By this it appears , that the Devil is a great Enemy to Singing ; he does not love such Hosannahs and Praises should be sung to Jesus Christ ; he it is that rules in the Hearts of the Children of Disobedience ▪ and 't was he , no doubt , that influenced and stirred up these Pharisees with Envy , to have Christ's Disciples rebuked for singing and praising him in such a high and triumphant manner . Take heed , you that are God's People , ( who do 〈◊〉 see it is your Duty to sing Hosannahs to Christ ) you do not forbid others so to do , lest you are found in doing of it , to degrade the Holy Jesus , and take from him ( through the Temptation of Satan ) part of the chiefest Glory that is due to his glorious Name . For , pray observe the Answer of our Lord Jesus to those blind Pharisees , Vers . 10. I tell you , if these should hold their Peace , the Stones would immediately cry out : as if he had said , you labour in vain to suppress or hinder these to sing my Praises , or to give Glory unto me ; for should they be silent , the Stones would cry shame of them for neglecting their Duty ; and God would rather cause sensless Creatures to proclaim his Praise , than to want it . Object . But some may say , 'T is not said they s●ng . Answ . There is no doubt to be made but they sung ; all generally understand those Hosannahs were delivered in a Song . Our Annotators hint , that it might be the name of a Song that was used to be sung in Festivals . Moreover they tell you , that the Expressions seem to be taken out of Psal . 118. 24 , 25 , 26. Also they were uttered as with one Voice . The whole Multitude of the Disciples began to rejoice and praise God with a loud Voice , Luke 19. 3● and uttered these words , Hosanna , blessed it he that cometh in the Name of the Lord ; Hosannah in the highest . As God always was praised with Singing , so now they seem to be raised with holy Triumph , to express his Praise in the highest manner , and therefore they sung . But that I may close this , take one or two Arguments . Arg. 1. If Angels in Singing do the Will of God , do that which is pleasing and acceptable to God , and in so doing worship God ; then Singing , or to sing , is the Will of God , well-pleasing to him , and is acceptable in his sight , and is a part of his Worship . But Angels , in Singing , do the Will of God , do that which is well-pleasing to him , and acceptable in his sight , ●and in so doing they worship him . Ergo , To sing , is to do the Will of God , 't is well-pleasing to him , and acceptable in his sight , and in so doing we worship him . I never met with any that deny Angels to sing the Praises of Jehovah , but all as one Man grant , 't is part of their great Work and Business . And this being so , my Argument needs no Confirmation , but is unanswerable . Arg. 2. If Heaven , and all the Host of Heaven , or all that is therein , and Earth , and all that is in it , are commanded by the Holy Ghost to sing the Praises of God ; then 't is the Duty of Men and Angels to sing his Praise . But Heaven , and all the Host of Heaven , and all that is therein , 〈◊〉 Earth , and all that is in it , are so commanded to do . Ergo , 'T is the Duty of Men and Angels to sing the Praises of God. See Psal . 148. There , and in divers other places , all in Heaven and Earth , all are commanded to praise God in the Heights ; that is , to sing Hallelujahs , as the Hebrew word signifies , Vers . 1. CHAP. III. Proving Singing the Praises of God to be a Moral Duty . OUR third Argument to prove Singing 〈◊〉 Ordinance of God , shall be taken from the Nature of the Duty it self , which generally worthy Men call a Moral Duty , as well as it is brought under express Institution , and so consequently a Branch of natural Worship . And now , because some weak Christians are offended at this Phrase , viz. calling Singing a part of natural or moral Worship or Religion , I shall explain what we mean when we speak thus . First of all , not but that 't is a spiritual Ordinance , and a positively Law : but we must distinguish between Precepts that are purely Moral , and meerly Positive . Breaking of Bread , and Holy Baptism , are meer positive Ordinances : and they had never been known nor practised , if there had not been a positive Institution to give being to them ; but to fear God , to love God , to pray to God , and divers other Precepts of the same Nature , had been the Duty of all Man-kind , if there had been no written Law or Prescription positively to injoin them on the Creature ; and that by the Law or Light o● God in the Conscience of Men ; as Paul sheweth in Rom. 2. 14 , 15. For when the Gentiles which have not the Law , do by nature the things contained in the Law ; those having not the Law , are a Law unto themselves , which shew the Work of the Law written in their hearts . All Mankind throughout the World know , by that of God written in their Hearts , they ought not to wrong their Neighbours , they ought not to Steal , nor commit Adultery , nor Kill , &c. They are taught , in a word , the substance of the whole moral Law of God hereby , if not wholly darkned and obliterated by their Sin and horrid Lusts . Even so we say , if there had been no written Law , or positive Injunction , to pray , and sing the Praises of God , yet the Light of Nature would have taught us thus to do . Remarkable is that passage of Moses in Gen. 4. Then began Men to call upon the Name of the Lord ] . Ainsworth sheweth that the Text is taken two manner of ways , the Chaldee in the Masovites Bible saith , Then in his days Men left off Praying , or became prophane , so that they prayed not in the Name of the Lord. Others understand it directly the contrary way , i. e. Then Men begun to pray , or call on the Name of the Lord , or erected publick Worship , Preaching in the Name of the Lord. So Ainsworth . Take it either way , it appears they knew it was their Duty to Pray and Preach ; yet there was no positive Law , or written Precept for either in those Days , nor ▪ for many Years after , even till Moses came ; so that 't is clear , these are parts of moral or natural Worship . And so is Singing no doubt : for as all the Heathen generally invocate their Gods , pray to them , so they sing their Praises , as might abundantly be demonstrated . And what is more clear ( further to evince this ) than that Passage of the Children of Israels's Singing after their great Deliverance at the Red Sea , Exod. 15. 1. Then sang Moses , and the Children of Israel this Song , &c. Either they did it by the Dictates of their own Conscience , as a part of Divine Homage due to God , from the Law or Light of God in their own Hearts , to magnify him for That wonderful Salvation , or else by some special means of Inspiration or Injunction from the Lord , though I incline to the former . Plain it is , this was before the Law was given forth , or there were any written Prescription or Rule to walk by ; which clearly shews , take it either way , it was no Levitical Ceremony ( as some are ready to assert ) but a Duty it was , and it has been practised by multitudes that never had any knowledg of the Scripture or positive Precepts . Further , to confirm what we have said upon this respect , i. e. that Singing the Praises of God is a moral Duty , and a part of God's natural Worship , as well as Prayer , take what Mr. Robert's says ; Singing of Psalms , &c. to God with the Voice ( saith he ) seems to be part of God's natural Worship ; which upon due consideration of God's Nature , Man by the Light of Nature should perform to him , though there were no particular Law requiring it , nor Institution appointing it . For , 1. Singing of Psalms , &c. to God , is a king of Prayer ; a Prayer , not in Prose , but in Meeter , with Melody . The Apostle joins them together as of like Nature . And who can be so gross as to deny Prayer to be part of God's natural Worship ? 2. Singing of Songs to God , was practised by God's People at the Red Sea , before the Law was given forth , or any particular Law for that Duty . 3. Singing the Praises of God is a Duty of the first Commandment , peculiarly requiring all natural Worship to be performed to him ; and so it is ranked by the Godly Learned ; and say , Singing with Heart and Voice is a Moral Worship , such as is written in the Hearts of Men by Nature . As to pray in distress , so when we have cause of solemn Thanksgiving unto God , to sing his Praises . Now , saith he , that which is a part of God's natural moral Worship , is a Duty under the New Testament , as well as under the Old , natural Worship is always and in all times a Duty obliging , semper , tho not ad semper . Doubtless even the Pagans by the Light and Law of Nature , are bound to sing Praises unto God , for his invisible Excellencies made known to them by his visible Works of Creation and Providence , tho they never come to the Knowledg of the Scriptures , of Psalms and Songs . Roberts's Key to the Bible , pag. 172. But further , to evince this , and make it appear yet plainer , that it is without all doubt ● Moral Duty to sing forth the Praises of God , I might argue thus ; All Men are to pray to God ; every one saith Prayer is a Moral Duty , then all are bound to praise him , since Praise is comprehended in Prayer , as a branch or part of it . This being granted readily by all , I further argue ; Ought not every Person then to perform this Duty of praising of God in the highest and most acceptable manner they are capable to do ? none to be sure will deny this ; why then , say I , they are all therefore taught to sing by natural or moral Principles 't is evident . First , Because to sing forth the Praises of God or Man , is the highest manner or mode of praising , either God or Man , that we know of or are able to attain unto : which doth appear . 1. Because when any Man naturally is filled with Joy and Gladness , or sees extraordinary cause of rejoicing , he by a natural Instinct falls into singing , all the World knows this is so . Now who is he on such occasions bound to rejoice in● and sing to , but the Lord only , who gave him those good things he possesseth , or delivered him from those evil things he seared ? and so upon the one account or other filled his Soul with Joy and Gladness . Why ought the Saints particularly to rejoice in Christ Jesus , and sing to him , but because all that Good their Souls are made partakers of , is in and through him ? Why did the People break forth into those sweet and triumphant Songs of Praise to David , when they sang , Saul hath slain his thousands , and David his ten thousands ? was it 〈◊〉 from the Consideration of those singular Blessings and Victories they had received from David , and hoped further to partake of from his Hands , as an Instrument in the Hand of God ? And if Moral Principles lead People forth thus upon all occasions of this nature to sing to the Instrument of Blessings and Salvation , how much more to the great Agent and Author of them , viz. the great God of Heaven and Earth ? who will not give his Glory in another , &c. 2. Because this way of praising of God by singing , is called by the Holy Ghost a praising of him in the Heights , or as the heavenly Hosts Praise God with Allelujahs , or in the highest manner ; Praise ye the Lord , praise ye the Lord in the heights , Psal . 148. 1. Praise ye him all his Angels ; praise ye him all his Hosts vers . 2. See Ainsworth . The Angels singing forth God's Praises , there can be no higher way doubtless to praise 〈◊〉 than that way by which the glo●●●●s S●●●●●ims and Cherubims do express and perform 〈◊〉 Also all the Godly in every Age have ●●●ified it as their stedfast Belief ( as well as ●●e holy Scriptures bear Witness to it ) that this is the way by which the glorified Saints in Heaven do , and we with them shall , when we come thither , celebrate the Praises of God , viz. by Singing ; therefore this of singing sorth the Praises of God is the highest and be●●●●y and manner Praises can be given to the ●ord . Secondly , All Creatures are called upon to praise God , to sing to him . Now surely the Holy Ghost would not have injoyned this on all that have Breath , if it did not belong to them ; and that which all Men are , and ought to do , is certainly a Moral Duty ; nay , 't is evident there are more Precepts that injoin all Men to sing the Praises of God in the Old Testament , than there are for them to pray unto him : which seems to be done as if it were on purpose to silence those Mens Spirits ( whom the Holy Ghost might foresee would in some Age or another oppose this sacred Ordinance ; ) and so more reason to repeat it than that of Prayer , that never was opposed or cavill'd against . Thirdly , That Faculty ( as one observes ) which God hath placed in Men to praise him in an harmonious or a melodious manner , shews that it is a moral Duty belonging to all Men ( tho more especially the Saints of God ) to be found in the Practice of singing forth his Praise . God , who made nothing in vain , but all things for his own Glory , even the Tongue of little Birds to warble forth with their pleasant Notes the Praises of their Creator amongst the branches of the Trees , Psal . 104. 12. Who made our Tongues , and placed that singing Faculty in them but the Almighty ? We see all Men and Women more or less are naturally as apt and ready to sing as to speak . Now was this tunable and musical Tongue , or that Faculty of Si●●ing , not given to us and to all Mortals , think you , to sing forth the Praises of our Creator ? Can any be so weak as to think it was given to be imployed to sing any other Songs , but such as are sacred and divine ? If it be a great abuse of the Tongue , or rather a Dishonour to God , for any to imploy their Tongues to sing profane and carnal Songs , that stir up Lust , and promote Ungodliness , as all will say doubtless it is ; then it follows clearly , this tunable or melodious note or faculty of Singing that God hath placed in the Tongue , can be for no other reason , but that thereby , viz. with a sweet and melodious manner , they , nay all of them , might discharge this Duty of singing the Praises of the Almighty God. And indeed upon this account , as well as any other ( or more than upon any other ) the Tongue may be called our Glory , i. e. because thereby we , in the highest manner we are capable of , do praise and laud the Name of God in singing and setting forth that Glory that is owing to him from Now if to sing God's Praise we●● not the Duty of all Men , it would follow , God hath given them one Faculty in that Member for no use : But of use it is , and Men will use it too ; they will sing , and , say I , they may , nay more , they ought ; but not to the Dishonour of God , not filthy , or vain and foolish Songs , but such as may be to the Glory and Honour of his Name , who made all Creatures and Things for his own Praise . And since Mankind are naturally thus inclined to Singing , and that this natural Gift and Faculty might be improved ( as all others ) to the Honour of God , who ( as Austine , in his Preface to the Psalms , observes ) has left in his Word , what they should sing , and how to perform that Moral Duty : Spiritus Sanctus videns obluctantem ad virtutis viam humani generis animam , ad delect ati●nes hujus vitae inclinari , delect abilibus mod●lis Cantilenae vim suae Doctrinae permiscuit , ut dum servitate carmine mulcetur auditu● divini sermonis pariter utilitate miseratur . The Holy Ghost seeing the Soul of Mankind strugling in the way of Godliness , and being inclined to the Delights of this Life , he mixed the Power of his Doctrine with sweet Singing , that whilst the Soul was melted with the sweetness of the Verse , the hearing of the Divine Word might be ingrafted with profit . Austin in his Preface to the Psalms . Object . I know it is objected , Hath not God given to the Tongue a faculty to laugh as well as to sing ? and , is it their Duty to laugh ? Answ . There is no doubt to be made , but to laugh at some time is lawful and good , it may be done without Sin , though in much laughter there wants not Folly. Man has not that Faculty in vain ; and many will tell you , it is found in some Distempers very good for the Body , and tends to remove them too ; besides , it may refresh the natural Spirits , when suppressed with Melancholy Gogitations . But what a trifling Objection is this ! for as the one seems to be disallowed , unless it be on some special Occasions , so the other is given , it appears , on a far more excellent and subli●e Account and Consideration , with frequent Injunctions to be found in it , which is not to be found of Laughter ; therefore away with such contentious reasoning , against Reason and Scripture too . God hath injoined you to sing Psalms , &c. to hi● that dwelleth in Sion , Psal . 9. 11. Singing forth the H●●●ur and Praise of his Name , Psal . 66. 2. That doth wondrous Works for the Children of Men , for his Mercy endures forever , Psal . 107. 8. And so much the more ought Saints to be found in it , because he delights to hear the sweet Voice of his Church . Cant. 2. 14. Let me hear thy Voice , for sweet is thy Voice , &c. not only of Prayer , but of such sweet Praises too , no doubt . Christ's Ear is affected with this harmonious Praise , when performed by his own Spirit with Grace in our Hearts ; it also elevates and carries up our Spirits to him . The Cloud of the Lord 's Divine Presence ( saith one ) descended not before , but when the Trumpets and Singers were as one , to make one Sound to be heard in praising and giving Thanks to the Lord ; and when they lifted up their Voices in Praises to him , saying , For he is good , for his Mercy endureth for ever : then the Lord bowed his Ear , and vouchsafed his gracious Presence to his People ; then the House was filled 〈◊〉 a Cloud , even the House of the Lord , 2 Ch●● . 5. 13. Then God takes possession of it as his Dwelling-place , he is so affected with the Praises of his People , when in a right manner they sing to set forth his Glory . And ( as he minds ) for the neglect of this Ordinance in the Church , viz. the not improving our Tongues and Faculties , by the Assistance of the Holy Ghost , in Singing the Praises of God , he may withhold the Influences of his Spirit , and may not be found to that deg●●● in his Dwelling-place . Fourthly , We may perceive what the Nature of this Ordinance of Singing is , if we consider how often it is in the Holy Scripture joined with Prayer . When we are exhorted to pray to him , to worship him , we are called upon also to sing his Praises . And thus Paul seems to join them together in his practice , When I pray , I will pray in the Spirit , &c. and when I sing , I will sing with the Spirit , &c. 1 Cor. 14. 15. So doth the Apostle James join them together , as of equal Worth , Nature , and Authority , James 5. 13. From all which Considerations , it appears , ●inging is of the same Nature with Prayer , even a Moral Duty . These things I thought good to communicate to the consideration of all , especially for the sake of some weak Christians . Object . What , you then ( say some ) plead for a natural or carnal thing , natural Religion and Worship . Away with your Singing , we thought all our Religion ought to be Spiritual . Answ . We plead for Spiritual Worship as well as you , and say , That all the Parts of Religious Duties must be Spiritual , or they will not be accepted of God. But what is this to the purpose ? Divers Ordinances , in their original and proper Nature , are Moral , and part of natural Worship : Is not Prayer in particular by all acknowledged so to be ? And may not Prayer be carnally performed too , as well as Singing ? nay , and so may any other Ordinance of Christ . Another Man will tell you , whilst you plead for Prayer , you plead for a Moral Duty , and a Branch of natural Worship : But doth that detract from its Glory ? No sure , all wise Men know it adds greatly to it . Cornelius ( Act. 10. 1 , 2 , 3. ) was a Man much in Prayer , tho a Gentile , and without the knowledg of the Gospel , ( or Law either , as far as we know ) ; So the Mariners which were with Jonah in the Ship , in their Distress , ( tho Heathens ) 't is said , every Man called upon his God , Jonah 1. 5. But why shall any call Singing a low or carnal thing ? they have the least reason so to term it of any Ordinan●● performed by the Spirit : Pray , are Angels sound in any carnal Ordinance , or th●●lorified Saints in Heaven ? What Ordinance can shine more glorious and subli●● in its Nature , than this of Singing Psalms , Hymns and Spiritual Songs , if this be duly considered ? But as to the true or right manner of performance of this Duty , as in all others , we must have our recourse to the Word of God. For though Prayer is a Moral Duty , yet it is commanded , and also the manner prescribed how to be performed as acceptable to God ; so is Preaching likewise : ( Yet every Man , by the Light of Nature , is taught to instruct his Children and Servants , nay , and his Neighbours too as Matters may present ) : So is Singing of Psalms , Hymns , and Spiritual Songs , brought under express Institution . 'T is required and enjoined on the Churches and Saints of God in the Gospel-days , with Matter and Manner how to be performed , ( as shall hereafter , before I have done , God assisting ) be fully proved : so that 't is a mistake in our Brethren , to think we pl●●● for any natural Religion that is Carnal or Fleshly . Though divers Precepts were Moral in their own Nature , and so part of natural Worship due to God from his Creatures , and known without the written Word , ( the Duty I mean ) though not the Manner how to be performed . And from the whole I draw this third Argument . Arg. 3. That Duty , which in its Original or Primitive Nature is Moral , and a Branch of Natural Worship , or Religion , as well as it is given forth by Divine Institutio● is the i●●●spensable Duty of all the Lord's People for ever ●o be found in the practice of . But Singing the Praises of the Lord , is a Duty or Ordinance , ●n its Original or Primitive Nature , that is Moral , and a Branch of Natural Worship or Religion , as well as it is given forth by Divine ●nstitution . Ergo , Singing of the Praises of God , is the indispensable Duty of all the Lord's People for ever . All Men know Laws or Duties which are Moral in their own Nature , lay all Men under a perpetual Obligation : And that Singing is of such a Nature , let what we have said be well considered . Hereafter , if I am answered , I shall say more to it , if God please to spare my Life . CHAP. VIII . Proving Singing of Psalms , &c. an Ordinance of Christ from the Practice of the Saints , before the Law , in the Law , and under the Gospel . MY next Argument shall be taken from the Practice of the Saints and People of God in all Ages of the World. 'T is strange any should doubt of the truth of Singing the Praises of God , if it be made appear it was the Practice of the People of God before the Law , and also under the Dispensation of the Gospel . 1. Not wholly to pass over what I have b●fore hinted of the Angels Singing , though I shall but touch upon it here , and do little more than cite a Passage out of a Sermon preach'd by Reverend Mr. Wells , in the Supplement to the Morning Exercise , these 〈◊〉 his words ; Singing is the Musick of Ang●●● Job tells us , the Morning Stars sang together , Job 38. 7. Now these Morning Stars ( saith he ) as Pineda tells us , are the Angels to which the Chaldee Paraphrase accords , naming these Morning Stars Aciem Angelorum , a● Host of Angels : nay , when this heavenly Host was sent to proclaim the Birth of o●● dearest Jesus , they deliver their Message in this raised way of Duty , Luk. 2. 13. they were 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 delivering their Message in a laudatory Singing , the whole company of Angels making a musical Quire ; nay , in Heaven , there is the Angels joyous Musick , they sing Hallelujahs to the most High , and to the Lamb who sits upon the Throne , Rev. 5. 11. As I said before , Singing , as it appears by this Singing of the Angels , is as ancient as the World it self , and well-pleasing unto God , he would never imply his Angels else in it , as I shewed in the second Chapter . But to our Business , First , That it was practised before the giving forth of the Law , is evident from that ●assage before mentioned , Exod. 15. 1 , 2 , &c. ●hen sang Moses , and the Children of Israel , 〈◊〉 S●ng unto the Lord , and spake , saying , I ●ill sing unto the Lord , for he hath triumphed ●●oriously , &c. [ and spake . ] Note , in Singing , here is a speaking ; and though they spake , ●et the Holy Ghost saith , they sang what they 〈◊〉 spake ; and though it were the whole Con●regation that sang , yet it was as if it were ●ut one Man , so united were they in their ●oice , ( which will further appear in its proper place . ) Also 't is worthy observing , this very ●ong the Gospel-Saints shall sing at the destru●tion of Babylon , Rev. 15. 3. Nay , some con●lude , they have already sung it ; though I am ●ot of that Opinion , not believing any of the 〈◊〉 Via●● are by the seven Angels yet poured ●ut , but that this Song shall be sung at that ●ime when the Saints have gotten temporal Victory over the Beast and Mystical Babylon , is evident . But let none mistake , though the Saints can't yet sing that Song , yet they may , and ought to sing the Song of the Lamb , which is to praise God for spiritual Victory obtain'd by Jesus Christ over Sin , Satan , the World , &c. This is the chief Song we should sing , and this we have perpetual cause or ●easong to sing . But to returm , it appears the Saints did celebrate the Praise of God by singing before the Law was given forth on Mount Sinai . And then , Secondly , under the Law are a multitude of Instances of their Melodious Singing to God : Moses , ( as Mr. Wells observes , ) penn'd the ninetieth Psalm ; and no doubt 〈◊〉 he , and the Children of Israel , sang it . D●vid , and all the Lord's People , sang in 〈◊〉 Worship of God in his time : Also Hezek●● sung , and Asaph sung , 2 Chron. 37. 30. 〈◊〉 Prophets sang ; the Jews sang before and 〈◊〉 the Captivity , Nehemiah and the People 〈◊〉 him sung and praised God. Thirdly , The Lord's People , in Gospel days , were found in this Ordinance 〈◊〉 Practice of Singing the Praises of the Lo●● To pass by the Song of Zacharias and Elizabeth , and Simeon : How sweetly did 〈◊〉 sing ? 't is called by the Annotators , the famo●● Song of the blessed Virgin , Luk. 1. 46. Al●●● our Lord Jesus , with his Disciples , after 〈◊〉 celebration of the Holy Supper ( the holy Gh●● saith ) sung an Hymn ; they praised God , 〈◊〉 they praised him by Singing . Moreover , 〈◊〉 and Silas sung Praises , tho in Prison , and 〈◊〉 Fe● were fast in the Stocks , Act. 16. Sh●● any Men now dare to say , There are no P●●cedents for Singing Psalms and Hymns , &c. 〈◊〉 the New Testament ? certainly they will forb●● to assert any such thing . And now from 〈◊〉 whole take this Argument . Arg. 4. That which was the Practice of 〈◊〉 Lord's People before the Law , and under 〈◊〉 Law , and also in the Gospel-Dispensation , is 〈◊〉 indispensible Duty of the Saints and People 〈◊〉 God , to practise in all Ages . But Singing 〈◊〉 Praises of the Lord , was the Duty of the Lord 〈◊〉 People before the Law , and under the L●●nd also in the Gospel-time and Dispensation . Ergo. 'T is the indispensible Duty of the Saints to ●●actise singing the Praises of God in all Ages . If any should go about to answer this Argument , they must shew what Duty or Ordinance was ever practis'd before the Law , under the Law , and in the Gospel-Dispensation , that notwithstanding is not obliging or binding to ●s , or else they will say nothing to the pur●ose ; but the Argument will stand as firm as Rock . CHAP. V. Proving Singing of Psalms , Hymns , and Spiritual Songs , an Holy Ordinance of Jesus Christ , from Scripture-Precepts . WE shall now prove and demonstrate , that Singing of the Praises of God , not only in Private , but also in Congregations , is a Duty incumbent on us in Gospel-Times , as well as it was of Old. As there is the same God of Mercies , so the same Praises are to be rendered to him for his Blessings , no doubt , and in the same manner now , ( that is , by Singing ) as was then , will appear ; 1. Because the Lord ( who alone appoints his own Worship ) hath commanded and 〈◊〉 it at our Hands ; and his Command and P●●cept is the Rule of our Obedience : Rejoice 〈◊〉 Righteous ; Praise is comely for the Vprig●● Praise the Lord , sing unto him . Psal . 84 1 , 〈◊〉 3 , 4 , 5. Sing aloud unto the God of our Stren●● make a joyful Noise unto the God of 〈◊〉 Make a joyful Noise unto the Lord ; come ●●●fore his presence with Singing , Psal . 100. 1 , 〈◊〉 Psal . 95. 1 , 2. O come let us sing unto the 〈◊〉 let us make a joyful Noise to the Rock of 〈◊〉 Salvation . And many such Precepts are gi●● forth by the Holy Ghost , as 't is well kno● to all . 1 Chron. 16. 9. Sing unto him ; 〈◊〉 Psalms unto him , and tell of all his wond●● Works . So Psal . 68. 32. Sing unto the Lord 〈◊〉 the Earth ; O sing Praises unto the Lord. 2. Consider these Commands , by which 〈◊〉 Lord established this part of his Worship of 〈◊〉 are as obligatory unto us in Gospel-Times , 〈◊〉 they were then to them when first instituted , ●●cept it could be proved to be either Ceremo●● or Judaical , or hath received a change in 〈◊〉 Gospel . And this is evident in many resp●●● particularly as to Prayer , that was a Duty 〈◊〉 and the Precepts contained in the Psalms 〈◊〉 the Prophets , which enjoin it , are of the 〈◊〉 Authority with those in the New Testament and equally bind the Conscience . So also 〈◊〉 Fasting , a Duty ( as one observes ) required 〈◊〉 the Prophets ; and not so clearly repeated 〈◊〉 any Institution under the Gospel , as this 〈◊〉 Singing is ; and the same might be said for Days of Thanksgiving . Nay , and 't is obser●able , how oft our Brethren , upon all proper ●nd fit Occasions , fly to those Precepts to press Prayer , Fasting , and Thanksgiving too . If therefore Singing , as it is laid down and en●oined in these Sacred Precepts in the Book of Psalms , &c. is not binding , notwithstanding ●tis repeated and given forth in the New Testament afresh ; Why do you , when you exhort ●o other Duties , make use of Arguments and Proofs out of the Book of Psalms and the Pro●●ets , in other Cases , since the Commands thereof , though neither Ceremonial nor Judai●al , are ( as you seem to affirm ) of any Force , ●or obligatory to us ? This seems strange , for ●ertainly Men have more reason in them , than ●o press Obedience on Subjects to their Su●eriors , by abrogated or antiquated Sta●utes ; And shall the Lord's Ambassadors be more irrational in pressing Obedience to the Lord , than meer rational Men are in Civil Affairs ? Now , saith one , Since there is no Man that questions whether Singing of Psalms was instituted and commanded of God of old ; how can they avoid the Power of such Precepts , considering , as he minds , particularly Psal . 81. ver . 4 , 5. where Singing is called a Statute for Israel , and the Law of the God of Jacob , and ordained in Joseph for a Testament ; which , saith he , refers to a Time , before they were brought into the Ceremonial Worship ? Hence , saith he , it inevitably follows , that until any Man ca● shew us , that Singing of Psalms , yea , Singing of the Book of Psalms , was Ceremonial or Judaical , or are changed or abrogated 〈◊〉 the Gospel ; those Precepts lie upon us now with the same Power and Obligation as 〈◊〉 laid them under then ; for the Antiquity of a Law , or Institution , rather commends it to us , than any ways abates of its Obligation so that had there been no other Institution● for Singing of Psalms , &c. than what is 〈◊〉 the Book of Psalms , we should have had sufficient Authority to be found in them . ( A Manuscript called Psalmody . ) He might have added , Since especially it is of 〈◊〉 like Nature with Prayer , viz. a moral Precept● as well as brought into a written Law. But 〈◊〉 all I might add , 't is much more unreasonable to plead an exemption from the Force and Obligation of those Precepts , since the Saints are injoined to sing those Psalms of David by the Holy Ghost in the New Testament ; for 〈◊〉 grant there are no other Psalms , none called Psalms besides the Book of Psalms . 3. To this , take what Mr. Wells affirms ; 〈◊〉 shall ( saith he ) take one Shaft out of the whole Quiver , i. e. I shall use one Argument , among many , which is this , viz. W● always find this Duty of Singing Psalm● linked to , and joined with other moral Duties ; thus the Psalmist joins Singing and Prayer together , Psal . 95. 1 , 6. O come let us sing unto the Lord — O come , let us worship , and fall down , and kneel before the Lord our Maker . There is Prayer and Singing con●exed , Singing being of equal necessity and authority with other Ordinances 〈◊〉 so the Apostle James joins these two together , Is any 〈◊〉 you afflicted ? let him pray . Is any 〈◊〉 ? let him sing Psalms , Jam. 5. 13. You 〈◊〉 observe , both these Services are equally calculated for Man's Necessity . Thus Paul and Silas join them in their practice , Acts 16. 26. And so Justic● Martyr , in his 117●● Question , ad Orthod●●● , tells us , That they sang , and sent up Prayers to God ; the Primitive Church confirming David's Injunctions , and the Apostolical Commands . So that by these Instances we may observe , that the Duty of Prayer and Singing have walked in the same Equipage , and lay claim to an equal Authority from Divine Writ , the Scripture jointly favouring both , p. 177. Secondly , This Duty and holy Ordinance of Singing in Gospel-Days is evident from these Prophetick Psalms . I may speak , saith Mr. W●lls , of Singing , as Paul speaks of Timothy's Ordination , 1 Tim. 4. 14. it was given by Prophesy . There are divers Prophecies in the Old Testament concerning Saints singing in Gospel-times , on Psal . 108. 2. saith he , M●●r● observe● , that there David pours forth his ardent Prayers and Wishes for the Kingdom of Christ . And so Divines observe , that the 100 Psalm is Prophetical ; Make a joyful Noise unto the Lord , all ye Lands . Serve the Lord with gladness : Come before his Presence with Singing . O sing unto the Lord a new Song : Sing unto the Lord all the Earth . Here we , and all 〈◊〉 Gentiles be sure who believe in Christ , are required to sing , nay , and to come into his Presence , that is , into his Public● Worship , with Singing . The like 〈◊〉 1 Chron. 16. 23 , 24. Sing unto the Lord all the Earth : shew forth from day to day his Sal●ation . Declare his Glory among the Heat●● ; his marvellous Works among all Nations . So Psal . 66. 1 , 2. Make a joyful Noise unto 〈◊〉 God , all ye Lands . Sing forth the Hono●● 〈◊〉 his Name : make his Praise glorious . Psal 21. 13. Be thou exalted , O Lord , in thine 〈◊〉 strength : so will we sing , and praise thy Power . These , and many other Psalms , are , 't is evident , Prophecies of Gospel-Times , when the old Boundaries of the Church should be broken down , to give an entrance unto the Gentiles into the Church of God ; and to shew us , that is the Jews in their Church-State were to celebrate the Praises of God by Psalms , so are we : and as Israel sang the Praises of God in the Widerness , and at the Red Sea , and therein acknowledged the Benefits they received ; so 〈◊〉 we , with Songs of Thanksgiving , shew forth from day to day his Salvation , and declare his Glory among the Heathen , with a joyful and triumphant Noise ; otherwise we fall short of answering the Prophesy in our Day and Times , and render not to God the Duty he requires . And to all the prophetical Psalms , I might add that pregnant Prophecy recorded by the Prophet Isa , Chap. 52. 8. Thy Watchmen shall lift up the Voice , with the Voice together shall they sing . Which clearly ( saith Mr. Wells ) prognosticates this . Musical Ordinance in Gospel-Times . Musculus faith , These Watch●en shall jubilee , when they shall consider the great Joy approaching for the Redemption obtained by Christ . There are two things , which not only establish , but sweeten and honour an Ordinance . 1. Promises . 2. Prophecies . Christ himself was the Fruit and Issue of both . These things clearly inform us : 1. That Singing of Psalms , &c. is not a legal part of Worship , but fuitable to Gospel-Times . 2. That there is clear and manifest Institution of it ; * nay , and that these prophetical Gospel-Psalms and Prophecies , are part of the Gospel , ( being Prophecies of it , as the first Chapter of John is ) . What think you of those places of the Prophets and Psalms , that speak of Christ as they are mentioned and recited in the New Testament ? are they not Gospel as well as any thing ye find therein taught or laid down anew ? Doth not the Apostle tell us , That unto them ( that is , to Israel ) the Gospel was preached , as well as unto us ? And that in Promises and Prophecies it was preached to Abraham ? 3. Consider that there is no attainment under the Gospel , of special spiritual Priviledges , that can exalt Christians beyond th● practice of this Duty ; the more our Mercies are , the greater are our Obligations 〈◊〉 praise God by Psalms , Hymns , and Spiritual Songs ; and so express the Joy of our Hearts , by Singing forth the Praises of God : they that attain to the greatest purity of Gospel-Worship and Institutions , are to do as Moses and Israel did at the Red Sea. Rev. 13. 3. 4. And they sang the Song of Moses the Servant of God , and the Song of the Lamb , saying , Great and marvellous are thy Works , 〈◊〉 God Almighty ; just and true are thy Way , thou King of Saints . Who shall not fear that , and glorify thy Name , O Lord ? for thou 〈◊〉 art Holy ; for all nations shall come 〈◊〉 worship thee , for thy Judgments are 〈◊〉 manifest . Manuscr . Psalmody . These were such that have attained to the Purity of Gospel-Institutions , being purged 〈◊〉 by Fire from Antichristian Pollution , being become as pure and transparent Glass , having 〈◊〉 a perfect Conquest and Victory over Antichrist , who are said thus melodiously to sing forth the Praises of God ; and to close this , we 〈◊〉 sing in Heaven in the highest Glory : and therefore it follows , the highest state of Grace 〈◊〉 upon us ; be sure to be found in this so holy 〈◊〉 sublime Duty , which as we have shewed , in the Work of Angels . Obj. But by the same Argument you bring to prove we ought to sing Psalms , &c. in Gospel-times , from the Precepts given by David ; Why may we not , as David did , use an Instrument of ten Strings ? Answ . 1. Singing with Instruments , we say with Reverend Mr. Cotton , was typical , and so a Ceremonial Point of Worship , and therefore ceased ; but Singing , saith he , with Heart and Voice , is a Moral Worship , such as is written in the Hearts of all Men by Nature . As to pray in distress , pag. 6. let it be observed , that I am not alone in my Apprehensions , as touching Singing being a Moral Duty . Here you see that this worthy Man positively affirms the same : And again , he saith , That singing of Psalms , &c. is not a Ceremony , but a Moral Duty , and so continueth in the New Testament , [ Cotton's singing of Psalms , pag. 23 , 24. ] But , faith he , suppose singing with Instruments were not typical , but only an external Solemnity of Worship fitted to the Solace of the outward Senses of Children under Age , ( such as the Israelites were under the Old Testament , Gal. 4. 1 , 2 , 3. ) yet now in the grown Age of the Heirs of the New Testament , such external pompous Solemnities are ceased , and no external Worship reserved , but such as holdeth forth Simplicity and Gravity , &c. I might add , and by the same Argument we may not sing , because they used Instruments , &c. We must not pray , or their praying is no Rule to us , because they offered them up to God with Incense , and divers such like Absurdities in other respects would follow ; therefore there is now no other Instrument to be used in singing but that of the Tongue , well tuned with Grace , from a holy and spiritual Heart . But more of this hereafter . 'T is enough to remove this Objection , Singing is given forth a-fresh in the New Testament , and no Instrument of Musick mentioned . Which brings me to the sixth and main Argument , to prove , Singing of Psalms , Hymns and Spiritual Songs , a Gospel-Ordinance . CHAP. VI. Wherein it is proved , that singing of Psalms and Hymns , &c. is a Gospel-Ordinance , because instituted and required of the Churches by the Holy Ghost . WE shall now shew you it is one of Christ's Institutions , or that which the Holy Ghost doth positively require , or injoyn the Churches of God in the New Testament to be found in the Practice of . To make this fully to appear , I shall direct you to Ephes . 5. 19. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , Psalmis & Hymnis , in Psalms and Hymns , and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , & Canticis spiritalibus , and in spiritual Songs , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , cantantes & psallentes , singing and psalming in your Hearts to the Lord. Col. 3. 16. Let the Word of Christ dwell in you richly in all Wisdom ; teaching and admonishing one another in Psalms , and Hymns and spiritual Songs , singing with Grace in your Hearts . The holy Apostle in this Epistle to the Coloss●ans , strenuously laboured to take off this Church from all Jewish Rites , Shadowy-Ordinances and Ceremonies , and yet injoyns the Duty of singing of Psalms and Hymns and spiritual Songs upon them by the Authority of the Holy Ghost , as that which is the absolute Duty of the Saints and Churches of Jesus Christ in Gospel-days . What a foolish thing is it for any to object against this Ordinance , because in the performance of it under the Law it was with Musical Instruments , since 't is to these Churches so plainly given forth as a Gospel-Duty , and in them to all the Churches of the Saints to the end of the World ? For by the same Argument one may deny singing of Psalms , &c. to be a Duty , notwithstanding so fully commanded or enjoyned by the holy Spirit , another may object against any other Precept , and so till they leave us not one Gospel-Ordinance . I must confess , whatsoever was given forth under the Law , or injoyned as an Ordinance ( unless a Moral Precept ) that is not given forth anew under the New Testament ( there being neither Precept nor Precedent for it ) I never believed it doth in the least concern us . Hence we object against the Jewish Sabbath ( for tho a time of Worship is Moral ) yet the Seventh Day , which was co●manded to the People of the Jews , and prosely●● Stranger that was within their Gates , yet it ●●ing not given forth in the Gosp●l by 〈◊〉 nor his Apostles , nor ever observed ( as we 〈◊〉 find ) by any Gospel-Church , it concerns us 〈◊〉 in the least , especially considering that 〈◊〉 Gospel Churches observed another Day in 〈◊〉 Worship , and not that , viz. the first Day of 〈◊〉 Week . But as touching this of Singing , there 〈◊〉 remain certainly no doubt about its being 〈◊〉 Duty , since , as I have already proved , it 〈◊〉 observed before the Law , and under the 〈◊〉 and in the Gospel , and given forth here 〈◊〉 these Churches as an absolute Institution : 〈◊〉 if these words don't contain a Precept , we 〈◊〉 be at a great loss to find a Precept for 〈◊〉 other Duties in the New Testament , which are no otherwise expressed . As for Example , Only let your Conversa●●●● be as it becomes the Gospel , Phil. 1. 27. Is any afflicted ? let him pray , James 5. 1● . Let no corrupt Communication proceed 〈◊〉 of your Mouth , &c. Ephes . 4. 29. Let every one of you so love his Wife , & ● . Ephes . 5. 33. All these Precepts are injoyned in the very same form of Speech , Let the Word of 〈◊〉 dwell in you richly in all Wisdom ; teaching 〈◊〉 another in Psalms , and Hymns , and Spirit●●● Songs , singing with Grace in your Hearts to 〈◊〉 Lord. Is any merry ? let him sing Psalms , James 5. 13. 'T is not left to our liberty , whether we will sing or not , or that we may , or may not do it ; 't is as absolutely injoyned as Prayer , or any Gospel-Duty , and that not only on single Persons at special occasions , but on the Churches also ; they are here required to sing Psalms and Hymns , and Spirituals Songs likewise . A Man may as well say , any one of them who were Members of the Churches , were not concerned in other Precepts , as to say , this doth ●ot concern them all generally as well as some in particular . May not you as well say , and stand by it too , All are not to be filled with the Spirit , or to desire the further influence and assistance of it ; or , all are not required to pray , nor to put on the whole Armour of God ; or , all are not to let their Conversation be as becomes the Gospel ? nay , what not ? Now since one Command , or two at most , for breaking of Bread is judged a sufficient ground for all Christians Obedience , and we finding no mention made of the practice of it in divers Gospel-Churches ; Why is not this Command , thrice repeated in the New Testament , as binding on our Consciences as the other ? especially considering how it corresponds with the Practice of Christ and his Apostles , as shall , God willing , be further evinced . For we have , in a word , both Precepts for it , and Examples too . Tho if we had no Precedents for Singing in the New Testament , yet these Precepts are sufficient ; and where we have the one , we need not the other . Besides , where there is the like Ground or Reason of a Law , one would think that might tend somewhat to satisfaction : Have not we like cause to praise God , and to sing forth his Praise , as they had ? And doth not God deserve the like Glory and Honour from us , as from them ? And do not our Souls need those sweet Soul-refreshing Comforts and Consolations which many ▪ meet with in that Ordinance , as much as they did ? And is not every Word of God alike pure and righteous , and equally to be esteemed ? Nor will that Objection some raise against it , signify any thing , viz. Why , we cannot come at it ; we do not know how we should sing . Ans . How ! has Christ not been faithful then ( who is the Son over his own House ) in declaring the manner how we should sing ? hath he not left us a Pattern , or an Example himself ? Is it not said , they sang an Hymn , viz. he himself with his Disciples ? And since there is no other Rule , Mode , or Manner of Singing differing from that practised by Moses and Israel before the Law , ( and others after them ) and these in the New Testament , what can be clearer ? the manner is plainly described . But will your utter neglect of it upon this pretended Ignorance excuse you before the Lord ? ought you not to do it as well as you can ? But I am afraid rather some have taken up a Prejudice against it , and do not desire to be informed about it . But I shall from what I have said upon this last Proof , draw one Argument , and proceed to the next thing . Arg. 1. That which Christ practised in Gospel-Worship , and his Holy Apostles by the Authority of the Holy Ghost did injoyn on the Gospel-Churches as their Duty to do , is the undoubted Duty of the Saints and Churches of Christ to do and perform to the end of the World. But Christ did practise the Singing of a Hymn with his Disciples in Gospel-Worship , and his Apostles did injoyn , or require the Gospel-Churches to sing Psalms and Hymns , and Spiritual Songs as their Duty , by the authority of the Holy Ghost . Ergo , 'T is the undoubted Duty of the Saints and Churches of Christ , to practise Singing of Psalms , Hymns , and Spiritual Songs to the end of the World. The Minor , as to the practice of Christ and his Disciples , I have already proved ; the Scripture is plain , read Mat. 26. 30. And when they had Sung an Hymn , they went out into the Mount of Olives . The same is recorded by St. Mark , Chap. 14. 26. And his Apostles did injoin it on the Churches , Ephs . 5. 19. Col. 3. 16. As touching the Major , if that be not granted , farewel to all Gospel-Institutions . For if neither Christ as our Pattern , nor the Apostolical Institutions and Injunctions contained in the New Testament as our Rule , gives no sufficient Authority as to do what was so practised and injoined , what Ordinance can bind us ? CHAP. VII . Proving Singing of Psalms , &c. An Ordinance , because it was confirmed by Miracles , as other Ordinances were . MY next Argument to prove it is a Gospel-Ordinance to Sing Psalms , Hymns , and Spiritual Songs , is taken from that visible witness that God did bear to it , in the New-Testament , it seems to me , ( and others whose Eyes God hath opened ) that it was confirmed by a Miracle , as all other Gospel-Ordinances more or less were , Heb. 2. 3 , 4. As the whole of Christ's Doctrine , or the Christian Religion , was confirmed by Signs and Wonders , and divers Miracles and Gifts of the Holy Spirit according to God's own Will and good Pleasure ; so were most , if not all , Gospel-Ordinances particularly . 1. Meeting together on the first Day of the Week was miraculously owned , and confirmed by that wonderful effusion of the Holy Ghost , Acts 2. 1 , 2 , 3. 2. Preaching the Word was after the same manner confirmed . Whilst Peter yet speak these words , the Holy Ghost fell on all them which heard the Word , Acts 10. 44. For they heard them speak with Tongues , and magnify God , vers . 46. 3. Baptism was as wonderfully confirmed at the Baptism of our Saviour , for when he came out of the Water , the Heavens were opened , and to , a Voice from Heaven , saying , This is my beloved Son , in whom I am well pleased , Mat. 3. 16 , 17. And the Spirit descended like a D●ve , and lighted on him . 4. Laying on of Hands was after the like manner owned and confirmed : And when Paul had laid his hands on them , the Holy Ghost came on them , and they spake with Tongues , and magnified God , Act. 19. 6. 5. Also when the Apostles had prayed , 't is said , the place was shaken where they were assembled ; and they were all filled with the Holy Ghost , Act. 4. 31. 6. In the last place , we find . Singing also was in the same sort confirmed : And at Midnight Paul and Silas prayed , and Sang Praises 〈◊〉 God ; 〈◊〉 the Prisoners heard them . And suddenly there was a great Earth-quake , so that the Foundations of the Prison were shaken , 〈◊〉 immediately all the Doors were opened , and every Man's Bands were 〈◊〉 , Act. 16. 25 , 26. Mr. Wells taking notice of this place , saith , God honoured the Ordinance of Singing , &c. with Miracles : Behold here , faith he , an eminent Miracle , Prisons saluting their Prisoners Liberty . Paul and S●l●● Singing , set God on working . And if their Tongues were loosed in Duty , their Hands shall be loosed for Liberty ; Singing and Praying can work ●●●ders . Certainly had not this Duty , as well as others , been to continue in the Church as most acceptable to God , he would never have witnessed to it after this manner : but since he hath , let such tremble that slight and contemn it . As these Miracles confirmed the Gospel in general , so all must needs confess each Ordinance thus owned and born witness to , was miraculously confirmed , and as others , so this . Joyntly with this Argument , it is necessary also in the next place to consider , how Singing of Psalms was brought into the Church in the Gospel-times , as other Ordinances were , even as a Doctrine , Prophesying , Interpreting , &c. 1 Cor. 14. 26. Nay , and it seems it was in their Publick Assemblies , when Unbelievers were admitted to come in among them , as appears by vers . 33. Object . But this was an extraordinary Singing , or a Singing by an extraordinary Gift , and there are none have such Gifts now ; and therefore none must sing in these days , since the miraculous Gifts are ceased . Answ . That the Psalm was extraordinary as to the Matter , is doubtful ; because we know no Psalms but the Book of Psalms , or those called the Psalms of David : so that it is very likely it might be one of them ; but let it be a Psalm , or an Hymn , given forth by the extraordinary Gifts of the Spirit , and sung too by the same extraordinary Spirit , yet this doth not weaken , but strengthen my Argument . 1. Because , as I said even now , all Gospel-Ordinances were witnessed to by the miraculous Gifts of the Holy Ghost , in the Apostles days ; and so likewise they had extraordinary Gifts to discharge those Duties respectively . 1. They had an extraordinary Gift of Prayer , extraordinary Gifts to Preach and handle a Doctrine ; the like in Interpreting and Prophesying , so no doubt likewise for Singing . But if after these extraordinary Gifts ceased in the Church , the Saints were to sing no more , but leave off that Ordinance , notwithstanding the Churches are enjoined to sing by the Holy Ghost : Pray consider the direful Consequences of such an absurd Conclusion , i. e. the Apostles had an extraordinary Spirit , nay , an infallible Spirit , in Preaching , in Praying , in Prophesying , in Interpreting the Scripture ; and in the whole of their Work , in the Administration of the Gospel , in respect of every Duty and Ordinance thereof ; these are all ceased , since none have these miraculous Gifts now . From hence it will follow , There 's none now can , or ought to Preach , Pray , Interpret , &c. or dispense any one Ordinance of the Gospel , &c. Nay , and 't is not unknown to many , there are some have lately made use of this Argument against all Ordinances : And this I will say , and by the help of God stand by it too , That if Singing must be rejected or thrown away , by virtue of this Argument , viz. Because none have an extraordinary Gift to bring 〈◊〉 forth , all Ordinances are gone , or must be cast off . God deliver poor Christians from the pernicious Arguings of such weak Opposers of Singing of Psalms , Hymns , and Spiritual Songs . Besides , 't is evident , none of those Duties and Gospel-Administrations , were tied up to such who 〈◊〉 those extraordinary Gifts , but that others who had but the ordinary Gifts , might and ought to attend upon the Administration of the same Duties and Ordinances , as well as those so miraculously endowed : for the main Business the Apostle strives to do there , was not to order the Matter of the Worship of the Gospel , but to regulate the Manner how those extraordinary Gifts in the Church should be used to prevent Confusion ; and that all might be done to edification of the People , whilst God saw good to continue them in his Church . Doubtless there cannot be a stronger Argument brought to prove and confirm this Ordinance . The Holy Ghost inspired the Saints with Miracles , Gifts of the Spirit , to bring forth a Psalm , as well as to bring forth a Doctrine ; and so witnessed to it , and established it as a standing Ordinance in the Church , as being of the same Nature and Authority with Prayer and Preaching , or any other Gospel-Institution . I will close this with one Argument . Arg. That Duty or Ordinance which was owned and witnessed to by the Lord in the New Testament , with Miracles , and the extraordinary Gifts of the Spirit , is to abide in the Church as a standing Ordinance . But Singing of Psalms , &c. was thus confirmed , owned , and witnessed unto . Ergo , Singing of Psalms , &c. remains in the Church as a standing Ordinance . CHAP. VIII . Proving Singing of Psalms , Hymns , and Spiritual Songs , a Gospel-Ordinance , to continue in the Church , from the practice of the Churches in the succeeding Ages next the Apostles Times , particularly in the second and third Centuries ; with the practice of all the Godly generally in all Ages , nay , the most strict in Grace and Godliness till this present Age. AS Singing of Psalms , Hymns , and Spiritual Songs , was instituted and given forth by the Holy Ghost in the Gospel , and practised by Christ and his Saints in the Primitive Times : so we shall shew you , from the best and most approved Ecclesiastical Histories , it was practised in the Ages next unto the Apostles Days . Here I shall give you what Mr. Roberts in his Key to the Holy Bible , hath said upon this account , pag. 173. And as Singing of Psalms , &c. ( saith he ) was used in the purest Primitive Apostolical Times in the Church-Assemblies : so it was continued all along in the successive Churches hitherto , though it is too evident that some Corruptions and Vanities , by little and little , crept into this , as into other parts of God's Worship . Singing of Psalms , &c. was used in the second Century , to celebrate Christ and his Deity , against the Calumny of Theodosi●● Euseb . Eccl. Hist . Lib. 5. cap. 28. Eusebius tell us , that Pliny the Second , abo●● Anno 98 , wrote an Epistle to Trajan the Emperor , that the Christians being gathered together before day , were wont to sing Hymns together , and praise Christ as God. And the same Eusebius affirmeth , that Philo-Judaeus did testify the same of this Christian Practice ; and also assures us , that the said Pliny and Traja lived in the Time of the Apostle John , who did not die till about 100 Years after Christ . This very Passage out of Eusebius , I find cited by Mr. ●●berts , Mr. Wells , Mr. Cott●● , and also by Mr. Sidenham 〈◊〉 others . But having the History . I need not mention them ; yet for one Reason I shall add the same over again out of Mr. Sydenham's Treat . of Singing , p. 209. Eusebius ( saith he ) in his Eccles . Hist . lib. 3. cap. 35. quotes two Epistles of Plinius Secundus to Trajan the Emperor , testifying that the Christians were wont to assemble themselves , before day , to sing Psalms and Hymns together . The same doth Philo-Judaeus testify , who lived in the Apostles Time , as the same Esebius saith , Lib. 2. cap. 22. Now in the Time of Plinius and Trajan did the beloved Disciple live , saith Zanch on Ephes . 5. 18 , 19. Tertullian , who flourished near the Apostles Time , about 194 , saith , the Christians were wont to sing out of the Holy Scripture , Apol. cap. 1. 9. as their usual custom . Athanasius maintains it was practised in his Days , Episcop . eo locis . Cyprian pressed this Duty in his Epistle to Donatus . Chrysostom in his Commentary on Psal . 41. admonishes all Persons , Countrymen , Mariners , Weavers , &c. to sing Psalms and Spiritual Songs . Estius cries out , saith Mr. Wells , to take notice of the Custom of the Primitive Christians , who did not only sing Psalms and Hymns in their publick Assemblies , but in their private Families . I might quote Ambrose , who zealously pressed this Duty on the Western Churches , of singing Psalms and Hymns , Lib. 9. Confessionum . Mr. Cotton saith , that one Samosaten●● the Heretick , who denied the Deity of the Lord Jesus , was one of the first that within these first 300 Years , opposed the Singing he speaks of . No marvel if the Saints sung to Christ , as unto God , that such a Man opposed the practice of Singing such Hymns . Basil the Great , a most Famous , Pious , and Learned Man , mightily commends the Singing of Psalms , as I find him quoted by several worthy Writers , I need not go lower . Obj. But they Sung with Orrgans , or musical Instruments ; the Ordinance was corrupted , and we cannot come at it now , &c. Answ . 1. We find no mention in the least of any other Singing , but that of united Voices , in Eusebius , nor Tertullian , &c. 2. But , pray , what Ordinance hath not been corrupted and the purity of it ( as practised in the Primitive Time ) lost ? Now by the same Argument , viz. because adulterated and intermixt with foolish Ceremonies , we must not Sing : So we must not practise Baptism , nor the Lord's Supper , nor any other ●●stitution of the Gospel , for none have been more abused and corrupted than they have ; and indeed it is rather an Argument for Singing , than against it ; for here in Satan shewed his Malice and Hatred of it , by seeking thus 〈◊〉 add Poison to it . But ought not we to labour to restore it 〈◊〉 its primitive Practice ( as in other Ordinances through Grace , we have been helped to do ? ) Shall we not have the pure Food of God● Word , because Antichrist hath put Poison 〈◊〉 theirs ? There is one thing I omitted which is worthy to be noted in Eusebius ; It seems the Christians would not part with this sweet Ordinance of the Gospel , though it cost them the loss of their Lives , for though they were discovered by their Singing in their Assemblies , yet they would not leave it off . To pass by the Wald●nses practice in Singing , &c. and all other Godly Christians since the beginning of the Reformation ; How zealous were the Godly Puritans ( as they were called ) for this blessed Ordinance , in whom Godliness shone so gloriously , that few since may compare with them ? Also our Brethren of the Independent and Presbyterian Perswasion are as well established in this sweet Ordinance , as in Prayer and Preaching . What though they mistake in Baptism , doth it therefore follow they must needs mistake here too ? Why may they not be wrong , and off the Rule in their Preaching and Praying and all else they do ? I must confess , I value not the Practice of all Mankind in any thing in God's Worship , if the Word of God doth not bear witness to it , but sence 't is positively injoined in the New-Testament , and also an Example left of our Saviour , and his Disciples practice , I thought it could not be amiss to take notice of the unanimous Agreement , and joynt Consent and Practice of the Churches and Godly Christians in the succeding Ages next after the Apostles , and to this very Day ; but all this is needless , since ●tis to me all one as to go about to prove the Saints in every Age of the World did pray and praise God , this of Singing being an Ordinance of the same nature . CHAP. IX . Shewing the true Form or Manner of Singing in the Gospel-days ; and that it ought to be with united Voices , or to sing together harmoniously . I Having in the first Chapter proved there is no proper Singing but what is with the Voice , part of my Work here is done already ; till I come to the Objections ? I need not handle that Point any farther . But the Question is , Whether one Person only , or the whole Church , should sing together with united Voices ? 'T is the latter that I do assert , and shall , by God's assistance , endeavour to make appear ; and I shall begin with our Pattern , I mean that Example our Lord Jesus and his Disciples have lest us ; Is it not said they sung ? that is , Christ himself with his Disciples sung a Hymn● together , in the end of the Administration of the Holy Supper , Matth. 26. 30. The second place I may direct you to , is Acts 16. 25. And at midnight Paul and Silas prayed , and sang Praises unto God , and the Prisoners heard them . Obj. The place in Mathew 26. 30. may as well be translated , they praised God. Answ . Though it is true they praised God , and it will bear that sense , yet , as Mr. Cotton and all learned Men I can meet with say , the Greek word signifies , their Praising of God in a Hymn . That is to say , they praised God by Singing . [ See Dr. Du-Veil on Act. 16. 25. ] Where is the Man that saith the Word will bear a praising of God without Singing ? if there should be such a Person , I perceive ( by my converse with several Learned Men ) that I shall bring twenty , may be an hundred to that one that will refute and contradict him in what he says . But let this be considered , viz. Though all spiritual Singing is a Praising of God , yet all Praisings of God , are not Singing his Praise . I have already proved that Singing in the Spirit in a melodious manner , is the highest manner to express the Praises of God that the Scripture bears witness of ; so that 't is no marvel that some tell you it signifies Praising of God. But it is a poor sorry Cause that puts Men upon a temptation to quarrel with the Translators of the Bible , who from the word they hymned , positively affirm , they sang a Hymn . This is enough to stumble many weak Christians , who from such Dangerous and unnecessary exceptious may be ready to conclude , the Holy Bible is not truly translated in other places , and so may not know what to receive as a Truth , especially when they shall render a Greek word Singing , and another shall say it signifies no more than giving of Thanks . Yet Mr. Marlow seems to affirm no less , pag. 30. All know these are two different things , and tho he says truth , that says they praised God , when they sung an Hymn ● yet if they did no more than in the common manner say Grace , or give Thanks , he that says they Sung , tells an untruth ; in plain English , he lies ; and so every Man will say : Should I give Thanks after Supper , and one that is by should say I sung a Hymn , would not others who were with me wonder at his Impudence , and say he related a false Story , and testify I did no more than say Grace , or give Thanks ? Nor doth it signify any thing , if some Greek Copy or old Traslation should render it , they gave Thanks , from the word [ they Hymned : ] For of what Authority is such a Translation , when compared to our late faithful and laborious Translators , who having many Greek Copies , and comparing them together , do affirm the Greek Word signifies , they sung 〈◊〉 Hymn ? and so saith Learned Dr. Du-Veil . Object . But might they not be said to sing together , tho none sung but Christ only , and 〈◊〉 Disciples at the close say , Amen ; as in Prayer Men are said to pray , when there is but one that is the Mouth ? Ans . This can't be , since there is so great a difference between the nature of Prayer , and that of Singing , which I have clearly opened in the first Chapter of this Treatise ; there is Mental Prayer , praying in the Heart , and Heart-rejoicing ; but there is no proper singing without the Voice , so that this would be justly to confound the Propriety of Speech . A whole Multitude that hear a Sermon , and say Amen to what they hear , may as well be said all of them to preach , as many may be said to sing , when there is but one only indeed that doth sing . 2. But further , to remove this Doubt ; I must say with Mr. Cotton , If the Disciples did not joyn in singing that Hymn , but only by silent Consent , then they might as well be said to have taken the Bread and blessed it , and broke it and distributed it , and so the Cup ; for all this Christ did with their silent Consent . But what our Saviour did alone , is expresly recorded as done by himself : He took the Bread and gave Thanks ; it doth not say , they gave Thanks ; and he took the Cup , &c. But observe , this of Singing or Hymning , is laid down in the plural Number , when they had siung an Hymn , they departed into the Mount of Olives : They that departed into the Mount , were they that sung the Hymn : Now it was not Christ alone , but his Disciples with him that departed into the Mount of Olives ; therefore , saith Mr. Cotton , it was Christ and his Disciples that sung the Hymn together . CHAP. X. Proving Singing the Praises of God with united Voices , from the Practice of the Saints in the time of the Old Testament . BUt to proceed in the next place , to prove the Ordinance of Singing ought to be performed with united Voices , pray consider the Practice of Moses , and the Children of Israel in singing after their Deliverance at the Red Sea , Exod. 15. 1. Then sang Moses and the Children of Israel this Song , &c. Moses did not sing alone , but the whole Congregation sung with him : Psal . 106. 12. They believed his Word , they sang his Praise ; but soon forgot his Works ; namely , the most of them that sung at the Red Sea ; not Moses , but the Children of Israel who sung with him , they that sung his Praise soon forgot his Works : Moses , say our late Annotators , composed the Song , and he , together with the Israelites , sung it to the Honour of God. Thus sung Deborah and Barak , and indeed we find no other Singing generally throughout the Old Testament . And therefore , since we are commanded to sing , and Christ hath given no other Direction about it but that of his own Practice , with his Disciples after the Holy Supper , and that of the Practice of Paul and Silas , who sung together , we may assure our selves there ●s no other manner of Singing to be brought into the Church but that with united Voices ; and he that should set up , or bring in any other way or manner , doubtless would be guilty of an Innovation . Should one alone sing in the midst of the Congregation , like a Ballad-Singer , what Word of God is there to justify any such Practice ? I doubt not but to make appear , when I come to it , that that Refuge in 1 Cor. 14. will fail them . CHAP. XI . Proving that singing the Praises of God in Publick Worship with united Voices , from the Prophecies of the Scripture , that foretold how the Saints and Church of God should sing in Gospel-days . OUR third Proof to demonstrate singing of Psalms , Hymns and Spiritual Songs in God's Publick Worship with united Voices , shall be taken from those Prophetical Psalms and Passages in the Old Testament , that clearly relate to the Practice of the Saints in Gospel-Times . Take Dr. Roberts words here in the first place . Singing of Psalms , &c. by Believers under the New Testament ( saith he ) , is often-times prophetically fore-told 〈◊〉 fore-required in the Old Testament ; and therefore Singing of Psalms is clearly an Ordinance of Christ under the New Testament . The Antecedent is evident in sundry instances of the Old Testament . ( Wherein pray take notice , that this Argument the Doctor brings , doth not only prove , that Singing is a Duty , but shews the manner of it also , how it should be used in our Congregations ) . He then proceeds to mention some of those Prophetical Scriptures . O sing unto the Lord a new Song : sing ●●to the Lord all the Earth . Sing unto the Lord , bless his Name , &c. Psal . 96. 1 , 2. Again , Make a joyful Noise unto the Lord , O all the Earth . Serve the Lord with Gladness ; come before his Presence with Singing . Both which places , all the Earth , ( saith he ) must needs refer to the Gentiles as well as the Jews at that present Time ; to the Gentile● afterwards , when they should be called and converted to the Lord , then the Gentiles also should worship the Lord with Singing of Psalms , with a joyful Noise . Which cann't be any other than Singing together with a melodious Voice . But he goes on . So that these Passages ( saith he ) are tacit Prophecies of calling the Gentiles , and of their New-Testament-worshipping God by Singing forth his Praise . Add hereunto that notable passage ; O come let us sing unto the Lord : let us make a joyful Noise to the Rock of our Salvation . Let us come before his Presence with Thanksgiving ; and make a joyf●l Noise unto him with Psalms . Psal . 95. 3. This Psalm is undoubtedly a Prophecy of Christ , and of that Worship that shall and ought to be performed to him solemnly in Sacred Churches under the New Testament , and especially on the Lord's-Day-Sabbath . The Sabbatism , or rest of the New Testament , for the Apostle interprets this Psalm of Christ , compare Psal . 95. 7. to the end , with Heb. 3. 6 , 7. & 14. 15. as upon that Psalm I have noted . This Psalm judicious Calvin thinks , agrees to the Sabbath-day , wherein Sacred Assemblies worship God. And it is evident in the current Psalm , that herein the Holy Ghost prophetically exhorts to that solemn Worship of God under the New Testament , which was usual on Sabbath-Days , viz. 1. Praising the Lord , and Thanksgiving to him with Singing of Psalms , ( with a joyful Noise , or melodiously with united Voices ) Vers . 12. urging the same with sundry Arguments , Vers . 3 , 4 , 5. 2. Solemn publick Prayer , with the Reasons thereof , Vers . 6. 3. Willing , believing , and obedient attention to the Word of God then published , without hardening their Hearts against it through unbelief , To day if you will hear his Voice , harden not your Hearts , Vers . 7 , 8. So that this Prophecy of Christ , and of the New-Testament-Worship , evidently shows , that the Praises of God , solemnly with Singing of Psalms , solemn Prayer , and solemn Preaching , and hearing of the Word of God , should be those Ordinances of Christ , ( and in such manner as there mentioned ) as the Duties of Christians under the New Testament . And it is here further added , whereas the Apostle saith To day ; this day is interpreted by the Apostle to be meant , 1. Not of the Seventh-Day-Rest from the Creation , Heb. 4. 6 , 7 , 8. 2. Nor of the Typical-Re●● Joshuah gave them in the Land of Canaa● , Heb. 4. 6 , 7 , 8. but of another certain Day limited in David's Psalms , Heb. 4. 7. which is called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , a Sabbatism , a keeping of a Sabbath , remaining to the People of God , Heb. 4. 9. And this Sabbatism is the Day of our Lord Jesus , when he ceased from his Work of Redemption , as God did from his of Creation , Heb. 4. 10. And which is that Day of our Lord Jesus ? Is it not the Day of his Resurrection , that 's our Lord's-Day-Sabbath , which David so long before foretold should be celebrated with solemn Prayer , Preaching , and Hearing of the Word , and with Singing of Psalms with a joyful Noise . [ And thus what was written afore-time , was written for our Learning , and is full of Instruction to us , and doth serve for Reproof and Correction ; likewise to such who do not hearken to every part of those Duties which are enjoined upon them therein , but cavil themselves out of the practice of it , with groundless and unnecessary Objections , and childish Questions ] . But further , ( saith he ) our Spiritual and Eternal Sabbatism , partly as with Christ from Sin and Misery , both in this World , and that which is to come , Jesus our High Priest being passed into the Heavens , Heb. 4. 15 , 16. Mr. Cotton speaks the same with this worthy Man , pag. 10 , 11. 2ly , The next Scripture-Prophecy , that shews clearly how the Lord's People should sing now in Gospel-Days , is that in Isa . 52. 7 , 8. Thy Watchmen shall life up the Voice ; with the Voice together shall they sing . It is worthy your noting to consider , what Time this Prophecy did refer to ; which you may soon see , if you read the Context , How beautiful upon the Mountains are the feet of them that bring good Tydings , &c. Which the Apostle absolutely applies to the Time of the Gospel , and to Gospel-Ministers , Rom. 10. 15. And the Prophet doth not only say , The Watchmen shall lift up their Voice , and with the Voice together sing , but also calls upon the desolate and waste places to sing together ; which can refer to none but the Lord's People , who in Gospel-Days shall be made a Praise to him who had been as a poor barren and waste Wilderness . For ( saith the Prophet ) in the next words , The Lord hath made his Arm bare in the Eyes of all Nations , and the ends of the Earth shall see the Salvation of God , Vers . 10. Now this place directly declares the manner how we ought to Sing , that is , with Voices together . And thus I find a most Reverend and Learned Man speak upon the place : David's Psalms ( saith he ) were Sung together in Heart and Voice , by the twenty four , Orders of the Musicians , who typed out the twenty four Elders , ( which our Annotators , and others say signify the Church and Ministers of Christ ) , and so saith this Author , viz. All the Members of Christian Churches , Rev. 5. 8. who are made Kings and Priests to God , to praise him as they did ; for if there had been any other Order of Singing besides the Body of the People , to succeed those formerly used , the Lord would doubtless have given directions how or what it was . Not Moses only , but all Israel sang ; and the Women , as well as the Men , also intimateth that that Song John speaks of , Rev. 15. 3. which , saith he , the Protestant Churches getting Victory over the Beast , with Harps in their hands , and Singing the Song of Moses refers to that Song and manner of Singing Exod. 15. 1 , 2. And there is no doubt of it but it doth . Moreover , ( saith he ) Isaiah foretells , in the days of the New Testament , that God's Watchmen , and dissolates lost Souls , ( signified by desolate and waste places ) should , with their Voice , Sing together , Isa . 52. 8 , 9. The Song of the Lamb ( saith he ) was with many together , Rev. 7. 9 , 10. And the Apostles expresly command the Singing of Psalms , Hymns , and spiritual Songs , not to any select Christians , but to the whole Church , Ephes . 5. 19. Col. 3. 16. Paul and Silas sang together in Prison , Act. 16. 25. and must the Publick hear only one Man Sang ( I must say it would be a strange sight to see and hear , and without any Warrant from God's Word , or Practice of any Church of Christ ) . To all these ( saith he ) we may add the Practice of the Primitive Churches , the testimony of the ancient and holy Basil is instead of many , Epist . 63. When one of us ( saith he ) hath begun a Psalm , the rest of us set in to sing with him , all of us with one Heart , and with one Voice ; and this ( saith he ) is the common practice ( speaking of Basil ) of the Churches of Egypt , Lybia , Thebes , Palestina , Syria . To the same purpose Eusebius gives witness , Eccles . Hist . lib. 2. cap. 17. The Objections ( saith he ) made against this , do most of them plead against joying to Sing in Heart , as well as in Voice , as that by this means others out of the Church will sing , as also that we are not always in a suitable Estate to the matter Sung , and likewise that all cannot Sing with understanding , and are not all therefore who have understanding to join in Heart and Voice together . Are not all the Creatures in Heaven , Earth , Seas , Men , Beasts , Fishes , Fowles , &c. commanded to praise the Lord ? and yet none of these , but Men , and Godly ly Men too , can do it spiritually and with understanding . The third Scripture Prophecy is , Hos . 2. 15. which clearly alludes to the Gospel-days , 〈◊〉 Expositors shew , viz. when God should make a New Covenant with his People , and betr●●● them to himself for ever : vers 19. I will all●●● her , and bring her into the Wilderness , and speak comfortably unto ber . Vers . 14. And 〈◊〉 give her Vineyards from thence , and the Valey of Achor for a Door of Hope , and she shal● sing as in the days of her Youth , and as in the day when she came up out of the Land of Egypt ; which is clear has respect to that of Exod. 15. see our Annotators on this Text , for it fully confirms Singing under the Gospel , and such a Singing as was of Old. I shall close this with what Dr. Roberts saith , in his Key to the Holy Bible , pag. 175. Finally , that passage in the Prophet , Thy Watchmen shall lift up the Voice , with the Voice together shall they Sing , is ( saith he ) prophetically spoken of the Times when the Feet of the Messengers of glad-tidings shall be beautiful , who shall say unto Sion , Thy God reigneth . This is interpreted by the Apostle Paul of the Gospel-times under the New Testament . I rather chuse to give my Understanding of this glorious Truth , in the words of other Men , such worthy and renouned Men as these , than in my own , thinking some may more readily incline to receive the Truth from them , than from such a poor Nothing-creature as I am ; yet , did not I verily believe as they did in this matter , I should not have cited a word from their Pens . Besides some of their Works ●ie in great Folio's , that very few may meet ●ith and what they say , which they prove from God's Word , we ought carefully to receive , though in some things they differ from us : Therefore if any Answer me , they must also answer them in what I have cited out of their Writings , or I shall conclude I have no Answer at all . CHAP. XII . Proving 'tis our Duty to sing the Praises of God with united Voices , from the great Noise such are said to make when they sing . THis appears by that in Exod. 32. 17 , 18. And when Joshua heard the noise of the People as they shouted , he said to Moses , There is War in the Camp , vers . 17. And he said , It is not the Voice of them that shout for mastery , neither is it the Voice of them that cry for being overcome ; but the noise of them that sing , do I hear , vers . 18. Certainly one Man's Voice could not have made such a Noise , nothing can be more clear , but that they sung with united Voices together . Obj. But here it is objected , This was in praise of the Golden Calf , and so no rule . Answ . 'T is no matter to whom they sung , it was their Sin and horrid Wickedness to give that Divine Worship and Praise to a molten●mage , that belonged to God only ; but there is no question but they sung now to this false God , as they had done , cap. 15. to the true God of Heaven and Earth , and therein lay part of their wicked and horrid Deed. The second Scripture is Psal . 81. 1 , 2. Sing aloud unto God , make a joyful Noise : which cannot be apply'd to one Man's Singing , and divers others in the Book of Psalms before cited . The third place is that in Rev. 19. which is a Prophecy of that triumphant Singing tha● shall be in the Church throughout the Earth , or in all Nations , at the downfal of Babyl●● And after these things I heard a great voice 〈◊〉 much People in Heaven , saying , Alleluj●● vers . 1. And I heard as it were , the Voice of 〈◊〉 great Multitude , and as the Voice of many W●●ters , and as the Voice of mighty Thundrings , saying , Allelujah ; for the Lord God Omnipotent reigneth , Vers . 6. That Singing that is represented to John by these kind of Noises , can 〈◊〉 signify the Singing of one single Man in 〈◊〉 Congregation : and though it is said to be , 〈◊〉 at that time to such a degree , and on that occasion extraordinarily performed , yet it makes not against ordinary Singing , which is a Gospel-Precept ( as hath been proved ) ; for as there are times of extraordinary Prayer , so of extraordinary Praise and Singing to Jehovah . Moreover , it follows no more that we must not sing at all , unless we have an extrordinary cause to be merry or rejoice in God ; then it doth follow we may not pray at all , unless we are afflicted , James 5. 13. I shall now shut up this with three or four Arguments , and proceed to the next Chapter . Arg. 1. If it was never commanded of God , nor the Practice of his People under the Old Testament , nor in the New , in the ordinary Worship of God ▪ for one Man alone to sing by himself in the publick Congregation ; then for any to attempt to bring such a Practice into the Church would be a great Evil , and an absolute piece of Will-worship , or an Innovation . But it was never the Practice of God's People under the Old Testament , nor in the New , nor commanded of God in the ordinary Worship of God , for one Man alone to sing by himself in the publick Congregation . Ergo , For any to attempt to bring such a Practice into the Church , would be a great Evil , and an absolute piece of Will-worship , or an Innovation . The Major certainly every Man will grant , that is resolved not to add to , or diminish from God's Word , or doth believe there must be no Additions nor Alterations to what is laid down in Christ's New Testament : for by that Argument , if one new Practice may be admitted , others may . As to the Minor , if any can shew me in the Old or New Testament , that any one Man in the ordinary Worship of God was allowed thus to do , I must confess my Argument is lost ; but if they cannot do that , 't is unan●swerable . Arg. 2. If singing of Psalms , Hymns , and Spiritual Songs , be injoyned on , or required of the Churches by the Holy Ghost in the New Testament ; and that there is no other way , manner , or 〈◊〉 prescribed , than what was used by the S●●●ts under the Old Testament , and by Christ and his Disciples in the New , viz. a singing together with a melodious Voice ; then that way the 〈◊〉 sung under the Old Testament , and Christ 〈◊〉 his Disciples under the New , is to be our Rule 〈◊〉 Practice in Singing , and there is no other . 〈◊〉 singing of Psalms , Hymns , and Spiritual 〈◊〉 is enjoyned on , or required by the Holy Ghost 〈◊〉 the Churches in the New Testament , and 〈◊〉 is no other way , manner or mode prescr●●●d than what was used by the Saints under the Old Testament , and by Christ and his Apostles ●●der the New. Ergo , To sing together with a melodious Voice , is to be our Rule and Practice in singing , and there is no other . No body will surely deny my Major ; if any can find another way , manner or mode prescribed , let him shew it us . As to the Minor , that singing of Psalms , &c. is injoyned , I know no body doth deny it . Arg. 3. If whatsoever was writte● aforetime , or given forth in the Old Testament by the Spirit , especially which were moral Duties ; nay , and given forth afresh in the New , was , as to matter and manner , for our Instruction and Learning ; and singing of Psalms , and Hymns and Spiritual Songs , which is a moral Duty , was given forth aforetime , nay , and it is given forth afresh in the New ; then the matter and manner of Singing , as practised in the Old , and practised in the New , was for our Learning and Instruction , that we should do the same . But whatsoever was written aforetime , or given forth in the Old Testament by the Spirit especially , which were moral Duties , nay , and given forth afresh in the New , as to matter and manner , was for our Instruction and Learning ; and singing of Psalms , Hymns , and Spiritual Songs , which is a moral Duty , was given forth aforetime in the Old Testament , and afresh in the New. Ergo , Singing of Psalms , Hymns , and Spiritual Songs , as to matter and manner , as practised in the Old Testament and in the New , was for our Learning and Instruction , that we should so do , and practise the same . The Major cannot be denied , the Minor is proved from that in Rom. 15. 4. For whatsoever was written aforetime , was written for our Learning , 2 Tim. 3. 16. and from what I have said in this Treatise , wherein 't is evinced , that Singing , &c. is a moral Duty , and given forth both in the Old and New Testament . If any object and say , that then we must sing nothing but David's Psalms , or the Songs contained in the Old and New Testament . I answer , The Matter that then was sung was God'● Word , or Divine and Holy Songs , and so must the Matter of our Songs be the Psalms of David , or the Word of Christ , i. e. such things that are certainly Divine and Sacred , congruous with the Word of God or spiritual Songs . If they object about the manner used under the Law with Musical Instruments . I answer , 〈◊〉 plead for no other manner than was practised in the New Testament as well as in the Old ; 〈◊〉 under the Old we read of singing together with united Voices without Instruments , and the same in the New : So that unless Instruments of Musick ( as Organs , &c. ) were used in the New Testament , they are unlawful to be brought into the Worship of God ; and in vain is it for any to object against Singing , because Musical Instruments were used under the Old Testament , since the one is given forth in the New , viz. singing Psalms , without mention made of Instruments of Musick , and so practised also . But to that Objection I purpose to give a full Answer when I come to consider of Mr. Marlow's Book . Arg. 4. If Christ and his Disciples never practised , nor injoyned on the Churches any Ordinance or Duty , but they left a sufficient Rule how such Ordinances or Duties should be performed ; and yet Christ and his Disciples did sing , and injoyned singing of Psalms , &c. on the Churches ; then they left a sufficient Rule how singing of Psalms , &c. should be performed . But Christ and his Disciples did practise and injoin singing of Psalms and Hymns , &c. Ergo , Christ and his Disciples have left a sufficient Rule to shew how singing of Psalms and Hymns should be performed . This Argument cannot be denied ; therefore let our Brethren consider where the fault lies , who do not see the way how to sing , &c. 'T is said , Moses was faithful in all God's House , as a Servant , and was careful to do every thing according to the Patern shewed him in the Mount ; but Christ , as a Son , is faithful over his own House . Now since Singing was required of the Churches by Christ ( for what the Apostles injoyned by the Spirit , Christ injoyned ) in the New Testament , certainly he has left a sufficient Direction how it ought to be performed , otherwise it would reflect upon his Wisdom and Faithfulness . Strange ! is Singing practised by Christ and his Apostles , and injoined on the Churches , and is there no certain way to know what that Singing is , nor how it should be performed ? I stand in a maze to see how confused some are in their Minds and Sentiments about it ! one saying 't is only Heart-Joy ; others 't is no more than to praise or give Thanks to God in Prayer ; saith another , 't is to be performed or done by one single Man alone in the Congregation , tho not one Example or Precedent in all the Scripture in God's ordinary Worship for any such Practice . O how hard is it to bring Men off from their own conceited Opinions , or to receive a Truth they either 〈◊〉 prejudiced against , or else not willing to have it to be received as an Ordinance of God! CHAP. XIII . Shewing what the Matter is the Saints and Churches of Christ should sing i● Gospel-Times ; opening what Psalms , Hymns , and Spiritual Songs are . ONE Objection that is brought against Singing , is this , viz. We do not know what we should sing , and therefore do not sing in our Congregations . I must confess , if Singing was practised and injoined , and nothing was left in God's Word to shew us what it is we are to sing , it would be strange , and a sufficient Plea against the practice of it ; but such a thing could not stand consistent with the Wisdom of the Spirit . But , blessed be God 't is not so , as we by his Assistance shall now further make appear : For we have , first , our Pattern , which is Christ's practice with his Disciples , in this Case as in others . 2dly , The Rule , which are those Precepts laid down in the New Testament ; Christ and his Disciples sung an Hymn . And be sure the Matter of it was Spiritual , it being performed by those Sacred and Holy Persons , and in the Sacred Worship of God , i. e. just as they had celebrated the Holy Supper . But to speak to the Rule ; see Ephes . 5. 19. Be ye filled with the Spirit , speaking to your selves in Psalms , and Hymns , and Spiritual Songs , singing and making melody in your Hearts to the Lord. So , Col. 3. 16. Let the Word of Christ dwell in you richly , in all Wisdom , teaching and admonishing one another in Psalms , and Hymns , and Spiritual Songs , singing with Grace in your Hearts to the Lord. Here you have six Things observable , or the words contain six parts . First , The Matter to be sung in the general , viz. the Word of Christ ; Let the Word of Christ dwell in you richly in all Wisdom , teaching and admonishing one another in Psalms , &c. singing with Grace in your Hearts . Like as the Word of Christ ought to dwell in us richly , that we may meditate thereon , and be able to preach it , hear it , and understand it , &c. so to sing it . The Word of Christ is therefore positively laid down to be the Matter we must and ought to sing in the general ; for we are injoined , to have it dwell richly in us in this place , more especially to sing it , than on any other account . Secondly , The Singers , that is , the Church , or Churches to whom he wrote , more particularly the Saints and faithful in Christ at Ephesus , and at Coloss , and in them to all other Saints and Churches of Christ to the end of the World. Thirdly , More particularly the Matter to be sung , viz. Psalms , and Hymus , and Spiritual Songs . Fourthly , The Manner , or how it should be performed , i. e. with Melody , or Spiritual Joy in the Heart , or Grace . What he calls Melody in our Heart in one place , he calls Grace in the Heart in the other . The Tongue is the Instrument , but it must be tun'd with Grace , or the Musick will not be sweet in Christ's Ears . In Singing of Psalms , &c. ( saith one ) a gracious Heart takes Wings , and mounts up to God to join with the Celestial Quire : It is Grace which fills the Heart for , and sweetens the Heart in this Duty . Fifthly , The Master of the Chore , the Preceptor , as Mr. Wells saith , viz. the Heart ; we must look to the Heart in Singing , that it is purged by the Spirit . God is the Creator of the whole Man , and therefore will be worshipped and praised with the whole Man. The whole Man is bought with a Price ; our Tongues as well as our Spirits are not our own ; therefore we ought to glorify God in our Bodies , and in our Spirit , which are the Lords , 1 Cor. 6. 19 , 20. My Heart is fixed , O God , my Heart is fixed : I will sing and give praise , Psal . 57. 7. Awake my Glory , &c. I my self will awake . What was this which David calls his Glory ? ( all tell you ) it was his Tongue ; and in Singing and Praising of God , the Glory of it much lies , when the Heart is filled and fixed with Grace in the discharge of this Duty . So in Psal . 108. 1. O God , my Heart is fixed : I will sing , and give praise with my Glory . Augustine saith , It is not a musical String , but a working Heart that is harmonious . Mary sung with her Tongue , and her Heart was in her magnificent Song . And , as saith another Godly Man ; When we sing Psalms , &c. let us take heed that we have the same thing in our Mind , that we warble forth with our Tongues , and that our Song and our Heart do not run several ways . If ( saith Mr. Wells ) we in Singing only offer the Calves of our Lips , it will too much resemble the Jewish Service . Men may hear , or pray , as well as sing carnally ; therefore we should remember to do as the Apostle teaches , to sing with the Spirit , and with the Vnderstanding also , 1 Cor. 14. 15. Sixthly , and lastly , The End , viz. to glorify the Lord , and lift up his Praise . God is to be our true and only Scope , i. e. to set forth his Glory ought to be our ultimate End , I mean , when we sing and perform all other Duties of Religion . Now then , since the Word of Christ is the Matter in general that ought to be sung ; it appears we are not left without Directions by the Spirit about this Ordinance , ( let Men say what they please ) for as 't is Christ's Word we should and ought always to preach , and hear , so 't is his Word we should and ought to sing : And as we are not tied up by the Lord in Preaching , to do no more than barely read the Scripture , or quote one Scripture after another , ( which would be rather Reading than Preaching ) but may use other Words to edify the Church , provided they agree with , or are congruous to the Word of Christ , or the Sacred Scripture , ( and yet we call that the Word of God which is preached , and so indeed it is ) ; so when that which we sing is taken out of God's Word , or is Scripture , absolutely congruous , truly and exactly agreeing thereunto , it may as truly be called the Word of Christ , as our Sermons are , and may be so called . Obj. But you add words to your Hymns that are not in the Text you refer to . So we do in Preaching ; but if those words agree with the Text , 't is still the same Word , and may be opened thereby the better to the understandings of the People . Besides , let it be considered , that we have not the Holy Scriptures in those words in which they were written by the Pen-Men of the Scripture , for they wrote the Old Testament in Hebrew words , and the New-Testament in Greek words . Also the Translators differ much in words in giving the true sense of the Original , so that this Objection is a mere contentious Cav●● . Moreover , there are in our Bibles ( all Learned Men know ) a multitude of Suppliments , or words added , to make good the sense , the Originals being too short to express it in our Language . Now you may as well , nay , if not with more colour of reason say , part of the Scripture is Human , and not Divine , as to call our Sacred Hymns so : And so you may by the same Argument call our Sermons likewise . 'T is evident , as Mr. Barton observes ( in his Epistle to his Book of Hymns ) That Justin Martyr , Tertullian , and many others have signified the Primitive Church used , not only David's Psalms , but other Portions of Scripture to put in Songs for edification . Hymns may ( as he saith ) be plainer than Psalms , and more suitable to Gospel-occasions , such in which Christians may truly say they do teach and admonish one another in ; such ( saith he ) as inculcate our Duties , and reprove our Vices , out of most piercing Passages of Holy-Scripture , and such as may answer or suit with all Sermons , and accommodate all Occurrences , and are no Innovations , but reduction to primitive Use and Order . Remarkable is that passage in Eusebius concerning the Christians practice in singing of Hymns to Christ as to God. Plinius Secundus , to clear the Christians to Trajan , adds this , viz. Only that they held early Assemblies in Singing of Hymns to Christ , as unto God , Euseb . lib. 3. cap. 33. Doubtless they were compiled by some among them out of the New-Testament , as the Spirit of God might enable them , in the same manner as they did , and we do compile our Sermons : and I see no other objection lies here against our Hymns , than lies , or may be made against our Doctrine . Thus as to the general Direction the Holy Ghost has given about what we should sing , viz. the Word of Christ . But then , Secondly , we have particular Directions as to the Matter we ought to sing expressed in the Texts , viz. Psalms , and Hymns , and Spiritual Songs . I know some do conclude , that all these three allude to the Book of Psalms , because these three are the Titles , they say , of Davids Psalms . Though that were granted , that some of David's Psalms are called Hymns and Songs , yet I see no reason that all other spiritual Hymns and Songs should be excluded . 1. Because we often find in the New-Testament the Psalms of David , or Book of Psalms mentioned , as comprehending all those Hymns and Songs contained therein , without calling them the Psalms , Hymns , and Spiritual Songs of David , see Luk. 20. 42. & 24. 44. Act. 1. 20. Moreover this seems to exclude other Scripture-Songs , that they themselves own may be sung , as Moses's , Deborah's , Isaiah's , Habakk●k's , Simeon's , Zachariah's , Mary's , &c. However , by Psalms we are assured is intended the Book of Psalms , or those called the Psalmes of David , because we read not in all the Scripture of any called Psalms but them only ; so that the Form of these are contained in God's Word ; I hope these will not be called Human● ▪ The Holy Ghost hath enjoined the Singing of Psalms particularly , and many of the Psalms of David , are , 't is evident , pure Gospel , i. e. Prophecies and Promises that relate or refer wholly unto Gospel-times ; and divers excellent Psalms there are , that be filled full of the High Praises of God for Christ , and the Blessings and Priviledges Christians receive by him ; tho I do not judg all the Psalms of David are so sutable to our days , nor can be so properly sung as some others , to the Edification of the Church . But , I do not find any Man giving any convincing Argument , that no Hymns that are made out of God's Word , or putting other Scripture-Songs , as the Canticles , &c. into Verse , or proper Measure to be sung , are excluded in those words , Psalms , and Hymns and Spiritual Songs . I am of the same Mind with those Learned Men that Mr. Wilson in his Dictionary , and others speak of , that Psalms , Hymns and Spiritual Songs comprehend all kinds of Spiritual Songs , whereby the Faithful sing to the Glory of God , and the Edification of the Church , provided they are taken out of the Word of Christ . Moreover , I have met with a Piece written by a very Learned Man , who after he hath given the Sense of some Men about the Titles of the Psalms , and various Acceptation of the words , Psalms , Hymns and spiritual Songs , speaks thus , Yet I must tell you by the way , that these words in the Hebrew do not make such a precise difference : For Tehillim is the general Title of all the Psalms ; Mismor the particular Title of most Psalms , as well as of the Psalms of Degrees : Nor do the Greek Words make such a distinguishing difference , for a Psalm is of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to sing , and a Hymn of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , to sing Praise : And 〈◊〉 Odo , called a spiritual Ode , or Song , by 〈◊〉 Translators , is of the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , so that it seems to me , saith he , that the Apostle useth many words to signify that all 〈◊〉 Singing should be of Divine Things , ( and not vain things ) to glorify God , and not to please our foolish Fancies . But whether we distinguish the one way or the other , 〈◊〉 see ( saith he ) the Apostles press the Duty of spiritual Singing , whether of this kind or that , ( viz. whether Psalms of David , 〈◊〉 other spiritual Hymns ; ) whether called of Men of this Name , or that Name , in which Injunctions the Apostles are so clear , that very few since the coming of Christ , that I know of , have made scruple of the thing ; and if any have of late , they never mention these places , as if either they did not remember them , or could not answer them . And to close this Chapter , take what worthy Mr. Wells minds in his late Sermon about su●● who neglect this Ordinance , either about endless Scruples or Objections concerning the matter or manner of Singing . Let us , says he ▪ not disturb our selves with these groundless Objections , but let us pursue and imbrace this holy Duty , which is the very Subu●●s of Heaven . And observe what a Reverend Person notes upon this occasion ; I observe , saith he , they never thrive well who neglect or scruple singing of Psalms ; they commonly begin at this Omission , but they do not end there , but at last come to be above all Ordinances , and so indeed without them , whose Condition is not sufficiently to be deplored . Suppl . to Morning Exercis . p. 189. To which let me add my Thoughts without offence ; I am perswaded , for several reasons , since this is so clear an Ordinance in God's Word , that the Baptized Churches , who lie short of the Practice of singing Psalms , &c. will never thrive to such a degree as our Souls long to see them , to the Honour of the Holy God , and Credit of our sacred Profession , and Joy and Comfort of those who are truly spiritual among us : for tho many things , as the Causes of our sad witherings , have been inquired into ; yet I fear this , and the neglect of the Ministry , are the two chief , which are both holy Ordinances of Jesus Christ ; and yet our People , ( that is , some of them ) do not love to hear of either of them . CHAP. XIV . Shewing who ought to sing Psalm● Hymns , and spiritual Songs ; whether it ought to be done in the publick Congregation , and in a mixt Assembly or no. 'T IS strange that any should doubt , whether it be the Duty of the Church to sing ( as well as private Families or Persons ) since our blessed Saviour , with his eleven Disciples , upon the closing of the holy Supper , sung together an Hymn in that solemn Assembly ; if we may not , ought not to follow them in the Practice of Singing an Hymn from thence , what ground is there to break Bread in our publick Assemblies from that Example ? This is the Institution of that Ordinance ; and , as he took Bread and blessed it , and took the Cup after the same manner , &c. so 't is said when they had done they sung an Hymn , and went out , &c. 'T is observable 't is not said , Do this in your publick Assemblies : and therefore some may say , we will break Bread , or celebrate that Ordinance in our own private Families in an upper Chamber , as Christ and his Disciplies did , and sing an Hymn when we have done , and so exclude publick Assemblies for that part of God's Worship . But to proceed ; we read , as I have again and again shewed you , that the Apostle injoins Singing on the Churches , Ephes . 5. 19. Col. 3. 16. Object . But he doth not bid the whole Church to sing , &c. Answ . The Apostle injoins the Lord's-Supper on the Church of the Corinthians , 1 Cor. 11. 23 , 24. But some may say , he doth not bid every one of them to break Bread ; how doth it follow every Member ought so to do ? there would be no end of such Objections . But by this Rule , any Precept injoined on the Churches may be restrained to a few Persons only , and so it would open a Door to Men to excuse themselves from being concerned in other parts of Gospel-Duties and Worship : therefore where a Duty is injoyned by the holy Spirit on the Churches , without the least hint or intimation that it concerns only some of them , nay , and an Ordinance in which there is the same parity of Reason , why one should be found in it as well as another , that Duty concerns the whole Church , or every Member : but it is so in the case of singing of Psalms , Hymns , and spiritual Songs : pray what ground has one Man to sing from hence more than another ? Are not all equally concerned to praise God ? nay , and having received equal Mercies , Blessings and Priviledges , to sing his Praises , since 't is required of all , without the least exemption of any one ? Object . But what ground is there to sing thus in the Church before or after Sermon ? Answ . 1. As much surely as there is to pray before or after Sermon ; nay , 't is evident , if we do not take our Rule to pray before and after Sermon from those general Precepts that injoyn Prayer , then I do declare I know no Rule at all for it in all the New Testament , for we have neither Precept nor Example in the case , but where we read of Duties that concern only some Persons , and not the whole Church , the Holy Ghost mentions the Persons , 1. Either by their Relations they stand in one to another ; Or , 2. Else by their Condition in the World. Or , 3. By their Office or Place they stand in . As there are particular Duties that concern Parents , Children , Masters , Servants , Ministers , Members : Also Kings , Subjects , rich Men , poor Men , Men in Adversity , or Men in Prosperity , all sorts and conditions of Men. But here this Duty comes under no such particular Consideration ; but as 't is the Duty of all to hear God's Word , and to pray with united Hearts , so to sing together with united Voices , there being no other manner or way prescribed , as I have shewed , for the discharge of that Duty or Ordinance of God. But I would fain be resolved by my Brethren , or any other , what Ordinance of God or Duty it is that appertains to his Worship which ought to be performed in private , that may not be performed in publick . Take what famous Mr. Cotton of New-England speaks as to the Answer of this Objection , 't is thus stated by him , viz. Object . Scarce any Example can be given of any intire Congregation that sung together mentioned in the Scripture . Answ . Tho no Example could be given for it , yet it is a sufficient Warrant for the Duty if there be a Precept ; and , saith he , the Precept is plain , Col. 3. 16. where the whole Church of Coloss is exhorted to have the Word of Christ dwell in them richly , and to admonish one another in Psalms , &c. to sing with Grace or holy Melody to the Lord. If God , saith he , had reserved this Duty to some select Choristers , he would have given some Directions in the New Testament for their Qualification and Election ; but since he speaketh nothing of any such , &c. he commandeth this Duty to the whole Church . 2dly , The Practice of God's Israel of old , ( i. e. Moses and the Children of Israel ) is a further Solution to this Objection ; for there is an Example of singing together ; and besides , that there was a mixt Multitude with them too is evident , who , no doubt , sung with them , having received the like Mercies they did . See Exod. 12. 38. In the Manuscript I have by me before cited ( which seems to be wrote by a Man of Parts and good Ability ) who , speaking to this Objection , says much to the same purpose ; First , That we have a Precept which is more than a Precedent . Secondly , That we have Precedents for it in the Old Testament . And say I , it being no ceremonial Rite , but a moral and perpetual Duty , that in the Old Testament is as much a Rule for us herein , as their religious reading the Scriptures , and keeping of Days of Prayer and Fasting , and Days of Thanksgiving : if this be not so , in vain are our People pressed and stirred up to those Duties by the Authority of those Texts in the Old Testament , as I said in Chap. 4. pag. 47. Besides , we find 't is prophesied of , that in Gospel-days , as has been shewed , Sions Watchmen , and desolate Souls , or waste places , should lift up their Voice , and with their Voice together shall sing , Isa . 52. 7 , 8. And certainly that in Rev. 19. 1 , 2 , 3 , 4. those Hallelujahs that shall be sung in the Gospel-Churches at the downfal of Babylon , will be doubtless with Voices , since 't is said to be the Voice of much People , as the Voice of many Waters , and as the Voice of mighty Thunderings . Christ ( saith Mr. Cotton ) and his Disciples when they received the Lord's-Supper , which was a Church-Act , they were an intire Congregation , and they after Supper , sung an Hymn . To say that one sung it , saith he , and the others joined in Spirit , saying , Amen , hath no foot-hold in the Text , it might as well be said , they all took the Bread , they all blessed it , and gave it , in that one did it , and all the rest joyned in Spirit and consented in that , and in the blessing of it . But 't is said [ they ] sung the Hynm , not he alone , yet [ he ] is said to give Thanks , or to bless the Bread , &c. It is no strain of Wit , saith he , but a solid and judicious Exposition of the fourth Chapter of the Revelation , to make it a Description of a particular visible Church of Christ , according to the Platform and Patern of the New Testament ; whereas the four living Creatures are four sorts of Officers , so the twenty four Elders set forth the Brethren of the Church in respect of their ripe Age , Gal. 4. 1 , 2 , 3. and twenty four in number answering to the twenty four Orders of Priests and Levites , 1 Chron. 25. 9 , &c. and these are all said to joyn together in singing a new Song unto the Lamb. If his Exposition may not be admitted , yet all Expositors agree , that by the four Beasts and twenty four Elders , are meant the Church and the Officers in the Church , and then their singing together doth confirm the manner of Gospel-singing with united Voices together in God's Worship . Object . But what ground is there for the Church to joyn in singing of Psalms , &c. with Vnbelievers ? Answ . 1. Unbelievers joyning with them , is one thing , and their joyning with Unbelievers , is another : And since 't is a Church-Ordinance ( as we have clearly proved all along it is ) what Rule or Ground hath the Church to put Unbelievers forth of their Assemblies if they knew them from others ? there may be Unbelievers in the Church , and there may be Believers out of the Church . 2. What ground hath the Church to pray with Unbelievers ? certainly the Communion together in Spirit is more close and intimate than that of uniting the Voice ; so that if it be unlawful to let them sing with us , 't is unlawful to let them in their Hearts joyn in Prayer with us . Must not the Children have their Bread , because Strangers will get some of it ? Besides , in the Church of Corinth , when Singing was brought in amongst them , as well as a Doctrine , &c. the Apostle speaks of Unbelievers coming into their Assemblies : and 't is one Reason he gives why they should take heed to prevent Confusion , and not to suffer one to bring in a Doctrine , ( or many together ) and another an Interpretation , and another a Psalm , to put them all on Singing , and so have all these Ordinances confounded together , in a disorderly and confused manner : So 1 Cor. 14. vers . 26. compared with vers . 23. 3. If Singing be a part of natural Religion , or a moral Duty , as Prayer is , this Objection is gone for ever : So that he that answers what we say here , will do nothing unless he can make it appear Singing the Praises of God is a meer positive Precept , and had never been known to be the Duty of Mankind , without some written Law or Prescription . Are not all Creatures called upon to sing and praise their Creator ? and have not Unbelievers cause to praise God , nay , sing his Praise for the Mercies and Blessings God doth bestow upon them ? Nay , have they not cause to praise God for Christ and the Gospel ? &c. What is Singing but praising of God ? And would you not have ●ny to do this but the Saints ? Ought not all Men on Earth to pray , tho till they have Faith their Prayers are not accepted of God ? I shall conclude this Chapter with what Mr. Sidenham hath so well said to this Objection . Many who grant Singing to be an Ordinance ( saith he ) among Saints , yet stumble to sing in a promiscuous manner with others , especially because so many Psalms , &c. are of such composition , that doth not seem to concern a mixt multitude . For opening of this , I must lay down this general Position , That Prayer and Praises are natural Duties belonging to all Men as Men , though only the Saints can do them best and spiritually ; it is so upon all Men by the Law of Creation , to seek to God for what they want , and to thank him for what they have : this is due unto God , owing unto him as Creator and Benefactor ; and though Singing be a part of instituted Worship , yet it is as an addition of Order , and a regulation of a natural Duty : And as there is no Man but is bound to pray for Mercies , so none are exempted from praising God for Mercies , though they sing in a low●● Tune than Saints . Thus David calls in 〈◊〉 Creatures to bless and praise God , as a natural Duty , according to their several Capacities , Psal . 136. Psal . 117. Psal . 10● Psal . 20. 21 , 22. Praise , is the natural Duty of all , the proper Duty of Saints , and 〈◊〉 perfect Duty of Angels and glorified Souls . Object . You will say , They cannot perf●●● it aright . Sol. 1. Their want of Ability doth 〈◊〉 discharge them from such a Duty engrav●● on their Consciences , from the natural respects they have to God as a Creator ; 〈◊〉 perform which , God gave them full power ▪ Let every Man do his Duty conscientiously ▪ he may afterwards come to do it spiritually 〈◊〉 though I should lose the sense of a Duty i● my Conscience , yet the Duty lies on my Conscience from God's Authority , and my Relation to him . By the same Rule , every one should abstain from performance of a Duty for 〈◊〉 of present Ability , whereas the Duty mu●● be done , and strength expected from Heaven , and waited for according to the divin● manner of Dispensation . 2. It 's not unlawful to join in any Act with others , or to countenance them in it , which is really their Duty as well as 〈◊〉 own : I cannot sin in joining with any one in that Act , to perform which is the Duty of another , as mine , though he may want the present Ability . For Duties must be measured according to the Rule , not the Ability of the Performer . Now , it 's no Duty for any Man to receive the Lord's Supper , or be a Member of a Church in order to Communion , without he find himself in some measure fitted by Grace , these Sealing Ordinances of the Gospel , suppose and require some other Qualification , and are peculiar to visible Saints ; but where there is a natural Character , or an Ordinance as to the Substance of it , at least equally concerning all , there is no Sin to join in the administration of it : And if we consider of it warily , unregenerate Men are great sharers in the Mercies of the Churches , besides their own particular Duty , that they may well join with them in setting forth God's Praises . But more closely and particularly . 1. When the Church and Saints of God are gathered together to worship him in Singing , it is no more unlawful to sing with others that stand by and join their Voices , than when in Prayer they stand by and give their Consent ; we do not so much join with them , as they do own God's Actings among us : It is no sin in them to join with us in such a Duty , neither can it be any sin in us to sing , though others very carnal will outwardly praise God with us . 2. The Carriage of the Saints in their hearty and real Expressions of Praises , may convince others in the coldness and lowness of their Spirit , and stir them up to some spiritual Apprehensions . Sidenham 〈◊〉 Singing , pag. 213 , 214 , 215. 'T is evident the Church is not bound to worship God alone in the Administration of the Gospel , and not suffer the People to come among them , unless she intends to become no Church in a short time ; for how shall she increase or have Children born in her ? Is not Hearing the Word of God preached , and Publick Prayer , as Sacred Ordinances of Gospel-Worship , 〈◊〉 Singing ? Why then may they be admitted to join with the Church in those Ordinances , ( which they are no better able to perform acceptably to God , than in Singing ) and be denied to sing ? By this Rule others must not be admitted to join with the Church in one part of Gospel-Worship , you must not suffer them to join with us in any , but even 〈◊〉 the Doors upon them , and worship God alone . And should we deny them to do this , it might also lay a Stumbling-block in their way , and give them a just offence against the Lord's People . See more in Chap. 9. where we have spoken further to this Objection . CHAP. XV. Wherein Mr. Marlow's Book , and many other Objections raised against singing of Psalms , Hymns , and Spiritual Songs , are fully and plainly answered . THough all that are impartial , who shall read Mr. Marlow's Book against Singing , and consider what I have already said in this Treatise , will say , He is answered : Yet I shall now give a particular Reply to all that is any ways material contained in it , which I have not detected and answered before . That which he insinuates , pag. 3 , 4. about the Weakness and Imbecility of some Christians about their reception of this Ordinance as a dangerous thing , needs no Reply ; he would fain make his Reader think , to receive singing of Psalms , &c. as an Ordinance , is no less than a falling away from the Truth . So clearly ( saith he ) manifested by the Holy Scripture , and witnessed to by the Sufferings of the purest Churches in our Age , who have born a lively Testimony , not only against the humane prescribed and precomposed Forms of Prayer , but against singing David ' s Psalms , and other Hymns or Songs precomposed by Man. Answ . 'T is not a falling away from Truth , to restore a lost or neglected Ordinance of the Gospel , ( as you I perceive dare not deny , but this of Singing is ) ; The main difference is about the Manner , or what Singing is . We say it is going forward i● the glorious Work of Reformation . What though some Baptized Churches ( who I do believe have attained to greater Purity in some things , than some others ) have born such a Witness against Singing of David's Psalms ; is it therefore no Ordinance of Christ ? must they needs know every Truth of Christ ? Is there any Church that is yet arrived to such a perfection of Knowledg , that they need not the discovery of any Truth but what they have received ? I am afraid some of those Churches are yet short of the Knowledg and Practice of another Ordinance as well as this , and speak against it as against this , though it is one of the first Principles of the Doctrine of Christ , Heb. 6. 1 , 2. Are they against the Singing of David's Psalms and Hymns , do ye say ? God forbid ! since the Holy Ghost hath enjoyned the Churches to sing them , pag. 3 , 4. But to pass over this , you come to consider that Text , Ephes . 5. 14. Speaking to your selves in Psalms , &c. Object . From these Words , nor the Context relating to them , is there any W●●for a vocal Speaking ; but otherwise it must be understood , a speaking to your own Heart . These are your words . Answ . 'T is well you do not affirm this , Teaching is then a Preaching , from Psalms , &c. in ordinary Gospel-Administration ; for some there have been , and may be are now , that assert that , ( and I think we shall find you there too by and by ) however , let the Speaking be what it will that is here meant , it is evident 't is such a speaking that is used in Singing ; for so the following words explain it , which you are not willing ( it may be ) to cite ; Singing , and making of Melody in your Hearts to the Lord. You then mention Col. 3. 16. I confess ( say you ) that Vocal Singing is here to be understood , otherwise it could not be Teaching and Admonishing to others in Word or Deed ; but yet here is nothing to prove Vocal Singing together , for Teaching and Admonishing one another in Psalms , &c. is meant of the Ministring Brethren , whose Work it was to teach and admonish the other Members , according to the Gifts they had received ; and none can prove any more by these words [ one another ] than what must be understood from Heb. 3. 13. But exhort one another daily , whilst it is called to day : And therefore as the word Exhortation is not used in the Church , but in an orderly ministerial way , by one at once , &c. must be used also according to Gospel-Rule ; 1 Cor. 14. 26. How is it Brethren ? when you come together , every one of you hath a Psalm , hath a Doctrine , &c. be understood of a Vocal Singing all together ; for I think 〈◊〉 will say , that those words , Every one of you hath , &c. were spoken of all having those Spiritual Gifts , which can't be though of euery Minister in that Church , Vers . 28 ▪ much less of all the Members , &c. So 〈◊〉 cannot be supposed , that all the Ministring Brethren had the Gift of Singing , or 〈…〉 was any distinction of its universality in delivery , more than of other Gifts in the 〈◊〉 Text ; besides the Context speaks of single Persons that must exercise in the Church , 〈◊〉 therefore those words [ every one of you ] 〈◊〉 mean all , &c. Answ . First of all ; I cannot but take notice how you contradict your self in Ephes . 5. 19. you would have the Apostle , by Teaching and Singing , to mean only a silent Speaking in their Heart , without a Voice . But , in Col. 3. 16. you confess , that intends a Vocal Singing : Do you think any Man , who has the least Light or Knowledg in the Scripture can groundedly suppose , that the Apostle doth , in Ephes . 5. 19. ( in these words , Speaking to your selves in Psalms , Hymns , and Spiritual Songs , singing and making of Melody in your Heart to the Lord. And in Col. 3. 16. in these words , Teaching and Admonishing one another in Psalms , and Hymns , and Spiritual Songs , singing with Grace in your Hearts to the Lord ) mean two different things ? Surely there is not one Man to be found of your Opinion , for all generally , with one Mouth , affirm , the Apostle in writing to these two Churches , intends the one and the same Practice . Nor is ●here any thing said by you to convince us to the contrary ; for though the Duty seems to be ●id down in different words , yet it implies the same thing ; speaking to your selves , and teaching and admonishing one another , are of the 〈◊〉 import on this occasion as expressed here ; for the Speaking is in Singing , and so is the Teaching and Admonishing , as the close of the Text opens it to every understanding Man. 2. 'T is observable how you seem to confound this great Duty injoined in ordinary Worship on these two Churches , with the exercise of those extraordinary Gifts , mentioned 1 Cor. 14. 26. which hereafter I purpose to explain , and shew the purport or main drift of the Spirit in that place in 1 Cor. 14 , &c. If any Man did sing in an unknown Tongue alone , 't was because others were not capable to sing with him , and he from thence was not to use such a Gift in the Church , unless there was an Interpreter to give forth that Psalm or Hymn , that so all might sing with him , and be edified in that Ordinance as in others . 3. In the third place , which is yet worst of all , you would have this of Teaching and Admonishing one another in Psalms , &c. singing with Grace in your Heart , to refer to that Heb. 3. 13. which you apply to such who had the Gift to preach Ministerially , and to sing too by the said Gift . In answer to this , in the first place , I thought we should not have had you to affirm , the Apostle means , by Teaching and Admonishing here in this place , to be Preaching , according to that ( in your sense ) you refer to in citing Heb. 3. 13. Now as to the first part of your Assertion ; had you read Reverend Mr. Cotton , it might have removed this Mistake , and so prevented your pains to trouble the Reader with such an Exposition of the Text : I find him answering an Objection , that directly includes part of yours , in these words following . Object . The Apostle to the Ephesians and Colossians doth not say , Sing one to another in Psalms , but speak or preach one to another ; or , in other words , Teach and admonish one another ; the Psalms dwelling in their Hearts they were to dispose them in a way of teaching and admonishing ; but as for singing , he makes no mention of that , until he came to teach them the manner of dispensing the words of Christ unto God in one Verse , and then indeed he teacheth them to sing in the Spirit , making Melody with Grace in the Heart . If I do not mistake you , this Objection contains part of what you say , and pray take his Answer ; I do not doubt but he gives the true sense of the place . Answ . Such as tremble at the Word , saith he , ( as the framer of this Objection professeth himself to do ) they should rather bow their Judgments and Practice to Scripture-Language , than bow the Sense of Scripture to their own Conceptions against the Language of Scripture ; it is one thing to speak one to another in Psalms , and Hymns , and spiritual Songs , as is done in singing , and another thing to preach and teach one another out of the Psalms , and Hymns , and spiritual Songs . 'T is true , they were to teach and admonish one another out of the Psalms , and the scope of Paul will teach that ; but if Paul had meant that , to wit , that they should teach and preach one to another out of the Psalms , he would not have said , Speak ye one to another in Psalms , or with Psalms , but out of the Psalms , for such is the Language of the Holy Ghost in expressing this Duty ; Paul is said to have expounded and testified , and persw●ded the Jews out of the Law of Moses , and out of the Prophets , Acts 28. 23. So Philip is said to do , begin to preach to the Eun●●h , from that Scripture in Isaiah , Act. 8. 35. Thus Mr. Cotton . 'T is evident , my Brother , that Paul is not a speaking here to Ministers , but to the whole Church , and he is not a laying down Directions to gifted Brethren how they should preach and exhort one another that way , as sometimes he doth , much less about the exercise of extraordinary Gifts ; but 't is to injoin and exhort the Churches to sing Psalms , and Hymns , and spiritual Songs ; how also they should perform this Duty to the Honour of God and their own Comfort , in ordinary Gospel-Administration . Dr. Roberts in his Key to the Bible , pag. 176. saith on these words to this purpose . But Christians should be filled with the Spirit , not filled with Wine , but with the Spirit , and speak one to another in Psalms , 〈◊〉 Hymns , and spiritual Songs , &c. thus rejoicing with Heavenly Melody in your Hearts to the Lord : and the latter words in both places , Eph. 5. 19. Col. 3. 16. are , saith he , exegetical to those in the beginning of the Verses , explaining what he means by speaking , teaching and admonishing , viz. thus , edifying one another in singing Psalms , &c. And it 's an excellent way of speaking to themselves and to one another , when Christians sing Psalms , &c. — therefore , saith he , that speaking to themselves , and teaching one another in Psalms , and Hymns , and spiritual Songs , is 〈…〉 singing . As to singing with a vocal Voice , you have granted 't is intended by the Holy Ghost in Col. 3. 16. which is as much as I desire . What you hint or imagine of one singing alone has been fully answered , that never having been the Practice of God's People in God's ordinary Worship , neither in the Old or New Testament ; and as touching singing by an extraordinary Gift , more of that anon . And , saith Mr. Sidenham , many think there can be no such use of Singing , as to teach and admonish one another by it ; but if we consider , there are many Lessons to be learn'd one of another from this publick Conjunction of singing Scripture-Psalms . 1. They teach one another , and by the very Act admonish one another , to get the same Frames these holy Men had in penning the Psalms , and in the variety and spirituality of them to get David's Frame , in singing David's Psalms , &c. 2. 'T is by this they teach one another the Unity and Harmony that is and should be among Saints , as one Body , that their Happiness and Joys are bound up together , and so the Misery of one is the Misery of the whole ; and this is a glorious L●sson to know their Union together , as a Body equally concerned in the Joy or Sorrow of one another , equally interested in the Praises of God. There is no Duty practised in all the Gospel , that doth fully express the Communion of Saints , and represent Heaven , as the Saints singing together . The Lord's Supper doth represent the Communion of Saints very lively , but not so as mutual singing , when all at once , not by consent only , but expresly speak the same thing the same moment . In the Lord's Supper , th● afterwards they were all one Bread , yet they all do not receive it at the same instant of time , but may take successively the Elements ; but in singing they all joyn perfectly at once , to sound forth the Praises of God , as if they had but one Heart and one Voice too . This is the perfect Emblem of Heaven , no jarring , all with one Voice and Heart , crying Hallelujah , Hallelujah . 3. They teach one another this Lesson also , viz. with what Alacrity and Chearfulness they should perform all their Duties together , and how with sweetness of Love and Joy they ought to walk together . 4. They teach one another how to carry themselves in all Conditions with a joyful and praising frame of Spirit , &c. and it shews a Soul is not in a right temper when he cannot sing over his Condition . To which I might add , not are they in that sweet Concord and Union with the Church , or hearty Affection that cannot joyn in one Heart and Voice with them . 5. They teach one another by singing , and admonishing one another ( this way ) to avoid any thing that may hinder their Joys in Communion , and break their Harmony in spiritual Actions ; all which , and many more are great Lessons , and are taught naturally by Saints mutual singing together , pag. 211 , 212. Object . If any should object , How can Vnbelievers joyn with the Saints in singing , if this be so ? Answ . This hath been answered already : there are the like Lessons , tho not to that degree and clearness , taught in uniting Hearts together in publick Prayer and Praises , in Prayer and in mutually joyning together equally in hearing God's Word : Nay , and all must grant , that the chiefest and nearest Communion is that of the Heart and Spirit : If therefore you may , and do admit such you speak of , to that Communion and Liberty with you , how dare you , or can you deny them this ? True , the Voice shews that Union that is in the Heart , or sets it forth ; but the chief Fellowship and Unity is in the Spirit , as in the last Chapter I have shewed . Now I shall come to consider the Method or Form of your Book , or Heads you insist upon , which are laid down in six Particulars . I. Of the Essence of Singing , ( as you call it . ) II. Of David's Psalms . III. Of prescribed or precomposed Songs . IV. Of Womens Singing . V. Of the Order of Singing . VI. Of Scriptural , and other Objections . I. Of the Essence of Singing . Thus you begin , viz. Though intelligible Singing for teaching and admonishing others cannot be without the use of the Organical Instruments of the Voice , yet the Essence or Being of Singing consists in an inward spiritual Exercise of the Soul or Mind of Man. And this must be granted : for we all do own that true Prayer may be made in our Hearts to God without the use of our Voice . And then come and tell your Reader the Essence of Sin is in the Heart , and the Essenc● of other things Good and Evil , and take 〈◊〉 four Pages in this kind of nonsensical way 〈◊〉 speaking , confounding the proper Acts 〈◊〉 God's Worship , nay , destroy them utterly , by starting an uncouth term , as here apply'd , 〈◊〉 Essence ; nay , and I perceive this mighty Ma● of Straw you have made and set up , you 〈◊〉 at a strange manner ; 't is , as it were , the 〈◊〉 on which all the stress of the whole Superstructure of your new-found Contrivance to evade God's blessed Ordinance of Singing 〈◊〉 laid ; so that if this be razed , you must find another Singing in the New Testament besides this Essence of Singing , which you say is in the Heart ; and I perceive 't is only that inward joy of the Spirit that you mean by the Essence of Singing , and that to be all the Singing you would have the Saints to use in Gospel-days . And besure if you have missed the mark here , your Book has nothing in it of instruction . A Man cannot be so vain as to attempt to overthrow an Act of Divine Worship , as it hath been received and practised for many Ages amongst all the Godly generally ; but he must set up something in the room of it which he must call by that name , since God's Word bears positive witness to such a Church-Ordinance . A Gospel-Singing there is , as well as a Gospel-praying , preaching , &c. But rather than it shall be that which indeed it is , as owned by the Law , and the Prophets , Christ and his Apostles , and most wise , learned , and truly Godly Christians , it shall be something else contrived in the darkness of your Mind . Thus the Quakers have cast off the Holy Ordinances of Baptism , and the Lord's Supper , and have gotten spiritual Ones ( in the blind Imaginations of their Hearts ) in their 〈◊〉 ; as you would have a Heart Singing of Psalms without the Voice , so they have got 〈◊〉 Heart-baptism without Water , and a Heart-breaking of Bread without Bread or Wine . The Papists , or Church of Rome , also have , by the subtilty of Satan , and pride of their own Spirits , changed and corrupted these and other Ordinances of the Gospel another way , 〈◊〉 they have set up something in their stead , which they call by their Names ; for , first , they have that they call Baptism , but it is not Christ's Baptism , but Rantism , with many Ceremonies added to it . They have that they call the 〈◊〉 Supper , but 't is not Christ's Ordinance , but another thing , &c. Also let me tell you , in the fear of God , you have adventured to raze or take away Christ's Ordinance of Singing , and have invented something to put in its room , which you call a Gospel-singing : And I am afsaid you little think of the bitter Consequents of this Attempt of yours , and how you ●eem hereby to ridicule ( though not wittily , I ha●e better thoughts of you ) the whole of Gospel-Ordinances , by turning them into a thing you call Essence , a Heart-service only without the Bodily Organs , and rendering your self to be but little better in your so doing , than a mere Enthusiast ; and whilst you plead for Spiritual Worship , and cry down all Forms , you seem to overthrow all external Acts of Religion , by intimating , that because the Heart 〈◊〉 perform one Duty at some Seasons acceptably to God , viz. Prayer without the bodily Organs ; why may not the Spirit or Heart perform Singing too ? say you . And why not , say I , Preaching the Word , Baptism , and Breaking of Bread also ? The Quakers have not only got a Spiritual or Heart-Baptism , and a Spiritual or Heart-Breaking of Bread , but an assembling together for Heart-Preaching also : And what you say about the Essence of these Duties being in the Heart , ( and how 't is the Heart or Spirit only in Duty and Ordinances that God looks at ) and from hence seek to make void Singing with the Voice , it doth ( as all Men may see ) strike through the Loins of all External Acts of Divine Worship , as before shewed : For as I told you in the first Chapter , the Essence of Preaching , and every other External Duty , may as well be said to lie in the Spirit as this of Singing Psalms and Hymns , &c. Besides , since God is so much pleased , as you intimate , with the bare Internal Worship of the Heart , without the bodily Organs , and with Prayer particularly , why do you not excuse the Tongue from that Service likewise , and say , that External Expressions in Prayer , or praising God with the Tongue , is a low formal thing , and to be rejected ? But I can't but smile at one of your first Expressions ; You say very right , ours is an intel●gible sort of Singing . But that which you ●lead for is such , that no Body can tell what to ●ake of ; besure 't is no Singing at all , as in the first Chapter I have proved ; I mean , that which you call the Essence or Being of Singing in the Heart , or inward Joy. Brother , I have shewed you , that Singing and Preaching , &c. are Ordinances of a different Nature to that of Prayer ; Prayer may be performed in the Heart without the Tongue ; but there is no proper Singing or Preaching without the Organs of the Tongue , and therefore all your whole Fabrick is overturned with one blast : for this Error of yours , is like that of the first Concoction ; If you have got no other proper singing of Psalms , than what we plead for and practise , nor no other can be found warranted in God's Word , Then 〈◊〉 must be the true and right Ordinance , and manner of performance of it , likewise . Let Men but destroy the practice of an Ordinance , as 't is by so many practised , and has been from the beginning , and as we conceive and believe in a right manner , unless they have another Form to present to our sight , that we may have time to compare them with God's Word , to see which may be nearest the Rule in our Judgments , they do nothing but perplex the World as well as us . You have presented us with one , I must confess , which only has that Name given to it by your self , but it is not the thing , i. e. it is no proper Singing at all . You talk of the Essence of Sin in the Heart , as well as the Essence of Duties being in the Heart or Spirit . What do you mean ? can sin be no where but in the Heart , because it is there ? or can a thing be where its Being or Essence is not ? There may be much Evil in the Eyes ; we read of Eyes full of Adultery . Nay , and I must tell you , that the Essence or Being of Sin is in the Tongue likewise . Pray see what the Apostle James saith , In the Tongue 〈◊〉 a Fire , a World of Iniquity : so is the Tongue amongst our Members , that it defileth the whole Body , and setteth on fire the whole course of Nature , and is set on Fire of Hell , Jam. 3. 6. Certainly the Essence of Sin is in the Tongue , as well as in the Heart , or you are out in your term ; and the Essence of Singing , some will tell you , is wholly in the Tongue . And now since the Tongue doth thus dishonour God , ( by the way ) let me tell you , there is great reason it should not be idle , but be imployed to praise and sing to the Honour of God. If by Essence of Sin , you mean the Rise , Spring , or Fountain of Sin , I say you speak Truth , and good sense too ; for it is out of the Heart that proceeds Fornication , &c. Yet some Sins may be said , to have their proper Essence or Being in the Life , as well as in the Heart , and may rise from a Temptation from without also . We will grant you likewise that the Heart is the Fountain or Spring of most Actions , all our Duties must spring or flow from thence ; i. e. the Heart by God's Spirit , must stir us up to do them : 〈◊〉 does it follow from hence , that many of 〈◊〉 Duties can be performed by the Heart or ●pirit without the Tongue ? Sure you will say , 〈◊〉 Man can preach , though the Matter be 〈◊〉 his Mind or Head , &c. No more , say 〈◊〉 can they in a proper sense be said to sing Psalms , &c. Only one word more , and I 〈◊〉 done with this . In pag. 9. you speak of 〈◊〉 Fields rejoicing and singing . We have ●ewed you , that there is an improper or metaphorical Singing mentioned in the Scripture , 〈◊〉 so that Scripture and some other places are to be taken , and know that your singing is no 〈◊〉 a proper Singing , than Abel's Blood , which is said to speak , was a proper Speaking , as I said in the first Chapter be fore . II. Of David's Psalms . 1. You say , There was no Institution of Singing before David's Time. Answ . We have proved Singing the Praises of God is a part of natural Religion , and so a moral Duty in its own Nature , as Prayer is ; and that the Heathen sang the Praises of God for his goodness in Creation , that ha●e no written Word : And what is this then to the purpose , if we should grant that Singing was not brought under an Institution till David's Time ? As touching what you say about the Israelites in the Wilderness , how in trouble they did not sing , 't is more than you know , for I think you will find they were not far from the Wilderness when Moses and the Congregation sang ▪ Exod. 15. However our Lord Jesus and his Disciples sang when it was a sad Wilderness●time with them , it was just the Night before our Blessed Saviour was betrayed . And Paul and Silas sung in the Wilderness of a Prison ; and though the Saints are always sorrowful , yet they are required ever-more to rejoice . All outward Comforts of this World , are not 〈◊〉 thousand part such cause of Joy and Singing , as our spiritual Deliverance and Salvation by Christ is . Do you think that outward Blessings here will better tend to tune our Spirits and Tongues to sing the Praises of God , than the Love of God in Jesus Christ , Pardon of Sin , Justification , Union , Communion , Adoption ? &c. No , no , here is the Spring of Joy , and cause of true spiritual Singing , and none can learn David's Psalms , nor any other Scripture-Hymns or Songs thus to sing them , but the 144000 ; none but such who have that new Name , that new Nature , can learn this Song as thus to sing it , Rev. 14. 3. And let me tell you , this Singing of the hundred and forty four thousand spoken of , was under the Reign of Antichrist , for the seven Angels with their seven Vials came out of the Temple afterwards , who destroy Babylon . Take what our late Annotators speak on the place . The New Song here spoken of , is probably the same with that we met with before , chap. 5. 11. sang by the Voice of many Angels round about the Throne , and the Beasts , and the Elders ; called a new Song , either for the excellency of it , or because sung unto God after Christ was manifested in the Flesh . The design of it was , to declare the worthiness of Christ , to receive Power , and Riches , and Wisdom , and Strength , and Honour , and Blessing . A new Song , signifies a Song which praises God for new benefits received from him . During the Reign of Antichrist , none could learn this Song , to give Power , Riches , Wisdom , Strength , Honour , Glory , and Blessing , but a small number redeemed through the Blood of Christ . Annot. on Rev. 14. 3. * Secondly , You say , The singing of David's Psalms , were suitable to all the rest of the Levitical Ceremonies , and Temple-Worship , pag. 12 , 13. Answ . There is no doubt but the Singing of David's Psalms with Instruments of Musick , was suited to the order of the Levites and to the Temple-worship . What then , must not we sing Psalms in the Gospel-days , with Grace in our Hearts to the Lord ? We know no Psalms , but David's Psalms , or those called the Book of Psalms ; and the holy Ghost doth injoin the Gospel-Churches to sing Psalms , as well as Hymns , and spiritual Songs . Will you take upon you to countermand God's holy Precept ? Will you say Very Tightly Bound we must not sing Psalms , when the Churche● are exhorted so to do ? Pray , when you writ● again , tell us what Psalms they are the Holy Ghost there speaks of , if not them , or some o● them called the Psalms of David . True , all Types , Shadows , and Ceremonies ▪ are removed and done away ; but Singing th● Praise of God was no Ceremony , but a Mora● Duty , and performed by the Children of Israel , before the Law of Shadows and Ceremonies was given forth , Exod. 15. 1 , 2. You may 〈◊〉 well say Prayer was a Ceremony , because the●● were divers ceremonial Rites used in the performance of it , particularly that of Incense . 2. Did not Christ sing an Hymn after th● Supper ? Would he have left that as a Patte●● to us , and annexed it to such a pure Gospel-Ordinance , had it been a Ceremony , and only belonging to the Jewish Worship ? Or , would the Apostle Paul have given , by the Authority of the Holy Ghost , such a Precept to th● Church of Coloss to sing Psalms , &c. whom 〈◊〉 strives so much to take off from Jewish Rites● Days , and Ceremonies ? Had singing of Psalms● Hymns , and spiritual Songs been a Jewish Ceremony , he would not have done thus . This is sufficient to convince any sober and unbia●●e● Person , i. e. that Singing the Praises of God i● a Gospel-Duty ; and that it did not belong only to the Jews , in the Days of the Old Testament . But you contradict this your self ; fo● afterwards you grant that the Saints , when the extraordinary Gifts are given , as you suppose they will in the thousand Years Reign , you intimate then they shall sing as we do ; or else I know not what you mean. How shall they use a legal and Typical Rite , that only appertained to the Jews and Levites , in that glorious state of the Church ? Doubtless their Singing of Old , with musical Instruments , was a Figure of that sweet spiritual Melody the Saints should make from a well-tuned gracious Heart , and with united and melodious Tongues together in the Gospel-days , as I have again and again shewed ; and this therefore is not mixing Law and Gospel together , but continuing a Gospel-Ordinance in the Church that is of Gospel-Authority , both from Precepts and Examples , as I have proved in this Treatise : so that I have answered your second , and third , and part of your fourth Thesis together . Thirdly , ( you say ) The matter of David's Psalms and other holy Men , were suited to particular Occasions , and Experiences , and Accidents of that day , as may be seen by divers of their Titles . Some Prophecies of the Sufferings of Christ , &c. And some Places hard to be understood , so improper to be sung by all the Church , who can't sing them with Vnderstanding , as well as justifying the singing Prayers as well as Praises . Pag. 14. Answ . Most of the Book of Psalms contains proper Instructions for most Occasions the People of God can find : What was written afore Time the Apostle says was written for our Learning . All Scripture is given by inspiration of God , and is profitable for Doctrine , for Reproof , for Correction , and for Instruction in Righteousness , 2 Tim. 3. 16. If all Scripture , then the Book of the Psalms , and for instruction by Singing them too , because so required by the Holy Spirit , Eph. 5. 19. Coloss . 3. 16. May you not as well say they are of no use to us ? The Book of Psalms good Men look upon as the Heart of our Sacred Bible , and as fruitful a Book for Saints in Gospel-times as any Book in the Old Testament ; but if there be any Psalms that can't so well be sung as some others , God's People are at their liberty whether they will sing them or no : however , unless you can tell us there are others called Psalms , besides these , you say nothing , for we are required to sing Psalms . And as to those things contained in David's Psalms that are hard to be understood , they may be opened to the People before they are sung . As touching singing Prayers , I have spoken to this already . Though we are against humane Forms of Prayer , yet the Singing of David's Psalms ( wherein there are some Prayers ) are of Divine Institution ; and therefore 't is lawful to sing Psalms and Hymns that have some Expressions Prayer-wife in them . Our Brethren say , praising of God in Prayer , is Singing ; and indeed , if they did not thus conclude , I am perswaded they could not satisfy their Consciences to lie wholly short of this Duty ; and therefore in their sense , singing of some part of Prayer is lawful , or else Singing is something they do not as yet own , nor can tell us what it is . As to what you say in the fifth place , p. 14. Object . That David's Psalms were limited to the Levites . Answ . 'T is nothing to your purpose , 't is rather an Argument for singing Psalms by the whole Church ; for the whole Church is that spiritual Priesthood , to offer up spiritual Sacrifices acceptable to God by Jesus Christ ▪ 1 Pet. 2. 5. That as the Priesthood , or Levi●●s , sung together under the Law , with Instruments of Musick , it might typify out how the whole Church should sing spiritually with Grace in their Hearts to the Lord together under the Gospel . You say in the next place , pag. 15. Object . There is no Institution to sing David's Psalms , and that Christ nor his Apostles ever 〈◊〉 practised . And also if the Apostles had occasion to translate any Text out of the Hebrew 〈◊〉 the Greek , they did never turn them into Metre . Answ . There is an Institution to sing David ' s Psalms ; Ephes . 5. 19. Col. 3. 16. If there be 〈◊〉 ●ther Psalms mentioned in the Scripture , besides David's Psalms , or the Book of Psalms , and the Churches are required to sing Psalms as well 〈◊〉 Hymns ; Then there is a Gospel-Institution for singing of David's Psalms . But there are no other Psalms mentioned in the Scripture besid●● David's Psalms , or the Book of Psalms , and the Churches are required to sing Psalms as well as Hymns . Ergo. The singing of David's Psalms , or Psalms contained in the Book of Psalms , is a Gospel-Institution . That the Churches are required to sing Psalms , we have shewed again and again , Eph. 5. 19. If there be any other Psalms besides what are contained in the Book of Psalms , which are so called , you must shew which they be , and then we will use those which we shall have the clearest ground to judg the Spirit of God may intend . As to their translating any of them into Metre , out of Hebrew into Greek , it is remote to the Business ; we know not they did translate any Scripture at all out of Hebrew into Greek . III. Of prescribed and precomposed Songs and Hymns . First , ( say you ) If the Essence of Singing , as before is shewed , consisteth in an inward spiritual Exercise of the Soul or Mind of Man ; and that both the Matter and the Melody of it , proceedeth from the inward Graces and Operations of the Holy Spirit with the Word ; then surely no humane prescribed Form of Singing can be accepted of God , but that which proceedeth from the Word of God , by the Dictates and Teachings of the Holy Spirit . You mention Ephes . 5. 18 , 19. Col. 3. 16. Pag. 15. Again , pag. 16. Now the Essence of Singing consisteth of these two parts , viz. Matter [ from the Word ] , and Melody [ by the Spirit ] : So that neither the Word nor the Spirit can be wanting ; and therefore whatsoever Forms are used which proceed not from within us , out of a Fulness and Enriching of the Word and Spirit , cannot be Spiritual Singings . Answ . Brother , who do you encounter with now ? 'T is evident this doth not concern as , you need not have taken so much time and pains to prove that which no Body that I know denies . But before I come to reply to that , I cannot but take notice how you hug your former Notion of Essence of Singing ; but I perceive your have found out the Essence of Singing , is not in the Spirit alone , but it has Matter and Form too : the Matter ( you say ) is God's Word ; there you are right : you say , The Melody lies in the Heart , that is partly true , but there must be something else added to the Essence of Singing , or else you have it not ; and that is the chief thing , the only thing from whence it 's called Singing , that is , a melodious Voice , add that , and then you plead for Singing ; take that away , and 't is no more than inward Joy , or Rejoicing . Singing , Mr. Caryl tells you , is an Act of the Voice : 'T is a melodious Noise , do not mistake your self in one of the most plain and easiest Acts of the B●dily Organ , or Act of the Tongue . But to the Business , no Hymn must be made nor composed from God's Word , it appears , without the help and assistance of the holy Spirit . I am of your Mind . But I hope you do not mean the miraculous or extraordinary Help or Operations of the Spirit , because you are a speaking of the Administrations of the Gospel , and Gospel-Worship in general . Now there are two things to be ●●●●●dered in bringing forth a Doctrine , viz. That 't is agreeable to the Word of God ; he that compiles a Sermon must be sure to see 't is God's Word , i. e. congruous thereunto , and provable therefrom , or else 't is humane . 2. He must bring forth and preach it by the help and assistance of the Spirit also , or else it may still be Human , no Divine Sermon . So , and in like manner in compiling of an Hymn , it must be as to the matter , the Word of Christ ; Let the Word of Christ dwell in you richly , in all Wisdom , teaching and admonishing one another in Psalms , Hymns , and spiritual Songs , singing , &c. Col. 3. 19. See here the Direction for the matter of an Hymn or spiritual Song , it must be in general the Word of Christ ; ( as it must be the Word of Christ that is to be preached . ) Even so also a● Hymn , &c. must be ( we say ) compiled out of the Word of Christ , and in singing of it there must be the assistance of the holy Spirit . But now will you say we have not the Spirit of Christ in composing the Hymn which is part of Christ's Word ? Take heed ! you are too full of hard Words and Censures ; another may , nay , and some do say so too , we have no Rule to compose a Sermon ; and I will say and testify , I know no more Rule for a precomposed Sermon to be preached , than for a precomposed Hymn that is to be sung , and I am satisfied I have equally in them both the like assistance of the Spirit . Your speaking here of the Spiritualness of the Gospel above the Law , doth nothing in your case . We grant it , and say , Our Singing differs now under the Gospel as to the Spirituality of it to that under the Law , as much as my other Gospel-Service or Worship doth . Our Sermons are no more made for us in God's Word than our Hymns are , and we have equal Direction in both these weighty ●●ses ; and I must tell you , this way of 〈◊〉 you use is enough , if People did observe it , to overthrow all visible Worship and Ordinances , unless we could make it appear , 〈◊〉 we had the immediate and extraordinary help of the Spirit in the discharge of them . Away , ●●ith one , with your carnal and human preaching , 't is a Form invented and done by Art , will you call this Gospel-preaching ? The Apostles 〈◊〉 as they were moved by a mighty Spirit within them ; you must preach by immediate inspiration and not precomposed Sermons , or else your Sermons are formal . Thus you open a Door for Quakerism , and throw St●●bling-blocks before the weak : I intreat you to consider of it . 2. Doubtless what the Apostles did by an extraordinary Spirit in bringing in a Doctrine and an Interpretation , &c. is a Rule for us in the ordinary Gifts ; for they preached and prayed , &c. by the wonderful or extraordinary Influences of the Spirit : and because we have not those Gifts , must we not be found in this Ordinance , viz. to sing , which is required in the New Testament ; we by the same Argument , must lay all others aside likewise , as the None-Churches have done : from such a way of arguing as you use here , the Lord deliver us . But what you speak on this occasion doth not concern them that sing David's Psalms ; therefore if composed Hymns were not justified by God's Word as comprehended in Hymns and spiritual Songs , Col. ● . 16. then the Book of Psalms , as our Brethren say , are wholly intended , and then they must be sung , and them only ; but we see no reason so to believe . Eusebiw speaks of the Christians singing of Hymns to Christ as to God , in the first Century , which shews it was the Practice of the Church in the Primitive Times to sing other Hymns besides those in the Book of Psalms . As to Forms of Prayer , the Lord hath left us a Form , by which we are directed how to pray ; and so he has left us his Word , and the Psalms of David , that we may know how to compile our Hymns as well as our Sermons , by the help and assistance of his Spirit : there is no more a Form of Preaching left , than there is a Form of Hymns : and what tho Christians differ in their singing , they also differ in their method or form of Preaching as much ; and your Argument ( say you what you will ) 〈◊〉 alike against the one as against the other . But is it unlawful to premeditate what we design to ask of God in Prayer ? Have not some in Prayer , and Fasting-days in Churches , drawn 〈◊〉 several things as a Form of those Cases 〈◊〉 they agreed together to spread before the Lord , and is this Form sinful think you ? But 〈◊〉 of this hereafter . IV. Of Womens Singing . Object . You say , Women ought not to sing in the Church , because not suffered to speak in the Church , and also because singing is teaching . By the way then it appears , the bare Melody in the Heart , where you say is the Essence of Singing , that is not Singing , by your own Assertion . Thus you destroy what you would build . Answ . But if Women may not speak nor ●●ach in no sense in the Church , they must not be admitted to give an account of their Conversion in the Church , or how God was pleased to work upon their Souls : for that Practice is full of Teaching and Instruction , and has been blessed to the Conversion of some other Persons that have been by . But I will be at the pains to transcribe what worthy Mr. Cotton hath said to this Objection , it appears others have brought it before you . The second scruple about Singers is , saith he , whether Women may sing as well as Men ? for in this Point there be some deal with us , as Pharaoh dealt with the Isr●●lites● who , tho he was at first utterly unwilling that any of them should go to sacrifice 〈◊〉 the Lord in the Wilderness , yet being 〈◊〉 length convinced that they must go , then 〈◊〉 was content the Men should go , but not 〈◊〉 Women , Exod. 10. 11. So here , some that were altogether against singing of Psalm●● at all with lively Voices , yet being convinced that it is a Moral Worship of God , warranted in Scripture , then if there must be a singing , one alone must sing , not all , 〈◊〉 ( if all ) the Men only and not the Women . He then mentions your Objection , to which he replies . 1. One Answer , saith he , may at once remove both Scruples , and withal clear the Truth ; it is apparent by the Scope and Context of both these Scriptures , that a Woman is not permitted to speak in the Church . ( 1. ) By way of teaching , whether in expounding or applying Scripture ; for this the Apostle accounteth an Act of Authority , which is unlawful for a Woman to usurp over the Man , 1 Tim. 2. 13. And besides , the Woman is more subject to Error than the Man , ver . 14. and therefore might sooner prove a Seducer , if she became a Teacher . ( 2. ) Yet nevertheless in two cases it is clear a Woman may speak in the Church . ● . In way of Subjection , when she is to give account of her Offence ; thus Peter questioned Sapphira before the Church , touching the price of Land sold by her and her Husband , &c. and she accordingly spake in the Church , to give her Answer to the Question , Acts 5. 8. 2. In way of singing forth the Praises of God together with the rest of the Congregation , for 't is evident the Apostle layeth no greater restraint upon Women for silence in the Church , than the Law put upon them before , for so himself speaketh in the place alledged , 1 Cor. 14. 34. it is not permited to a Woman to speak , but to be under Subjection , 〈◊〉 also saith the Law. 2. The Apostle then requireth the same Subjection in the Woman which the Law put upon them . Now it is certain , the Law , yea , the Law-giver Moses , did permit Miriam , and the Women in the Song of Thansgiving , to sing the Praises of God : Sing ye to the Lord , for he hath triumphed gloriously the Horse and his Rider hath he thrown into the Sea , which may be a ground sufficient to justify the lawfulness of Womens singing together with the Men the Praises of the Lord ; and accordingly in the Primitive Churches it was the ancient Practice of Women to sing the publick Praises of the Lord , we read recorded in the Ecclesiastical History , Socrates Chap. 18 Greek Copy , and Chap. 16. of the Latin , Theodoret's third Book , Chap. 17. Obj. But ( say you ) there is no Institution for Womens Singing . Answ . No need ; 't is a Moral Duty . You may ask whether they are to praise God as well , and demand a word of Institution for their Breaking of Bread with the Church ? for you know some demand a Proof for that . V. Of the Order of Singing . What need you talk of Order about Singing , or of Womens Singing , when the Essence of it being in the Heart , is sufficient , though the Act or Thing it self be never done . But to proceed ; This you say we have plainly and clearly delivered to us , 1 Cor. 14. 20 , to 34. How is it then , Brethren ? when ye come together , every one of you hath a Psalm , hath a Doctrine , hath a Tongue , hath an Interpretation ; let all things be done to edifying . That which you infer from hence is , that this is the Rule for our Practice , viz. one by one , or one after another , must speak and exercise their Gifts , and not all together ; and so he that has the Gift of a Psalm , he is singly , or alone , by himself to sing as in Prayer and Preaching . Answ . The Apostle directs that Church in the exercise of extraordinary Gifts . There was , 't is clear , confusion about the exercises of those Gifts in the Church of Corinth ; it seems this was their practice some times , viz. Every one of them who had a Doctrine , and that had a Psalm , and so of the rest , would come forth with them together . May be many Preach together who had Doctrines , and at the same time ▪ every one that had a Psalm , they would come forth with their Psalm and Sing● and so those who had the Gift of Tongues , and a Gift to interpret , might do the like , which the Apostle shews them was Confusion ; and if they did thus , and Unbelievers come into their Assemblies at such time , would not they say they were mad ? Now , 1. to open this place of Scripture , it will be necessary to consider what disorderly practice it was Paul reproves them of ; and no doubt it was the Confusion before mentioned , two , three , or more , bringing forth their Doctrine together ; and others , who had other differing Gifts coming forth together with them too , ( 't is very like at the same time ) . 2. The Rule to regulate these Disorders . And now let this once and for ever be noted , and well heeded , viz. That the ordinary way of the Administration of all Gifts , and performance of all Ordinances in the Churches , must be the Rule for the extraordinary Gifts , and performance of Ordinances . 3. Then in the third place , we must consider the manner of the performance of Ordinances , and exercise of Gifts , according to the Nature of the Gifts and Ordinances . And now as to the Gift of Teaching , Interpreting , Prophesying , &c. only one was to be the Mouth ; Let the Prophets speak one by one , and let the other judg : if any thing be revealed to him that sitteth by , let the first hold his peace . To act contrary to this Rule , is Confusion ; and so of some other Gifts and Ordinances , whole Nature were in themselves the same , so they were to be done . And now as to Singing , that being always performed with Voices together , both in the Old Testament , and by Christ and his Disciples , and by Paul and Silas , and so enjoined on the Churches ; they who had a Psalm , that is , as I conclude , a Psalm of David , to bring forth by an extraordinary Spirit , which might not be the Matter of the Psalm , but the Manner of bringing it forth in an unknown Tongue , and it may be in a Tune too that others might not understand , and so upon both respects others could not sing with him , nor the Church be edified ; he was not so to bring forth his Psalm , unless there was an Interpreter who might give it forth to the People , that they might sing together , as always that Ordinance was practised in the Publick Congregation . And this appears to be the sense of the place by Paul's own words ; When I pray , I will pray with the Spirit , and with the Vnderstanding ; that is , in a known Tongue , to my own Understanding , and to the Understanding of others . And when I sing , I will sing with the Spirit , and I will sing with the Vnderstanding also : that is , If I sing in the Church , I will not sing in an unknown Tongue , so that others cannot understand what I sing , and so cannot sing with me . He doth not mean , doubtless , his own Understanding only , but the Understanding of others also ; so that , according to the Nature of the Ordinance , all might be edified , and all might be comforted . Now this being so , as I am well satisfied 't is the meaning of the Spirit , what an endless stir is here of one Man's singing alone in the exercise of an extraordinary Gift , which cannot be proved by the Wit of Man from the Text ? much less had it been so , would it have been a Rule to the Churches in ordinary Administrations of Christ's Ordinances . Though for several to preach together , that would be Confusion ; yet to sing together would be none , but the greater and the more sweet Melody , as Mr. Sid●ultan ●●ws . Nor would the Unbeliever , to hear a Congregation sing together , say , Are they not mad ? because this sort of Singing was always practised , both among the Jews , and also among the Gentile Nations . And so much to this Text. And whereas you say , If any one had such a Gift , and came forth to sing alone in the Church , ( as you fancy some did in that Church ) you should bless God for so great a Presence of his Spirit among his People , pag. 23. I assure you , I should charge him with introducing a Practice no where warranted in the Scripture , and so no sign of God's Presence at all , but a meer Innovation in God's Worship , being without Precept or Example . VI. Objections Answered . I am now come to your last Thesis , wherein you pretend to answer some of our Arguments and Scriptures for Singing Psalms , Hymns , and Spiritual Songs . And if I meet with any thing pertinent , I shall reply to it , or else pass it by as not worthy of an Answer . And such is the first you bring , as alledged by us from 〈◊〉 . 15. And the second is like to it , about 〈◊〉 and Barak , as if they together did not , could no : sing that Song , when the Holy Ghost positively says they did . The Holy Ghost saith , that Moses and the Congregation of Israel sung , and you would fain make us believe , it was some extraordinary Extasy : 〈◊〉 we from thence must have Dancing too , which I have already fully answered . Your third Reply , That the Singing that was in the Temple was extraordinary , and so in the Apostles Time. Answ . We deny the latter , Singing was no more performed in the Gospel-time , by an extraordinary Spirit and Manner , than Prayer , Preaching , and all other Ordinances ; and by the Argument we have not those extraordinary 〈◊〉 now to perform one Duty , so not another . And if we must throw one Ordinance away from thence , we must ( as the Non-Churches say ) lay them all aside , and practise none at all , till we are endowed with Power from on High , as the Apostles were , viz. to Preach , Prophesy , and sing Psalms , Hymns , and Spiritual Songs , by Inspiration , or by the extraordinary Gifts of the Holy Ghost . For as Singing , ( it being a moral Duty as well as Prayer , so it was in the Church of the Jews before the Glory of their Temple-Worship ) : so Prayer and Preaching , being ordinary Duties , and parts of Natural Religion ( as well as brought under Divine Institution for the more orderly and spiritual performance of them ) , yet in the glorious Time of the Gospel were all done by an extraordinary Spirit , or by Miraculous Gifts ; 't is evident , therefore , extraordinary Gifts in the Gospel-day , were not only suited ( as you imagine ) to tune their Hearts and Tongues to sing the Praises of God only , but also to Pray , Preach , Prophesy , and so to perform the whole of Gospel-Ordinances and Worship , which was to confirm each Ordinance in particular , and the whole of the Christian Religion in general , Mark 16 , 17 , 18 , 19. Heb. 2. 3 , 4. And therefore we have no more reason to lay aside or neglect Singing the Praises of God , till those extraordinary Gifts shall return , ( which we have no ground to expect ever will ) than we have to lay aside Prayer , Preaching , Baptism , the Lord's Supper , and every other Duty and Ordinance , since Singing of Psalms , &c. is injoined on the Churches as well as other Ordinances are . What you say in the 27th Page , about the Winter of Afflictions , when that is past , and the time of the Singing of Birds is come , at the appearance of Christ's Kingdom , which will fully perfect the Glory of Temple-worship . You mistake that Text in Cant. 2. for all Expositors generally agree , that that Place resers to two things ; first , to the coming of Christ in the Flesh , the time of the Jewish-Church-state , or the dark and cloudy days before Christ came , is set forth by Winter ; 't is known the Afflictions and Miseries of God's People , before Christ came , was great , but then the glorious Sun arose , or the Day-spring 〈◊〉 on high visited the Earth , ( Luk. 1. 79. ) and the longed-for Spring came in , and then the 〈◊〉 of the Turtle was heard in that and other Lands ; and the Birds of Heaven and Earth began to sing , I mean , both the Angels , and Saints also , with Grace in their Hearts , in a most spiritual and heavenly manner , to the Lord. Secondly , By Winter may be meant , as they shew , that time while a Soul abides in its natural estate , and when regenerated by the Grace of God , then Winter is past , and then the time for that Soul to sing is come ; and such also then hear the Voice of Christ , that blessed Turtle , sweetly by his Spirit , speaking peace to their Souls . But if , in the third place , it should also allude to the Churches final Deliverance from all outward Afflictions in the latter Days , and so they have an extraordinary Cause to praise God , and sing his Praises forth in those Times for temporal Salvation ; doth it follow from thence we must not sing forth his Praises till then ? 't is a horrible mistake , to think Saints are more to be concerned to ●ing to the Lord for outward Blessings , and worldly Peace and Prosperity on Earth , than for their spiritual Blessings , and Priviledges through Christ , for the redemption of their Souls from Sin and eternal Wrath ; no : For these Mercies we have infinitely more cause to sing , than for all those great things you hint at ; besides , that Song will be rather the Song of Moses , than the Song of the Lamb ; the one was for temporal Deliverance and Salvation , the other is for spiritual and eternal Mercies . True , when that time comes when we shall sing both those Songs together , then the Melody may be the sweeter ; but though there are extraordinary times of Prayer and Praises , yet that ought not to hinder the Saints from praying and singing at other times . Your Reply in the fourth place , to that in Isa . 52. 8 , 9. viz. Thy Watchmen shall lift up the Voice , with the Voice together shall they sing , is nothing to the purpose at all : What though the word will bear their making a noise , o● shouting , yet 't is a joyful Noise , or a Noise of Singing , and a Singing with their Voice together as a found of the great Jubilee . And now , though you would have this place to refer to the thousand Years Reign , yet the Apostle applies it positively to the time of the Gospel , see Rom. 10. 15. Come , the Day of Gospel-Grace , Gospel-Light , Gospel-Glory and Priviledges , is like the great Jubilee , when desolate Souls , who like waste places come to be renewed , and the Church rebuilt , and Ordinances restored , this is the time to sing , this is the chief cause of Joy and Gladness . Many Men ignorantly apply Prophecies to the thousand Years Reign , that refer to the time of the Gospel which began in the Apostles days : besides , there is a Doubt in the Hearts of many Men about that thousand Years ; 't is a Mystery not yet understood clearly . No doubt , the Antitype of Solomon's Temple ( say you what you please ) was the Gospel-Church in the days of the Apostles , and so downward , and not the thousand Years Reign : for the Glory of the second Temple , was a Type of the Glory of the Church in the latter days of the World , as the best of our Expositors have excellently opened it to be so : therefore , what you speak , pag. 28. makes against your self ; for if the Institution of Singing which was in the Levitical Temple-worship , was compleated as to the Antitype in the Apostles Days , as touching the beginning of it , and not as you imagine ; and there is no doubt but 't is so , for when the Antitype was come , then the Shadow of Aaron's Order , and musical Instruments , fled away , and then nothing was left but Singing with Heart and Voice , by the Spirit , to the Lord. Your fift Reply is , to that of Christ and his Disciples singing of an Hymn after the Supper , pag. 29. which ( you say ) might be no more than giving of Thanks , or saying Grace . Answ . We have answered this Objection fully already ; but by the way , had it been no more than his giving of Thanks , why doth the Hloly Ghost express it in the plural Number ? 't is said , He took Bread , and blessed it ; and he 〈◊〉 the Cup , and gave Thanks , ( so some Translations render it ) ; but now at the close 't is said , they sung an Hymn . Besides , multitudes of Learned Men do tell you , that from the Greek word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , they hymned ; it is truly and rightly translated into English , they sung an Hymn . Dr. Du Veil , who was as Learned a Man as most this present Age hath in it , saith , in his literal Explanation of the Acts of the Apostles , Chap. 16. ver . 25. pag. 67. thus ; Hymns are Songs , which contain the Praise of God. If it be Praise , and not of God , it is not an Hymn ; if it be Praise , and of God , if it be not sung , it is not an Hymn : it must therefore , that it may be an Hymn , have these three things , viz. 1. Praise ; 2. And of God ; 3. And a Song . Now this being an Hymn our Saviour and his Disciples used in praising of God , the Doctor affirms , they sung ; and so did Paul and Silas . But this is the old way of such who ever opposed a Truth , when pinch'd , presently fly out upon the Translators , 't is so to be read in the Greek , &c. whereas all the World knows , that as our Translators were able Scholars , so they were very holy and upright Men : Besides , our Annotators , and all Expositors , generally say 't is truly rendred ; and 't is a bad thing unjustly to find fault with the Translators of the Holy Bible . To perswade your Reader , if you could , that the Disciples did not sing with our Saviour , ( or they did not sing together ) you bring , that Passage of Hannah's mental praying , or speaking in her Heart , 1 Sam. 1. 11 , 13. How impertinent this is , I may leave to all . You suppose still , because there is a Mental or Heart-praying , there is a Mental or Heart-singing also : you may , after the same manner say , there is a Mental or Heart-preaching likewise . There is no proper Singing , I tell you again , without the Voice . But you think you have done it at last , from Acts 4. 24. Where it is said , The Disciples lifted up their Voice with one accord to God ; and yet did , as you conclude , do no more than pray as we do , that is , only one was the Mouth . Answ . 1. Some say they lifted up their Voice by an extraordinary manner , by a miraculous Spirit that was upon them , and all uttered the same thing together Prayer-wise . 2. Others say , they lifted up their Voice together in Singing : And I find one great Author calling this the Apostles Song . 'T is evident , the Matter they uttered , is part of the Second Psalm . 3. Our Annotators intimate , as if all their Voices were joined together , in saying Amen . Now there can be nothing concluded or inferred on any certainty for your purpose from hence : If I should say , that as they prayed , for so they did the Text says ; yet when 't is said they lifted up their Voice to God with one accord , they sung the Second Psalm , it may be as probably so as any thing else . However , I have made it appear plain , that it may be said , there is a Praying together , ( though but one is the Mouth ) but there is no Singing together , 〈◊〉 but one sings , and the rest are silent , and sing not . In your sixth place , you reply to that in Acts 16. 25. about Paul and Silas singing Praifes , you say just nothing , pag. 32. For though Hymnos is nto praise ; yet , say the Learned , 't is such a Praising as is by Singing . Here I perceive you would quarrel again with the Translators : 't is plain , you are not willing to have any Singing to be in your Bible . If there is no Singing , you should not have told us so much about the Essence of it : don't abuse the Text , 't is not said , they prayed and praised God ; but , 't is said , they prayed , and sung Praises unto God. Though all Singing to God , is a praising of him , yet all Praising is not a Singing his Praises . Your seventh Reply , is from that in Ephes . 5. 19. Your chief Business here is , to shew how Psalms , Hymos , and Spiritual Songs are rendered . Pray , Brother , let you and I leave those nice Distinctions to better Scholars than you or I pretend to be . Some do say , they refer wholly to the Titles of the Book of Psalms ; others 〈◊〉 the Psalms of David , and to all Sacred Hymns and Songs . Besides these , 1. Here is Singing enjoined , that 's evident . 2. Here is the Word of Christ prescribed , as the Matter in general to be sung . 3. Here are Psalms , Hymns , and Spiritual Songs as the Form ; and this cannot be denied , without palpable Violence offered to the Spirit . But you would not have Old-Testament Names given to New-Testament Things , in Singing , but give no reason for it ; Prayer was called Prayer in the Old Testament , and Praises called Praises , and Laws called Ordinances ; and so they are called in the New : And why not Singing calling Singing , and Psalms of David called Psalms , and Hymns called Hymns in the New Testament , as well as in the Old ? These Cavils argue you want Matter to object against Christ's Ordinance of Singing , as you fain would do . You intimate , as if the Holy Ghost had injoined Singing of such Psalms , Hymns , and Spiritual Songs , that no Body knows what they be ; but you think they may be known hereafter ; as if we had an imperfect Gospel , and can't understand the Duties of it , till some extraordinary effusion of the Spirit comes upon us . So it may be objected in other Cases , as the Quakers do about Baptism and the Lord's Supper , who cry down our Ordinances , as none of those the Holy Ghost gave forth , nor our Preaching neither , but they are all spiritual Things , and must be done by a Spirit of Inspiration , pag. 34 , 35. Nothing can be more 〈◊〉 , nor destructive to the Christian Religi●● , than such arguing as you use . Your eighth Reply , is to our proof of Sing●● being a Moral Duty ; and the substance of 〈◊〉 you say to this , is , 1. That the Wicked 〈◊〉 perform Moral Duties acceptably to God , 〈◊〉 plowing of the Wicked being Sin ; and wince 〈◊〉 Minds are Carnal , they cannot perform 〈◊〉 which is Spiritual : And in regard they 〈◊〉 not their Sins , nor need of a Christ , they 〈◊〉 no cause to sing : Or to this effect I find 〈◊〉 speaking , pag. 37. Answ . Doth it follow , because they cannot 〈◊〉 , nor praise God as they ought , they ought 〈◊〉 to pray nor praise God at all ? God deli●● them from such Doctrine . And because 〈◊〉 cannot bless God , nor sing to him for the work of Grace on their own Hearts , or for 〈◊〉 Spiritual Mercies which they have not yet 〈◊〉 , ought they not to sing his Praises for 〈◊〉 Works of God in Creation , Provision , Pre●●vation , and all outward Blessings they have 〈◊〉 from him as their Creator and Bene●●ctor ? Nay , may they not sing his Praises for 〈◊〉 , and the Gospel , and for the Means of 〈◊〉 Conversion ? And why then did David 〈◊〉 upon all Men on Earth to sing and praise God ? I find you are so lift up here , as to cry out against Forms that God hath ordained to be used , 〈◊〉 there are many Forms of things that are 〈◊〉 , and of Divine Institution . All Spiritual Ordinances have Matter and Form ; 〈◊〉 is no Prayer , ( nor Sermon neither ) tho ne'r 〈◊〉 Spiritual , but it has its Form. We read of 〈◊〉 Form of Doctrine , Form of sound Words : Baptism , and Breaking of Bread , have their For●● And if Men must attend ( as helps ) upon 〈◊〉 Forms of Religion , they must do nothing 〈◊〉 mind wholly that which you call the Essence 〈◊〉 things within their Spirits . But what is here 〈◊〉 gainsay what we say , that this is a Moral Duty Moral Duties are perpetually obliging , 〈◊〉 must be done as well as Men are able to 〈◊〉 them . Must not all Men worship and adore the blessed God , and discharge their Duties according to the Light and Law of God in their Consciences , as far as they may be helped ? Why 〈◊〉 they suffered to hear the Gospel preached ? they cannot hear it ( you may say ) aright , who hav● not Faith , therefore must not hear at all . Your ninth Reply is , to that about the continual Cause Christians have to praise God , ●ay to celebrate his Praises in the highest manne● they are able ; and therefore ( as we say ) to sing his Praises in his Publick Worship : This in general you grant . Yet you say it doth not follow from thence we should so sing his Praises . 1. Because in this Life our Joys and Consolations are mix'd with Sorrow and Affliction , &c. We are in our Sackcloth State , &c. Answ . I have answered this twice already 〈◊〉 What though we have Sorrow and Afflictions , 〈◊〉 God lose his Praises therefore ? As sorrow●● , ( saith Paul ) yet always rejoicing : Nay , 〈◊〉 have cause to 〈◊〉 ●nd praise God for Af●●ctions , and for his Presence and Help in and 〈◊〉 them . Did not Christ and his Disciples sing , just 〈◊〉 the most dismal Time of Sorrow and 〈◊〉 ? and Paul and Silas sung when in 〈◊〉 , and their Feet were in the Stocks ? And 〈◊〉 not the hundred and forty four thousand 〈◊〉 a new Song under Antichrist's Reign ? For 〈◊〉 Expositors generally agree , that that place 〈◊〉 to that Time : And 't is plain , before the 〈◊〉 Angels came out of the Temple , clothed 〈◊〉 white Raiment , these sing for being 〈◊〉 by Christ's Blood from among Men●● this we still say is the chief Cause of Singing : And shall we be such Hypocrites , to be 〈◊〉 affected with outward Blessings , than 〈◊〉 inward Spiritual and Eternal Blessings ? 〈◊〉 did not the Christians , in the Time of the 〈◊〉 Persecutions , when they suffered the 〈◊〉 Torments Men could invent , sing Psalms 〈◊〉 Hymns unto God ? This can be no more 〈◊〉 , than that there were such Persecutions , since they that relate the Story of their Sufferings , gave us an account of this their Practice . Nay , and though they were discovered by their singing , and put to death , yet they would not decline this sacred and sweet Duty . Object . 2. But , secondly , you say , Euery true Christian , nor the Church of Christ in general , is able to sing Praises to God in 〈◊〉 Publick Worship , because the greatest numbe● of them have not 〈◊〉 to the Faith of Assurance of the Love of God in Christ ; they are Babes , &c. pag. 42 , 43. Answ . And therefore may the not , 〈◊〉 they not praise God ? this is strange Doctrine What is Singing to God , but to celebrate 〈◊〉 Praises ? and must not weak Christians 〈◊〉 this as well as strong , because they have no● arrived to the Faith of Assurance ? alas this 〈◊〉 but to fill up Paper , or the number of Objections to no purpose , for you will not allow the strong to sing , no more than the weak and yet in pag. 5. of your Book you affirm , 〈◊〉 Spiritual and Vocal Singing was used in 〈◊〉 Primitive and Apostolical Church , is undeniable● Let me tell you , there is no Christian but may see cause to praise God , nay , to sing his Praise , 〈◊〉 the weak Ones , and those under trouble , as well as the Strong : But no Church imposes upon every Member to sing ; they who can't see they have cause , may forbear at such times ; for tho all are called upon to rejoice evermore , yet doth God give all , at all times , ability thus to do ? such may be the temptations of some , that they can't do it , or at leastwise not to such a degree . Your tenth Reply is about formal Prayer , and Singing used under the Law ; therefore you intimate as if we should say , Why may not 〈◊〉 Prayer & Singing be used under the Gospel ? p. 43. Here you tell your Reader , That the Ministers and Worship under the Law were not so Spiritual : that Church consisted of Abraham's c●rnal Seed , ( this is all very true thus far ) so that their Instituted Worship was Formal , 〈◊〉 , Ceremonial , Carnal and Typical , suitable to them ; and the Design of God to make them and their Church-state 〈◊〉 Type , Shadow and figure of his calling a spiritual People into a 〈◊〉 spiritual Church-state , to serve him in 〈◊〉 spiritual Ordinances , in Spirit and Truth ; and so you go on . Answ . We are not a pleading for Formal prayer , nor Formal Singing , nor Formal Preaching neither , nor for any Ceremony of the Mosaical Law , but for Spiritual Prayer , Spiritual Singing , and Spiritual Preaching , and only for Spiritual and Gospel-Ordinances . But let me tell you , no Body who shall read these Lines , ( who does not know you ) but must and would conclude , you are against all 〈◊〉 and external Ordinances ; they are Expressions like what are oft sound in Quakers ●ooks , and seem to be more directly levelled against that Carnal and Formal outward Ordinance of Water-Baptism , and Bread and Wine , ( as the Quakers call them ) than against Singing ; because Singing the Praises of God , is so far from being a Carnal Ordinance , that 't is that which all believe the Angels and glorified Saints in Heaven are found exercised in ; 〈◊〉 , and all the Saints shall be found in to all 〈◊〉 . Sure you have less cause thus to 〈◊〉 upon Singing God's Praises , than against 〈◊〉 outward Ordinance whatsoever you could object against . But I perceive what you aim at , viz. th● Matter must not be precomposed ; that 's the Formal Business with you . I will tell you , 〈◊〉 an extraordinary Gift of Singing was given to a Man , both in Matter and Manner , ye● it must be a Form to others that sing with him ; for he must either write it , and so give 〈◊〉 forth to them , or else speak the words of the Hymn he has to sing , or else how should they sing with him ? So that since you would 〈◊〉 none to sing but one Man alone , 't is no marvel you so oppose the Singing of the Psalm of David , or precomposed Hymns taken 〈◊〉 of the Word of Christ . Moses , that you say sung by Inspiration , th● he had the Matter of his Song given to him immediately from God , yet did he give it ou● by speaking or writing to the Congregation● else how could they have sung it with him , 〈◊〉 the Holy Ghost positively says they did ? so that that was formal too with you . Nay , 〈◊〉 extraordinary Prophets first received the Word of the Lord , and may be sometimes some considerable while before they delivered it out to the People ; nay , we find Jeremiah wrote par● of his Prophecy in a Roll , was not that a Form they could repeat the same words over again● and sometimes did . 'T is not material whether the Form be David's Psalms , or Hymns give● out by an extraordinary or by an ordinary hel● of the Spirit , if others sing with him that ha● it , you will , I perceive , say that 't is formal● tho it be never so spiritual ; but I deny that 〈◊〉 have any Rule to expect Men should bring forth any thing in the Worship of God by an extraordinary Spirit to be preached or sung , but what is contained in the Word of Christ , or is taken out of the Scripture , or agrees thereunto ; because that is a perfect Rule both for Matter and Form , in the performance of all Religious Worship , and Ordinances of the Gospel ; and that which you call carnal and formal , I say , is spiritual . The Prayers that a Minister makes in the publick Congregation may , and oft do , contain many Scripture-Expressions , ( may be half his Prayer may be such ) and who shall say he doth not pray spiritually ? Nay , moreover , and that Prayer some will tell you is a Form to others , which he that is the Mouth puts up , and many times I have heard some good and godly Christians speak softly over the same words in the Congregation . Now since all Forms are cried down by you , sure this must needs be a 〈◊〉 Crime , or a carnal and formal Practice . There is nothing , I tell you again , without its Form : Is not the reading of God's Word a formal thing ? and yet dare you say that is no Duty to be performed in the Church ? If a formal thing , then , by your arguing , say I , 't is no Duty to read the Scripture in private neither . Now because all legal Forms are gone , must all Gospel and Spiritual Forms go too ? In all Administrations we should see to our Spirits that they be not formal , but that with Life and Spirituality we perform every Duty , &c. Have we not a kind of Form prescribed us by our Brethren and Sisters , and others too when they put up their Bills , and tell us what they would have us to ask or desire of God for them ? this would run us into strange Scruples . Must we tell them they must not put words into our Mouths , we must pray as the Spirit moves us , and can't tell whether we shall pray for them or no ? Your eleventh Reply is this , viz , You intimate that we say , that Prayer under the Gospel is an Ordinance of the same nature it was under the Law , and therefore Singing under the Gospel may be of the same nature , &c. To this ( you say ) that it is true , that private Prayer is a Duty of the same nature under the Gospel as it was under the Law. But their Prayers , you say , were delivered formerly with dark Shadows and carnal Ordinances ; for whilst the Priest was offering the Sacrifices , the Priests and Levites in Songs with Instruments of Musick delivered such Prayers , and Psalms , and Praises as were appointed for the publick Service of God : Therefore ( say you ) whatsoever Singing hath been , or still may be in Gospel-times , may as well differ from the Old-Testament-Temple-singing . Answ . Here you have wounded your self , and not us in the least . It appears your Exception lies against our praying in Gospel-times as much as against our singing from thence . For we must not sing with united Voices , with Grace in our Hearts to the Lord , or at leastwise the singing in such a form or manner under the Law , is no Rule for us ; because they sing not only with their Voices , but had Musical Instruments also . Why now I reason thus ; We must not pray with our Voice in Gospel-days , or at leastwise the Saints so praying under the Law can be no Rule for us , because they had dark Shadows mixt with their Prayers as you affirm they had ; so that since we have the Essence of both these Duties in our Spirit , which God looks more ●●pecially at , and we are capable to worship him acceptably without the Verbal and Vocal Instruments of our Body , we must not with our Tongues neither pray ner sing the Praises of God : the one follows as naturally from the Premises as the other , by which all may see the Consequences of your Arguments against Singing . Alas , the true matter of the case is this ; If People would be rightly informed : Vocal Prayer is God's Ordinance , and a Moral Duty as well as instituted ; and the Saints praying and keeping Days of Fasting and Prayer , and Days of Thanksgiving under the Law , is a Rule for us : but all Shadows and Ceremonies they used in Prayer under that Dispensation , is nailed to the Cross of Christ , or bu●ied with him . And so in like manner the singing the Praises of God with our Voices is God's holy Ordinance , and a Moral Duty , ( tho brought also under Institution ) ; yet all those Shadows and Ceremonies that they used in their singing under the Dispensation of the Law , as Instruments of Musick , &c. are nailed to the Cross and buried with Christ , as being Ceremonial . The like might be said in respect of Preaching then and now ; for there were some things then in tha● Administration that might be shadowing ; ye● Preaching abides God's Ordinance for ever . 〈◊〉 not in the Ministers Preaching under that Dispensation , yet 't is evident to be so in respect 〈◊〉 that Maintenance God appointed his Ministers then . May you not say that the Ministers of Chris● under the Gospel ought not to have any Maintenance at all allowed them , or at leastwise that Law of God ( that provided for his Minister● under that Dispensation ) is no Rule for it , because that was by Tythes , &c. which was 〈◊〉 Legal Right , and abrogated by Christ ? 'T is known some have drawn such an Inference : but I am glad to see our London-Elders better instructed ; for in the late Treatise , called The Gospel-Ministers Maintenance vindicated ▪ ( which is recommended to all the Churches by them joyntly ) you may see , tho they gran● Tithes did appertain to the Mosaical Law , and that that Law is abrogated , yet they affirm the Equitableness of that Law remains : And from hence they urge and press the Duty of the Ministers Maintenance now in Gospel-days on our People . Take the words as they lie in that Book , pag. 109. The Lord's People ought to be as careful in the discharge of their-Duty to Christ's Ministers now , as the Israelites were to the Levites ; tho , as we have already said , their Portion is not the Tenths of Mens Increase , nor the first Fruits , which Law is abrogated , yet the Equity of that Law ( that is a Moral Duty ) remaineth perpetually ; as the Apostle observes , Do you not know that they which minister about holy things , live of the things of the Temple ? and they that wait at the Altar , partake of the Altar ? &c. 1 Cor. 9. 13. Why even so it is in the case of singing the Praises of God. Under the Mosaical Law the Lord's People used Musical Instruments in that Ordinance , which was a Legal Rite , and is abrogated ; but Singing is a Duty still : and from hence too it appears so to be upon the very same scot of Account , viz. because the Equity of it in all respects remains , and is the same , i. e. God deserves equally to be praised now as then ; 〈◊〉 there is the same reason we should sing his Praises now as they had . Nay , since we have received greater Grace , greater Light , clearer Discoveries of his Will , and greater and more glorious Blessings and Priviledges than they had ( we having the Substance of those things which they had but the Shadow of ) there is more reason we should sing the Praises of God now than they had then . For now under the Gospel , the time of singing of Birds is come , Cant. 2. 12. 〈◊〉 't is to be done more spititually ( without Musical Instruments ) only with our Voices together , with Grace in our Hearts to the Lord Col. 3. 16. In like manner also Israel in their assembling together to worship God ( which also is a moral Duty ) had then a glorious external Temple to worship in , as well as Musical Instruments in their Worship ; but because 〈◊〉 under the Gospel have no such glorious external Temple , must we not meet together to worship God at all ? or was their assembling together so to do , no Rule for us to perform that great religious Duty ? 't is easy to 〈◊〉 Ceremonial Rites , and places then used , from moral and perpetual Ordinances , and to shew how those external Rites and Shadows are gone , and yet that part which is moral remains forever . The same holdeth good in respect of the Jewish Day of Worship , as well as to their Place of Worship , and Musick in their Worship ; for there is no more natural or moral Holiness in one day than there is in another . True a time of Worship is moral from the fourth Commandment ( nay , and so may , as some have learnedly shewed , the seventh part of Time likewise , but that Day lies in the Breast and Power of him who is the Lord of the Sabbath , viz. Jesus Christ , who in the New Testament hath appointed the first Day of the Week , and not the last , to be the Day of Gospel-Worship for us ) but the Jewish seventh Day , as Reverend Calvin excellently hath shewed ( Institut . pag. 124 , 125 , 126. ) was Ceremonial . 1. Because called a Sign between God and the Children of Israel , Ezek. 20. 12. 2. From the nature of the Law it self , which was given forth and charged to be kept with such strictness , that it plainly appears to appertain to the Yoke of Bondage ; they were not to kindle a Fire through all their Dwellings on their Sabbath , nor to speak their own Words , nor think their own Thoughts : from hence Calvin shews God discovered the absolute need and necessity of a perfect and compleat Righteousness in order to Justification and Acceptation with God , i. e. that the Creature must be without Sin , or attain to a Cessation from the Thoughts of Evil , which figured forth the necessity of Christ's perfect Righteousness , and of that Spiritual Rest such who believe in him enter into . All that are in the old Nature , or whilst they remain under the old Covenant-state , do labour and are heavy laden , there is the six days work in the Antitype , but when they come to Christ , believe in Christ , then they cease from their own Works , and enter into Rest , according as Christ hath promised , Mat. 11. 28 , 29. then they enter into the Antitype of the Jewish Sabbath , Heb. 4. 3. This also appears by the Nature of the Precept it self , as laid down Exod. 20. wherein all may see it seems to be a meer carnal Ordinance , like others which were imposed on the People till the Time of Reformation , or till the Substance came . What was it God enjoined on them , but a cessation from all external Labour or Work ? In it thou shalt do no manner of Work , Thou , nor thy Son , nor thy Daughter , 〈◊〉 thy Man-servant , nor thy Maid-servant , nor thy Cattel , nor the Stranger which is within thy Gates . Exod. 20. 10. Here ( as this Law was written in Tables of Stone ) are no Religious Duties enjoined on that Day , but a ceasing from bodily Labour , which fully shews the purport of it . 4. 'T is called by the Apostle , ( amongst other Mosaical Rites ) a Shadow of things to come , but the Body ( or Substance of them ) is Christ , Col. 2. 17. And thus you may see how to exclude Ceremonial Rites used under the Law , that were joined to Moral Duties , and yet preserve that which is Moral in them . Doubtless though it is not our Duty to observe that Jewish Ceremony of the Seventh-Day-Sabbath , which was given forth and enjoined on them , yet the Law of the Fourth Commandment , as to a time of Worship ( as before ) remains to us , so doth Singing the Praises of God ; but the External Place of Jewish Worship , the Time and external Rites of their Worship , and the external Instruments of Musick then used in their Worship , went away altogether , and were buried with Christ . Object . Your twelfth Reply is , To that we say of precomposed Forms of Preaching , since the extraordinary Gifts of the Spirit are ceased ; 〈◊〉 must now pray and preach by its ordinary Gifts ; and if we are allowed to use precomposed Forms of Preaching , why not of ( they might say ) say you , Prayer and Singing also ? pag. 46. Answ . You seem to state this Objection not so fair as you ought , because you know we do not plead for such precomposed Forms of Prayer as we do of Preaching and Singing . But the Truth is , if there was no more to be said against using those Forms of Prayer ( that some contend for ) than what you have said , they might be lawful too . Therefore I shall trouble the Reader with a recital of what you say to this Objection against precomposed Forms of Prayer , and Singing ; and what you say for Forms of precomposed Sermons , since you seem to be for one , and against the other . I do acknowledg ( say you ) and assert , that we should not neglect Prayer , till we have an Extraordinary Gift or Impulse of Spirit unto Prayer ; but we should constantly go to God as we can , not only for continuance of those Mercies we have , but for further supplies of our inward and outward Wants , which are the chiefest part of Prayer . But Singing proceeds from a fulness of enjoyment , and is called a Breaking forth , and therefore requires a greater Measure of the Holy Spirit ; for we can pray for what we have not , but we should break forth into Singing for what we have , ●therwise we mock God , and draw nigh unto him with our Mouths , and honour him with 〈◊〉 Lips , when our Hearts are far from him , and our fear towards him taught by the Precepts of Men ; and therefore when I consider the present State and Frame of the Churches of Jesus Christ , I wonder that so many should be for Singing , when their Hearts are so much below Prayer ; for if we should go from Saint to Saint , we should find that this is the general Cry , I have a dead and stony Heart — I can't pray , I want the Spirit . — Now if thus it be , then where is the Spirit of Singing ? Will you lie , and express that with your Lips to God , which you have not in your Hearts ? Pag. 46 , 47. Answ . The substance of what you say here , is this , viz. That a greater Measure of the Spirit of God is required in Singing , than there is required in Praying ; but you give no Reason for it . The Apostle saith , When I pray , I will pray with the Spirit ; and when I sing , I will sing with the Spirit , &c. 1 Cor. 14. 15. He doth not hint , he needed greater help to do the one , than to do the other . There is no Duty nor Ordinance of the Gospel , that can be performed acceptably to God without the Spirit , or the gracious Influences thereof : And certainly no Man besides Mr. Marlow will say there is more need of the Spirit in its greater Influence in ordinary Occasions , or in common Worship to praise God , nay , to sing his Praise , than there is to pray , and in the doing other Duties . You mention that in Isa . 52. 38. of Breaking forth . Why is that then a Vocal Singing ? it was hinted by you ( even now ) to be some kind of shouting or rejoicing , pag. 29. as if it was no such thing ( as here you seem to grant it to be ) when you think it will serve your turn another way : But all may perceive , by your arguing against Singing after the manner you do , ( that though the Essence in your sense be in our Spirits , and as others say , Singing is comprehended in their Praying , i. e. when they Praise God ) ; yet none of these in truth is proper Singing in your judgment ; for it it be , you contend against that which all Christians say they do own and perform . But to proceed . There may be , 't is plain , an extraordinary Spirit of Prayer at some times , and an extraordinary Influence in Preaching , and an extraordinary Occasion to perform those Duties likewise , and so in Singiug : But must not we therefore be found in the performance of each of these Duties at any other time ? And have not all true Christians always in themselves the chiefest cause or ground of Singing forth the Praises of God that can be , viz. the consideration of Redeeming and Regenerating Grace , though sometimes to such degrees , they do not find that liveliness in their Spirits to do it ? Moreover , we ought to strive to be filled with the Spirit , that we may both Pray , Preach , and Hear also . But sometimes we have not those fillings of the Spirit in such a measure as at other times , yet must Pray , Preach , Hear , and Sing also ; for the Argument or Motive of Singing , ( as of our other Duties , ) doth not lie in our being so exactly qualified to do it , or in our extraordinary fitness for the Duty , but in the requirement of God , 't is his Ordinance , and may be our Sin if we are not so fit to praise God as we should be , nor are no more fit to pray and hear the Word preached . Object . But some may object , Doth not James only injoin Singing of Psalms , when People are merry , or find great cause of inward Joy in the Lord ? Answ . No , by no means , this must not be granted : for if so , then People must never pray but when they are afflicted . Do but read the Text , Is any among you afflicted ? let him pray . Is any merry ? let him sing Psalms . Jam. 5. 13. Sure 't is the Duty of the Lord's People to pray as well when they are not afflicted , but are in Health , and in Prospirity ; 't is always on fit and proper Occasions to be done , but when afflicted more especially , then in a more than ordinary manner to be in the Duty of Prayer . So , and in the like manner , 't is our Duty to rejoice and sing the Praises of God always , on all proper Occasions ; but when any are more then ordinarily lifted up with the Goodness of God , or filled with the Comforts of the Holy Spirit ; which is intended doubtless in that phrase , Is any Merry ? then they should in an especial manner sing Psalms , or Hymns , of Praises to God. Also from hence we may argue , that as it is the Duty of one afflicted Person thus by himself to pray , so when the whole Church is afflicted , they in an especial manner should keep days of Prayer together ; and so they oftentimes do on such an account : Yet it is the Duty of the Church to pray at other times notwithstanding . Why so it is in the case of Singing , when the whole Church of God hath received some signal Mercies in an especial manner , they ought together to give Thanks to God , and sing his Praise ; but yet , notwithstanding , they ought to sing the Praises of God at other times , as well as pray at other times ; and nothing is in the least hinted here in this place by the Apostle James to the contrary . Object . But we have no Command to sing in our Publick Assemblies , either before or after Sermon , nor any Precedent that any Gospel-Church did so . Answ . You must take heed and avoid needless Questions and Contentions . We have no Command to pray in our Publick Assemblies , either before or after Sermons ; nor no Precedent that any Gospel-Church did so , Must we not use that Practice therefore ? I am sure this Argument is as strong against the one as 't is against the other . Obj. But we are commanded to pray always , and that is a very convenient time when the Word of God is preached ; every thing is sanctified by the Word of God and Prayer . Answ . So we are commanded to rejoice evermore , 1 Thess . 5. 16. and in every thing to give thanks to God , Phil. 4. 4 , 6. And to sing his Praises , is the highest way or manner of rejocing and giving Thanks to God we are capable of attaining to , as it appears in all the Scripture ; And also by the example of the Holy Angels , who this way rejoice and give Thanks to God. Besides , the Preacher may pray before he comes out of his Closet , or secretly in his Heart when in the Pulpit , and answer those general Precepts : so that you may see what such kind of Cavilings will bring us to . 'T is evident we read of several Sermons the Apostle Peter preached , and Paul too , and some of them in Church-Assemblies , but no more mention is made of praying before or after their Sermons , than is of their Singing . And is it not as convenient a time when we hear the Excellencies of Jesus Christ , and the infinite Love of God , and the Happiness of Believers opened , then to sing and praise God , as it is a proper Season to pray to God for a Blessing upon the Word ? there is the like parity of Reason for the one as there is for the other . If any has the advantage , 't is the Ordinance of Singing , for two Reasons ; the one is a Precept , the other a Precedent . The Precept is given us by David , containing a Prophecy of the Gospel-days , and Gospel-Church . Psal . 100. 1. Make a joyful Noise unto the Lord , all ye Lands : Come before his presence with Singing . So Psal . 95. O Come let us sing unto the Lord : let us make a joyful Noise to the Rock of our Salvation . And , vers . 2. Let us make a joyful Noise unto him with Psalms . This all People , i. e. the Gentile-Churches are required to do as well as others , and to do it too when they come into the Presence of God ; which 〈◊〉 Expositors say , intends our coming into God's Presence in his Publick Worship . Moreover , the Watch-men ( and desolate Places , or Souls who have been like desolate Places ) saith 〈◊〉 Prophet , shall lift up the Voice , with the Voice together shall they sing , Isa . 52. 7 , 8. And these Watch-men are those whose Feet are beautiful 〈◊〉 the Mountains , who preach the Gospel of Peace , and bring glad-tidings of good things . And this very Text the Apostle applies in ge●●●al to Gospel-Ministers in their publick Preaching of Christ in Christian Assemblies , see Rom. 10. 15. But we having so largely in this Treatise opened this , we shall say no more to it here . As touching Examples , we have the Church of God , viz. Israel of old , who sung together in Exod. 15. 1. and in many other places ; 〈◊〉 , always generally when they came together to worship God , as they prayed to him , so they sang Praises to him ; which we have proved is no Ceremony of Moses's Law , but a Moral Duty , and so a Perpetual Ordinance . And in the New-Testament we have the Example of Christ himself with his Disciples , who after that part of Publick Worship , viz. celebrating the Holy Supper , sung an Hymn together . O how sad a thing is it that Men should go about to restrain , or withhold Praises from the Lord which are due to his holy Name , and wherein we are said to glorify him ! Psal . 50. 23. I am perswaded they will have but little Thanks from him one day for their thus doing . And truly that want of God's Presence , or liveliness of Spirit , or that cause of Complainings that are in our Churches , ( of which you speak ) may partly arise from hence , i. e. from the general neglect of this great Duty , in which God of old appeared amongst his People , like a cloud , to fill his House with his glorious Presence , 2 Chron. 5. 13. owned also by God's gracious Testimony in giving his People 〈…〉 such eminent Victories over their Enemies , 2 Chron. 20. 21 , 22. And when they had consulted with the People , and appointed Singers unto the Lord , that they should praise the Lord in the Beauty of Holiness , they went out before the Army , and to say , Praise the Lord , for 〈◊〉 Mercy endureth for ever . And when they began to sing and to praise , the Lord set Ambushments against the Children of Ammon , Moab , and Mount Seir which came against Judah , and they were smitten . Israel's Success , ( saith Mr. Wells ) follows Israel's Singing . If the Lord's People will be found in their Duty , they shall not want God's Presence . To this I might add that glorious witness of his Presence in delivering Paul and Silas out of Prison , upon their Praying and Singing Praises to him , Act. 16. There may , 't is true , be a natural Joy , or false Rapture , by an erring Spirit : but that Joy and Presence of God we meet with in his own Way and Ordinance , nay in the same Ordinance in which he met with his People of old , we may be sure is to be prized , and esteemed as no natural or counterfeit Joy , say you what you please . If in singing Psalms , Hymns , &c. there is no other Rule or Directions given in the New Testament differing from the Practice of the Saints before the Law , under the Law , and in Gospel-days , performed by Christ and his Disciples ; Then no Christian has cause in the least to doubt but so we are to sing , since 't is a Duty , and injoyned on the Churches in the New Testament , Ephes . 5. 19. Col. 3. 16. But this I have spoken largely to already likewise . See Chap. 9. In Pag. 47. of your Book , you say , As to Forms of Prayer and Singing , you have sufficiently treated of them before , and that the sufficient Gifts of the Spirit shall continue for the Worship of God in the Gospel-Church to the end of the World ; and therefore your Business here you say is , only to shew that the using a Form of Preaching , is no Example for a Form of Singing — Because , say you , there is reason for a Form of Preaching from God's Word , and Example of Christ himself , who read a Text , and then preached from it ; though as he was not , so others are not limited to that , or any particular Forms ; yet it is lawful for them , and required of them to compare Spiritual Things with Spiritual , and to give themselves to reading and meditation , and to hold fast the form of sound Words , rightly dividing the Word of Truth — So that where the Scripture gives us a liberty , we may use it ; but it is our Sin to take it where it is forbidden , as you say , you have shewed in a form of Prayer and Singing . Answ . In vain is all this : for all the Saints and Ministers of Christ in all the World , know there is no one form of Preaching laid down in all the Scripture . We have no direct Precept nor Example to preach in the form of taking a Text of Scripture , and to raise a Doctrine from it , and then Generals and Particulars , with Application ; 't is left to the faithful Servants of God to make use of such a Form or Manner as the Spirit of God may help them to , and the best Form or Method they ought and do make use of , which they judg may most tend to the profit of the People . That place you mention of our Saviour taking a Text , and then preaching from it , is scarcely true ; however 't is a greater proof for a Form of Reading the Scripture in our Publick Assemblies , than for taking a Text to preach from it . The Text saith , He went into the Synagogue of the Jews on the Sabbath-day , and stood up to read . Aud there was delivered to him the Book of the Prophet Isaias ; and when he had opened the Book , he found the place where it was written , The Spirit of the Lord is upon me , &c. Luk. 4. 17 , 18. And he closed the Book ( so do not we ) and gave it again to the Minister , vers . 20. And began to say unto them , This day is this Scripture fulfilled in your Ears , vers . 21. We read of no more he spake unto them from that Scripture . And as touching those general Directions you mention , of comparing spiritual Things with Spiritual , &c. 1 Cor. 2. 13. the Apostle doth not prescribe a Form of Preaching , but shews , as our Annotators observe , how they did disclaim those Orations of the Athenian Philosophers , using a plain and spiritual Stile , giving the naked Truths of God , without any paint of gawdery Phrase , speaking the Oracles of God as the Oracles of God , fitting Spiritual Things to Spiritual Persons , or opening one Scripture by another . But certain it is , they preached by an Immediate and extraordinary Spirit or Inspiration ; And so do not we , but by an ordinary Spirit from the mediate Word , and therefore must study , and are left to use what Method we think may be ( as I said before ) most profitable for the Edification of the People : so that although the Matter of our Sermons are God's Word , and so Divine and Sacred , yet the Form or Method , you may as well call Formal and Human , as so to call our Sacred Hymns , &c. God hath graciously owned nevertheless this form of Preaching , and daily doth , for the conversion of many Sinners ; and so he doth our way of Singing , to the comforting and refreshing the Souls of many Saints . — We have matter to be sung plainly expressed , viz. the Word of Christ , in Psalms , and they are well known ; and also Hymns and Spiritual Songs , which are also easily known by such who are Spiritual , whether they be the Sacred Word of Christ as to the Matter of them or not , as it may be known , that the Doctrine is so which we hear preached . As touching David's Psalms , they are formally God's Word as well as materially so : and since we are exhorted to sing Hymns and Spiritual Songs , I ask whether those Hymns and Spiritual Songs could be without a Form , either immediately , or mediately precomposed by the Spirit ? and whether the Spirit of God doth not , may not assist God's Servants now in precomposed Hymns , as he did of old ? Object . But may be you will say , They are not in Metre in the Scripture , but other words are added to make them fit to be Songs , and that is humane . Answ . We have none of the words in our own Tongue , which were originally given forth , by the Holy Ghost ; for the Holy Men of old who gave forth the Scriptures , spake them either in Hebrew or Greek words . And therefore some may object our Translation of the Bible is Humane , and our Scripture not God's Word ; besides we have many humane Supplements , as I said before , added , to make the sense good in our English Tongue : And as touching Meter , Prose and Verse is all one , if the same Truth be contained in the Verse as is in the Prose : And if it be equal Feet , or measured fitly to be sung , we do not matter Rhime at all . And so some tell you David's Psalms were left in the Original . But should we miss it , either in the form of Preaching , or Singing the Praises of God , since we can appeal to God we do both as nigh the Rule of the Word as we have received Light and Understanding , Who do you think will be most excusable in the Day of Christ , we , or such , who because they are not arrived to a satisfaction about the Form or Manner of Preaching , or of Singing , will do neither of them , or at leastwise wholly live in omission of the last , and yet say they believe 't is an Ordinance of Christ ? And let me tell you , to admit of this nice Exception against practising of an Ordinance , because we do not know the exact Form , this will run us into a multitude of needless and frivolous Objections in the administration of other Ordinances ; one or two of which I have met withal . As for Example . In Breaking of Bread , ( saith one ) you ought to have but one Loaf , because Christ's Body was but one entire Body , and the Church is said to be but one Bread ; therefore ( saith he ) if you have many Loaves , you err , in the form of this Ordinance ; and as by you practised , 't is humane and devised . Saith another , As soon as you have broke the Bread , you must pour forth the Wine ; because so soon as Christ's Body was broke , his Blood came forth . Saith a Third , You must eat all , and let none remain ; which others deny . One says , We must eat plentifully , for Christ so bids his Friends , Cant. 5. 1. Saith another , A little quantity of Bread , and so of the Cup , will answer the Form of the Administration . So in the Form of Baptism , one may say , You must Baptize the Person forwards ; saith another , Backwards ; one may say , with a swift Motion ; another may say , it must be done with a slow Motion , and let the Person lie some time buried in the Water , that we may have the clear Representation of the Burial of Christ . Would not these be silly Objections ? And yet these appertain to the Form of the Administration of Christ's Ordinance . But as the Apostle saith , 1 Cor. 11. 16. If any seem contentious , we have no such Custom , nor the Church of God. We read , the Children of Israel for a long time had lost an Ordinance , viz. that of sitting in Booths in the Feast of Tabernacles , Nehem. 8. 14. which had not been done from the days of Joshuah the Son of Nun , vers . 17. so that none were then living to tell them the Form of those Booths . Suppose now that one had said , they must be made this way , and another that way ; and they should not have agreed about the Form or Fashion of these Booths , would this have justified some others among them to have said , We will have no Booths at all , unless there be some extraordinary Prophet to shew us the Form or Manner how they should be made ? No sure , there were none among them that we read of that were of such a Spirit ; or if there had , doubtless they would have been worthy of Reproof : but they all , according as they found it written in the Law , which God commanded Moses , &c. they went to work , and 〈◊〉 down Olive-branches , and Pine-branches , and Myrtle-branches , and made them Booths . Lord grant us the like Wisdom in this great Case , about the lost , or long-neglected Ordinance amongst us , of Singing of Psalms , Hymns , and Spiritual Songs . Object . Singing is a piece of Art ; Who can 〈◊〉 if he be not taught , so that he may do it artifically ? &c. Can this be a part of Sacred Gospel-Worship ? Answ . As this Objection excludes this Holy Ordinance of Christ ; so it would likewise exclude other Duties . You will not admit it , because it cannot be done without Art. There is , I must tell you , an Art in Speaking , and no Man but has need to learn and be in●tructed to speak as he ought , that he may not ●ender himself ridiculous , especially when he speaks about Divine Things . How rarely and ●egantly do some Men express themselves to ●●ify others , by improving their natural Parts ? Also there is an Art in Preaching ; and all young Men , when they begin to take upon them that Work , need instruction how to handle a Doctrine . And so I may say in Praying too ; but I have shewed in this Treatise , that Men are as apt ; by natural Instincts , to sing , as they are to speak : And Paul shews , in 1 Cor. 14. that all who have Spiritual Gifts , should use them with all Wisdom ; so that the Church , and all God's People , may be edified . If the Trumpet gives an uncertain Sound , who shall prepare himself to the Battel ? The Method of Preaching must be learned and improved , and that well too . Some who have great Gifts , yet cannot utter themselves in an Eloquent manner to the profit of others , and it may be , because they are against studying the Rule or Art of Speaking : But all the World knows the way of Singing is easily learned ; And who gave Men those Faculties of Learning ? &c. Natural Gifts , as well as Spiritual , are to be improved to the Honour of God. Is not Reading of God's Word an Ordinance of the Gospel , and part of God's Worship ? and must not People learn to read ? And is not that a piece of Art as well as Singing ? can People read unless they are learned ? 'T is well if some of them who make this Objection , do not suffer their Children to sing vain Songs , whilst they plead against singing of Psalms , Hymns , and Spiritual Songs . But since 't is so natural for all , especially in Youth , to learn to sing , and so easily attained , ought not Parents to instruct their Children about what they should sing , and what not , that so Art and Nature too ( as some call them ) may be improved to the Honour of God ? Grace makes Natural Gifts and Arts to become Spiritual ; for the very words of gracious Persons are , or ought to be Spiritual : the more of Art Men have to express themselves , the more useful , by the Grace of God , they are made to others . If it had not been for Art and Learning , how should we have come to the knowledg of the Scriptures , they being locked up from us in unknown Tongues ? Object . Some have objected against Singing , because that Gift and Manner , as they suppose , which was used in the Primitive Time in Singing , was not continued , and successively handed down to us . Answ . By the same manner they might object against the Bible , and say , We ought not to receive it , because God did not continue the Gift of Tongues in the Church , that by virtue of those Gifts , the Old and New Testament ( without Humane Art ) might be delivered to us : Nay , and against Preaching too , &c. for those Gifts in the Apostolical manner of Preaching , was not continued nor handed down to us ; nay , what Ordinance had not lost its Primitive Form under the Apostacy ? The Conclusion . AND now , Brother , suffer me to make a little Improvement likewise , as well as you ; and notwithstanding your Conclusion savours of much Bitterness , I would fain have mine end with all Sweetness : if there is any Tartness , I cannot well help it . First . Whereas you infer singing together of David's Psalms , or any humane precomposed Forms , is a corrupting the pure Worship of God , in mingling Law and Gospel , or humane and divine things together . First , I infer , That to sing David's Psalms and Scripture-Hymns , and sacred Songs taken out of the Word of Christ , together in the publick Worship of God , is an holy Ordinance of Christ , and not in the least to mingle Law and Gospel together any otherwise than the Holy Ghost hath done it ; for Moral Duties are the same in the Law and Gospel . Secondly ; Whereas you say , This will lead us to return from whence we came , at a Dog to his Vomit , and as a Sow that was washed , to her wallowing in the Mire . I say , 1. You do not write like an humble and trembling-hearted Christian , but shew too much Gall and Worm-wood in your Spirit . And , 2. I say , to sing the Psalms of David , and other sacred Scripture-Hymns and spiritual Songs , is to build up the old waste places , and restore the ancient Paths to dwell in , and a going forward and not backward . Thirdly ; You would , you say , have the Leaders among us seriously consider , that are for such formal Singing ( as you call it ) whether they will be able to plead at the Bar of Christ for this Practice , tho they may urge it on their fellow-Brethren here , &c. and you put up a kind of Prayer , that God would give us a true sight and sense of the evil Consequences of this Error ( as you are pleased to call it ) that we may not cause his People to sin , but that with sound Doctrine we may strengthen the weak Hands and feeble Knees , &c. Answ . I must intreat you to consider , whether you will be able to give a good account at the Bar of Jesus Christ , for endeavouring to diminish from God's Word ; nay , from Christ's New Testament , ; for sure we are , singing of Psalms , Hymns and spiritual Songs is one Ordinance found therein , which you strive to take way , and foolishly plead only for a thing called the Essence of it , without the Act or discharge 〈◊〉 the Duty according to the nature of the Ordinance , and so contrive a new kind of singing out of the dark Imagination of your Heart , and add that in the stead of it , which is not understood by the generality of Mankind , and so make us to believe ( if you could ) that Christ hath left an Ordinance that there is no way to come to any Certainty how it should be performed ; and hereby also lay a just occasion of Offence , or a Stumbling-block in the way of weak Christians , to think they may practise Ordinances acceptably to God ( which requires the bodily Organs ) without the Body , and so deny the Body to glorify God , tho redeemed to that end ; and expose our Glory ( viz. our Tongue ) to Reproach and Shame , and consequently rob God of some part , nay , one great part of his glorious Praise , and his poor Church of much sweet Comfort and Soul-Refreshment in his blessed Ordinance , as I have shewed in the first Chapter . Moreover , consider what an account you will have to give to the Judg of the Quick and Dead , for saying , when the Scripture saith they sung , ( viz. Christ and his Disciples ) they did but give Thanks , or say Grace , from the remote and indirect Signification of the Greek Word ; or else sung alone , and not his Disciples with him . See what Reverend Mr. Cotton hath said in Pag. 14. of his Book , in Answer to such a kind of Objection as you make , mentioning that place of David , Psal . 3. 4. & Psal . 77. 1. I cried to the Lord with my Voice : Shall a Man detract from his meaning , and say ( saith Mr. Cotton ) he cried to God only with his Heart ? So when David exhorteth the Gentile Churches to make a joyful Noise unto the Lord , you do detract from his meaning , when you make his meaning to be , not that we should sing unto him with our Voice , but that we should only make Melody to him in our Hearts ? such 〈◊〉 ( ●aith he ) from the Word is alike disallowed and accursed of God , as adding to his Word , ( or otherwise , say I , a diminishing from it . ) Object . But , saith he , you object singing of Psalms with the Voice , is but a Type of that Melody in the Heart , or to that purpose I find he speaks . Answ . 1. No Scripture ( saith he ) speaketh of it as a Type , nor doth any Evidence of Reason declare it . 2. You might as well say , that praying with the Voice was a Type of praying with the Heart , and so it is abolished . 3. If singing of Psalms with a loud Voice had been a typical Worship , David would not have exhorted us to the Practice of it on the Lord's-Day under the New Testament , Psal . 95. 1 , 2 , 7. 4. Christ and his Apostles would not have used it in the Lord's-Supper , which is a Feast of the New Testament ; nor would Paul and Silas have used it in Prison among the Gentiles ; nor would the Apostle have injoyned it on the Churches . 5. The Light of Nature is never wont to teach us Types and Shadows ; doth it not as well teach us to praise God in singing with our Tongues in times of our rejoycing , as to cry to God with our Voices in times of distress ? Fourthly ; Whereas you would have us to consider , that if we err from the Rule in offering Praises to God contrary to his Appointment , whether we do not worship God in vain ? I say to you , whilst we thus offer Praises to God , it appears we worship him according to his Appointment , and so acceptable to him , and to his Glory , and our Comfort . Strange , ours is not right and spiritual Singing ! and yet you can find no other way according to the Rule to perform that sacred Duty and Ordinance . Thus I have answered your Book ( as well as the Lord hath been pleased to help me ) according to your Request ; for I was 〈◊〉 by you to do it you well know before several Witnesses : But did not I think the Name and Honour of God lay at stake , and the Information of man● of his dear Saints and People , in order to the● further Comfort and Establishment in his whol● Mind and Will , I should not have answered yo● in the matter ; and if you , or any body else shall see cause to reply , I shall be ready to return an Answer , if I find it do deserve or nee● one , if God is pleased to spare my Life , and t● enable me in the Work. And now one word to you , my dear Brethren and Sisters , whose Souls are established in thi● sweet and heavenly Ordinance . First , Consider how universally this Ordinance hath been practised , of singing the Praise● of God. 1. By variety of Persons ; as Kings and godly Princes , as Moses , who was a King in Jesurun , Deut. 33. 5. David , Joshaphat , Solomon , &c. By worthy Governours , as Nehemiah , &c. by Prophets , by the whole Congregation of God's People ; by Christ and his Apostles ; by the holy Martyrs of Jesus in the Primitive Times . 2. In all places ; by Moses in the Wilderness , Exod. 15. by David in the Tabernacle , by Solomon in the Temple , by Jehoshaphat in the Camp , by Christ and his Disciples at the holy Supper , by Paul and Sila● in Prison . 3. In almost all Conditions ; in times of Imprisonment , in Persecution and Martyrdom . 4. By all Sexes , both Men , Women and Maidens , old Men and Children . 5. Nay , and how all Creatures in Heaven and in Earth are called upon by the Holy Ghost to sing forth the Praises of God. 6. Consider how God hath honoured it with his Presence and gracious Acceptance , 2 Chron. 5. 13. with Victory over Enemies , 2 Chron. 20. 21 , 22. 7. Confirmed by Miracles , Act. 16. 25 , 26. Secondly , Consider that Singing is , 1. The Musick of Nature , as Mr. Wells observes , the Trees and Woods by a Metonymy are said to sing : And what sweet Musick do the pretty Birds make in the Air and Woods ? 2. 'T is the Musick of Ordinances , as appears by our Saviour's singing with his Disciples at the Celebration of one of the highest and most sublime Ordinances of the Gospel . 3. Singing is the Musick and Melody of Saints . 4. 'T is the Musick and Melody of Angels . 5. 'T is and shall be the Musick and Melody of Heaven , the glorious and glorified Saints and Angels send up their Praises this way . But , my Brethren , be intreated to cry to God , that you may pray and sing with the Spirit , and with Vnderstanding also , 1 Cor. 14. 15. and with Grace in your Hearts , labour after Holy and Heavenly Frames . We must sing with Affections ; let your joyful Noise be from the sense of God's Love in a dear Redeemer to your own Souls . Let it be by exciting your Graces , let Faith be in exercise in this Duty , as well as in Prayer , and under the Word . Let it be with inward Joy ; remember it is your Duty to rejoice evermore , and what then can hinder your Singing God's Praises at any time ? Let it be for Spiritual Mercies and Blessings ; chiefly , more for deliverance from your Sin , than from your Suffering . You have found that Singing is not only sweet and raising to the Spirit , but also full o● Instruction ; nay , I have heard how God has blessed it to the Conversion of some Souls , as well as to the Consolation of others . Austis is very excellent to this purpose ; Quantu● flevi in hymnis & canticis suavè 〈◊〉 Ecclesiae tuae , voces ill● influebant 〈◊〉 & eliquabatur veritas tua in cor meum , ex ea effluebat , inde effectus pietatis ; & currebant lachrymae , & benè mihi erat cum eis . How sweetly ( saith he ) have I wept in Hymns and Songs at the sounding of thy Church , the Voices flew into mine Ears , and thy Truth melted into mine Heart , and from thence flew forth the Effects of Godliness ; the Tears ran down mine Eyes , and it was well with me when I was with them . Aug. in his Preface to the Psalms , Cap. 6. FINIS . AN ANSWER TO Mr. Marlow's Appendix . Wherein his Arguments to prove that Singing of Psalms , Hymns , and Spiritual Songs , was performed in the Primitive Church by a Special or an Extraordinary Gift , and therefore not to be practised in these Days , Are Examined , and clearly Detected . Also some Reflections on what he speaks on the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , Hymnos : And on his undue Quotations of divers Learned Men. By a Learned Hand . Psal . 119. 141. I am small and despised : yet do not I forget thy Precepts . 1 Cor. 14. 22. Wherefore Tongues are for a Sign , not to them that believe , but to them that believe not : but Prophesying serveth not for them that believe not , but for them that believe . By B. KEACH . London , Printed for the Author , and sóld by John Hancock in Castle-Alley on the West side of the Royal-Exchange , and by the Author at his House near Horselydown in Southwark . 1691. To all the Saints and Churches of Jesus Christ , Christian Salutation . Honoured , and Beloved ; IT grieves me I have further occasion to trouble you after this manner : I know not what should move Mr. Marlow to write his Appendix , just at a time when he was told I was writing an Answer to his first Discourse : he might have had a little Patience , and have staid till my Treatise was published , whereby he might the better have perceived , whether what he wrote the last Year would abide the Test or Trial of God's Word or not : This is therefore his second Attempt in publick against God's holy Ordinance of singing of Psalms , Hymns , &c. before any body appeared visibly to oppose , or put a stop to his undue Proceedings . For what Call he had to begin this Controversy at such an unseasonable time , I know not ; but since he has done it , certainly● none can see any just cause to blame me for standing up in the Defence of that Truth of Jesus Christ , which I am so well satisfied about , and established in , and that too as it is practised by the Church , to whom I am related as an unworthy Member , and above twenty Baptized Congregations besides in this Nation . Tho before I went about it , I offered my Brethren ( him or any other ) a sober and friendly Conference in the Spirit of Meekness , which I could not obtain , tho I did not give such a publick Challenge as my Brother intimates in that strange Epistle he hath wrote to me ; but upon the coming forth of his Book , I was troubled , and would have had it been discoursed in the General Assembly , but that was not consented to ; and then I told my honoured and Reverend Brethren my purpose was to give an Answer to his Book , but did not enter upon it till I was urged by several , and particularly by Mr. Marlow himself , before divers Witnesses , in such kind of words as these , i. e. Answer me like a Man. Whether he is answered like a Man , or but like a Child , is left to your Consideration , 't is done according to that Light and Ability God hath been pleased to bestow upon me . But if he , or any of his Helpers , do see cause to reply , they must answer such Persons who have wrote upon this Truth , like Men , and Men too of great Parts , Learning and Piety , or let them not trouble me nor the World any more . As touching his Epistle to the Churches , I shall take but little notice of it , nor of that he hath writ to my self , sith in my Judgment , neither of them signify much ; you are Men of greater Wisdom than to be frightned out of an Ordinance , or deterred from seeking after the Knowledg of it , with these scurrilous Names of Error , Apostacy , Human Tradition , prelimited Forms , mischievous Error , Carnal Forms , Carnal Worship , &c. These are hard Words , and do not bespeak a trembling Heart , nor a humble Spirit , and better becomes a Man that pretends to Infallibility . But what some Men want of sound Arguments , they think to make up by hard Words and Confidence ; but this will never do with you . How hath our Practice of baptizing Believers , &c. been branded with the reproachful Name of Error ? and 't is very observable how some Men of far greater Parts and Ability than my Brothers or mine , either have cried out against the Reign of Christ , Conversion of the Gentiles , and calling of the Jews , as a gross Error , as witness Mr. Richard Baxter particularly of late . 'T is Arguments I know you look for , and if you find those of Mr. Marlow's to prevail against what I have said , do not regard what I have wrote in the least ; for I would have your Faith ( as the Apostle speaks ) to stand in the Power of God , and not in the Wisdom of M●n . The smallness of the Number of our Churches who are in the Practice of this Ordinance , I also know will signify nothing with you , provided it be proved to be a Truth of Jesus Christ : What tho there was not one of our Churches that had Light in it , it would certainly the more concern them to enquire after it . And tho he hath so coursly saluted me , &c. yet I am not concerned at it further , than to bewail his Confidence and Ignorance , to say no worse , I know no Men in any Age , who appeared first to vindicate a Truth , which others call an Error , but have met with the same Usage I meet withal from our Brother ; who , I hope , is a good Man , and means well , yet is he strangely beclouded . As I have been a Preacher up of Spiritual Worship ( as he says ) and that too more than thirty Years ( tho a poor and unworthy one ; ) so through the Grace of God , I hope shall continue to do unto the end of my days ; and 't is only Spiritual Worship , you may perceive , I plead for , in contending for singing of Psalms , Hymns , and Spiritual Songs , none of which three can be without their special and particular form . But must they needs be therefore carnal and humane Forms which appertain unto them ? I see 't is time to stand up for the Form of Ordinances , for the Form of Doctrine , and for the Form of sound Words ; for if we must part with singing of Psalms , Hymns , &c. from his pretended Arguments about Forms , all external Ordinances must go as well as that of Singing : In a word , we must give up our whole visible Profession , and wait for those extraordinary Gifts of the Spirit that were in the Primitive Time , if we must not sing till we have that extraordinary Gift to do it , which some had in the Apostles Days , and the like in discharge of every Gospel-Ordinance , which were to abide in the Church to the end of the World. He may as well therefore say , I do but counterfeit that excellent Gift in Preaching ( when I preach ) which was in the Primitive Gospel-Church , as thus to charge me in the case of our singing by the ordinary Gifts of the Spirit : Read his Epistle to me , Append. p. 15. It seems to me as if my Brother does not understand the nature of Moral Duties , or natural Worship , but mistakes , and thinks natural or moral Worship must needs be carnal , tho we never plead for the performance of any Duties that are moral naturally in themselves , without the help and assstance of God's Spirit , and the Graces thereof in our Hearts . Is it not part of natural Religion and Worship , to fear God , to love God , and trust in God , and that too with all our Hearts , and with all our Souls , and with all our Strength , and love our Neighbours as our selves ? &c. These Duties appertain to natural Religion ; yet without the divine Help and Influences of the Spirit , we can do none of them in a right manner ; no more , say I , can we pray , nor sing the Praises of God , which are Duties comprehended in our fearing , honouring , worshipping , and loving of him . And whereas Mr. Marlow reflects on me , as if I singled out my self more than others in London , in pushing on this practice of Singing . I must tell him , I have abundance of Peace in my Spirit in what I have done therein : And if our People ( I mean , the Church to whom I belong ) are one of the first Churches of our Perswasion in this City , found in the practice of this Sacred Ordinance , I am satisfied it will be to their great Honour , ( and not to their Reproach ) and that not only in succeeding Ages , but also in the Day of Jesus Christ . But , blessed be God , the greatest number of our worthy London-Elders are as well satisfied in this Truth as my self , and many of their People too , and will generally , I doubt not , in a little time get into the practice of it . Our Reverend Brother Knowllys 't is known is clear in it , and has practised it for some Years , though at present 't is not used in his Congregation . He told me lately , he is about to write in Vindication thereof , which he intends to publish in a short time , if the Lord please to spare his Life . And whereas Mr. Marlow affirms , as if I had brought Singing into our Congregation , to the grief and trouble of many of our Members ; it is false , for 't is known the Church hath been in this practice near twenty Years after Breaking of Bread , and near 14 Years on Thanksgiving-days in a mixt Congregation . And what was done of late in bringing it in after Sermon on the Lord's Days , was done by a regular Act of the Church in a solemn manner : And though some of our worthy Brethren and Sisters are at present somewhat dissatisfied with it , yet I doubt not but will in a little time see their Mistakes , if such busy Men as he do not in an undue manner blow up Coals of Contention amongst us . Can any sober Christian think he hath done well to publish the Private Affairs of a Particular Church to the whole World ? It seems to some as if he has hopes there will be a Breach in the Church , upon the Account of our Singing the Praises of God ; but I hope he will find our worthy Brethre●● understand themselves better than to go about to impose on the Church or Consciences of their Brethren , or to strive to pull down that which the Church and themselves too , have been a building for so many Years . Can there be a Man so left of God as to countenance any Persons to make a Schism in a Congragation , because they cannot forgo a Duty they have so long been satisfied in the practice of , and so the whole Body to submit to the Sentiments of a few Persons , as if they had Power over our Faith ? We do not say our dissatisfied Brethren shall sing with us , or we will have no fellowship with them ; no , God forbid we should impose on their Consciences . We do not look upon Singing , &c. an Essential of Communion ; 't is not for the being , but for the comfort and well-being of a Church . We have told our Brethren ( since we sing not till after our last Prayer ) if they cannot sing with us , nay , nor stay with the Church whilst we do sing , they may go forth , and we will not be offended . Should any countenance , through a hot and unaccountable zeal , such a Schism , it would make strange Confusion in our Churches . And since he thus publickly hints at this private Case amongst us , I had I thought a clear Call to open the matter plainly as it is , to clear my self and the Church , to all who may read his Epistle and this my Answer , for we have done nothing we have the least cause to be ashamed of , or unable to justif●● in the sight of God or Man. I shall add one word to the consideration of the Brethren of our Church , I doubt not but they will consider it . 1. If they look upon us equal in Knowledg and Uprightness towards God with themselves , they may see we have the same ground to be offended with them in diminishing from God's Word , as they may be with us , for adding ( as possibly they think ) to God's Word . 2. And let them consider 't is a horrid Evil to break the Bond of Spiritual Union , and unawares to wound the Body of Christ . Whose Work is it thus to do , but the Devil's ? and what a reproach doth it bring upon the Truth ? and how grievous is it to all truly Godly Ones , and grateful to the Enemies of our Sacred Profession ? Besides , upon such a trifle , can it be so hainous a Crime to be found often in that Duty , which they with us have so often and long been in the practice of , and in a mixt Assembly too , many and many times ? Besides , brought in by almost an unanimous Agreement in a solemn Church-Meeting , there being not , above five or six that shewed any publick dissent , nor they neither signifying any such dissatisfaction , i. e. that if we sang at such Times , they could not bear it ; nor do I hear they do desire us now to decline the said practice . Love will cover a greater Fault than this , for they may see cause to believe 't is not Self-Interest , but the Glory of God we wholly aim at● But to return . The truth is , I wonder any should be taken with his Book , for I never saw any thing come out in Print upon any controvertible Truth , that has less of Argument in it , or more of Confidence . And 't is not my Thoughts alone , nor more destruct●● Mediums made use of to the whole of the external Parts of Religion . Nay , one told me very lately , that one of our dissatisfied Members intimated to him , as if our Bible was not truly or rightly-translated ; and it seems to rise from what Mr. Marlow hath asserted in his Book about the word Hymnos . I fear'd that would be the Effect of his Attempt , if any Body regarded what he hath said upon that account . But , pray , what Call has he to rebuke me , after this publick manner , especially before the whole World ? If I had done any thing amiss in his Judgment in that Matter , I could wish he had had more Wisdom and Prudence , or else left the Controversy to some more discreet and abler Pen. I cannot forget the two Brethren that oppoposed Singing the Praises of God , and would not comply with the Church , ( though they did not separate themselves from the Church ) when first the practice of it was received amongst us near twenty Years ago . One of them soon after brought a great Reproach upon Religion by immoral Actions , and came to nothing ; and the other sometime after turned Quaker , and to my Face denied the Resurrection of his Body , &c. As to that way Mr. Marlow speaks of praising of God in Prayer , without singing of Praises , as being more suitable ( as he thinks ) to the ordinary Gifts of the Spirit . I must tell him , God's Word● our Rule ; and since God doth require his People to celebrate his Praises by singing Psalms , Hymns , &c. doubtless that suits as well with the ordinary Gifts of the Spirit , as such Gifts suit with Prayer , Preaching , &c. And I fear one day he will not be found able to give any good account of himself in his bold Attempt , in seeking to rob God of his glorious Praise by singing to him , as he hath enjoined us to do ; nor do I fear , but through the Help and Authority of God's Word , I shall , in the Day of Christ , stand with Joy and Confidence before him , upon this respect , when possibly he may be ashamed , if he has not sincere Repentence for what he has done . Is it not a false Assertion for him to say as he doth , ( in his Epistle to me ) That as to our way of Vocal Singing together● there is neither Command nor Example for it , either in the Old or New Testament ? I shall leave it to the Consideration of all wise and sober Men. Certainly all will conclude the Man is strangely left of God , especially considering he builds his main Confidence from a remote and indirect signification of a Greek Word , and yet , as I am told , understands not that Language neither . My Portion is , I perceive , to undergo hard Censures from Men ; but 't is no more than my Blessed Master met with ; and what am I that I should complain ? One said , He was a good Man : but others said , Nay , but he hath a Devil , and deceiveth the People . John ● . 12 , 20. The Lord increase Love among all the Saints , and a bearing and forbearing , a gentle and Christian Spirit . We all know but in part . And O that the Lord would be pleased to deliver Men , who profess the Gospel , from that horrid Sin of backbiting of their Neighbours , and from that bitter and unaccountable Spirit of Prejudice that seems to be gotten into the Hearts of some ; from whence they seem to tear the Names of their Brethren to pieces through undue Offences . These thnigs are matter of Lamentation , and I fear the forerunner of a dismal Hour that is coming upon us . Cannot Christians have the Liberty of their Consciences from their Brethren , to practise a Truth according to their Light , without being charged and censured after this manner , with Carnal Forms , and mischievous Error ? &c. I shall not retain you longer , but desire you , whoever you are , impartially to read and well weigh my sober Reply to my Brother's Appendix : I am glad it came forth before all my Treatise was printed off , though it is true it makes the Price more than I intended . There is a Reverend and Learned Friend , who meeting with Mr. Marlow's Appendix , finding him quoting learned Authors in an undue and unaccountable manner , to little purpose , ( which because it might possibly amuse the Unlearned and more unwary Reader ) he has , in love to this Sacred Truth , and to deliver the Souls of Men and Women from Mistakes , made some Reflections on what he has wrote on that account , at the close of this Reply . If the Lord please to bless what I and my Reverend Friend have said to the further clearing up the Truth , I shall not be troubled at my Pains nor Charge . I have been forc'd to repeat some things twice or thrice , by reason of his leading me in such an unusual Path. This is all at present , From him who is your unworthy Brother in the Gospel and Service of Jesus Christ , B. Keach . AN ANSWER To Mr. Marlow's APPENDIX . FIrst of all you tell us , That to praise God , or praising of God , is not confined to Songs of Praise ; but that there are other ways and manner of praising of him than such melodious Singing . Answer . We never yet asserted there was no other way or manner to praise God , than by singing of his Praise . Nor is there a Man who affirms any such thing that I know of ; but it is one thing to own those other ways of praising of God , and another thing for you utterly to deny this way , or the way we use in singing his Praise . But I must tell you , most Learned Men , nay , all that I have met with , do conclude , the Disciples , or those Children you speak of Matth. 21. 16. Luke 19. 37. did sing those Hosanna's to the Son of David , as I have shewed in the first Chapter of the foregoing Treatise . I perceive you have now at last raised the Auxiliaries against this Blessed Truth of Jesus Christ . But as a worthy Brother hinted the other day , Dr. Owen is a press'd Man , and as forced in so , he doth you no service at all , as will appear by what follows ; but more especially by what my worthy Friend has wrote at the close of this our Answer . The Doctor , from Heb. 2. 12. from the Greek word Hymneso se , I will hymn thee , i. e. I will praise thee ; saith , ( 1. ) what Christ will do , viz. He will sing Praise to God. ( 2. ) Where he will do it , i. e. in the midst of the Congregation . The expression of both these ( he saith ) is accommodated unto the Declaration of God's Name , and praising of him in the Temple . The singing of Hymns of Praise unto God in the great Congregation , was then a principal part of ' ●is Worship , &c. 2. The chearfulness and alacrity of the Spirit of Christ in this Work , he would do it with Joy and Singing . These are the Doctor 's words , as cited by you , Appendix , pag. 4. And thus did Christ sing with his Disciples , in that great Representative Church , as our Annotators call it . Now what is this to your purpose ? the Doctor tells you , that Hymneso se is Singing Praises to God : And how do you know but Christ might also often sing in the Temple , and in other great Congregations , though we do not read of it , since 't is said , that many other things did Jesus that are not written ? Joh. 21. 25. 1. Especially considering , since it was prophesied of him , that in the great Congregation he should sing God's Praise . 2. Because , as the Doctor observes , Singing in the Temple was one great part of God's Worship ; from whence 't is not likely our Saviour should neglect that part . Moreover , he positively affirms , Christ did , with chearfulness and joy , give Praise to God by Singing . 'T is well known Dr. Owen owned no other Singing than what we do ; he doth nowhere talk of the Effence of Singing in our Spirit , and so exclude vocal or proper Singing . 1. He acknowledges Singing , is Praising of God , so do we ; and say , 't is one of the highest ways of Praising him too . 2. He intimates there are other ways of praising of God , besides Singing his Praise ; though it clearly holdeth forth that our Saviour would praise God that way , namely , by Singing . And you would do well to observe what our late Learned Annotators speak upon that of Heb. 2. 12. these are are their words . Christ and they are of one Father , ( that is , the Saints are here called his Brethren ) he by Nature , and they by Grace , and from one Humane Parent , Luke 3. 23 , 38. and both of one Flesh ; He solemnly sung and Praised his Father with them ( say they ) at his Supper , Matth. 26. 30. in that Representative Church , Mark 14. 26. Yet we , as I said before , do readily grant , as the Doctor intimates , those other ways of Praising of God , and that Prayer , the Word of ●aith , and the Fruits of Obedience , hath a tendency to the Praise of God : But if the Doctor , and some other Learned Men , should intimate , that that Greek word Hymnos should in a remote sence signify Praising of God without Singing : we ask , Whether any o● them say those ways of Praises , without Singing , is the immediate , genuine , direct and primary signification of the word ? All your Helpers will fail you here . There are other Greek words to express those other ways of Praise to God besides Hymnos . You are upon a dangerous Rock ; you make it you● Business to trouble our People with the signification of the Greek word Hymnos , a Hymn , ( though you understand not that Language ) just after the same manner that the Ped●baptists do with the word Baptiz ; say they , i● signifies washing , as well as dipping , which learned Fisher grants . But how ? Take his words , 'T is ( saith he ) so taken improperly , indirectly , collaterally , by the by , or remotely , it so signifys , viz. a washing : But ( saith he ) the direct , immediate genuine and primary signification of the word Baptizo , is Immersion , Dipping , or to dip , &c. You , it seems , take the same way to destory the Ordinance of Singing God's Praises , as they take to destory the Ordinance of Baptism : But this will do your business no better than that will do theirs ; Dipping is Washing , but every Washing is not Dipping . Theirs is ( as Mr. Fisher observes ) an improper , remote , or indirect Baptism , that they infer from the improper Signification of the Greek word Baptizo , and so no true Baptism it all . So you , asserting from those Learned Men , that the Greek word Hymnos signifies a 〈◊〉 or common praising of God in Prayer : 't is , say I , but an improper , indirect and remote sort of Singing of God's Praise , that the Word will admit of in that sense , and so no Singing at all . If you discourse with learned Persons , they will tell you , that some Greek words do , in an improper or remote sense , bear several Significations ; but the direct , genuine , and proper signification of the Word is Singing , or , they sung . And now do you not think you are greatly to blame to make such a stir ●pon a word you understand not , after the manner you have done , and thereby cause Doubts to arise in the Minds of poor weak Christians about the Translation of the Holy Bible , and render our Famous and Learned Translators unfaithful ? But I hope our People will not regard or mind what you unadvisedly have wrote and said upon this Account . Have not the Translators , ( who compared divers Greek Copies together , ) been more faithful to give the proper , genuine and direct signification of the Word , they hymned , they sung an Hymn , than from the remote sense , they said Grace , or gave Thanks ? We read he gave Thanks when he took the Bread , &c. the word there in the Greek is , he Hymned . I have often said , to sing to God in aright manner , is praising of God , but all praising of God is not singing his Praises ; therefore they that translate the word , they praised God , speak the Truth , but they do not speak all the Truth . But if our Saviour and his Disciples did no more than in an ordinary manner give Thanks , as we do after Supper , our Translators do affirm a false thing , to say they sung an Hymn , as elsewhere I have more fully demonstrated ; because Singing is more , and a different thing from saying of Grace , as you hint an old Dutch Translation reads it . But not to muster up a multitude of learned Men , as I might do , who exactly agree with our Translators on that word , take ( once again ) what Dr. Du-Veil doth affirm , ( who understood , as I am informed , all the Oriental Tongues ) in his literal Explanation of the Acts of the Apostles , Acts 16. 25. ( tho I quoted him before ) citing Ruff Presbyter of Aquilia , in the Title of the 72 d Psalm saith , Hymns are Songs which contain the Praise of God : If it be Praise and not of God , it is not a Hymn ; if it be Praise , and of God , if it be not sung , it is not an Hymn ; it must therefore ( saith he ) that it may be an Hymn , have these three things [ Praise ] [ and of God ] [ and a Song ] : therefore Paul and Silas , saith the Doctor , sung Praises to God for the Honour put upon them , in that they suffered innocently for promoting the Glory of Christ . Many of the Learned Men you quote , say Hymnos is Praise , you need not say any more to that , we all own and grant it ; but 〈◊〉 also say the proper and genuine Signification of it , is praising of God by Singing . Now this being so , you basely abuse the Translators , ( Append. p. 12. ) in saying , Surely it must be granted that the word sung and sing in those four Scriptures were imprudent Auditions to those sacred Texts . These are your words . 'T is a shame 〈◊〉 Man of your Learning should ( to defend your own Fantasy ) charge the faithful and renowned Translators after this sort . These things being so , What Authority have you to say our Saviour and his Disciples did not sing ? or , what 〈…〉 any 〈◊〉 or Godly Christian to believe you , if you so boldly affirm it ? Therefore I , upon good Authority , in opposition to what you say , p. 12. that therefore from the Signification of the word Hymnos , there is a good and sacred Foundation or Warrant for such vocal melodious singing at or after the Lord 's Suppe● , seeing the word doth bear that as the direct and proper Signification of it . And also we say that what Christ did was a Rule for us in that of Singing , as well as in 〈◊〉 the Bread and breaking it ; and blessing it , and taking the Cup , &c. Must not we sing the Praises of Christ who have the Spirit 〈◊〉 in measure , because Christ had the Spirit without measure ? And because the Primitive Gospel-Church had the extraordinary Gifts of the Spirit in Prayer , Preaching , and Singing also , must we not pray , preach , nor sing ? if we must not do one of them , we must do none of them : And therefore in opposition to what you say , Pag. 13. of your Appendix , If the Practice of Christ and the Primitive Church , doth not bind us to the Observation of one Ordinance , viz. that of Singing , it binds us to the Observation of none ; 't is time to look about us , for your manner of arguing , I do declare , ( as 't was intimated to me the other day by my Reve●●nd Brother Knowles ) tends to the overthrow of all Gospel-Ordinances whatsoever ; therefore I warn all my Brethren to take heed how they hearken to you in this matter , as they tender the Glory of God , and the Establishment of all Gospel-Worship and Ordinances . But to proceed : 'T is an easy thing ( for any wary Reader , who is not willing to be deceived ) to perceive the Man hath a bad Cause in hand , and that he reasons not like a wise and enlightned understanding Christian . Which doth fully appear , if we consider the false and preposterous Mediums or Ways he takes to make out what he pretends to prove . 1. For one while he seems to assert , that the Essence of Singing , which is ( he says ) in our Spirit , that will serve our turn in discharge of the Duty of singing forth God's Praises , without imploying our Tongues or bodily Organs in it , which , as I have , again and again said , doth as well exclude vocal Praying and Preaching , &c. as Singing . See Pag. 8. of his first Treatise . 2. Then again at another time , because there are other ways to praise God besides singing of his Praises , we must not sing his Praises at all . Appendix , p. 4 , 5. 3. At another time he seems to exclude all Singing out of the Bible , from an improper Signification of a Greek word , and strives to make it out 't was only common Praises or Thanksgiving in Prayer . See the Epistle to me , and Appendix , p. 1 , 2 , 3 , 4 , 5. And so quarrels with the Translators of the holy Bible , as if they wanted Skill in the Greek Tongue , or else Faithfulness in rendring the Word , they sung an Hymn , which he tells you they should have rendered , they gave Thanks , or said Grace . But further , to clear our Godly , Learned and Pious Translators of the Bible ; let it be considered how carefully they were in other Cases , particularly in respect of the word Baptizo , which they never ventured to translate Rantizo , sprinkling , to favour their own Practice , but rather chose to leave the word in the Original Tongue , and not translate it at all , than to give a false Signification of it . 4. But lest all these Tricks and Shi●ts should fail him , he flies to another broken Refuge , viz. intimating that the Ordinance of Singing doth not belong to us now , but may be practised by the Saints hereafter in the thousand Years Reign , or seventh thousand Years of this World. Which is a very doubtful Point , I mean , whether there will be such a thousand Years Reign or not , in his sense ; and yet this Duty lies amongst other Gospel-Ordinances and Precepts given out by the Spirit , and enjoyned on the Churches , which is enough to shake the Faith of our People in respect of other Ordinances , which they have as much reason to say , may not belong to us , but shall be practised in time to come , when the Church ( as the Seekers say ) shall attain its first or original Purity . See Pag. 27. of his Discourse . 5. And lastly , like a wary and fore-seeing Man , to be sure to carry his Cause , he retires to his last Fort and Strong-hold , and affirms , That the Ordinance of singing of Psalms , Hymns , &c. was only in the Primitive Time performed by an extraordinary Gift ; and unless we have such a Gift , we must not sing the Praises of God now in these days . Tho I have said enough to detect this 〈…〉 Conceit , yet since he leads me in this Path , I must , I perceive , reply again , as I have already done , that this Objection lies equally against Prayer , Preaching , and interpreting the Scripture , &c. sith all these Gospel-Duties and Ordinances in the Primitive and Apostolical Days , were performed by the said extraodinary Gifts of the Spirit . If he could make this appear , there was no need for him to trouble us with the Greek word , nor with any of his other Mediums he uses to exclude Gospel-Singing ; it cannot but appear by this last shift , he acknowledges that Singing is somewhat more than that Praising of God he speaks of : But these things betray the Man's Integrity , or rather his Weakness , and shew he doth not argue , but plays the part of a Sophister , though not a cunning One , because his Nakedness plainly appears to the meanest Capacity , through his pittiful threadbare Covering . For if he had thought his other Mediums would have 〈◊〉 his turn , or held the Test , we should not have , I am perswaded , heard any of this : But however , we will come to examine his pretended Arguments he brings to prove this Affertion . His first Argument , to prove Singing was always performed from a special Gift , is in Appendix , pag. 14. For as the Grace of 〈◊〉 is the 〈◊〉 of the Spirit , ( saith he ) and 〈◊〉 God had 〈◊〉 the Oil , viz. the Spirit of Joy for Mourning ; so the primitive Church had some earnest of it , and did rejoice in hope of the Glory of God ; and through the abundance of the Spirit wherewith she was baptized her Ministers delivered the Word of God in extraordinary ways and manners , viz. by Prophesying , T●●gues , and melodious Singing . Answ . 1. Have not Believers now the Holy Spirit , as well as they had it then , though not in such an extraordinary manner ? And have not we the Fruit of it , i. e. Joy , Peace , &c. in believing ? Also you mistake your self , Joy doth not appertain to the Gifts of the Spirit , but 't is a ●ruit of the Graces of the Spirit . Do not the Saints now rejoice in hope of the Glory of God , as well as they did then ? There is no such cause or ground from the Reception of Tongues , or the extraordinary Gifts of the Spirit , ( as you intimate ) to sing the Praises of God ; For many ( our Saviour saith ) shall say in that Day , We have prophesied in thy Name , and in thy Name have cast out Devils , and in thy Name have done many wonderful Works . To whom he will say , Depart from me , I know ye not . And the Apostle saith , Though I speak with Tongues of Men and Angels , and have not Charity , I am become as sounding Brass , or a tinkling Cymbal , 1 Cor. 13. 1. From whence it appears that inward Joy and Peace of which you speak , as the Cause of Singing in the Apostles Times , did not flow from that extraordinary Gift of the Spirit , but from the saving Graces of the Spirit ; either it flows from the consideration of common or external Mercies and Blessings , wherein all are concerned to sing the Praises of God , who gives them fruitful Seasons , filling their Hearts with Joy and Gladness ; or else it flows from those special and internal Blessings which only concern the Saints , viz. Union with God , Communion with God , Faith , Love , &c. Tongues were for a Sign , not for them who believe , but for them who believe not , 1 Cor. 14. 22. Extraordinary Gifts were to convince Unbelievers of the Truth , and not for the Joy and Comfort of such who did believe . Men that have the Gift of Tongues , may be graceless , and so without Christ , and perish eternally in Hell ; therefore the extraordinary Gift of the Spirit fits not , tunes not the Heart nor Tongue to sing the Praises of God. You may as well deny the Saints may not , ought not in these our Days rejoice in God , nay , not praise him in any other manner of ways , as well as not fing , from this Argument you make use of here on this account . Therefore it follows that you strangely mistake , pag. 15. Appendix , in intimating , when Paul exhorts the Saints to covet after the best Gifts , he means the extraordinary Gifts of the Spirit ; for certainly those are the best Gifts that most tend to the edification of the Church , which Tongues could not be said to do . And in the very next words he speaks of a more excellent ways , viz. that of Charity or Love , which refers to the Graces of the Spirit . And of so little use were those special or extraordinary Gifts to the Church , that if there were no Interpreter , they were to be silent , and not use them in the Church at all who were that way gifted . 2. You confound Tongues ( which did appertain to all sorts of Gifts ) with Prophecy and Singing : He that had a Doctrine , might have the Gift of Tongues to bring it forth ; so might he that had the Gift of Prophecy , and he also that had the Gift to Interpret ; and so might he also that had the extraordinary Gift to bring forth a Psalm . And , pray , why must ordinary praising of God be now admitted ? and Preaching , Prophesying , and Interpreting the Scripture by the ordinary Gifts of the Spirit be still allowed , and yet Singing by the same ordinary Gifts must not be admitted ? What Reason do you give for this ? Is not this to darken Counsel with words without Knowledg ? I have demonstrated , that the End of those extraordinary Gifts that were then in the Church in the Administration of every Duty and Ordinance , was to confirm the ordinary practice of all those Ordinances , and so to continue them in the Church to the end of the World. And God hath equally honoured and confirmed Singing of Psalms , &c. to continue , and the ●●●ctice thereof to abide , as of any othe● Ordinance . You need not therefore spend your time to prove the Apostles Prayed , Preached , Prophesied , and also Sung by an extraordinary Gift ; we acknowledg it , but say , this is no mo●e against our Singing , than against our Praying , &c. who have not now those special Gifts . 2. He that had a Psalm of David , might bring it forth in an unknown Tongue , as well as he that had a Doctrine , and so not to the Edification of the Church : For if he brought out a Psalm of David in an unknown Tongue , who could sing with him ? But if he had been to sing alone , the Melody might have refreshed those who sung not 〈◊〉 as some say they have been in hearing the French Protestants sing , who understand not their Language . But to prevent this , the Apostle Paul resolved when he sung , he would sing with the Spirit , and with the Understanding also , because 't is the Matter sung that is fruitful to the Understanding : and what is the Melody without that ? Your third Reason or Argument is taken from that in Ephes . 5. 18. Be ye filled with the Spirit , speaking to your selves , &c. Answ . Doth not the Apostle pray that God would ●ill all the Saints with Joy and Peace ? Rom. 15. 13. And pray , that they might be filled with the Fruits of Righteousness ? Now singing flows from that Joy that all the Saints ought to labour after ; and also from the Fruits of Righteousness , we have an equal need to be filled with the Spirit , to pray , to meditate , to praise God , and to preach and hear the Word , as well as to sing Psalms and Hymns , &c. But you say , pag. 18. That the Gifts of the Holy Spirit were not given alike to every Member of the Church . Answ . 'T is granted : But doth it follow , because some had the extraordinary Gift of the Spirit to pray , must not the others who had not those Gifts , no more than we have them now , not pray at all ? Brother , I am grieved to see how you are deceived , and would ●eceive others : But as they who had not the extraordinary Gift of the Spirit to pray , were , notwithstanding , to pray ; so they who had not the extraordinary or special Gift to sing , were , nevertheless , to sing the Praises of God. What you speak , pag. 18. about the diversity of Gifts , but the same Spirit , from 1 Cor. 12. is rather more against the performance of those other D●ties and Ordinances than Singing , because Singing is not there mentioned . But all that you say there , has been answered already ; so is what you infer from Col. 3. 16. Ephes . 5. 19. For to think the Apostle refers to the special Gift of Singing in those places , is of a pernicious tendency ; for you may as well say the same of all other Precepts enjoined on the Churches , and so free us from all Gospel-Obedience for want of such Gifts . Why must not Spiritual Songs be allowed , as well as Psalms and Hymns ? What do you mean in pag. 23 ? Brother , you were better be silent till you can distinguish better between Psalms , Hymns , and Spiritual Songs , and the manner of the bringing of them forth by a special Gift . A Doctrine may be as Spiritual that is precomposed , as that which was brought forth by a special Gift ; so may an Hymn , or Spiritual Song , though 't is by the ordinary Gifts or Help of the Spirit precomposed ; there cannot be an Hymn , nor Spiritual Song , without its Form ; but if it be a Spiritual Song , it has a Spiritual Form. The very word may convince yo● of your Error ; if the Song be taken out of Christ's Spiritual and Sacred Word , the Form is Spiritual ; and if it be sung with a gracious Heart and Tongue , 't is doubtless Spiritual Worship and acceptable to God. I shall conclude this Section of yours with one honest and plain Argument . That Assertion or Notion against Singing the Praises of God , that hath a natural tendency in it to overthrow the practice of all Gospel-Ordinances , as well as singing the Praises of God , is a vile and pernicious Assertion or Notion . But for a Man to assert , the Saints and People of God now in these days , ought not to sing Psalms , Hymns , and Spiritual Songs , because we have not that special or extraordinary Gift of the Spirit to do it , hath a natural tendency in it to overthrow the practice of all Gospel-Ordinances in these days . Ergo. That Assertion is vile and pernicious . The Major cannot be denyed : the Minor I have abundantly proved in this Treatise . In Sect. 4. You seem to Answer what we say about Singing being a moral Duty . Which you say , Is the refuge of some who cannot maintain their practice of formal Singing by Gospel-Institution . Append. pag. 27. Answ . You mistake ; we need no Gospel-Institution , 't is as clear a Precept in these Scriptures , Ephes . 5. 19. Col. 3. 16. as any we have in the New-Testament . But we say Singing the Praises of God is more than a mere positive Duty . What you further say under this Head , doth but betrary your own Ignorance about moral Precepts , and needs no Answer , I having fully explained it in this Tre●●●e . Is it absurd and irrational for us to make the Moral Law , or Light of Nature , a Rule to exert the Worship of God ? see Append. p. 28. 'T is not so much the matter of Moral Duties , as the manner of the performance of them , that renders them Spiritual ; and for the more orderly and spiritual performance of such Duties , that are in their own nature Moral , they are brought under Gospel-institution , as Prayer , Preaching , and Singing the Praises of God are ; and therefore all Moral Duties must be discharged by the help of the Spirit , and with Grace in the Heart , if accepted of God. In pag. 33. of your Appendix , you repeat your former Objection against Womens Singing in the Church , because the Apostle saith , he suffered not a Woman to teach , nor usurp Authority over the Man , but to be in silence . So that Christ ( say you ) makes it an usurpation of Authority , for a Woman to teach , or to speak , or any ways to break her Silence in the Church . But then ( say you ) 't is objected , These Scriptures that forbid Womens teaching and speaking in the Church , do intend only that they should not be the Mouth of the Church , as in Prayer and Doctrine , &c. To this Objection against your Exposition of these Scriptures , you give your Answers . 1. That such a sense as this we speak of , is against the Letter of these Texts . 2. By asserting that in Singing together , there is Teaching , Instruction and Admonition , pag. 34. Answ . This kind of arguing against Womens Singing we have all ready fully refuted ; but for the sake of our good Women , and to detect this falsity , I shall add a word or two further in way of Reply . 'T is a hard case that Women should be debarred to speak in any sense , or any ways to Break Silence in the Church , as you affirm through a mistake of the Text. 1. For then they must not ask a Friend how he or she doth when in the Congregation . 2. She must not be suffered to be an Evidence in the Church against any Offender , in the case of Discipline . 3. Then she must not ask , where the Text is , if she comes too late , for that is in some sense a speaking and breaking Silence . 4. Nor must she then say Amen at the close of Prayer , for that 's a breaking Silence . 5. Which is worst of all , she must not in the Church give an account of her Conversion , or declare how the Lord was pleased to work upon her Heart : for I have shewed in that Act there is much instruction , nay , 't is so full of teaching to others , that what some pious Women have spoke in the Church upon this account , God hath blessed to the Conversion of Sinners , as well as it has refreshed and sweetly comforted divers Believers ; and therefore herein you abuse the sense of the Holy Ghost , and indeed are not , I fear , fit to be a Teacher of others , but to learn in silence your self . 2. The way therefore to understand this as well as other Scriptures , is to have recourse to the main drift or purport of the Spirit of God therein . And evident it is , the main thing the Apostle drives at in both these places , or doth intend , is this viz. That Women ought not to be allowed to take part in the ordinary Ministration of preaching the Gospel , or ministerially , or authoritatively to preach the Word : because he that has received a just Call so to do , may and ought to exhort and command in the Name of our Lord Jesus with all Authority , Tit. 2. 15. and this Work therefore Women should not take upon them , because they must be in Subjection , and not usurp Authority over the Man. To take the bare letter of the Text , without shewing the scope and drift of the Spirit of God in it , would make sad work , as I might shew from many Scriptures , and has occasioned many abominable Errors , nay Heresies , to abound in the World. 3. As to that teaching which is in Singing , it doth not lie in a Ministerial way , and therefore not intended by the Spirit of God here ; Preaching or Teaching is not Singing , nor Singing Preaching or Teaching , though there is a Teaching in it . You must learn better to distinguish between different Duties and Ordinances , before you take upon you to teach others . Read what I have before said , and also what Mr. Cotton , Sidenham , &c. have said , as you will find it repeated in this Treatise , in respect of the Nature of Teaching and Admonition that is in the Ordinance of Singing , and you may further see how you miss and abuse these Scriptures : for he or she that reads the Scripture may be said in some sense to teach , there is much teaching in it ; yet sure a Woman may be suffered to do this , as a case may present it self , both in the Church , or at home either , in her Husbands presence , and not be deemed to usurp Authority over him : for the Usurpation the Apostle speaks of , respects a Womans own Husband ( if not chiefly ) as well as others ; and therefore if she must not sing in the Church , so by your Argument she must not sing nor read the Scripture at home in the presence of her Husband , because there is a kind of teaching in both those Duties ; and if she should , as you intimate , she would not only break Silence , but usurp Authority over the Man , i. e. her Head and Husband , which is forbid . The Lord deliver poor Women , and Men too , from such kind of Doctrine as this . 4. 'T is evident the Apostle lays no other restraint upon Women than what the Law laid them under , they are to be silent , or 't is not ( saith he ) permitted unto them to speak ; but they are commanded to be under Obedience , as also saith the Law , 1 Cor. 14. 34. And 't is as clear , they were always under the Law suffered to sing in the Congregation as well as the Men , therefore it was not such a Speaking or Teaching as is in Singing , that Paul intends in those Scriptures . 5. Whereas you affirm , that Women were not admitted to pray nor prophesy in the Church neither in the Old nor New Testament , is doubless false , as our late Annotators well observed on 1 Cor. 14. 34. which is the very Text you mention , take their words ; This Rule must not ( say they ) be restrained to ordinary prophesying : for certainly , if the Spirit of Prophesy came upon a Woman in the Church , she might speak . Anna , who was a Prophetess in the Temple , gave Thanks to the Lord , and spake of him to all them that looked for the Redemption of Israel : and I cannot tell how Philip's Daughters prophesied , if they did not speak in the presence of many . The reason given why Women should be silent , is , because they are commanded to be in Obedience . A Woman ( say they ) might say , Amen , to the publick Prayers , and also sing with the Congregation to the Honour and Glory of God , but for her to speak in an ordinary course of Prophesy to instruct People , &c. she is forbidden . The Apostle , saith a Friend ( in a Manuscript ) doth not prohibit all manner of speaking , for that is directly contrary to 1 Cor. 11. 5 , 6. where Women are admitted to pray and prophesy : for Prayer , they may say , Amen to the publick Prayers of the Church : and for Prophesy they may sing Psalms , the Apostle using the Expression according to the Ideum of the Jews , 1 Sam. 19. 20 , 21. 1 Sam. 10. 5. they shall prophesy ; and for they shall prophesy , the ●ald . Paraphras . reads , they shall sing● and thou shalt praise with them . Vid. Wilson's Dict. Dr. Hammond's Annotat. on 1 Cor. 11. 5. and so it 's used 1 Chron. 25. 1 , 2 , 3. The Prohibition , saith he , is not restrained only to Church-Assemblies , but holds good in all places , and at all times , and intends a Subjection of Women to their Husbands , as plainly appears by comparing 1 Cor. 14. 35. with 1 Tim. 2. 12 , 13. with the occasion and scope of the Text ; and is of no greater Restraint now , than lay on them under the Law , 1 Cor. 14. 34. where they were permitted to sing . Object . But say you , If we should say such a vocal Singing together is for a Teaching , then where are the Hearers , if all be Teachers ? &c. Appendix , p. 35. Answ . We have shewed you Singing is a distinct thing from that which is called Teaching or Preaching , tho in Singing there is a Teaching , but chiefly we speak to our own selves , as the Apostle exhorts , in Psalms , &c. and the matter of the Psalm or Hymn is full of Teaching and Admonition , yet 't is the Matter ●ung which teaches , rather than the Singers may ●e said to do it : nor is it any Contradiction to say when I teach others , yet I am thereby taught and admonished my self . So that if it were admitted to be a common or ordinary Teaching , which must not be allowed , and all might be said to teach , &c. yet nevertheless all are Hearers also , and are in a sweet manner taught , admonished and instructed in singing the Word of Christ , in Psalms , Hymns , and spiritual Songs , as elsewhere I have shewed : Nor is it any Contradiction to say , according to the sense of the Apostle , Women must keep silence in the Church , and yet suffer them to sing , &c. no more than 〈◊〉 contradicts their Silence , when they speak 〈◊〉 other times , which they are allowed to do . In Sect. 6. You speak of those prophetical places of the Psalms , &c. urged by us for Singing under the Gospel-days , where all the Earth is exhorted to sing unto the Lord , Psal . 96. 1. Psal . 95. 1 , 2. Psal . 100. 1 , &c. 1. This you would have refer to the preaching of the Gospel , i. e. as the Apostles sound went ●orth into all the Earth , Rom. 10. 18. confounding Preaching and Singing together one time , and Prayer and Singing at another . 2. You would have it chiefly to refer to the seventh thousand Years of the World , or Reig● of Christ ; hinting in your first Part as if then there shall be a Singing , besides the Essence of it in their Spirits : but if that thousand Years you speak of , shall be before the end of the World , or Gospel-Dispensation , pray where lie those Precepts that will authorize them in those days to sing , and yet do not authorize , or warrant us to sing now ? Shall they have a new Bible for those Times ? But if the Precepts for Singing then are contained in our holy Scripture , and yet do not belong to us ; 't is good for us to consider , whether other Precepts written therein , do not wholly refer to those Times too , nay , all Ordinances , till the Spirit comes down in an extraordinary manner ; and so now we must throw off all Gospel-Administrations , and turn Seekers . I am sorry to see such Stuff as this published to the World. But what I have said or cited from the Writings of other Godly Men , in respect of those Prophetical Psalms , and other places of Scripture that enjoin the Gentile-Churches to sing the Praises of the Lord , I would have you and others consider well of , before you write again . In Sect. 7. you heap up a company of confused words to no purpose , about premeditated Matter for Prayer , to oppose premeditated Hymns , &c. Append. pag. 38 , 39 , 40 , 41 , 42 , 43 , &c. Answ . 1. The Form of Prayer Christ hath left us , is a Rule for us in Prayer ; and we may premeditate what we intend to lay before the Lord , it appears from thence ; and so is the Word of Christ our general Rule , by which we must premeditate and precompose our Spiritual Hymns and Songs . 2. But Prayer and Singing differ the one from the other ; we may use other words in Prayer than what we premeditated , as the Spirit of God may help us . But we are limited by God's Word to sing David's Psalms , or else Hymns and Spiritual Songs , composed out of the Word of God. Now let them be either , they must be so many words and no more , or else none can sing with him that has the Hymn . Now we say , the extraordinary ●nfluences for Singing , Preaching , Interpreting , &c. are gone ; therefore every Ordinance must be performed by the ordinary Gifts and Influences of the Spirit , or else we must have none at all . Was Singing , or any other Ordinance performed in the Gospel-Days by an extraordinary Spirit , not performed then also , and afterwards as well and as acceptable to God by the ordinary Gifts ? Shew , if you can , that other Ordinances which had such special Gifts then to attend them as well as Singing , do notwithstanding remain Ordinances , and yet Singing of Psalms and Hymns doth not so continue . If therefore a Man should premeditate every word of his Sermon by the Assistance of the Spirit , who dares to say he speaks not by the Help of the Holy Ghost , or that his Sermon is not part of Spiritual Worship ? 'T is no matter whether we have our Sermons or our Hymns , mediately or immediately , composed and brought forth , provided they be Spiritual , and done by the help of the Spirit . But to close all , Are not David's Psalms part of Spiritual Worship ? and are not the Churches exhorted to sing them ? In Sect. 8. Appendix , pag. 43 , 44 , &c. in answer to what we say , That our Psalms and Hymns are Spiritual , though precomposed , you say , 1. That such Forms are not Spiritual Worship , because Singin● in the Primitive Gospel-Times , was from the special Gift of the Spirit . 2. Though ( say you ) the Matter of precomposed Forms of Singing be Spiritual , yet the Heart must be Spiritual too , or Grace and Melody must be in exercise in performing of them : The Grace of Joy must be raised in the Soul to the heighth of Melody , and so break forth ; Or to that purpose you speak , pag. 44 , 45. Answ . 1. We need no more the special Gift in Singing , to render our Singing Spiritual , than those special Gifts in Preaching to render our Sermons Spiritual . 2. As to have Grace in our Hearts , not only in the Habit , but also in the Exercise in Singing , we acknowledg it is necessary to a right performance of it : And so 't is in Prayer , Preaching , and all other Spiritual Duties of Religion . And let me tell you , we need no greater assistance of the Spirit in Singing , than in Praying or Rejoicing , therefore what signifies that which you say pag. 45. Viz. The least exercise of true Grace in our Hearts in Prayer , gives Essence or Being to Prayer ; so the least exercise of gracious melodious Joy , gives Essence to inward Singing ? And ( say you ) as we ought not vocally to pray in the Publick Worship of God in the Church , without a sufficient Gift of the Spirit ; so also we ought not vocally to sing in the Church , unless it be by a sufficient Gift of the Spirit . And seeing we have not such a Gift , we are not capable of vocal Spiritual Singing . 〈…〉 we must be contented , as you intimate in pag. 46. with the Essence of it in our Spirits only . Answ . By this way of arguing you may lay Godly Christians under Temptations about Prayer , especially in the Church , because they may plead they have not the Gift ; whereas the Grace of Prayer , viz. a broken Heart , is that which God chiefly looks at , and so should we too . This makes no more against Singing , than it doth against Praying . And thus I must argue upon you , If I have not the Special Gift of Singing , I must content my self with the Essence of it in my Heart , and yet ( as I have shewed ) the essence of it is not in the heart as it is in the Voice ; and so since if I have not the special Gift of Prayer , I must be contented with the Essence of Prayer , only Heart-Prayer , and not pray vocally at all . But you intimate , that none ought to sing but such who are in the full assurance of the Love of God. But you might as well say , none ought to rejoice in the Lord , nor to praise him , but such only , as well as to say what you do here against their Singing who want that assurance . But you hint , in pag. 46. as if we must be satisfied with your Essence of Singing , viz. inward joy in the Heart , till we come to the primitive perfection of Divine Worship , &c. Answ . We doubt not , through Grace , but we are come to such perfection of Divine Worship , as to know what Gospel-Worship is , and also that we ought not to neglect one Ordinance more than another ; because we are not arrived to the height of Perfection . I am sure the way you would lead poor Souls in , is not to bring them forward towards perfection ●in Worship , but to keep them back , and hinder them in pressing on to that which some have not yet attained unto . Moreover , your folly appears too much in calling our Singing , an Irregular way of Worship , unless you had 〈◊〉 strength of Argument to convince your Reader what you say is true . May be , 〈◊〉 you had Truth on your side , you might have 〈◊〉 like a Man : But I am satisfied , all wise Men will say , there appears nothing less than Argument . In both parts of your Book there are many words indeed , but little else as I can see . If what I have said have no more strength of Argument and Scripture , and good Sense in it for Singing of Psalms , &c. than appears in your Book against it , I do intreat my Reader to reject what I have said , and 〈◊〉 it as worth nothing ; but if it be otherwise , viz. upright , even words of Truth , O then ye Saints receiv● this Ordinance , and let what I have said by the assistance of God's Spirit , be as Go●rds , and as Nails fastened by the Master of Assemblies , which are given from one Shepherd , Prov. 12. 10 , 13. One word more to those Texts in Paul's Epistles , Ephes . 5. 19. Col. 3. 16. where he enjoins those Churches to admonish one another in Psalms , Hymns , and Spiritual Songs , &c. Can any Man suppose 〈◊〉 these words the Apostle exhorts Ministers to preach , and so sing in Preaching , or to admonish one another to pray , and so to sing in Prayer ? How absurd would it be to affirm either ? Why then , say I , he can mean nothing else but this Ordinance of Singing , &c. Object . But say some , Did not the Lord's People of Old in their Captivity , say , How can we sing one of the Lord's Songs in a strange Land ? Psal . 137. 4. Answ . 1. Under that Dispensation , the Lord's People had a special and peculiar Right to Temporal Blessings ; and when they were deprived of them , and in Exile , they might not see they had that cause to sing the Praises of God. But our Promises and Privileges are better ●nd more inward , and Spiritual : And therefore under the Gospel-Days , we find the Saints sung in the midst of their greatest Sufferings ; for as ou● Sufferings do abound in us , so our Consolation also aboundeth by Christ , 2 Cor. 1. 5. 2. I know not but we nevertheless might see cause to refuse , as they did to sing the Lord's Song , at the taunting and reproachful ●●quests of an insulting Enemy ; the Lord's People are not to do the Lord's Work at the Devil's Instigation . 3. But blessed be God , we are not in Exil● , we are delivered like Men that dreamed ; our Liberty and Mercies are great , if we do not sin them away . In the last place , consider how acceptable and well-pleasing to God his Praises are in a Song ; read Psal . 69. 30. I will praise the Name of God with a Song ; and will magnify him with Thanksgiving . Vers● 31. This also shall please the Lord better than an Ox or Bullock that hath Horns and Hoofs . Two things you may observe from 〈◊〉 . 1. That to sing God's Praises , is acceptable to him . 2. That 't is no Ceremonial Rite , but in it self a Moral Duty . Sacrifices appertained to the Ceremonial Law , and though acceptable to God in their Nature and Design , yet Moral Duties have always had the preference . He hath shewed thee , O Man , what is good , ( i. e. that excells , that which God most delights in ) to do justly , love Mercy , &c. Mic. 6. 8. And this of praising God in a Song , seems from hence to be a Duty of the same Nature ; 't is not only acceptable , but very acceptable , it pleases God better than shadowy Ordinances , or the Offering of an Ox or Bullock . The● few things , Brethren , I thought good to add at the Close , that you may stick close to this Heavenly Ordinance , and not be removed by the subtil opposition of any Men whatsoever . Remember there is no Truth of Christ but has met with its Opposers ; but though we can't as yet agree to sing the Praises of God together , yet let us love one another , and let not the practising or non-practising of this Duty ( for want of Light ) break our Communion one with another , nor make a Breach in our Affections . Let us walk as we have attained ; If any be otherwise minded , God may reveal it to them , Phil. 3. 15. Let us live holy Lives ; and not sing God's Praises , and soon forget his Works ; that so though we can't all sing together on Earth , yet may so walk to the Praise of his Glory , that we may sing his Praises together in Heaven . FINIS . Some Reflections on Mr. Marlow's undue Citations of several Learned Men ; shewing the genuine and proper Signification of the word Hymnos . By another Hand . THE Foundation of Singing Psalms , Hymns , and Spiritual Songs in the Publick Assembly of the Saints , is too firmly laid in Scripture , and in the Judgment and Practice of Christians in general , to be shaken by the New Notions of some few amongst us , whom I hope the Lord in his time will lead into the knowledge of this Truth , and make them sensible of their injurous Attempts to overthrow and remove it , particularly Mr. Marlow in his late Book and Appendix , which are answered in the preceding Tract ; and no more is intended in these few Pages , but some short Remarks on the two first Sections of the Appendix . In the first whereof he would not have Praising God , con●●ed to Songs of Praise , or Vocal and Melodious Singing . For my part I know not where he will find an Antagonist in this Point ; for without Controversy it will be generally granted , that all Creatures , according to their Natures and Capacities , are obliged to praise their great and bountiful Creatour ; and the allowance hereof doth not in the least injure the Duty , which he strenuously pleads against . As for his long Citation out of the Learned Dr. Owen on Heb. 2. 12. to me seems very little for his purpose , for the Doctor , after he had made some Reflections on the translation of the former part of the Verse , saith , in the rest of the words , viz. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , i. e. in the midst of the Church I will sing Praise unto thee : the Original Heb. Psal . 22. 24. is expresly render'd , for though 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 be render'd simply to Praise , yet it s most frequent use , when it respects God as its Object , is to praise by Hymns or Psalms , as the Apostle here 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , sibi hymnos canam , I will sing Hymnes unto thee ; or , te hymnis celebrabo , I will praise thee with Hymns ; which was the principal way of setting forth God's Praise under the Old Testament . Here the Doctor shews the genuine and proper signification of the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 ; and although the Doctor in his Exposition of this place , extends the sense of the word to its utmost latitude , that it might include all ways whereby our blessed Mediator was to Praise the Father : yet certainly he never intende● to exclude that particular way principally pointed at both in the Hebrew and Greek word , which we find in the evangelical History so directly and expresly accomplished , Mat. 26. 30. Mark 14. 26. as were also all other things prophesied concerning him ; yet I grant that the Prophecy had not its full and compleat accomplishment therein ; for the Design of Christ in the whole Administration of his Mediatorial Kingdom , is to set forth the Praise and Glory of his Father ; and every Member of his Mystical Body should concur with him in this Work , in all the Modes wherein it can possibly be performed ; because God is to be served with all our strength and might . Moreover , it is evident that the Doctor never intended to undermine or overthrow the Duty of Singing ; for herein he would have opposed his own Judgment , which he hath published to the World in the account he gives of the several parts of Gospel-Worship , where he makes Singing one , though he terms it a fond Imagination for any to think that God cannot be praised in the Church without it ; and I doubt not but that all sober Christians agree with the Doctor therein . I shall now pass to the second Section , and consider some parts of it , which I was desired to take notice of . Mr. Marlow begins with the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which , whatever he pretends concerning the generality of its signification , most properly denotes a Song of Praise ; And what he cites out of the Learned Ainsworth on Psal . 3. to favour his Purpose , will not serve it at all ; for he there intends nothing less than a Song of Praise , which is fitly composed to be sung , as will appear to any one who considers the whole Paragraph without Prejudice ; and this import of the word is agreeable to the common sense of Learned Men , notwithstanding what is cited to the contrary . His first Citation is out of Constantin's Lexicon , whence he tells us that Hymenaeus is a Nuptial Song . And what if it be , it is altogether impertinent in the present Enquiry ; for this is a word of another Family , and descends from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , a word well known amongst Learned Anatomists . And if he consults any of them , he may soon know the full meaning of it , and also the reason why Hymenaeus is used for a Nuptial Song . This word being thus dismist , as foreign to our present Purpose ; we may consider 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which according to Constantine , as cited by him , primarily and chiefly signify an Hymn or Copy of Verses , made to Praise , and to sing such an Hymn or Verse . And as for the latter word , he says also , it is used for saying or pronouncing such an Hymn ; and the reason may be , because saying or pronouncing is necessarily included in Singing : for Singing is but a particular Mode of saying or pronouncing . And if it was not thus , I might say it is the common fate of all Words to be stretched beyond their prime and most proper Signification ; and who can help it , seeing that the Wit and Fancy of Men , are such luxuriant things , that will make bold sometimes , not only with Words , but Persons too . The Object of an Hymn , and Hymning , according to their usage in prophane Authors , hath been extended , with the like liberty , both to Men and Things , though the primary Object was their Gods. Now I shall pass by two or three lines of unintelligible stuff , Viz. Hymno , etiam Kateuphemismon pro conqueror , i. e. hymno ; also Kateuphemismon is put for Conqueror , to complain , Only with this Caution to the Author , that when he makes his next Essay to shew his Scholarship in Print , he would take better care , lest he meet with a more severe Observator . As to what he further saith of the use of the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , to reproach , to accuse , to complain , & c. ● readily allow ; but then he must take notice that all this was done in Verse , composed and ●ung to these ends ; and the use of the word to these ends , doth not at all prejudice its primary signification , which is to Praise with Songs . And whatever the quick-sighted Author thinks he sees in Constantine or Sympson concerning its signifyng simply to Praise , for my part I can see no such thing , either in them or other Authors , which I shall now inspect . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is render'd by Scapula , Carmine celebro , ● praise in Verse , Hymnis decanto , I sing in Hymns : and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 celebratio quae fit hymnis ●el carmine , i. e. praising by Hymns or Verse ; decantatio laudum , a singing of Praises , Greg. ●az . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is render'd by Scap. Hymnus , Carmen , i. e. Hymn or Verse , and sometimes ●eculiarly signifies carmen in honorem Dei , Verse composed for the honour of God. Thus we find 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . i. e. a Hymn to the Praise of Apollo . Hymnus est cantilena conti●ens laudem Dei , i. e. an Hymn is a Song containing the Praise of God. Minsh . The same Author derives it from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which Hesych varies by 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which properly signifies to sing . Vid. Mart. Lex & Gl. Cyril . Isid . lib. 6. 19. Now I shall enquire into the usage of this Word in the holy Scripture , and shall follow his Method therein . The first Instance which he gives as serviceable to his Design is , Psal . 78. 63. where he supposes the LXXII Translators were not acquainted with 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , as a Song of Praise , or Marriage-Song , which is more than he can tell ; for it is very probable they mistook the Radix 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 he grieved , or rather 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 he lamented , for 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and so translated 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , did not lament . Of this you see more in Musc . on the place . But such as took the Radix 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , have translated the words otherwise , as Jun. and Trem. Non Epithalamiocelebratae sunt , i. e. were not honoured with a Wedding-Song ; and to this sense the words are render'd in six or seven Translations more . Here the Antecedent is put for the Consequent , viz. Praising or honouring with a Nuptial-Song , for Marriage it self . Hence appears the unskilfulness of this Author , and his Ignorance in imposing upon his Reader . Next he comes to Mr. L. in his Critic● Sacra , where you will find Mr. L. giving this sense of the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , that it is carnem se● peculiariter in honorem Dei , i. e. Verse , but peculiarly designed for the Honour of God. This is agreeable to what was said before from other Authors . And further to confirm this sense of the word , I might here add , Zanch. Dav●n . Beza , &c. Then he proceeds to the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which he renders Hymnum cano , I sing an Hymn ; this word is used Mat. 26. 30. Mar● 14. 26. Acts 16. 25. Heb. 2. 12. and in all these places is rendred by Beza ( who was eminently skilled in the Greek Tongue ) after the same manner , and on Mat. 26. 30. he commends Erasmus for correcting the vulgar Latin , in changing dicto Hymno , the 〈◊〉 being said , to cùm ceci●issent Hymnum , i. e. when they had sung an Hymn . On ver . 20. he gives an account out of Joseph●s of the Jews manner in eating the Passeover , and closing it with an Hymn , consisting of Psalm 113. and the five immediately following , which the Jews call their Magnum Hallelujah , their great Song of Praise to God ; and it is the Opinion of many Learned Men , that Christ sang this with his Disciples , tho Grotius thinks that Christ made another on that occasion . Now as to the three Authors Mr. M. mentions out of Mr. L. who differ in their version of these words , we may justly sppose that by Praises , they mean Praises in Verse , and by saying Praises , they mean such a saying as was accompanied with singing , otherwise their rendering may be censured as improper . Now Mr. M. proceeds to 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Isa . 25. 1. which is derived of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , and in the Conjugation Hiphil , signifies hath praised , or co●fessed ; and , as it is in other words , the sense must be governed by the Context ; and so in this place the word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 tho render'd by Arias Montanus , I will confess , yet if he doth not mean such a Confession as was to be made by singing the Song of Praise to God , for his manifold Benefits bestowed upon his Church , his Version is not so agreeable to the Context , as that of the Septuagint , who render it 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , I will sing Praise ; and the like may be said of his Version , Isa . 12. 4. What is said in the third Paragraph , and beginning of the fourth , concerning the rendring those words before mentioned , and some others , is of little importance in clearing the present Controversy , seeing it is granted already that God may be praised without Singing , tho Singing is a principal way of setting forth the Praise of God , as Dr. Owen saith . And certainly that which is the principal way of praising God , ought not to be excluded by Christians● neither can we think that these Translators had any design to do it , seeing they use such words as include this as well as other ways of praising God. And whereas Mr. M. thinks he hath got clear and undeniable Evidence for his simple praising God only , he hath got none at all , unless three be not contained in the number four , because one is . Solomon saith , The wringing of the Nose brings forth Blood ; and straining the words of these Translators , may bring forth a sense which they never intended . I see no such restrictive terms used by them , which may reasonably be thought to restrain the Duty of Praising God to the particular mode of this Author ; but if they did intend it , I could ( if the Bounds of my Paper would admit it ) produce six or seven Translators who are generally esteemed by learned Men very accurate , who have render'd the words for that way of praising God which is pleaded for in the foregoing Treatise . The Author which Mr. M. cites out of Marlorate on Mat. 26. 30. pretends it is uncertain with what words they praised God ; that is , whether it was with the common Passeover-Hymn , or some other of Christ's own , which might be more sutable to the occasion ; and whether they sang this Praise , or spake it simply , the following words of the Author not being well render'd by Mr. Tymme , I shall set down , they are these , Graecum verbum laudem quidem , maxime quae Deo debetur , includit ; non autem necessario evincit , quòd cecinerint , i. e. the Greek word indeed includes Praise , chiefly that which is due to God. But undoubtedly it doth evince , that they sang , 1. From the genuine Signification of the Original Word . And , 2. From the current of Learned Men who go this way . To conclude ; I sincerely desire that the Lord would make this Friend sensible of the Evil and Vanity of this Attempt , to remove out of the Church this part of Religious Worship , which hath been kept up so many Ages , both under the Law , and under the Gospel . FINIS . ADVERTISEMENT . THere is in the Press , and will be published next Week , a Treatise Intituled , Spiritual Melody , containing some hundred of Sacred Scripture-Hymns , chiefly on Metaphorical Scriptures , as they lie in a Book Intituled , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , A Key to open Scripture Metaphors , ( formerly published by this Author , with many others of several Occasions ) as they have been sung in divers Congregations . Composed and now published by B. Keach , at the earnest Request and Desire of several Christian Friends . Printed for J. Hancock , and to be sold at his Shop in Castle-Alley , on the West side of the Royal Exchange in Cornhil . THere is almost ready for the Press , an Exposition on all the Parables , and express Similitudes in the Four Evangelists . It will be above one hundreed Sheets : The PROPOSALS whereof , with a Specimen , which will contain two Sermons , ( an Exemplar of the whole Work ) will be on the Par abolical Saying of our Saviour in Mat. 12. 43. When the unclean Spirit is gone out of a Man , &c. Written by the foresaid Author ; and will ( God willing ) be published in a very short time . Notes, typically marginal, from the original text Notes for div A47407-e3600 * Manuscript Psalmody . This Epistle of Pliny is extant in Euseb . Hist . Eccles . lib. 2. c. 17. In Ephes . 3. 19. it was not Vocal Singing , yet here he says , 't is a Vocal Singing . * This shews other Spiritual Songs may be sung besides David's Psalms in Gospel-days ; this was none of those . Read pag. 8. of Mr. Marlow's Book .