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 .