An introduction to the skill of musick in two books : the first, the grounds and rules of musick, according to the gam-ut, and other principles thereof, the second, instructions & lessons for the bass-viol, and instruments & lessons for the treble-violin / by John Playford ; to which is added, The art of descant, or composing musick in parts, by Dr. Tho. Campion ; with annotations thereon, by Mr. Chr. Simpson.
         Playford, John, 1623-1686?
      
       
         
           1674
        
      
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             An introduction to the skill of musick in two books : the first, the grounds and rules of musick, according to the gam-ut, and other principles thereof, the second, instructions & lessons for the bass-viol, and instruments & lessons for the treble-violin / by John Playford ; to which is added, The art of descant, or composing musick in parts, by Dr. Tho. Campion ; with annotations thereon, by Mr. Chr. Simpson.
             Playford, John, 1623-1686?
             Simpson, Christopher, d. 1669.
             Lowe, Edward, d. 1682.
             Campion, Thomas, 1567-1620. Art of descant.
          
           
             The seventh edition, corrected and enlarged.
          
           [15], 121, [3], 42, 10, [2] p. : ill., port., music.
           
             Printed by W. Godbid for J. Playford ...,
             London :
             1674.
          
           
             Added t.p. on p. [2] following p. 121: The art of descant.
             "Rules and directions for singing the Psalms": p. 71-89.
             "The order of performing the divine service in cathedrals and collegiate chappels" from Edward Lowe's Short direction for the performance of cathedrall service: 10 p. at end.
             Advertisement: p. [1]-[2].
             1st edition published in 1654 as "Breefe introduction to the skill of musick, for song and viall." According to Grove's Dictionary of music, but one copy of that impression is now known.
             1st edition of Campion's "Art of descant" pub. probably about 1618, under title: "A new way of making foure parts in counter-point."
             Reproduction of original in Huntington Library.
          
        
      
    
     
       
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         eng
      
       
         
           Music -- Handbooks, manuals, etc. -- To 1800.
           Violin -- Instruction and study.
           Viola da gamba -- Instruction and study.
           Counterpoint.
        
      
    
     
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                   Iohannis
                   Playford
                   Effigies
                
                 portrait of John Playford
              
            
          
           
             
             
               AN
               INTRODUCTION
               TO
               THE
               SKILL
               OF
               MUSICK
               .
            
             
               IN
               TWO
               BOOKS
               .
            
             
               THE
               FIRST
               :
               The
               Grounds
               and
               Rules
               of
               MVSICK
               ,
               according
               to
               the
               Gam-vt
               ,
               and
               other
               Principles
               thereof
               .
            
             
               THE
               SECOND
               :
               Instructions
               &
               Lessons
               for
               the
               Bass-Viol
               :
               AND
               Instruments
               &
               Lessons
               for
               the
               Treble-Violin
               .
            
             
               By
               
                 IOHN
                 PLAYFORD
              
               .
            
             
               To
               which
               is
               added
               ,
               The
               ART
               of
               DESCANT
               ,
               or
               Composing
               MUSICK
               in
               Parts
               .
            
             
               By
               Dr.
               
                 THO.
                 CAMPION
              
               .
            
             
               With
               Annotations
               thereon
               ,
               by
               Mr.
               
                 Chr.
                 Simpson
              
               .
            
             
               The
               
                 Seventh
                 Edition
              
               ,
               Corrected
               and
               Enlarged
               .
            
             
               London
               ,
               Printed
               by
               
                 W.
                 Godbid
              
               ,
               for
               
                 I.
                 Playford
              
               at
               his
               Shop
               in
               the
               Temple
               near
               the
               Church
               .
               1674.
               
            
          
           
             
             
             
               PREFACE
               To
               all
               Lovers
               of
               MVSICK
               .
            
             
               MUSICK
               in
               ancient
               Times
               was
               held
               in
               as
               great
               Estimation
               ,
               Reverence
               and
               Honour
               ,
               by
               the
               most
               Noble
               and
               Virtuous
               Persons
               ,
               as
               any
               of
               the
               Liberal
               Sciences
               whatsoever
               ,
               for
               the
               manifold
               Uses
               thereof
               ,
               conducing
               to
               the
               Life
               of
               Man
               :
               Philosophers
               accounted
               it
               an
               Invention
               of
               the
               Gods
               ,
               bestowing
               it
               on
               Men
               ,
               to
               make
               them
               better
               conditioned
               than
               bare
               Nature
               afforded
               ;
               and
               concludes
               a
               special
               necessity
               thereof
               in
               the
               Education
               of
               Children
               ,
               partly
               from
               its
               natural
               delight
               ,
               and
               partly
               from
               the
               efficacy
               it
               hath
               in
               moving
               the
               Affections
               to
               Virtue
               ;
               commending
               chiefly
               these
               three
               Arts
               in
               the
               ●ducation
               of
               Youth
               ,
               
                 Grammar
                 ,
                 Musick
              
               ,
               and
               Gymnastick
               ;
               this
               last
               is
               for
               the
               Exercise
               of
               their
               Limbs
               :
               Quintil.
               reports
               ,
               in
               his
               time
               the
               same
               Men
               taught
               both
               Grammar
               and
               Musick
               .
               Those
               then
               who
               intend
               the
               Practice
               thereof
               ,
               must
               allow
               Musick
               to
               be
               the
               Gift
               of
               God
               ,
               yet
               (
               like
               other
               his
               Graces
               and
               Benefits
               )
               it
               is
               not
               given
               to
               the
               Idle
               ,
               but
               they
               must
               reach
               it
               with
               the
               hand
               of
               Industry
               ,
               by
               putting
               in
               practice
               the
               Works
               and
               Inventions
               of
               skilful
               Artists
               ;
               for
               meerly
               to
               Speak
               and
               Sing
               are
               of
               Nature
               ,
               and
               this
               double
               use
               of
               the
               Articulate
               Voice
               the
               rudest
               Swains
               of
               all
               Nations
               do
               make
               ;
               but
               to
               Speak
               well
               ,
               and
               Sing
               well
               are
               of
               Art
               :
               Therefore
               when
               I
               had
               considered
               
               ●h●
               great
               want
               of
               Books
               ,
               setting
               forth
               the
               Rules
               and
               Grounds
               of
               this
               Divine
               Science
               of
               Musick
               in
               our
               own
               Language
               ,
               it
               was
               a
               great
               motive
               with
               me
               to
               undertake
               this
               Work
               ,
               though
               I
               must
               confess
               our
               Nation
               is
               at
               this
               time
               plentifully
               stored
               with
               skilful
               Men
               in
               this
               Science
               ,
               better
               able
               than
               my self
               to
               have
               undertaken
               this
               Work
               ;
               but
               their
               slowness
               and
               modesty
               (
               being
               ,
               as
               I
               conceive
               ,
               unwilling
               to
               appear
               in
               print
               about
               so
               small
               a
               matter
               )
               has
               made
               me
               adventure
               on
               it
               ,
               though
               with
               the
               danger
               of
               not
               being
               so
               well
               done
               as
               they
               might
               have
               performed
               it
               :
               And
               I
               was
               the
               rather
               induced
               thereunto
               ,
               for
               that
               the
               Prescription
               of
               Rules
               of
               all
               Arts
               and
               Sciences
               ought
               to
               be
               delivered
               in
               plain
               and
               brief
               language
               ,
               and
               not
               in
               flowers
               of
               Eloquence
               ;
               which
               Maxim
               I
               have
               followed
               :
               For
               after
               the
               most
               brief
               ,
               plain
               ,
               and
               easie
               method
               I
               could
               invent
               ,
               I
               have
               here
               set
               down
               the
               
                 Grounds
                 of
                 Musick
              
               ,
               omitting
               nothing
               in
               this
               Art
               which
               I
               did
               conceive
               was
               necessary
               for
               the
               Practice
               of
               young
               Beginners
               ,
               both
               for
               Vocal
               and
               Instrumental
               Musick
               .
               The
               Work
               as
               it
               is
               ,
               I
               must
               confess
               ,
               is
               not
               all
               my
               own
               ,
               some
               part
               thereof
               being
               collected
               out
               of
               other
               Authors
               which
               have
               written
               on
               this
               Subject
               ,
               the
               which
               I
               hope
               will
               make
               it
               more
               approved
               .
               And
               if
               in
               the
               whole
               I
               gain
               your
               ingenious
               Acceptance
               ,
               it
               will
               further
               encourage
               me
               to
               do
               you
               more
               Service
               in
               this
               Nature
               .
            
             
               
                 Iohn
                 Playford
                 .
              
            
          
           
             
             
               Of
               MUSICK
               in
               General
               ,
               And
               of
               its
               Divine
               and
               Civil
               Uses
               .
            
             
               MVSICK
               is
               an
               Art
               unsearchable
               ,
               Divine
               and
               Excellent
               ,
               by
               which
               a
               true
               Concordance
               of
               Sounds
               or
               Harmony
               is
               produced
               ,
               that
               rejoyceth
               and
               cheereth
               the
               Hearts
               of
               Men
               ,
               and
               hath
               in
               all
               Ages
               and
               in
               all
               Countries
               been
               highly
               reverenced
               and
               esteemed
               ;
               by
               the
               Jews
               for
               Religion
               and
               Divine
               Worship
               in
               the
               Service
               of
               God
               ,
               as
               appears
               by
               Scripture
               ;
               By
               the
               Graecians
               and
               Romans
               to
               induce
               Virtue
               and
               Gravity
               ,
               and
               to
               incite
               to
               Co●rage
               and
               Valour
               .
               Great
               Disputes
               were
               among
               Ethnick
               Authors
               about
               the
               first
               Inventor
               ,
               some
               for
               Orpheus
               ,
               some
               Lynus
               ,
               both
               famous
               Poets
               and
               Mu●icians
               ;
               others
               for
               Amphion
               ,
               whose
               Musick
               drew
               Stones
               to
               the
               building
               of
               the
               Walls
               of
               Thebes
               ;
               as
               Orpheus
               had
               by
               the
               harmonious
               touch
               of
               his
               Harp
               ,
               moved
               the
               Wild
               Beasts
               and
               Trees
               to
               Dance
               :
               But
               the
               true
               meaning
               thereof
               is
               ,
               that
               by
               virtue
               of
               their
               Musick
               ,
               and
               their
               wise
               and
               pleasing
               Musical
               Poems
               ,
               the
               one
               brought
               the
               Savage
               and
               Beast-like
               Thracians
               to
               Humanity
               and
               Gentleness
               ;
               the
               other
               perswaded
               the
               rude
               and
               careless
               Thebans
               to
               the
               fortifying
               of
               their
               City
               ,
               and
               to
               a
               civil
               Conversation
               :
               The
               Egyptians
               to
               Apollo
               ,
               attributing
               the
               first
               Invention
               of
               the
               Harp
               to
               him
               ,
               and
               certainly
               they
               had
               an
               high
               esteem
               of
               the
               Excellency
               of
               Musick
               ,
               to
               make
               Apollo
               (
               who
               was
               the
               God
               of
               Wisdom
               )
               to
               be
               the
               God
               of
               Musick
               :
               But
               the
               People
               of
               God
               do
               truly
               a●knowledge
               a
               far
               more
               ancient
               Inventor
               of
               this
               Divine
               Art
               ,
               Jubal
               the
               sixth
               from
               Adam
               ,
               who
               ,
               as
               it
               is
               recorded
               ,
               
               
                 Gen.
                 4.
                 27.
                 was
                 the
                 Father
                 of
                 all
                 that
                 handle
                 the
                 Harp
                 and
                 Organ
                 ,
              
               St.
               Augustine
               goeth
               yet
               farther
               ,
               shewing
               ,
               that
               it
               is
               the
               gift
               of
               God
               himself
               ,
               and
               a
               Representation
               or
               Admonition
               of
               the
               sweet
               Consent
               and
               Harmony
               which
               his
               Wisdom
               hath
               made
               in
               the
               Creation
               and
               Administration
               of
               the
               World.
               And
               well
               it
               may
               be
               termed
               a
               Divine
               and
               Mysterious
               Art
               ,
               for
               among
               all
               those
               rare
               Arts
               and
               Sciences
               ,
               with
               which
               God
               hath
               endued
               Men
               ,
               this
               of
               Musick
               is
               the
               most
               sublime
               and
               excellent
               for
               its
               wonderfull
               Effects
               and
               Inventions
               :
               It
               hath
               been
               the
               study
               of
               Millions
               of
               Men
               for
               many
               thousand
               years
               ,
               yet
               none
               ever
               attained
               the
               full
               scope
               and
               perfection
               thereof
               ;
               but
               after
               all
               their
               deep
               Search
               and
               laborious
               Studies
               ,
               there
               still
               appeared
               new
               matter
               for
               their
               Inventions
               ;
               and
               which
               is
               most
               wonderful
               ,
               the
               whole
               Mystery
               of
               this
               Art
               is
               comprised
               in
               the
               compass
               of
               three
               Notes
               or
               Sounds
               ,
               which
               is
               most
               ingeniously
               observed
               by
               Mr.
               
                 Christopher
                 Simpson
              
               ,
               in
               his
               
                 Division
                 Violist
              
               ,
               pag.
               18.
               in
               these
               words
               ,
               
               
                 All
                 Sounds
                 that
                 can
                 possibly
                 be
                 joyned
                 at
                 once
                 together
                 in
                 Musical
                 Concordance
                 ,
                 are
                 still
                 but
                 the
                 reiterated
                 Harmony
                 in
              
               Three
               ;
               
                 a
                 significant
                 Emblem
                 of
                 that
                 Supreme
                 and
                 Incomprehensible
                 Trinity
                 ,
              
               Three
               in
               One
               ,
               
                 Governing
                 and
                 Disposing
                 the
                 whole
                 Machine
                 of
                 the
                 World
                 ,
                 with
                 all
                 it
                 s
                 included
                 Parts
                 in
                 a
                 perfect
                 Harmony
                 ;
                 for
                 in
                 the
                 Harmony
                 of
                 Sounds
                 ,
                 there
                 is
                 some
                 great
                 and
                 hidden
                 Mystery
                 above
                 what
                 hath
                 been
                 yet
                 discovered
                 .
              
               And
               Mrs.
               
                 Katherine
                 Phillips
              
               in
               her
               Encomium
               on
               Mr.
               
                 Henry
                 Laws
              
               his
               second
               Book
               of
               Ayres
               ,
               hath
               these
               words
               :
               
                 
                 
                   Nature
                   ,
                   which
                   is
                   the
                   vast
                   Creation's
                   Soul
                   ,
                
                 
                   That
                   steady
                   curious
                   Agent
                   in
                   the
                   whole
                   ,
                
                 
                   The
                   Art
                   of
                   Heaven
                   ,
                   the
                   Order
                   of
                   this
                   Frame
                   ,
                
                 
                   Is
                   only
                   Musick
                   in
                   another
                   Name
                   .
                
                 
                   And
                   as
                   some
                   King
                   ,
                   Conquer'ing
                   what
                   was
                   his
                   own
                   ,
                
                 
                   Hath
                   choice
                   of
                   several
                   Titles
                   to
                   his
                   Crown
                   ;
                
                 
                   So
                   Harmony
                   on
                   this
                   score
                   now
                   ,
                   that
                   then
                   ,
                
                 
                   Yet
                   still
                   is
                   all
                   that
                   takes
                   and
                   Governs
                   Men.
                
                 
                   Beauty
                   is
                   but
                   Composure
                   ,
                   and
                   we
                   find
                
                 
                   Content
                   is
                   but
                   the
                   Concord
                   of
                   the
                   Mind
                   ;
                
                 
                   Friendship
                   the
                   Vnison
                   of
                   well
                   tun'd
                   Hearts
                   ;
                
                 
                   
                   Honour
                   's
                   the
                   Chorus
                   of
                   the
                   Noblest
                   Parts
                   :
                
                 
                   And
                   all
                   the
                   World
                   ,
                   on
                   which
                   we
                   can
                   reflect
                   ,
                
                 
                   Musick
                   to
                   the
                   Ear
                   ,
                   or
                   to
                   the
                   Intellect
                   .
                
              
            
             
               Nor
               hath
               there
               yet
               been
               any
               Reason
               given
               of
               that
               sympathy
               in
               Sounds
               ,
               that
               the
               Strings
               of
               a
               Viol
               being
               struck
               ,
               and
               another
               Viol
               laid
               at
               a
               distance
               ,
               and
               tuned
               in
               Concordance
               to
               it
               ,
               the
               same
               Strings
               thereof
               should
               sound
               and
               move
               in
               a
               sympathy
               with
               the
               other
               ,
               though
               not
               touch'd
               :
               Nor
               that
               the
               sound
               of
               a
               Sackbut
               or
               Trumpet
               ,
               should
               by
               a
               stronger
               Emission
               of
               breath
               ,
               skip
               from
               Concord
               to
               Concord
               ,
               before
               you
               can
               force
               it
               into
               any
               Gradation
               of
               Tones
               or
               Notes
               .
               More
               Observations
               of
               the
               mystery
               of
               Sounds
               is
               learnedly
               discoursed
               by
               the
               Lord
               Bacon
               in
               his
               
                 Nat.
                 Hist.
                 2
                 Cent.
                 Chap.
                 1.
                 
                 Ath.
                 Kercherus
                 ,
              
               a
               learned
               Writer
               ,
               reports
               ,
               that
               in
               Calabria
               ,
               and
               other
               parts
               of
               Italy
               ,
               there
               is
               a
               poysonous
               Spider
               ,
               called
               the
               Tarantula
               ,
               by
               which
               such
               as
               are
               bitten
               fall
               into
               a
               frensie
               of
               madness
               and
               laughter
               ;
               to
               allay
               the
               immoderate
               passion
               thereof
               ,
               Musick
               is
               the
               speedy
               Remedy
               and
               Cure
               ,
               for
               which
               they
               have
               solemn
               Songs
               and
               Tunes
               .
            
             
               The
               first
               and
               chief
               Vse
               of
               Musick
               is
               for
               the
               Service
               
               and
               Praise
               of
               God
               ,
               whose
               Gift
               it
               is
               .
               The
               second
               Vse
               is
               for
               the
               Solace
               of
               Men
               ,
               which
               as
               it
               is
               agreeable
               unto
               Nature
               ,
               so
               is
               it
               allowed
               by
               God
               ,
               as
               a
               temporal
               blessing
               to
               recreate
               and
               cheer
               men
               after
               long
               study
               and
               weary
               labour
               in
               their
               Vocations
               .
               
                 Eccles.
                 40.
                 20.
                 
                 Wine
                 and
                 Musick
                 rejoyceth
                 the
                 Heart
                 ,
              
               as
               the
               Philosopher
               adviseth
               ,
               
                 Musica
                 Medicina
                 est
                 molestiae
                 illius
                 per
                 labores
                 suscipitur
                 .
                 AEli●nus
              
               in
               his
               
                 Hist.
                 Animal
                 .
                 l.
                 10.
                 c.
                 29.
              
               writeth
               ,
               That
               of
               all
               Beasts
               ,
               there
               is
               none
               that
               is
               not
               delighted
               with
               Harmony
               ,
               but
               only
               the
               Ass.
               
                 H.
                 Stephanus
              
               reports●
               that
               he
               saw
               a
               Lion
               in
               London
               leave
               his
               Meat
               to
               hear
               Musick
               .
               My self
               ,
               as
               I
               travelled
               some
               years
               since
               near
               Royston
               ,
               met
               a
               Herd
               of
               Stags
               ,
               about
               twenty
               ,
               u●on
               the
               Road
               ,
               following
               a
               Bag-pipe
               and
               a
               Violin
               ,
               which
               while
               the
               Musick
               plaid
               they
               went
               forward
               ,
               when
               it
               ceased
               th●y
               all
               stood
               still
               ;
               and
               in
               this
               manner
               they
               were
               brought
               out
               of
               York-shire
               to
               Hampton-Court
               .
               If
               irrational
               Creatures
               so
               naturally
               love
               and
               are
               delighted
               with
               Musick
               ,
               shall
               not
               rational
               Man
               ,
               who
               is
               endued
               with
               the
               knowledge
               thereof
               ?
               A
               learned
               Author
               hath
               this
               Observation
               ,
               That
               Musick
               is
               used
               only
               of
               the
               most
               Aerial
               Creatures
               ,
               loved
               and
               understood
               by
               Man
               :
               The
               Birds
               of
               the
               Air
               ,
               those
               pretty
               Winged
               Choristers
               ,
               how
               at
               the
               approach
               of
               the
               Day
               do
               they
               Warble
               forth
               their
               Makers
               Praise
               ;
               among
               which●
               observe
               the
               little
               Lark
               ,
               who
               by
               a
               natural
               instinct
               doth
               very
               often
               mou●t
               up
               the
               Sky
               ,
               as
               high
               a●
               his
               Wings
               will
               bear
               him
               ,
               and
               there
               Warble
               out
               his
               Melody
               as
               long
               as
               his
               strength
               enables
               him
               ,
               and
               then
               descends
               to
               his
               flock
               ,
               who
               presently
               send
               up
               another
               ●horister
               to
               su●ply
               this
               Divine
               Service
               The
               Philosopher
               s●ys
               ,
               not
               to
               be
               
                 Animal
                 Musicum
              
               ,
               is
               not
               to
               be
               
                 Animal
                 Rationale
              
               .
               And
               the
               Italian
               Proverb
               is
               ,
               
                 God
                 loves
                 not
                 him
                 ,
                 whom
                 he
                 h●th
                 not
                 m●de
                 to
                 love
                 Musick
                 .
              
               Nor
               
               doth
               Musick
               only
               delight
               the
               Mind
               of
               Man
               ,
               and
               Beasts
               ,
               and
               Birds
               ,
               but
               also
               conduceth
               much
               to
               bodily
               health
               by
               the
               exercise
               of
               the
               Voice
               in
               Song
               ,
               which
               doth
               cleer
               and
               strengthen
               the
               Lungs
               ,
               and
               if
               to
               it
               be
               also
               joyned
               the
               Exercise
               of
               the
               Limbs
               ,
               none
               need
               fear
               Asthma
               or
               Consumption
               ;
               the
               want
               of
               which
               Exercise
               is
               often
               the
               death
               of
               many
               Students
               :
               Also
               much
               benefit
               hath
               been
               found
               thereby
               ,
               by
               such
               as
               have
               been
               troubled
               with
               defects
               in
               Speech
               ,
               as
               Stammering
               and
               bad
               Vtterance
               .
               It
               gently
               breaths
               and
               vents
               the
               Mourners
               Grief
               ,
               and
               heightens
               the
               Ioys
               of
               them
               that
               are
               cheerful
               :
               It
               abateth
               Spleen
               and
               Hatred
               ;
               the
               valiant
               Souldier
               in
               Fight
               is
               animated
               when
               he
               hears
               the
               sound
               of
               the
               Trumpet
               ,
               the
               Fife
               and
               Drum
               :
               All
               Mechanick
               Artists
               do
               find
               it
               cheer
               them
               in
               their
               weary
               Labours
               Scaliger
               (
               
                 Exercet
                 .
                 302.
              
               )
               gives
               a
               reason
               of
               these
               Effects
               ,
               Because
               the
               Spirits
               about
               the
               Heart
               taking
               in
               that
               trembling
               and
               dancing
               Air
               into
               the
               Body
               ,
               are
               moved
               together
               ,
               and
               stirred
               up
               with
               it
               ;
               or
               that
               the
               Mind
               ,
               Harmonically
               Composed
               ,
               is
               roused
               up
               at
               the
               Tunes
               of
               the
               Musick
               And
               farther
               ,
               we
               see
               even
               young
               Babes
               are
               charm'd
               asleep
               by
               their
               Singing
               Nurses
               ;
               nay
               the
               poor
               labouring
               Beasts
               at
               Plow
               and
               Chart
               are
               cheer'd
               by
               the
               sound
               of
               M●sick
               ,
               though
               it
               be
               but
               their
               Masters
               Whistle
               .
               If
               God
               then
               hath
               granted
               such
               benefit
               to
               Men
               by
               the
               Civil
               exercise
               ,
               sure
               the
               Heavenly
               and
               Divine
               Vse
               will
               much
               more
               redound
               to
               our
               eternal
               comfort
               ,
               if
               with
               our
               Voices
               we
               joyn
               our
               Hearts
               when
               we
               sing
               in
               his
               Holy
               Place
               .
               Venerable
               Bede
               writeth
               ,
               That
               no
               Science
               but
               Musick
               may
               enter
               the
               Doors
               of
               the
               Church
               .
               The
               Vse
               of
               which
               in
               the
               Worship
               and
               Service
               of
               God
               ,
               that
               it
               hath
               been
               anciently
               used
               ,
               and
               should
               still
               be
               continu'd●
               may
               be
               easily
               proved
               from
               the
               Evidence
               of
               Gods
               Word
               ,
               and
               the
               Practice
               of
               the
               Church
               in
               all
               
               Ages
               :
               You
               shall
               seldom
               meet
               Holy
               David
               without
               an
               Instrument
               in
               his
               Hand
               ,
               and
               a
               Psalm
               in
               his
               Mouth
               ;
               Fifty
               three
               Holy
               Meters
               or
               Psalms
               he
               Dedicated
               to
               his
               Chief
               Musician
               Jeduthun
               ,
               to
               Compose
               Musick
               to
               them
               :
               He
               was
               on●
               in
               whom
               the
               Spirit
               of
               God
               delighted
               to
               dwell
               ,
               for
               no
               evil
               Spirit
               will
               abide
               to
               tarry
               where
               Musick
               and
               Harmony
               are
               lodged
               ;
               for
               when
               he
               played
               before
               Saul
               ,
               the
               evil
               Spirit
               departed
               immediately
               .
               This
               Power
               of
               Musick
               against
               evil
               Spirits
               ,
               Luther
               seemeth
               to
               think
               that
               it
               doth
               still
               remain
               ,
               Scimus
               (
               saith
               he
               )
               
                 Musicam
                 Daemonibus
                 etiam
                 invisam
                 &
                 intolerabilem
                 esse
                 .
              
               We
               know
               that
               Musick
               is
               most
               dreadful
               and
               intolerable
               to
               the
               Devils
               .
               How
               acceptable
               Divine
               Harmony
               was
               to
               God
               in
               his
               Worship
               ,
               appears
               in
               
                 2
                 Chron.
                 5.
                 12
                 ,
                 13.
                 
                 Also
                 the
              
               Levi●es
               
                 which
                 were
                 the
                 Singers
                 ,
                 all
                 of
                 them
                 of
              
               Asaph
               ,
               of
               Hemon
               ,
               of
               Ieduthun
               ,
               
                 with
                 their
                 Sons
                 and
                 their
                 Brethren
                 ,
                 being
                 arrayed
                 in
                 white
                 linnen
                 ,
                 having
                 Cymbals
                 and
                 Psalteries
                 ,
                 and
                 Harps
                 ,
                 stood
                 at
                 the
                 East
                 end
                 of
                 the
                 Altar
                 ,
                 and
                 with
                 them
                 an
                 hundred
                 and
                 twenty
                 Priests
                 sounding
                 with
                 Trumpets
                 :
                 It
                 came
                 even
                 to
                 pass
                 ,
                 as
                 the
                 Trumpeters
                 and
                 Singers
                 were
                 as
                 one
                 ,
                 to
                 make
                 one
                 sound
                 to
                 be
                 heard
                 in
                 Praising
                 and
                 thanking
                 the
                 Lord
                 :
                 and
                 when
                 they
                 lift
                 up
                 their
                 Voice
                 with
                 the
                 Trumpets
                 and
                 Cymbals
                 ,
                 and
                 Instruments
                 of
                 Musick
                 ,
              
               &c.
               
                 that
                 then
                 the
                 House
                 was
                 filled
                 with
                 a
                 Cloud
                 ,
                 even
                 the
                 House
                 of
                 the
                 Lord.
              
               The
               Vse
               of
               Musick
               was
               continued
               in
               the
               Church
               of
               the
               Jews
               ,
               even
               until
               the
               Destruction
               of
               their
               Temple
               and
               Nation
               by
               Titus
               .
               And
               the
               Vse
               thereof
               also
               began
               in
               the
               Christian
               Church
               in
               our
               Saviour
               and
               his
               Apostles
               time
               .
               If
               you
               consult
               the
               Writings
               of
               the
               Primitive
               Fathers
               ,
               you
               shall
               scarce
               meet
               with
               one
               that
               doth
               not
               write
               of
               the
               Divine
               Vse
               of
               Musick
               in
               Churches
               ;
               and
               yet
               true
               it
               is
               ,
               that
               some
               of
               
               them
               did
               find
               fault
               with
               some
               Abuses
               thereof
               in
               the
               Service
               of
               God
               ;
               (
               and
               so
               they
               would
               )
               now
               if
               they
               were
               alive
               ;
               )
               but
               that
               condemneth
               the
               Right
               Vse
               thereof
               no
               more
               than
               the
               Holy
               Supper
               is
               condemned
               by
               St.
               Paul
               ,
               while
               he
               blameth
               those
               who
               shamefully
               profaned
               it
               .
               The
               Christian
               Emperours
               ,
               Kings
               ,
               and
               Princes
               ,
               in
               all
               Ages
               have
               had
               this
               Divine
               Science
               in
               great
               Esteem
               and
               Honour
               :
               Constantine
               the
               Great
               ,
               and
               Theodosius
               ,
               did
               both
               of
               them
               begin
               and
               sing
               Divine
               Hymns
               in
               the
               Christian
               Congregations
               ;
               and
               Justinian
               the
               Emperour
               Composed
               an
               Hymn
               to
               be
               sung
               in
               the
               Church
               ,
               which
               began
               ,
               
                 To
                 the
                 only
                 begotten
                 Son
                 and
                 Word
                 of
                 God
                 :
              
               Of
               Charles
               the
               Great
               it
               is
               reported
               ,
               that
               he
               went
               often
               into
               the
               Psalmody
               and
               sung
               himself
               ,
               and
               appointed
               his
               Sons
               and
               other
               Princes
               what
               Psalms
               and
               Hymns
               should
               be
               sung
               .
               But
               to
               come
               nearer
               home
               :
               History
               tells
               us
               ,
               that
               the
               ancient
               Britains
               of
               this
               Island
               had
               Musicians
               before
               they
               had
               Books
               ;
               and
               the
               Romans
               that
               Invaded
               them
               (
               who
               were
               not
               too
               forward
               to
               magnifie
               other
               Nation●
               )
               confess
               what
               power
               the
               Druyds
               and
               Bards
               had
               over
               the
               Peoples
               Affections
               ,
               by
               recording
               in
               Songs
               the
               Deeds
               of
               Heroick
               Spirits
               ,
               their
               Laws
               and
               Religion
               being
               sung
               in
               Tunes●
               and
               so
               (
               without
               Letters
               )
               transmitted
               to
               Pos●erity
               ;
               wherein
               they
               were
               so
               dextrous
               ,
               that
               their
               Neighbours
               of
               Gaul
               came
               hither
               to
               learn
               it
               .
               Alfred
               a
               Saxon
               King
               of
               this
               Land
               was
               well
               skill'd
               in
               all
               manner
               of
               Learning
               ,
               but
               in
               his
               Knowledge
               of
               Musick
               took
               most
               delight
               .
               King
               Henry
               the
               Eighth
               did
               much
               advance
               Musick
               in
               the
               first
               part
               of
               his
               Reign
               ,
               when
               his
               Mind
               was
               more
               intent
               upon
               Arts
               and
               Sciences
               ,
               at
               which
               time
               he
               invited
               the
               best
               Masters
               out
               of
               Italy
               ,
               and
               other
               Countries
               ;
               whereby
               he
               grew
               to
               great
               Knowledge
               therein
               ;
               of
               which
               he
               gave
               Testimony
               ,
               by
               Composing
               with
               his
               own
               hand
               two
               entire
               
               Services
               of
               five
               and
               six
               Parts
               ,
               as
               is
               recorded
               by
               the
               Lord
               Herbert
               ,
               who
               writ
               his
               Life
               .
               Edward
               the
               Sixth
               was
               a
               Lover
               and
               Encourager
               thereof
               ,
               if
               we
               may
               believe
               Dr.
               Tye
               ,
               one
               of
               His
               Chappel
               ,
               who
               put
               the
               
                 Acts
                 of
                 the
                 Apos●les
              
               into
               Metre
               ,
               and
               Composed
               the
               same
               to
               be
               sung
               in
               four
               Parts
               ,
               which
               he
               Printed
               and
               Dedicated
               to
               the
               King
               ;
               his
               Epistle
               began
               thus
               :
               
                 
                   
                     Considering
                     well
                     ,
                     most
                     Godly
                     King
                     ,
                  
                   
                     The
                     Zeal
                     and
                     perfect
                     Love
                  
                   
                     Your
                     Grace
                     doth
                     bear
                     to
                     each
                     good
                     Thing
                     ,
                  
                   
                     That
                     given
                     is
                     from
                     above
                     :
                  
                
                 
                   
                     That
                     such
                     good
                     Things
                     your
                     Grace
                     might
                     move
                     ,
                  
                   
                     Your
                     Lute
                     when
                     you
                     assay
                     ,
                  
                   
                     Instead
                     of
                     Songs
                     of
                     wanton
                     Love
                     ,
                  
                   
                     These
                     Stories
                     then
                     to
                     Play.
                     
                  
                
              
            
             
               Queen
               Elizabeth
               was
               not
               only
               a
               Lover
               of
               this
               Divine
               Science
               ,
               but
               a
               good
               Proficient
               herein
               ;
               and
               I
               have
               been
               informed
               by
               an
               ancient
               Musician
               and
               her
               Servant
               ,
               that
               she
               did
               often
               recreate
               her self
               on
               an
               Excellent
               Instrument
               called
               the
               Poliphant
               ,
               not
               much
               unlike
               a
               Lute
               ,
               but
               strung
               with
               Wire
               :
               And
               that
               it
               was
               her
               care
               to
               promote
               the
               same
               in
               the
               Worship
               of
               God
               ,
               may
               appear
               by
               her
               
               49th
               Injunction
               .
               And
               King
               James
               granted
               his
               Letters
               Patents
               to
               the
               Musicians
               in
               London
               for
               a
               Corporation
               .
            
             
               Nor
               was
               his
               late
               Sacred
               Majesty
               ,
               and
               Blessed
               Martyr
               ,
               King
               Charles
               the
               First
               ,
               behind
               any
               of
               his
               Predecessors
               in
               the
               promotion
               of
               this
               Science
               ,
               especially
               in
               the
               Service
               of
               Almighty
               God
               ,
               which
               with
               much
               Zeal
               he
               would
               hear
               reverently
               performed
               ,
               and
               often
               appointed
               the
               Service
               and
               Anthems
               himself
               ,
               being
               by
               his
               Knowledge
               in
               Musick
               a
               competent
               Iudge
               therein
               .
            
             
             
               Of
               whose
               Virtues
               and
               Piety
               (
               by
               the
               infinite
               mercy
               of
               Almighty
               God
               )
               this
               Kingdom
               now
               enjoys
               a
               Living
               Example
               in
               his
               Son
               and
               our
               Gracious
               Soveraign
               Charles
               the
               Second
               ,
               whom
               God
               long
               preserve
               ,
               whose
               Love
               of
               this
               Divine
               Art
               appears
               by
               his
               Encouragement
               of
               it
               ,
               and
               the
               Professors
               thereof
               ,
               especially
               in
               his
               bountiful
               Augmentation
               of
               the
               Annual
               Allowances
               of
               the
               Gentlemen
               of
               His
               Chappel
               ;
               which
               Example
               if
               it
               were
               followed
               by
               the
               Superiours
               of
               our
               Cathedrals
               in
               this
               Kingdom
               ,
               it
               would
               much
               encourage
               Men
               of
               this
               Art
               (
               who
               are
               there
               employed
               to
               Sing
               Praises
               to
               Almighty
               God
               )
               to
               be
               more
               studious
               in
               that
               Duty
               ,
               and
               would
               take
               off
               that
               Contempt
               which
               is
               cast
               upon
               many
               of
               them
               for
               their
               mean
               performances
               and
               poverty
               ;
               but
               it
               is
               their
               and
               all
               true
               Christians
               sorrow
               ,
               to
               see
               how
               that
               Divine
               Worship
               is
               contemned
               by
               blind
               Zealots
               ,
               who
               do
               not
               ,
               nor
               will
               not
               understand
               the
               use
               and
               excellency
               thereof
               .
            
             
               But
               Musick
               in
               this
               Age
               (
               like
               other
               Arts
               and
               Sciences
               )
               is
               in
               low
               esteem
               with
               the
               generality
               of
               people
               ,
               our
               late
               and
               Solemn
               Musick
               ,
               both
               Vocal
               and
               Instrumental
               ,
               is
               now
               just
               led
               out
               of
               esteem
               by
               the
               new
               Corants
               and
               Iigs
               of
               Foreigners
               ,
               to
               the
               grief
               of
               all
               sober
               and
               judici●●s
               V●derstanders
               of
               that
               formerly
               solid
               and
               good
               Musick
               :
               Nor
               must
               we
               expect
               Harmony
               in
               Peoples
               Mi●ds
               ,
               so
               long
               as
               Pride
               ,
               Vanity
               ,
               Faction
               ,
               and
               Discords
               ,
               are
               so
               predominant
               in
               their
               Lives
               :
               But
               I
               conclude
               with
               the
               Words
               of
               Mr.
               
                 Owen
                 Feltham
              
               in
               his
               Resolves●
               
                 We
                 find
                 that
                 in
                 Heaven
                 there
                 is
              
               Musick
               and
               Hallelujah●s
               
                 Sung
                 ,
                 I
                 believe
                 it
                 is
                 an
                 helper
                 both
                 to
                 Good
                 and
                 Evil
                 ,
                 and
                 will
                 therefore
                 honour
                 it
                 when
                 it
              
               moves
               
               to
               ●irtue
               ,
               
                 and
                 beware
                 of
                 it
                 when
                 it
                 would
              
               flatter
               into
               Vice.
               
            
             
               J.
               P.
               
            
          
           
             
             
               The
               TABLE
               .
            
             
               
                 FISRT
                 BOOK
                 .
              
               
                 Of
                 the
                 Scale
                 of
                 Musick
                 ,
                 called
                 the
                 
                   Gam-ut
                   ,
                   pag.
                   1
                
              
               
                 Of
                 the
                 several
                 Cleaves
                 or
                 
                   Cliffs
                   ,
                   pag.
                   8
                
              
               
                 A
                 Rule
                 for
                 the
                 proving
                 your
                 
                   Notes
                   ,
                   pag.
                   10
                
              
               
                 A
                 Rule
                 for
                 Naming
                 your
                 Notes
                 in
                 any
                 
                   Cliff
                   ,
                   pag.
                   11
                
              
               
                 A
                 Table
                 of
                 the
                 Comparison
                 of
                 
                   Cliffs
                   ,
                   pag.
                   18
                
              
               
                 Of
                 the
                 Tuning
                 the
                 Voyce
                 ,
                 
                   pag.
                   19
                
              
               
                 Of
                 Tones
                 or
                 Tunes
                 of
                 
                   Notes
                   ,
                   pag.
                   22
                
              
               
                 The
                 Notes
                 their
                 
                   Names
                   ,
                   Number
                
                 ,
                 and
                 
                   Proportions
                   ,
                   pag.
                   24
                
              
               
                 Of
                 the
                 Rests
                 and
                 Pauses
                 ,
                 and
                 Notes
                 of
                 
                   Syncopation
                   ,
                   pag.
                   26
                
              
               
                 A
                 Rule
                 for
                 Keeping
                 
                   Time
                   ,
                   pag.
                   29
                
              
               
                 Of
                 the
                 four
                 Moods
                 or
                 Proportions
                 of
                 
                   Time
                   pag.
                   30
                
              
               
                 Of
                 the
                 Adjuncts
                 and
                 Characters
                 used
                 in
                 
                   Musick
                   ,
                   pag.
                   35
                
              
               
                 Directions
                 for
                 Singing
                 after
                 the
                 Italian
                 manner
                 ,
                 
                   pag.
                   37
                
              
               
                 Of
                 the
                 five
                 Moods
                 used
                 by
                 the
                 
                   Grecians
                   ,
                   pag.
                   57
                
              
               
                 Short
                 Ayres
                 or
                 Songs
                 fit
                 for
                 Beginners
                 ,
                 
                   pag.
                   62
                
              
               
                 Directions
                 for
                 Singing
                 of
                 Psalms
                 ,
                 with
                 the
                 several
                 Tunes
                 ,
                 and
                 the
                 Bass
                 under
                 each
                 
                   Tune
                   ,
                   pag
                   73
                
              
            
             
               
                 SECOND
                 BOOK
                 .
              
               
                 A
                 brief
                 Introduction
                 for
                 Playing
                 on
                 the
                 
                   Bass-Viol
                   ,
                   pag.
                   91
                
              
               
                 Several
                 Lessons
                 for
                 Beginners
                 on
                 the
                 
                   Bass-Viol
                   ,
                   pag.
                   105
                
              
               
                 Instructions
                 for
                 Playing
                 on
                 the
                 
                   Treble-Violin
                   ,
                   pag.
                   109
                
              
               
                 Several
                 Lessons
                 for
                 Beginners
                 on
                 the
                 
                   Violin
                   ,
                   pag.
                   117
                
              
            
             
               
                 THIRD
                 BOOK
                 .
              
               
                 The
                 Art
                 of
                 Descant
                 ,
                 or
                 plain
                 way
                 for
                 Composing
                 of
                 Musick
                 in
                 Two
                 ,
                 Three
                 ,
                 or
                 Four
                 Parts
                 .
              
               
                 The
                 Manner
                 and
                 Order
                 of
                 Singing
                 the
                 Divine
                 Service
                 in
                 Cathedral-Churches
                 .
              
            
          
        
         
           
             
             
               An
               Introduction
               to
               the
               Skill
               of
               MUSICK
               .
            
             
               
                 CHAP.
                 I.
                 Of
                 the
                 Scale
                 of
                 Musick
                 called
                 the
                 Gam-Ut
                 .
              
               
                 THe
                 Gam-ut
                 is
                 the
                 Ground
                 of
                 all
                 Musick
                 ,
                 both
                 Vocal
                 and
                 Instrumental
                 ;
                 and
                 (
                 as
                 Ornithoparcus
                 reporteth
                 )
                 it
                 was
                 composed
                 by
                 
                   Guido
                   Aretinus
                
                 ,
                 about
                 the
                 year
                 960
                 ,
                 who
                 (
                 out
                 of
                 six
                 Syllables
                 in
                 the
                 Saphick
                 of
                 the
                 Hymn
                 of
                 St.
                 
                   Iohan.
                   Baptista
                
                 ,
                 )
                 framed
                 his
                 Musical
                 Scale
                 set
                 down
                 in
                 those
                 six
                 Syllables
                 ,
                 as
                 Names
                 for
                 the
                 six
                 Musical
                 Notes
                 .
              
               
                 
                   VT
                   queant
                   laxis
                   REsonare
                   fibris
                
                 
                   MIra
                   gestorum
                   FAmuli
                   tuorum
                   ,
                
                 
                   SO
                   Lve
                   poluti
                   LAbii
                   reatum
                   .
                
                 
                   VT
                   RElivet
                   MIserum
                   FAtum
                   SOLitumque
                   LAborem
                   .
                
              
               
               
                 VT
                 RE
                 
                   Mi
                   Fa
                   Sol
                   La
                
                 VT
                 RE
                 
                   Sol
                   La.
                
                 
              
               
                 These
                 Six
                 Notes
                 were
                 thus
                 used
                 for
                 many
                 years
                 past
                 in
                 that
                 order
                 ,
                 ascending
                 and
                 descending
                 ;
                 but
                 in
                 these
                 latter
                 times
                 ,
                 Four
                 are
                 only
                 in
                 use
                 ,
                 the
                 which
                 are
                 
                   Sol
                   ,
                   La
                   ,
                   Mi
                   ,
                   Fa
                
                 ;
                 so
                 that
                 Ut
                 and
                 Re
                 are
                 now
                 changed
                 into
                 Sol
                 and
                 La
                 ,
                 four
                 being
                 found
                 sufficient
                 for
                 expressing
                 
                 the
                 several
                 sounds
                 ,
                 and
                 less
                 burthensome
                 for
                 the
                 memory
                 of
                 Practitioners
                 .
              
               
                 Besides
                 the
                 Names
                 of
                 these
                 Notes
                 ,
                 there
                 is
                 used
                 in
                 our
                 
                   Scale
                   of
                   Musick
                
                 ,
                 called
                 the
                 Gam-ut
                 ,
                 seven
                 Letters
                 of
                 the
                 Alphabet
                 ,
                 which
                 are
                 set
                 in
                 the
                 first
                 Column
                 ,
                 at
                 the
                 beginning
                 of
                 each
                 Rule
                 and
                 Space
                 ,
                 as
                 
                   G.
                   A.
                   B.
                   C.
                   D.
                   E.
                   F.
                
                 And
                 of
                 these
                 there
                 are
                 Three
                 Septenaries
                 ascending
                 one
                 above
                 the
                 other
                 ,
                 G
                 being
                 put
                 first
                 ,
                 which
                 is
                 according
                 to
                 the
                 third
                 Letter
                 in
                 the
                 Greek
                 Alphabet
                 ,
                 called
                 Gamma
                 ,
                 and
                 is
                 made
                 thus
                 
                   〈◊〉
                   〈◊〉
                   〈◊〉
                   〈◊〉
                   〈◊〉
                
                 ,
                 (
                 the
                 first
                 derivation
                 thereof
                 being
                 from
                 the
                 ancient
                 Greeks
                 )
                 as
                 you
                 may
                 see
                 in
                 the
                 Scale
                 at
                 the
                 end
                 of
                 this
                 Chapter
                 .
              
               
                 These
                 seven
                 Letters
                 of
                 the
                 Alphabet
                 are
                 called
                 seven
                 Cliff's
                 ,
                 or
                 more
                 properly
                 Cleaves
                 ,
                 the
                 other
                 Names
                 and
                 Syllables
                 adjoyned
                 to
                 them
                 are
                 the
                 Notes
                 ;
                 and
                 by
                 these
                 three
                 Septenaries
                 are
                 distinguish'd
                 three
                 several
                 Parts
                 of
                 Musick
                 ,
                 into
                 which
                 the
                 Scale
                 is
                 divided
                 ;
                 first
                 ,
                 the
                 Bass
                 ,
                 which
                 is
                 the
                 lowest
                 part
                 ;
                 secondly
                 ,
                 the
                 Mean
                 ,
                 or
                 middle
                 part
                 ;
                 and
                 thirdly
                 ,
                 the
                 Treble
                 ,
                 or
                 highest
                 part
                 ;
                 so
                 that
                 according
                 to
                 these
                 
                   three
                   Septenaries
                   ,
                   Gam-ut
                
                 is
                 the
                 lowest
                 Note
                 ,
                 and
                 
                   E
                   la
                
                 the
                 highest
                 .
                 And
                 this
                 the
                 usual
                 Gamuts
                 in
                 Mr.
                 Morley
                 and
                 others
                 ,
                 did
                 not
                 exceed
                 ;
                 but
                 it
                 is
                 well
                 known
                 that
                 there
                 is
                 many
                 Notes
                 in
                 use
                 ,
                 both
                 above
                 and
                 below
                 ,
                 which
                 
                 exceed
                 that
                 compass
                 ,
                 and
                 that
                 both
                 in
                 Vocal
                 and
                 Instrumental
                 Musick
                 ,
                 which
                 ought
                 not
                 to
                 be
                 omitted
                 ;
                 for
                 the
                 Compass
                 of
                 Musick
                 is
                 not
                 to
                 be
                 confin'd
                 :
                 And
                 though
                 there
                 be
                 but
                 three
                 Septenaries
                 of
                 Notes
                 in
                 the
                 Example
                 of
                 the
                 Gam-ut
                 ,
                 which
                 amount
                 to
                 the
                 Compass
                 of
                 One
                 and
                 Twenty
                 Notes
                 or
                 Sounds
                 ;
                 yet
                 in
                 the
                 Treble
                 ,
                 or
                 highest
                 part
                 ,
                 as
                 occasion
                 requires
                 ,
                 you
                 may
                 Ascend
                 more
                 Notes
                 ,
                 for
                 it
                 is
                 the
                 same
                 over
                 again
                 ,
                 only
                 eight
                 Notes
                 higher
                 :
                 Or
                 in
                 your
                 Bass
                 ,
                 or
                 lowest
                 part
                 you
                 may
                 Descend
                 the
                 like
                 Notes
                 lower
                 than
                 Gam-ut
                 ,
                 as
                 the
                 Compass
                 of
                 the
                 Voyce
                 or
                 Instrument
                 is
                 able
                 to
                 extend
                 ,
                 the
                 which
                 will
                 be
                 the
                 same
                 ,
                 and
                 only
                 Eights
                 to
                 those
                 above
                 .
                 And
                 these
                 Notes
                 of
                 Addition
                 are
                 usually
                 thus
                 distinguished
                 :
              
               
                 Those
                 above
                 
                   E
                   la
                
                 are
                 called
                 Notes
                 in
                 Alt
                 ,
                 as
                 
                   F
                   fa
                   ut
                
                 ,
                 and
                 
                   G
                   sol
                   re
                   ut
                   ,
                   &c.
                
                 in
                 Alt.
                 And
                 those
                 below
                 Gam-ut
                 are
                 called
                 
                   double
                   Notes
                
                 ,
                 as
                 
                   Double
                   F
                   fa
                   ut
                   ,
                   Double
                   E
                   la
                   mi
                   ,
                   &c.
                
                 as
                 being
                 Eights
                 or
                 Diapasons
                 to
                 those
                 above
                 Gam-ut
                 .
                 I
                 have
                 therefore
                 in
                 the
                 Table
                 of
                 the
                 Gam-ut
                 in
                 this
                 Book
                 ,
                 expressed
                 them
                 with
                 double
                 Letters
                 in
                 their
                 right
                 places
                 .
              
               
                 The
                 Gam-ut
                 is
                 drawn
                 upon
                 fourteen
                 Rules
                 and
                 their
                 Spaces
                 ,
                 and
                 doth
                 comprehend
                 all
                 Notes
                 or
                 Sounds
                 usual
                 in
                 Musick
                 ;
                 either
                 Vocal
                 
                 or
                 Instrumental
                 ,
                 yet
                 when
                 any
                 of
                 the
                 parts
                 which
                 it
                 is
                 divided
                 into
                 ,
                 
                   viz.
                   Treble
                   ,
                   Mean
                
                 ,
                 or
                 Tenor
                 and
                 Bass
                 ,
                 shall
                 come
                 to
                 be
                 prick'd
                 out
                 by
                 it self
                 in
                 Songs
                 or
                 Lessons
                 ,
                 either
                 for
                 Voyce
                 or
                 
                   Instrument
                   ,
                   five
                   lines
                
                 is
                 only
                 usual
                 for
                 one
                 of
                 those
                 Parts
                 ,
                 as
                 being
                 sufficient
                 to
                 contain
                 the
                 compass
                 of
                 Notes
                 thereto
                 belonging
                 :
                 And
                 if
                 there
                 be
                 any
                 Notes
                 that
                 extend
                 higher
                 or
                 lower
                 ,
                 it
                 is
                 usual
                 to
                 add
                 a
                 line
                 in
                 that
                 place
                 with
                 a
                 Pen.
                 
              
               
                 But
                 all
                 Lessons
                 for
                 the
                 
                   Organ
                   ,
                   Virginals
                
                 ,
                 or
                 Harp
                 ,
                 two
                 staves
                 of
                 
                   six
                   lines
                
                 together
                 are
                 required
                 ,
                 one
                 for
                 the
                 left
                 hand
                 or
                 
                   lower
                   Keys
                
                 ,
                 the
                 other
                 for
                 the
                 right
                 hand
                 or
                 
                   upper
                   Keys
                
                 .
              
               
                 Therefore
                 he
                 that
                 means
                 to
                 understand
                 what
                 he
                 Sings
                 or
                 Plays
                 ,
                 must
                 study
                 to
                 be
                 perfect
                 in
                 the
                 knowledge
                 of
                 the
                 Scale
                 or
                 Gam-ut
                 ,
                 and
                 to
                 have
                 it
                 perfect
                 in
                 his
                 memory
                 without
                 book
                 ,
                 both
                 forward
                 and
                 backward
                 ,
                 and
                 to
                 distinguish
                 the
                 Cliffs
                 and
                 Notes
                 as
                 they
                 be
                 in
                 Rule
                 or
                 Space
                 ;
                 for
                 knowing
                 the
                 Notes
                 Places
                 ,
                 their
                 Names
                 are
                 easily
                 known
                 .
              
               
                 Also
                 ,
                 on
                 the
                 right
                 side
                 of
                 this
                 following
                 Table
                 of
                 the
                 Scale
                 or
                 Gam-ut
                 ,
                 there
                 is
                 set
                 four
                 Columns
                 :
                 In
                 the
                 first
                 is
                 the
                 
                   Alphabetical
                   Letters
                
                 ,
                 or
                 Cliffs
                 :
                 The
                 other
                 three
                 shew
                 the
                 Names
                 of
                 the
                 Notes
                 ,
                 ascending
                 and
                 descending
                 ,
                 according
                 to
                 their
                 several
                 Names
                 and
                 
                 Keys
                 ●
              
               
               
                 In
                 the
                 second
                 Column
                 is
                 set
                 the
                 Names
                 of
                 the
                 Notes
                 as
                 they
                 be
                 called
                 ,
                 which
                 is
                 
                   B
                   duralis
                
                 or
                 
                   B
                   sharp
                
                 ,
                 as
                 having
                 no
                 flat
                 in
                 
                   B
                   mi
                
                 ;
                 and
                 then
                 your
                 Notes
                 are
                 called
                 as
                 they
                 are
                 set
                 there
                 on
                 the
                 Rules
                 and
                 
                   Spaces
                   ascending
                
                 .
                 The
                 third
                 Column
                 is
                 
                   B
                   proper
                
                 or
                 
                   B
                   naturalis
                
                 ,
                 which
                 hath
                 a
                 
                   B
                   flat
                
                 in
                 
                   B
                   mi
                
                 only
                 ,
                 which
                 is
                 put
                 at
                 the
                 beginning
                 of
                 the
                 line
                 with
                 the
                 Cliff
                 ,
                 and
                 there
                 you
                 have
                 also
                 the
                 Names
                 as
                 they
                 are
                 called
                 on
                 Rule
                 and
                 Space
                 .
                 The
                 4
                 th
                 Column
                 is
                 the
                 Notes
                 ,
                 call'd
                 
                   B
                   fa
                
                 or
                 
                   B
                   mollaris
                
                 ,
                 having
                 two
                 
                   B
                   flats
                
                 ,
                 the
                 one
                 in
                 
                   B
                   mi
                
                 ,
                 the
                 other
                 in
                 
                   E
                   la
                   mi
                
                 ,
                 placed
                 as
                 the
                 other
                 ;
                 by
                 observing
                 of
                 which
                 ,
                 you
                 have
                 a
                 certain
                 Rule
                 for
                 the
                 Names
                 of
                 the
                 Notes
                 in
                 any
                 part
                 ,
                 be
                 it
                 
                   Treble
                   ,
                   Mean
                   ,
                   Tenor
                
                 ,
                 or
                 Bass.
                 
              
               
                 In
                 these
                 Three
                 observe
                 this
                 for
                 a
                 General
                 Rule
                 ,
                 that
                 what
                 Name
                 the
                 Note
                 hath
                 ,
                 the
                 same
                 Name
                 properly
                 hath
                 his
                 Eighth
                 above
                 or
                 below
                 ,
                 be
                 it
                 either
                 in
                 
                   Treble
                   ,
                   Mean
                   ,
                   Tenor
                
                 ,
                 or
                 Bass.
                 
              
               
                 There
                 is
                 an
                 old
                 Metre
                 ,
                 though
                 not
                 very
                 common
                 ,
                 yet
                 it
                 contains
                 a
                 true
                 Rule
                 of
                 the
                 Theorick
                 part
                 of
                 Musick
                 ,
                 which
                 is
                 necessary
                 to
                 be
                 observed
                 by
                 young
                 Beginners
                 ,
                 and
                 as
                 it
                 falls
                 in
                 our
                 several
                 Chapters
                 I
                 shall
                 insert
                 it
                 :
                 It
                 begins
                 thus
                 ,
                 
                   
                     TO
                     attain
                     the
                     Skill
                     of
                     Musicks
                     Art
                     ,
                  
                   
                     Learn
                     Gam-Ut
                     up
                     and
                     down
                     by
                     heart
                     ,
                  
                   
                     Thereby
                     to
                     learn
                     your
                     Rules
                     and
                     Spaces
                     ,
                  
                   
                     Notes
                     Names
                     are
                     known
                     ,
                     knowing
                     their
                     places
                     ,
                  
                
              
               
                 
                   THE
                   GAM-VT
                   ,
                   OR
                   SCALE
                   OF
                   MUSICK
                   .
                
              
               
               
                 A
                 Second
                 Table
                 of
                 the
                 
                   Scale
                   of
                   MUSICK
                
                 called
                 the
                 GAM-VT
                 ,
                 in
                 which
                 every
                 Key
                 or
                 Note
                 is
                 put
                 in
                 its
                 proper
                 place
                 upon
                 the
                 Five
                 Lines
                 ,
                 according
                 to
                 the
                 two
                 usual
                 signed
                 Cleaves
                 or
                 Cliffs
                 ,
                 viz.
                 the
                 Bass
                 and
                 the
                 Treble
                 ,
                 ascending
                 from
                 the
                 lowest
                 Note
                 of
                 the
                 Bass
                 to
                 the
                 highest
                 in
                 the
                 Treble
                 .
              
               
                 
                 D
                 la
                 sol
                 ,
                 E
                 la
                 ,
                 F
                 fa
                 ut
                 ,
                 G
                 sol
                 re
                 ut
                 ,
                 A
                 la
                 mi
                 re
                 ,
                 
                 F
                 fa
                 ut
                 ,
                 G
                 sol
                 re
                 ut
                 ,
                 A
                 la
                 mi
                 re
                 ,
                 B
                 fa
                 b
                 mi
                 ,
                 C
                 sol
                 fa
                 ,
                 
                 A
                 la
                 mi
                 re
                 ,
                 B
                 fa
                 b
                 mi
                 ,
                 C
                 sol
                 fa
                 ut
                 ,
                 D
                 la
                 sol
                 re
                 ,
                 E
                 la
                 mi
                 ,
                 
                 B
                 mi
                 ,
                 C
                 fa
                 ut
                 ,
                 D
                 sol
                 re
                 ,
                 E
                 la
                 mi
                 ,
                 F
                 fa
                 ut
                 ,
                 G
                 sol
                 re
                 ut
                 ,
                 
                 C●
                 fa
                 ut
                 ,
                 DD
                 sol
                 re
                 ,
                 EE
                 la
                 mi
                 ,
                 FF
                 fa
                 ut
                 ,
                 Gam-ut
                 ,
                 A
                 re
                 .
              
            
             
               
               
                 CHAP.
                 II.
                 Of
                 the
                 Cliffs
                 or
                 Cleaves
                 .
              
               
                 IN
                 this
                 Gam-ut
                 (
                 as
                 I
                 said
                 before
                 )
                 is
                 contained
                 three
                 Septenaries
                 of
                 Letters
                 ,
                 which
                 are
                 
                   G
                   ,
                   A
                   ,
                   B
                   ,
                   C
                   ,
                   D
                   ,
                   E
                   ,
                   F.
                
                 These
                 seven
                 Letters
                 are
                 set
                 at
                 the
                 beginning
                 of
                 each
                 Rule
                 and
                 Space
                 ,
                 and
                 are
                 called
                 seven
                 Cleaves
                 ;
                 of
                 these
                 seven
                 four
                 is
                 only
                 usual
                 ,
                 one
                 of
                 which
                 is
                 usually
                 placed
                 at
                 the
                 beginning
                 of
                 every
                 Line
                 of
                 the
                 Song
                 or
                 Lesson
                 ,
                 either
                 Vocal
                 or
                 Instrumental
                 .
                 The
                 first
                 is
                 called
                 the
                 
                   F
                   fa
                   ut
                
                 Cleave
                 or
                 Cliff
                 ,
                 which
                 is
                 only
                 proper
                 to
                 the
                 Bass
                 or
                 
                   lowest
                   part
                
                 ,
                 and
                 is
                 thus
                 marked
                 
                 on
                 the
                 fourth
                 Line
                 ,
                 at
                 the
                 beginning
                 of
                 Songs
                 or
                 Lessons
                 .
                 The
                 second
                 is
                 the
                 
                   C
                   sol
                   fa
                   ut
                
                 ,
                 which
                 is
                 proper
                 to
                 the
                 middle
                 or
                 
                   inner
                   pars
                
                 ,
                 as
                 
                   Tenor
                   ,
                   Counter-Tenor
                
                 ,
                 or
                 Mean
                 ,
                 and
                 it
                 is
                 thus
                 signed
                 or
                 marked
                 
                 .
                 The
                 third
                 is
                 the
                 
                   G
                   sol
                   re
                   ut
                
                 Cleave
                 or
                 Cliff
                 ,
                 which
                 is
                 only
                 proper
                 to
                 the
                 Treble
                 ,
                 or
                 highest
                 ,
                 and
                 is
                 signed
                 or
                 marked
                 thus
                 
                 on
                 the
                 second
                 Line
                 of
                 the
                 Song
                 or
                 Lesson
                 .
              
               
                 These
                 three
                 Cliffs
                 are
                 called
                 the
                 three
                 
                   signed
                   Cliffs
                
                 ,
                 because
                 they
                 are
                 always
                 set
                 at
                 the
                 beginning
                 of
                 the
                 Lines
                 on
                 which
                 is
                 prickt
                 the
                 
                 Song
                 or
                 Lesson
                 ;
                 (
                 for
                 Cleave
                 is
                 derived
                 from
                 Clavis
                 which
                 signifies
                 a
                 Key
                 .
                 )
                 From
                 the
                 place
                 of
                 this
                 Cliff
                 ,
                 the
                 places
                 of
                 all
                 the
                 other
                 Notes
                 in
                 your
                 Song
                 or
                 Lesson
                 are
                 understood
                 ,
                 by
                 proving
                 your
                 Notes
                 from
                 it
                 ,
                 according
                 to
                 the
                 Rule
                 of
                 the
                 Gam-ut
                 .
              
               
                 The
                 fourth
                 Cliff
                 is
                 the
                 
                   B
                   Cliff
                
                 ,
                 which
                 is
                 proper
                 to
                 all
                 parts
                 ,
                 as
                 being
                 of
                 two
                 natures
                 or
                 properties
                 ,
                 that
                 is
                 to
                 say
                 ,
                 Flat
                 or
                 Sharp
                 ,
                 and
                 doth
                 only
                 serve
                 for
                 that
                 purpose
                 for
                 the
                 flatting
                 and
                 sharping
                 of
                 Notes
                 ,
                 and
                 therefore
                 it
                 is
                 called
                 
                   B
                   fa
                   ,
                   B
                   mi
                
                 ;
                 the
                 
                   B
                   fa
                
                 signifies
                 flat
                 ,
                 the
                 
                   B
                   mi
                   sharp
                
                 :
                 The
                 
                   B
                   fa
                
                 ,
                 or
                 
                   B
                   flat
                
                 ,
                 is
                 known
                 on
                 Rule
                 or
                 Space
                 by
                 this
                 mark
                 [
                 
                 ]
                 ;
                 and
                 the
                 
                   B
                   mi
                
                 ,
                 which
                 is
                 sharp
                 ,
                 by
                 this
                 [
                 
                 .
                 ]
              
               
                 But
                 these
                 two
                 Rules
                 you
                 are
                 to
                 observe
                 of
                 them
                 both
                 :
                 First
                 the
                 
                   B
                   fa
                
                 ,
                 or
                 
                   B
                   flat
                
                 ,
                 doth
                 alter
                 both
                 the
                 name
                 and
                 property
                 of
                 the
                 Notes
                 before
                 which
                 it
                 is
                 placed
                 ,
                 and
                 is
                 called
                 Fa
                 ,
                 making
                 it
                 half
                 a
                 tone
                 or
                 sound
                 lower
                 than
                 it
                 was
                 before
                 .
              
               
                 Secondly
                 ,
                 the
                 
                   B
                   mi
                
                 ,
                 or
                 
                   B
                   sharp
                
                 ,
                 alters
                 the
                 property
                 of
                 the
                 Notes
                 before
                 which
                 it
                 is
                 placed
                 ,
                 but
                 not
                 the
                 Name
                 ;
                 for
                 it
                 is
                 usually
                 placed
                 either
                 before
                 Fa
                 or
                 Sol
                 ,
                 and
                 they
                 retain
                 their
                 Names
                 still
                 ,
                 but
                 their
                 Sound
                 is
                 raised
                 half
                 a
                 tone
                 or
                 sound
                 higher
                 .
              
               
                 Note
                 ,
                 That
                 these
                 two
                 
                   B
                   Cliffs
                
                 are
                 placed
                 
                 not
                 only
                 at
                 the
                 beginning
                 of
                 the
                 Lines
                 with
                 the
                 other
                 Cliff
                 ,
                 but
                 is
                 usually
                 put
                 to
                 several
                 Notes
                 in
                 the
                 middle
                 of
                 any
                 Song
                 or
                 Lesson
                 for
                 the
                 Flatting
                 and
                 Sharping
                 of
                 Notes
                 ,
                 as
                 the
                 Harmony
                 of
                 the
                 Musick
                 requires
                 .
              
            
             
               
                 CHAP.
                 III.
                 A
                 brief
                 Rule
                 for
                 proving
                 the
                 Notes
                 in
                 any
                 Song
                 or
                 Lesson
                 .
              
               
                 FIrst
                 observe
                 with
                 which
                 of
                 the
                 three
                 usual
                 Cliffs
                 your
                 Song
                 or
                 Lesson
                 is
                 signed
                 with
                 at
                 the
                 beginning
                 ,
                 if
                 it
                 be
                 with
                 the
                 
                   G
                   sol
                   re
                   ut
                
                 Cleave
                 ,
                 then
                 if
                 the
                 Note
                 be
                 above
                 it
                 ,
                 whose
                 name
                 and
                 place
                 you
                 would
                 know
                 ,
                 you
                 must
                 begin
                 at
                 your
                 Cliff
                 ,
                 and
                 assign
                 to
                 every
                 Rule
                 and
                 Space
                 a
                 Note
                 ,
                 according
                 to
                 the
                 Rule
                 of
                 your
                 Gam-ut
                 ,
                 ascending
                 till
                 you
                 come
                 to
                 that
                 Rule
                 or
                 Space
                 where
                 the
                 same
                 Note
                 is
                 set
                 :
                 But
                 if
                 the
                 Note
                 be
                 below
                 your
                 Cliff
                 ,
                 then
                 you
                 must
                 prove
                 downwards
                 to
                 it
                 ,
                 saying
                 your
                 Gam-ut
                 backwards
                 ,
                 assigning
                 to
                 each
                 Rule
                 and
                 Space
                 a
                 Note
                 ,
                 till
                 you
                 come
                 to
                 its
                 place
                 .
                 So
                 that
                 by
                 knowing
                 in
                 what
                 place
                 of
                 your
                 Gam-ut
                 the
                 Note
                 is
                 set
                 ,
                 you
                 will
                 easily
                 know
                 its
                 name
                 ,
                 the
                 next
                 Chapter
                 directing
                 you
                 an
                 infallible
                 Rule
                 for
                 it
                 ,
                 and
                 that
                 by
                 an
                 easie
                 and
                 familiar
                 Example
                 .
              
            
             
               
               
                 CHAP.
                 IV.
                 Containing
                 a
                 plain
                 and
                 easie
                 Rule
                 for
                 the
                 Naming
                 your
                 Notes
                 in
                 any
                 Cliff.
                 
              
               
                 HAving
                 observed
                 the
                 foregoing
                 Direction
                 of
                 proving
                 your
                 Notes
                 ,
                 to
                 know
                 their
                 Places
                 ,
                 you
                 may
                 easily
                 know
                 their
                 Names
                 also
                 ,
                 if
                 you
                 will
                 follow
                 this
                 Rule
                 :
                 First
                 ,
                 observe
                 that
                 Mi
                 is
                 the
                 principal
                 or
                 master
                 Note
                 ,
                 which
                 leads
                 you
                 to
                 know
                 all
                 the
                 other
                 ;
                 for
                 having
                 found
                 out
                 that
                 ,
                 the
                 others
                 follow
                 upon
                 course
                 ;
                 and
                 this
                 Mi
                 hath
                 its
                 being
                 in
                 four
                 several
                 places
                 ,
                 but
                 it
                 is
                 but
                 in
                 one
                 of
                 them
                 at
                 a
                 time
                 ;
                 its
                 proper
                 place
                 is
                 in
                 
                   B
                   mi
                
                 ,
                 but
                 if
                 a
                 
                   B
                   fa
                
                 ,
                 which
                 is
                 a
                 
                   B
                   flat
                
                 (
                 as
                 is
                 mentioned
                 in
                 chap.
                 2.
                 )
                 be
                 put
                 in
                 that
                 place
                 ,
                 then
                 it
                 is
                 removed
                 into
                 
                   E
                   la
                   mi
                
                 ,
                 which
                 is
                 its
                 second
                 place
                 ;
                 but
                 if
                 a
                 
                   B
                   flat
                
                 be
                 placed
                 there
                 also
                 ,
                 then
                 it
                 is
                 in
                 its
                 third
                 place
                 ,
                 which
                 is
                 Alamire
                 ;
                 if
                 a
                 
                   B
                   flat
                
                 come
                 there
                 also
                 ,
                 then
                 it
                 is
                 removed
                 into
                 its
                 fourth
                 place
                 ,
                 which
                 is
                 
                   D
                   la
                   sol
                   re
                
                 ;
                 so
                 that
                 in
                 which
                 of
                 these
                 it
                 is
                 ,
                 the
                 next
                 Notes
                 above
                 it
                 ascending
                 are
                 
                   Fa
                   sol
                   la
                   ,
                   Fa
                   sol
                   la
                   ,
                
                 twice
                 ,
                 and
                 then
                 you
                 meet
                 with
                 your
                 Mi
                 again
                 ,
                 for
                 it
                 is
                 found
                 but
                 once
                 in
                 Eight
                 Notes
                 :
                 In
                 like
                 mannear
                 ,
                 
                 the
                 Notes
                 next
                 below
                 it
                 descending
                 are
                 
                   L
                   sol
                   fa
                   ,
                   La
                   sol
                   fa
                   ,
                
                 and
                 then
                 you
                 have
                 your
                 Mi
                 again
                 :
                 For
                 your
                 better
                 understanding
                 of
                 which
                 ,
                 I
                 have
                 here
                 inserted
                 the
                 aforementioned
                 old
                 Metre
                 ,
                 whose
                 Rules
                 are
                 plain
                 ,
                 true
                 ,
                 and
                 easie
                 .
              
               
                 
                   
                     No
                     man
                     can
                     sing
                     true
                     at
                     first
                     sight
                     ,
                  
                   
                     Unless
                     he
                     names
                     his
                     Notes
                     aright
                     ;
                  
                   
                     Which
                     soon
                     is
                     learnt
                     ,
                     if
                     that
                     your
                     Mi
                  
                   
                     You
                     know
                     its
                     place
                     where
                     e're
                     it
                     be
                     ,
                  
                
                 
                   
                     1.
                     
                  
                   
                     If
                     that
                     no
                     Flat
                     be
                     set
                     in
                     B
                     ,
                  
                   
                     Then
                     in
                     that
                     place
                     standeth
                     your
                     Mi.
                     
                  
                
              
               
                 Example
                 .
                 
                 
                   Sol
                   la
                
                 Mi
                 
                   Fa
                   Sol
                   la
                   fa
                   Sol
                
              
               
                 
                   
                     2.
                     
                  
                   
                     But
                     if
                     your
                     *
                     B
                     alone
                     be
                     Flat
                     ,
                  
                   
                     Then
                     *
                     E
                     is
                     Mi
                     be
                     sure
                     of
                     that
                     .
                  
                
              
               
                 Example
                 .
                 
                 
                   Sol
                   la
                   fa
                   Sol
                   la
                
                 Mi
                 
                   fa
                   Sol
                
              
               
                 
                 
                   
                     3.
                     
                  
                   
                     If
                     both
                     be
                     Flat
                     ,
                     your
                     B
                     and
                     E
                     ,
                  
                   
                     Then
                     *
                     A
                     is
                     Mi
                     here
                     you
                     may
                     see
                     .
                  
                
              
               
                 Example
                 .
                 
                 La
                 Mi
                 
                   fa
                   Sol
                   la
                   fa
                   Sol
                   la
                
              
               
                 
                   
                     4.
                     
                  
                   
                     If
                     all
                     be
                     
                       Flat
                       ,
                       E
                       ,
                       A
                    
                     ,
                     and
                     B
                     ,
                  
                   
                     Then
                     Mi
                     alone
                     doth
                     stand
                     in
                     *
                     D.
                     
                  
                
              
               
                 Example
                 .
                 
                 
                   La
                   fa
                   Sol
                   la
                
                 Mi
                 
                   fa
                   Sol
                   la
                
              
               
                 
                   The
                   first
                   three
                   Notes
                   above
                   your
                   Mi
                
                 
                   Are
                   
                     fa
                     sol
                     la
                  
                   ,
                   here
                   you
                   may
                   see
                   ;
                
                 
                   The
                   next
                   three
                   under
                   Mi
                   that
                   fall
                   ,
                
                 
                   Them
                   
                     la
                     sol
                     fa
                  
                   you
                   ought
                   to
                   call
                   .
                
              
               
                 Example
                 .
                 
                 
                   Sol
                   la
                
                 Mi
                 
                   fa
                   sol
                   la
                   fa
                   sol
                   fa
                   la
                   sol
                   fa
                
                 Mi
                 
                   la
                   sol
                   fa
                
              
               
                 
                   If
                   you
                   'll
                   sing
                   true
                   without
                   all
                   blame
                   ,
                
                 
                   You
                   call
                   all
                   Eights
                   by
                   the
                   same
                   name
                   .
                
              
               
               
                 Example
                 .
                 
                   Sol
                   la
                   fa
                   sol
                   sol
                   fa
                   la
                   s●l
                
                 
                 
                   Sol
                   la
                   fa
                   sol
                   sol
                   fa
                   la
                   sol
                
              
               
                 These
                 Rules
                 and
                 Examples
                 being
                 seriously
                 perused
                 by
                 the
                 Learner
                 ,
                 will
                 infallibly
                 direct
                 him
                 in
                 the
                 right
                 naming
                 of
                 his
                 Notes
                 ,
                 which
                 is
                 a
                 very
                 great
                 help
                 to
                 the
                 Singer
                 ;
                 for
                 there
                 is
                 nothing
                 makes
                 him
                 sooner
                 mistake
                 his
                 tune
                 in
                 Singing
                 ,
                 than
                 the
                 misnaming
                 of
                 his
                 Notes
                 :
                 Therefore
                 for
                 the
                 better
                 understanding
                 the
                 Rule
                 of
                 naming
                 your
                 Notes
                 ,
                 by
                 finding
                 your
                 Mi
                 in
                 its
                 several
                 places
                 ,
                 cast
                 your
                 eye
                 on
                 another
                 Example
                 ,
                 for
                 the
                 like
                 naming
                 your
                 Notes
                 in
                 any
                 Cliff
                 whatsoever
                 ,
                 be
                 it
                 
                   Bass
                   ,
                   Trebl●
                
                 ,
                 or
                 any
                 
                   Inward
                   Part.
                
                 For
                 there
                 is
                 no
                 Song
                 pricked
                 down
                 for
                 any
                 part
                 ,
                 but
                 it
                 doth
                 imploy
                 some
                 of
                 those
                 Five
                 Lines
                 in
                 this
                 following
                 Example
                 .
                 The
                 which
                 several
                 Parts
                 are
                 demonstrated
                 by
                 those
                 little
                 Arches
                 ,
                 or
                 Columns
                 ,
                 on
                 the
                 right
                 side
                 of
                 the
                 following
                 Example
                 .
              
               
               
                 Example
                 .
                 Mi
                 in
                 
                   B.
                   Mi
                
                 in
                 
                   E.
                   Mi
                
                 in
                 A.
                 
                 
              
               
                 This
                 Example
                 expresses
                 the
                 Names
                 of
                 the
                 Notes
                 as
                 they
                 are
                 called
                 in
                 the
                 three
                 removes
                 of
                 your
                 Mi.
                 I
                 have
                 seen
                 some
                 Songs
                 with
                 four
                 flats
                 ,
                 as
                 is
                 before-mentioned
                 ,
                 that
                 is
                 to
                 say
                 ,
                 in
                 
                   B
                   mi
                   ,
                   E
                   la
                   mi
                   ,
                   A
                   la
                   mi
                   re
                   ,
                
                 and
                 
                   D
                   la
                   sol
                   re
                
                 ;
                 but
                 this
                 fourth
                 place
                 of
                 
                   D
                   la
                   sol
                   re
                
                 ,
                 is
                 very
                 seldom
                 used
                 ,
                 and
                 such
                 Songs
                 may
                 be
                 termed
                 irregular
                 ,
                 as
                 to
                 the
                 naming
                 the
                 Notes
                 (
                 being
                 rather
                 intended
                 for
                 Instruments
                 than
                 Voices
                 )
                 and
                 therefore
                 not
                 fit
                 to
                 be
                 proposed
                 to
                 young
                 Beginners
                 to
                 sing
                 .
                 And
                 because
                 I
                 will
                 omit
                 nothing
                 that
                 may
                 be
                 useful
                 to
                 Practitioners
                 ,
                 I
                 have
                 set
                 down
                 a
                 third
                 Example
                 of
                 the
                 naming
                 of
                 the
                 Notes
                 in
                 all
                 Parts
                 and
                 Cliffs
                 ,
                 as
                 the
                 Flats
                 are
                 assigned
                 to
                 all
                 Cliffs
                 .
              
               
                 
                 
                   An
                   exact
                   Table
                   of
                   the
                   Names
                   of
                   the
                   Notes
                   in
                   all
                   usual
                   Cliffs
                   ,
                   expressed
                   in
                   the
                   Six
                   several
                   Parts
                   of
                   Musick
                   .
                
                 
                   
                     
                       TREBLE
                       ,
                       G
                       sol
                       re
                       ut
                    
                     Cliff
                     
                       on
                       the
                       second
                       Line
                    
                     .
                  
                   
                     
                     Sol
                     la
                     mi
                     fa
                     sol
                     la
                     fa
                     sol
                     sol
                     la
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     
                     la
                     mi
                     fa
                     sol
                     la
                     fa
                     sol
                     la
                     la
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                  
                
                 
                   
                     
                       ALTUS
                       ,
                       C
                       sol
                       fa
                       ut
                    
                     Cliff
                     
                       on
                       the
                       first
                       Line
                    
                     .
                  
                   
                     
                     Fa
                     sol
                     la
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                     fa
                     sol
                     
                     sol
                     la
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                     fa
                     sol
                     la
                  
                
                 
                   
                     
                       MEAN
                       ,
                       C
                       sol
                       fa
                       ut
                    
                     Cliff
                     
                       on
                       the
                       second
                       Line
                    
                     .
                  
                   
                     
                     mi
                     fa
                     sol
                     la
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                     fa
                     
                     fa
                     sol
                     la
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                     fa
                     sol
                  
                
                 
                   
                   
                     COUNTER-TENOR
                     .
                  
                   
                     
                     Sol
                     la
                     mi
                     fa
                     sol
                     la
                     fa
                     sol
                     sol
                     la
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     
                     la
                     mi
                     fa
                     sol
                     la
                     fa
                     sol
                     la
                     la
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                  
                
                 
                   
                     TENOR
                     .
                  
                   
                     
                     La
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                     fa
                     sol
                     la
                     mi
                     
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                     fa
                     fa
                     sol
                     la
                     fa
                     sol
                     la
                     mi
                     fa
                  
                
                 
                   
                     BASSE
                     .
                  
                   
                     
                     Sol
                     la
                     mi
                     fa
                     sol
                     la
                     fa
                     sol
                     sol
                     la
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     
                     la
                     mi
                     fa
                     sol
                     la
                     fa
                     sol
                     la
                     fa
                     sol
                     la
                     mi
                     fa
                     sol
                     la
                     fa
                  
                   
                     First
                     learn
                     by
                     Cliffs
                     to
                     Name
                     your
                     Notes
                     ,
                  
                   
                     By
                     Rules
                     and
                     Spaces
                     right
                     ;
                  
                   
                     Then
                     Tune
                     with
                     Time
                     ,
                     to
                     ground
                     your
                     Skill
                  
                   
                     For
                     Musicks
                     sweet
                     Delight
                     .
                  
                
              
               
                 
                 
                   A
                   TABLE
                   shewing
                   the
                   Comparison
                   of
                   the
                   most
                   usual
                   Cliffs
                   ,
                   how
                   they
                   agree
                   together
                   in
                   the
                   Naming
                   the
                   Notes
                   .
                
                 
                   
                   SLFSLMFS
                   SLFSLMFS
                   SLFSLM
                   
                   LMFSLFSL
                   LMFSLFSL
                   
                   LFSLMFSL
                   LFSLMFSL
                   
                   FSLMFSLF
                   FSLMFSLF
                   FSLMFS
                   
                   FSLFSLMF
                   FSLFSLMF
                   FSLFSLM
                   
                   SLMFSLFS
                   SLMFSLFS
                   SLMFSLF
                   
                   MFSLFSLM
                   MFSLFSLM
                
              
            
             
               
               
                 CHAP.
                 V.
                 Of
                 Tuning
                 the
                 Voyce
                 .
              
               
                 THus
                 having
                 briefly
                 given
                 you
                 plain
                 and
                 familiar
                 Rules
                 for
                 the
                 understanding
                 the
                 nature
                 and
                 use
                 of
                 the
                 
                   Gam
                   ut
                
                 ,
                 it
                 will
                 be
                 necessary
                 ,
                 before
                 I
                 set
                 down
                 your
                 first
                 plain
                 Songs
                 ,
                 to
                 insert
                 a
                 word
                 or
                 two
                 concerning
                 the
                 
                   Tuning
                   of
                   the
                   Voyce
                
                 ,
                 in
                 regard
                 none
                 can
                 attain
                 the
                 right
                 guiding
                 or
                 ordering
                 their
                 Voyce
                 in
                 the
                 rising
                 and
                 falling
                 of
                 several
                 Sounds
                 which
                 are
                 in
                 Musick
                 (
                 at
                 first
                 )
                 without
                 the
                 help
                 of
                 another
                 Voyce
                 or
                 stringed
                 Instrument
                 .
                 They
                 are
                 both
                 of
                 them
                 extraordinary
                 helps
                 ,
                 but
                 some
                 Voyces
                 are
                 best
                 guided
                 by
                 the
                 sound
                 of
                 an
                 Instrument
                 ,
                 and
                 better
                 ,
                 if
                 the
                 Learner
                 have
                 skill
                 thereon
                 to
                 express
                 the
                 several
                 sounds
                 ,
                 so
                 that
                 his
                 Voyce
                 may
                 go
                 along
                 with
                 the
                 Instrument
                 ,
                 in
                 the
                 ascending
                 and
                 descending
                 of
                 the
                 several
                 Notes
                 or
                 Sounds
                 .
                 And
                 (
                 if
                 not
                 )
                 if
                 an
                 Instrument
                 be
                 sounded
                 by
                 another
                 who
                 is
                 an
                 Artist
                 ,
                 so
                 the
                 Learner
                 hath
                 a
                 good
                 Ear
                 to
                 guide
                 his
                 Voyce
                 in
                 unity
                 to
                 the
                 sound
                 of
                 the
                 Instrument
                 ,
                 it
                 will
                 with
                 a
                 little
                 practice
                 ,
                 by
                 sometimes
                 singing
                 with
                 ,
                 and
                 sometimes
                 without
                 )
                 guide
                 his
                 Voyce
                 into
                 a
                 perfect
                 Harmony
                 ,
                 to
                 sing
                 any
                 plain
                 Song
                 with
                 exactness
                 ;
                 
                 I
                 mean
                 by
                 
                   Tuning
                   his
                   Notes
                
                 perfectly
                 ,
                 Ascending
                 and
                 Descending
                 ,
                 and
                 also
                 in
                 the
                 rising
                 or
                 falling
                 of
                 a
                 Third
                 ,
                 a
                 Fourth
                 ,
                 or
                 Fifth
                 ,
                 and
                 
                   Sixth
                   ,
                   &c.
                
                 as
                 in
                 the
                 following
                 
                   Plain
                   Songs
                
                 are
                 set
                 down
                 .
                 At
                 the
                 first
                 guiding
                 the
                 Voyce
                 therein
                 ,
                 it
                 will
                 much
                 help
                 if
                 you
                 observe
                 this
                 Rule
                 ;
                 for
                 a
                 
                   Third
                   ascending
                
                 ,
                 which
                 is
                 from
                 Sol
                 to
                 Mi
                 ,
                 at
                 your
                 first
                 Tuning
                 sound
                 by
                 degrees
                 all
                 three
                 Notes
                 ,
                 as
                 
                   Sol
                   La
                   Mi
                
                 ,
                 then
                 at
                 second
                 Tuning
                 leave
                 out
                 La
                 ,
                 the
                 middle
                 Note
                 ,
                 and
                 so
                 you
                 will
                 Tune
                 from
                 Sol
                 to
                 Mi
                 ,
                 which
                 is
                 a
                 Third
                 .
                 This
                 Rule
                 serves
                 for
                 the
                 rising
                 of
                 Fourths
                 or
                 
                   Fifths
                   ,
                   &c.
                
                 as
                 your
                 third
                 
                   Plain
                   Song
                
                 in
                 the
                 next
                 page
                 directs
                 .
              
               
                 1.
                 
                 Observe
                 that
                 in
                 the
                 Tuning
                 of
                 your
                 Voyce
                 you
                 strive
                 to
                 have
                 it
                 cleer
                 .
              
               
                 2.
                 
                 In
                 the
                 expressing
                 of
                 your
                 Voyce
                 ,
                 or
                 Tuning
                 of
                 Notes
                 ,
                 let
                 the
                 Sound
                 come
                 clear
                 from
                 your
                 throat
                 ,
                 and
                 not
                 through
                 your
                 teeth
                 ,
                 by
                 sucking
                 in
                 your
                 breath
                 ,
                 for
                 that
                 is
                 a
                 great
                 obstruction
                 to
                 the
                 clear
                 utterance
                 of
                 the
                 Voyce
                 .
              
               
                 Lastly
                 ,
                 observe
                 that
                 in
                 Tuning
                 your
                 first
                 Note
                 of
                 your
                 
                   plain
                   Song
                
                 ,
                 you
                 equal
                 it
                 so
                 to
                 the
                 pitch
                 of
                 your
                 Voyce
                 ,
                 that
                 when
                 you
                 come
                 to
                 your
                 highest
                 Note
                 ,
                 you
                 may
                 reach
                 it
                 without
                 Squeaking
                 ,
                 and
                 your
                 lowest
                 Note
                 without
                 Grumbling
                 .
              
               
                 
                 
                   Here
                   followeth
                   the
                   three
                   usual
                   Plain
                   Songs
                   for
                   Tuning
                   the
                   Voice
                   in
                   the
                   Ascending
                   and
                   Descending
                   of
                   Notes
                   .
                
                 
                   
                   SLMFSLFS
                   SFLSFMLSLS
                   
                   SMLFMSFL
                   LFSMFLMSLS
                   
                   SLMSMSLMFSFSLMFSSS
                   
                   SLMFSLSLSLMFSLFSF
                   
                   SLMFSLFSSS
                   SFLSLS
                   
                   FLSSSSFLSFSFSFLSFM
                   
                   SMSFLSFMLSLSFLSFM
                   
                   LSSSFSLSSSFSMSLS
                
              
            
             
               
               
                 CHAP.
                 VI.
                 Of
                 Tones
                 or
                 Tunes
                 of
                 Notes
                 .
              
               
                 OBserve
                 that
                 the
                 two
                 
                   B
                   Cliffs
                
                 before
                 mentioned
                 are
                 used
                 in
                 Song
                 for
                 the
                 flatting
                 and
                 sharping
                 Notes
                 .
                 The
                 property
                 of
                 the
                 
                   B
                   flat
                
                 is
                 to
                 change
                 Mi
                 into
                 Fa
                 ,
                 making
                 that
                 Note
                 to
                 which
                 it
                 is
                 joyn'd
                 a
                 Semitone
                 or
                 half
                 a
                 Note
                 lower
                 ;
                 and
                 the
                 
                   B
                   sharp
                
                 raiseth
                 the
                 Note
                 before
                 which
                 it
                 is
                 set
                 a
                 Semitone
                 or
                 half
                 a
                 sound
                 higher
                 ,
                 but
                 alters
                 not
                 its
                 Name
                 ;
                 so
                 that
                 from
                 Mi
                 to
                 Fa
                 ,
                 and
                 likewise
                 from
                 La
                 to
                 Fa
                 ,
                 is
                 but
                 a
                 Semitone
                 or
                 a
                 half
                 Note
                 ,
                 between
                 any
                 two
                 other
                 Notes
                 it
                 is
                 a
                 perfect
                 Tone
                 ,
                 or
                 sound
                 ,
                 as
                 from
                 Fa
                 to
                 Sol
                 ,
                 from
                 Sol
                 to
                 La
                 ,
                 from
                 La
                 to
                 Mi
                 ,
                 are
                 whole
                 Tones
                 ,
                 which
                 is
                 a
                 perfect
                 Sound
                 .
                 And
                 this
                 may
                 be
                 easily
                 distinguished
                 ,
                 if
                 you
                 try
                 it
                 on
                 the
                 Frets
                 of
                 a
                 Viol
                 or
                 Lute
                 ,
                 you
                 shall
                 perceive
                 plainly
                 that
                 there
                 goes
                 two
                 Frets
                 to
                 the
                 stopping
                 of
                 a
                 whole
                 Note
                 ,
                 and
                 but
                 one
                 Fret
                 to
                 a
                 half
                 Note
                 ;
                 so
                 that
                 it
                 is
                 observed
                 that
                 Mi
                 and
                 Fa
                 do
                 only
                 serve
                 for
                 the
                 flatting
                 or
                 sharping
                 all
                 Notes
                 in
                 the
                 Scale
                 ,
                 and
                 they
                 being
                 rightly
                 understood
                 ,
                 the
                 other
                 Notes
                 are
                 easily
                 applyed
                 to
                 them
                 ;
                 for
                 if
                 
                   G
                   sol
                   re
                   ut
                
                 have
                 a
                 sharp
                 set
                 before
                 it
                 ,
                 it
                 's
                 the
                 same
                 in
                 sound
                 with
                 
                   A
                   la
                   mi
                   re
                
                 flat
                 ;
                 and
                 
                   B
                   fa
                   B
                   mi
                
                 flat
                 ,
                 is
                 the
                 
                 same
                 with
                 
                   A
                   la
                   mi
                   re
                
                 sharp
                 ;
                 and
                 
                   C
                   fa
                   ut
                
                 sharp
                 ,
                 is
                 
                   D
                   sol
                   re
                
                 flat
                 ,
                 &c.
                 as
                 being
                 of
                 one
                 and
                 the
                 same
                 sound
                 ,
                 or
                 stopped
                 upon
                 one
                 and
                 the
                 same
                 Fret
                 on
                 the
                 Viol
                 or
                 Violin
                 .
                 
                   For
                   Example
                   :
                   Vnisons
                   .
                   Octaves
                   .
                
                 
              
               
                 
                   For
                   a
                   Discourse
                   of
                   the
                
                 Cords
                 and
                 Discords
                 ,
                 
                   I
                   shall
                   only
                   name
                   them
                   in
                   this
                   part
                   of
                   my
                   Book
                   .
                
              
               
                 PErfect
                 Cords
                 are
                 these
                 ,
                 a
                 Fifth
                 ,
                 an
                 Eighth
                 ,
                 with
                 their
                 Compounds
                 or
                 Octaves
                 .
              
               
                 Imperfect
                 Cords
                 are
                 these
                 ,
                 a
                 Third
                 ,
                 a
                 Sixth
                 ,
                 with
                 their
                 
                   Compounds
                   ,
                
                 ,
                 all
                 other
                 distances
                 reckoned
                 from
                 the
                 Bass
                 are
                 Discords
                 .
              
               
                 A
                 Diapason
                 is
                 a
                 perfect
                 Eighth
                 ,
                 and
                 contains
                 5
                 whole
                 Tones
                 ,
                 and
                 2
                 half
                 Tones
                 ,
                 that
                 is
                 in
                 all
                 the
                 seven
                 natural
                 Sounds
                 or
                 Notes
                 besides
                 the
                 Ground
                 ,
                 what
                 flats
                 or
                 sharps
                 soe're
                 ●here
                 be
                 .
                 But
                 for
                 a
                 further
                 Discourse
                 ,
                 I
                 shall
                 refer
                 you
                 to
                 the
                 Second
                 part
                 of
                 this
                 Introduction
                 ,
                 entitituled
                 ,
                 
                   The
                   Art
                   of
                   Descant
                
                 ,
                 or
                 
                   Composing
                   of
                   Musick
                   in
                   Parts
                
                 ;
                 my
                 purpose
                 in
                 this
                 Book
                 being
                 only
                 to
                 set
                 down
                 the
                 Rules
                 for
                 the
                 Theorick
                 part
                 of
                 Musick
                 ,
                 so
                 far
                 as
                 is
                 necessary
                 to
                 be
                 understood
                 by
                 young
                 Practitioners
                 in
                 Musick
                 ,
                 either
                 Vocal
                 or
                 Instrumental
                 .
                 I
                 shall
                 therefore
                 proceed
                 to
                 the
                 next
                 Rules
                 for
                 the
                 Notes
                 ,
                 their
                 Time
                 and
                 Proportions
                 .
              
            
             
               
               
                 CHAP.
                 VII
                 .
                 The
                 Notes
                 ;
                 their
                 Names
                 ,
                 Number
                 ,
                 and
                 Proportions
                 .
              
               
                 Large
                 .
                 Long.
                 Breve
                 .
                 Semibreve
                 .
                 Minim
                 .
                 Crotchet
                 .
                 Quaver
                 .
                 Semiq
                 .
                 
              
               
                 MEasure
                 in
                 this
                 Science
                 is
                 a
                 Quantity
                 of
                 the
                 length
                 and
                 shortness
                 of
                 Time
                 ,
                 either
                 by
                 Natural
                 Sounds
                 pronounced
                 by
                 the
                 Voyce
                 ,
                 or
                 Artificial
                 ,
                 upon
                 Instruments
                 ;
                 which
                 Measure
                 ,
                 is
                 by
                 a
                 certain
                 motion
                 of
                 the
                 hand
                 or
                 foot
                 expressed
                 in
                 variety
                 of
                 Notes
                 .
                 These
                 Notes
                 in
                 Musick
                 have
                 two
                 Names
                 ,
                 one
                 for
                 Tune
                 ,
                 the
                 other
                 for
                 Time
                 or
                 Proportion
                 of
                 Notes
                 to
                 certain
                 Sounds
                 .
                 The
                 Names
                 of
                 Notes
                 in
                 Tuning
                 I
                 have
                 set
                 down
                 in
                 the
                 former
                 Chapter
                 ,
                 being
                 Four
                 ,
                 
                   Sol
                   ,
                   La
                   ,
                   Mi
                   ,
                   Fa.
                
                 Those
                 in
                 the
                 Proportion
                 of
                 Time
                 are
                 Eight
                 ,
                 as
                 a
                 
                   Large
                   ,
                   Long
                   ,
                   Breve
                   ,
                   Semibreve
                   ,
                   Minim
                   ,
                   Crotchet
                   ,
                   Quaver
                   ,
                
                 and
                 Semiquaver
                 ,
                 expressed
                 at
                 the
                 beginning
                 of
                 this
                 Chapter
                 :
                 The
                 four
                 first
                 are
                 Notes
                 of
                 Augmentation
                 or
                 Increase
                 ,
                 the
                 four
                 last
                 of
                 Diminution
                 or
                 Decrease
                 .
                 The
                 Large
                 is
                 the
                 first
                 of
                 Augmentation
                 ,
                 
                 being
                 longest
                 in
                 sound
                 ;
                 and
                 the
                 Semibreve
                 the
                 last
                 of
                 Augmentation
                 ,
                 being
                 shortest
                 in
                 sound
                 :
                 In
                 Time
                 ,
                 it
                 is
                 called
                 the
                 Master-Note
                 ,
                 being
                 of
                 one
                 certain
                 Measure
                 by
                 it self
                 .
                 All
                 the
                 other
                 Notes
                 ,
                 both
                 of
                 Augmentation
                 and
                 Diminution
                 ,
                 are
                 measured
                 by
                 or
                 proportioned
                 to
                 its
                 value
                 :
                 The
                 Large
                 contains
                 eight
                 Semibreves
                 ,
                 the
                 Long
                 four
                 ,
                 and
                 the
                 Breve
                 two
                 .
                 The
                 Notes
                 of
                 Diminution
                 ,
                 
                   viz.
                   Minim
                   ,
                   Crotchet
                   ,
                   Quaver
                   ,
                
                 and
                 Semiquaver
                 ,
                 are
                 reckoned
                 to
                 ,
                 as
                 the
                 others
                 were
                 measured
                 by
                 the
                 Semibreve
                 ;
                 and
                 ,
                 according
                 to
                 the
                 ordinary
                 proportion
                 of
                 Time
                 ,
                 two
                 Minims
                 are
                 accounted
                 to
                 the
                 Semibreve
                 ,
                 two
                 Crotchets
                 to
                 the
                 Minim
                 ,
                 two
                 Quavers
                 to
                 the
                 Crotchet
                 ,
                 and
                 two
                 Semiquavers
                 to
                 the
                 Quaver
                 .
              
               
                 
                   Notes
                   of
                   Augmentation
                   .
                   Notes
                   of
                   Diminution
                   .
                
              
            
             
               
               
                 CHAP.
                 VIII
                 .
                 Of
                 the
                 Rests
                 or
                 Pauses
                 ,
                 of
                 Pricks
                 ,
                 and
                 Notes
                 of
                 Syncopation
                 .
              
               
                 
                   Large
                   .
                   Long.
                   Breve
                   .
                   Semibreve
                   Minim
                   .
                   Crotchet
                   .
                   Quaver
                   .
                
                 
              
               
                 PAuses
                 or
                 Kests
                 are
                 silent
                 Characters
                 ,
                 or
                 an
                 artificial
                 omission
                 of
                 the
                 Voyce
                 or
                 Sound
                 ,
                 proportioned
                 to
                 a
                 certain
                 Measure
                 of
                 Time
                 ,
                 by
                 motion
                 of
                 the
                 hand
                 or
                 foot
                 (
                 whereby
                 the
                 Quantity
                 of
                 Notes
                 and
                 Rests
                 are
                 directed
                 )
                 by
                 an
                 equal
                 measure
                 ,
                 the
                 signatures
                 and
                 characters
                 of
                 which
                 are
                 placed
                 over
                 each
                 Note
                 in
                 the
                 Example
                 at
                 the
                 beginning
                 of
                 this
                 Chapter
                 .
              
               
                 To
                 these
                 Notes
                 appertain
                 also
                 certain
                 other
                 Rules
                 ,
                 as
                 
                   Augmentation
                   ,
                   Syncopation
                   ,
                   Pricks
                   of
                   Perfection
                
                 or
                 Addition
                 ;
                 of
                 which
                 ,
                 I
                 shall
                 only
                 set
                 down
                 what
                 is
                 necessary
                 to
                 be
                 understood
                 by
                 the
                 Practitioner
                 ;
                 as
                 first
                 ,
                 of
                 the
                 
                   Pricks
                   of
                   Perfection
                
                 or
                 Addition
                 ;
                 next
                 ,
                 of
                 Syncopation
                 ,
                 or
                 breaking
                 of
                 the
                 Time
                 ,
                 by
                 the
                 Driving
                 a
                 Minim
                 through
                 Semibreves
                 ,
                 or
                 Crotchets
                 through
                 Minims
                 ,
                 which
                 is
                 the
                 beating
                 the
                 Time
                 in
                 the
                 middle
                 of
                 such
                 Notes
                 .
              
               
               
                 Prick
                 
                   Long.
                   Breve
                   .
                   Semibreve
                   .
                   Minim
                   .
                   Crotchet
                   .
                   Quaver
                   .
                
                 
              
               
                 
                   A
                   further
                   Example
                   of
                   the
                   
                     Prick
                     Notes
                  
                   ,
                   wherein
                   the
                   Measure
                   of
                   the
                   Time
                   is
                   barred
                   ,
                   according
                   to
                   the
                   Semibreve
                   ,
                   both
                   by
                   Prick
                   
                     Semibreves
                     ,
                     Minims
                  
                   ,
                   and
                   Crotchets
                   .
                
                 
                   
                   
                   
                   
                
                 
                 
                   Secondly
                   ,
                   Pricks
                   of
                   Perfection
                   are
                   used
                   for
                   perfecting
                   of
                   Notes
                   ,
                   and
                   are
                   only
                   used
                   in
                   the
                   Triple-Time
                   ;
                   of
                   which
                   ,
                   I
                   shall
                   speak
                   more
                   at
                   the
                   latter
                   end
                   of
                   Chap.
                   10.
                   
                
                 
                   Thirdly
                   ,
                   Syncopation
                   is
                   when
                   the
                   beating
                   of
                   Time
                   falls
                   to
                   be
                   in
                   the
                   midst
                   of
                   a
                   Semibreve
                   or
                   
                     Minim
                     ,
                     &c.
                  
                   or
                   ,
                   as
                   we
                   usually
                   term
                   it
                   ,
                   Notes
                   driven
                   till
                   the
                   Time
                   falls
                   even
                   again
                   .
                   Examp.
                   
                
                 
                   
                   
                
              
               
                 
                   Of
                   the
                   Tying
                   of
                   Notes
                   .
                
                 
                   
                   
                
                 
                   This
                   Example
                   shews
                   ,
                   that
                   many
                   times
                   in
                   Songs
                   or
                   Lessons
                   ,
                   two
                   ,
                   four
                   ,
                   or
                   more
                   Quavers
                   or
                   Semiquavers
                   ,
                   are
                   Tyed
                   together
                   by
                   a
                   long
                   stroke
                   on
                   the
                   top
                   of
                   their
                   Tails
                   :
                   And
                   though
                   they
                   be
                   so
                   ,
                   they
                   are
                   the
                   same
                   with
                   the
                   other
                   ,
                   and
                   are
                   so
                   tyed
                   for
                   the
                   benefit
                   of
                   the
                   sight
                   ,
                   when
                   many
                   Quavers
                   or
                   Semiquavers
                   happen
                   together
                   ,
                   not
                   altering
                   the
                   Measure
                   or
                   Proportion
                   of
                   Time.
                   
                
              
            
             
               
               
                 CHAP.
                 IX
                 .
                 Of
                 the
                 Keeping
                 of
                 Time
                 by
                 the
                 Measure
                 of
                 the
                 Semibreve
                 or
                 Master-Note
                 .
              
               
                 OBserve
                 that
                 to
                 the
                 Measure
                 of
                 the
                 Semibreve
                 all
                 Notes
                 are
                 proportioned
                 ,
                 and
                 its
                 Measure
                 is
                 expressed
                 (
                 by
                 a
                 Natural
                 Sound
                 of
                 the
                 Voyce
                 ,
                 or
                 Artificial
                 on
                 an
                 Instrument
                 )
                 to
                 the
                 moving
                 of
                 the
                 hand
                 or
                 foot
                 up
                 and
                 down
                 when
                 its
                 measure
                 is
                 whole
                 ;
                 in
                 Notes
                 of
                 Augmentation
                 ,
                 the
                 Sound
                 is
                 continued
                 to
                 more
                 than
                 one
                 Semibreve
                 ;
                 but
                 in
                 Notes
                 of
                 Diminution
                 ,
                 the
                 Sound
                 is
                 variously
                 broken
                 into
                 
                   Minims
                   ,
                   Crotchets
                
                 ,
                 and
                 Quavers
                 ,
                 or
                 the
                 like
                 :
                 So
                 that
                 in
                 keeping
                 time
                 your
                 hand
                 goes
                 down
                 at
                 one
                 half
                 ,
                 which
                 is
                 a
                 Minim
                 ,
                 and
                 up
                 at
                 the
                 next
                 .
                 For
                 the
                 more
                 ease
                 at
                 first
                 ,
                 if
                 you
                 have
                 two
                 Minims
                 ,
                 or
                 four
                 Crotchets
                 ,
                 as
                 in
                 the
                 Example
                 following
                 ,
                 in
                 one
                 Bar
                 ,
                 which
                 is
                 the
                 proportion
                 of
                 a
                 Semibreve
                 ;
                 you
                 may
                 ,
                 in
                 Minims
                 ,
                 pronounce
                 
                   one
                   ,
                   two
                
                 ,
                 your
                 hand
                 being
                 down
                 at
                 your
                 first
                 sounding
                 one
                 ,
                 lift
                 it
                 up
                 leisurely
                 ,
                 and
                 when
                 it
                 is
                 up
                 a
                 small
                 distance
                 pronounce
                 two
                 ,
                 and
                 then
                 laying
                 your
                 hand
                 down
                 again
                 begin
                 the
                 third
                 Minim
                 ,
                 lifting
                 it
                 up
                 at
                 the
                 fourth
                 ,
                 and
                 down
                 at
                 the
                 fifth
                 ,
                 &c.
                 
                 Also
                 when
                 you
                 have
                 four
                 Crotchets
                 ,
                 pronounce
                 
                   one
                   ,
                   two
                   ,
                   
                   three
                   ,
                   four
                   ,
                
                 that
                 is
                 ,
                 the
                 hand
                 is
                 down
                 at
                 one
                 and
                 up
                 at
                 three
                 ,
                 and
                 down
                 when
                 you
                 begin
                 the
                 next
                 Bar
                 of
                 four
                 Crotchets
                 ,
                 as
                 in
                 this
                 Example
                 .
                 This
                 Rule
                 observe
                 ,
                 according
                 to
                 the
                 Measure
                 of
                 those
                 Notes
                 your
                 Semibreve
                 is
                 divided
                 into
                 ,
                 be
                 it
                 either
                 
                   Triple
                   ,
                   Duple
                
                 or
                 
                   Common
                   Time.
                
                 
              
               
                 Example
                 .
                 
                 1
                 2
                 1
                 2
                 1
                 2
                 1
                 2
                 1
                 2
                 1
                 
                 1
                 2
                 3
                 4
                 1
                 2
                 3
                 4
                 1
                 2
                 3
                 4
                 1
                 2
                 3
                 4
                 1
                 2
                 3
                 4
                 1
              
            
             
               
                 CHAP.
                 X.
                 Of
                 the
                 Four
                 Moods
                 or
                 Proportions
                 of
                 the
                 Time
                 or
                 Measure
                 of
                 Notes
                 .
              
               
                 
                   
                     The
                     usual
                     Moods
                     may
                     not
                     here
                     be
                     mist
                     ,
                  
                   
                     In
                     them
                     much
                     cunning
                     doth
                     consist
                     .
                  
                
              
               
                 THere
                 are
                 four
                 Moods
                 ,
                 the
                 which
                 are
                 divided
                 into
                 four
                 Tables
                 ,
                 that
                 is
                 to
                 say
                 ,
                 
                   
                   
                     Moods
                     .
                  
                   
                     Great
                     .
                     
                       
                         1.
                         
                         The
                         Perfect
                         of
                         the
                         More
                         .
                         
                      
                       
                         2.
                         
                         The
                         Perfect
                         of
                         the
                         Less
                         .
                         
                      
                    
                  
                   
                     Less
                     .
                     
                       
                         3.
                         
                         The
                         Imperfect
                         of
                         the
                         More
                         .
                         
                      
                       
                         4.
                         
                         The
                         Imperfect
                         of
                         the
                         Less
                         .
                         
                      
                    
                  
                
              
               
                 These
                 four
                 Moods
                 were
                 used
                 in
                 former
                 times
                 ,
                 but
                 of
                 late
                 years
                 ,
                 those
                 of
                 our
                 Nation
                 that
                 have
                 Composed
                 Musick
                 ,
                 either
                 Vocal
                 or
                 Instrumental
                 ,
                 have
                 made
                 use
                 only
                 of
                 the
                 two
                 latter
                 ;
                 that
                 is
                 to
                 say
                 ,
                 the
                 
                   Imperfect
                   of
                   the
                   More
                
                 and
                 
                   Imperfect
                   of
                   the
                   Less
                
                 ,
                 one
                 being
                 called
                 the
                 
                   Triple
                   Time
                
                 ,
                 the
                 other
                 the
                 Duple
                 or
                 
                   Common
                   Time
                
                 ,
                 these
                 two
                 being
                 sufficient
                 to
                 express
                 much
                 variety
                 of
                 Musick
                 :
                 However
                 ,
                 because
                 the
                 Italians
                 do
                 at
                 this
                 day
                 use
                 in
                 their
                 Musick
                 all
                 four
                 ,
                 I
                 will
                 not
                 omit
                 to
                 give
                 you
                 the
                 Definitions
                 and
                 Proportions
                 of
                 them
                 in
                 their
                 order
                 ,
                 and
                 be
                 more
                 large
                 upon
                 the
                 two
                 latter
                 ,
                 because
                 most
                 used
                 by
                 the
                 Practitioners
                 of
                 Musick
                 in
                 this
                 our
                 Nation
                 .
              
               
                 
                 
                   Of
                   the
                   two
                   first
                   Moods
                   .
                
                 
                   1.
                   
                   THe
                   
                     Perfect
                     of
                     the
                     More
                  
                   is
                   when
                   all
                   go
                   by
                   three
                   ,
                   as
                   three
                   Longs
                   to
                   a
                   Large
                   ,
                   three
                   Breves
                   to
                   a
                   Long
                   ,
                   three
                   Semib●eves
                   to
                   a
                   Breve
                   ,
                   three
                   Minims
                   to
                   a
                   Semibreve
                   ;
                   except
                   
                     Crotchets
                     ,
                     &c.
                  
                   which
                   go
                   by
                   two
                   ;
                   Mark'd
                   thus
                   ,
                   
                     
                       The
                       Perfect
                       of
                       the
                       More
                       
                       .
                    
                  
                
                 
                   2.
                   
                   The
                   
                     Perfect
                     of
                     the
                     Less
                  
                   is
                   when
                   all
                   go
                   by
                   two
                   ,
                   except
                   the
                   Semibreves
                   ,
                   as
                   two
                   Longs
                   to
                   a
                   Large
                   ,
                   two
                   Breves
                   to
                   a
                   Long
                   ,
                   three
                   Semibreves
                   to
                   a
                   Breve
                   ,
                   two
                   Minims
                   to
                   a
                   
                     Semibreve
                     ,
                     &c.
                  
                   and
                   its
                   Sign
                   or
                   Mark
                   is
                   made
                   thus
                   ,
                   
                     
                       The
                       Perfect
                       of
                       the
                       Less
                       
                    
                  
                
              
               
                 
                   Of
                   the
                   two
                   last
                   or
                   most
                   usual
                   Moods
                   .
                
                 
                   3.
                   
                   THe
                   
                     Imperfect
                     of
                     the
                     More
                  
                   is
                   when
                   all
                   go
                   by
                   two
                   ,
                   except
                   the
                   Minims
                   ,
                   which
                   go
                   by
                   three
                   ,
                   as
                   two
                   Longs
                   to
                   a
                   Large
                   ,
                   two
                   Breves
                   to
                   a
                   Long
                   ,
                   two
                   Semibreves
                   
                   to
                   a
                   Breve
                   ,
                   three
                   Minims
                   to
                   the
                   Semibreve
                   ,
                   with
                   a
                   Prick
                   of
                   Perfection
                   ,
                   which
                   makes
                   the
                   whole
                   proportion
                   of
                   
                     three
                     Minims
                  
                   ,
                   and
                   is
                   called
                   a
                   Time
                   :
                   Its
                   Mood
                   is
                   thus
                   signed
                   
                   ,
                   and
                   this
                   is
                   usually
                   called
                   the
                   
                     Triple
                     Time.
                  
                   
                
                 
                   
                     The
                     Imperfect
                     of
                     the
                     More
                     
                  
                
                 
                   This
                   Mood
                   is
                   much
                   used
                   in
                   
                     Airy
                     Songs
                  
                   and
                   Galiards
                   ,
                   and
                   is
                   usually
                   called
                   Galiard
                   or
                   
                     Triple
                     Time
                  
                   ;
                   and
                   is
                   of
                   two
                   Motions
                   ,
                   the
                   one
                   slow
                   ,
                   the
                   other
                   more
                   swift
                   .
                
                 
                   The
                   first
                   is
                   ,
                   when
                   the
                   Measure
                   is
                   by
                   three
                   Minims
                   to
                   a
                   Semibreve
                   with
                   a
                   Prick
                   ,
                   which
                   Prick
                   is
                   for
                   Perfection
                   ,
                   to
                   make
                   it
                   a
                   perfect
                   Time
                   ,
                   and
                   is
                   usually
                   called
                   
                     Three
                     to
                     One.
                  
                   
                
                 
                   
                
                 
                   The
                   second
                   Measure
                   of
                   this
                   
                     Triple
                     Time
                  
                   is
                   to
                   a
                   swifter
                   motion
                   ,
                   and
                   is
                   measured
                   by
                   three
                   Crotchets
                   ,
                   or
                   a
                   Minim
                   with
                   a
                   Prick
                   for
                   Perfection
                   .
                   This
                   swifter
                   Measure
                   is
                   appropriated
                   or
                   used
                   in
                   light
                   Lessons
                   ,
                   as
                   
                     Corants
                     ,
                     Sarabands
                     ,
                     Iigs
                  
                   ,
                   and
                   the
                   like
                   .
                
                 
                   
                
                 
                 
                   This
                   swifter
                   
                     Triple
                     Time
                  
                   is
                   sometimes
                   prick'd
                   in
                   Black
                   Notes
                   ,
                   which
                   Black
                   Note
                   is
                   of
                   the
                   same
                   Measure
                   with
                   the
                   Minim
                   in
                   the
                   foregoing
                   Example
                   ,
                   but
                   is
                   seldom
                   used
                   ,
                   because
                   the
                   Minims
                   are
                   the
                   same
                   and
                   serve
                   as
                   well
                   .
                
                 
                   
                     For
                     Example
                  
                   :
                   
                
                 
                   4.
                   
                   The
                   fourth
                   or
                   last
                   Mood
                   ,
                   which
                   is
                   called
                   the
                   
                     Imperfect
                     of
                     the
                     Less
                  
                   ,
                   is
                   when
                   all
                   go
                   by
                   two
                   ,
                   as
                   two
                   Longs
                   to
                   a
                   Large
                   ,
                   two
                   Breves
                   to
                   a
                   Long
                   ,
                   two
                   Semibreves
                   to
                   a
                   Breve
                   ,
                   two
                   Minims
                   ,
                   to
                   a
                   Semibreve
                   ,
                   two
                   Crotchets
                   to
                   a
                   
                     Minim
                     ,
                     &c.
                  
                   and
                   this
                   is
                   called
                   the
                   Dupla
                   or
                   
                     Semibreve
                     Time
                  
                   ,
                   (
                   but
                   many
                   call
                   it
                   the
                   
                     Common
                     Time
                  
                   ,
                   because
                   most
                   used
                   ;
                   )
                   its
                   Mood
                   is
                   thus
                   marked
                   
                   ,
                   and
                   is
                   usual
                   in
                   Anthems
                   ,
                   Fantasies
                   ,
                   Pavans
                   ,
                   Almans
                   ,
                   and
                   the
                   like
                   ;
                   whose
                   Measure
                   is
                   set
                   down
                   in
                   this
                   following
                   Example
                   .
                
                 
                   
                     The
                     Imperfect
                     of
                     the
                     Less
                     
                  
                
                 
                   
                     Note
                     ,
                     That
                     when
                     this
                  
                   Common
                   Mood
                   
                     is
                     reversed
                     thus
                     
                     ,
                     it
                     is
                     to
                     signifie
                     ,
                     that
                     the
                  
                   Time
                   
                     of
                     that
                     Lesson
                     or
                     Song
                     ,
                     before
                     which
                     it
                     is
                     so
                     set
                     ,
                     is
                     to
                     be
                     Play'd
                     or
                     Sung
                     as
                     swift
                     again
                     as
                     the
                     usual
                     Measure
                     .
                  
                
              
            
             
               
               
                 CHAP.
                 XI
                 .
                 Of
                 the
                 several
                 Adjuncts
                 and
                 Characters
                 used
                 in
                 Musick
                 .
              
               
                 
                   1.
                   
                   A
                   Direct
                   is
                   usually
                   at
                   the
                   end
                   of
                   a
                   Line
                   ,
                   and
                   serves
                   to
                   direct
                   to
                   the
                   place
                   of
                   the
                   first
                   Note
                   on
                   the
                   next
                   Line
                   ,
                   and
                   are
                   thus
                   made
                   ,
                   
                
                 
                   2.
                   
                   Bars
                   are
                   of
                   two
                   sorts
                   ,
                   single
                   and
                   double
                   .
                   The
                   
                     single
                     Bars
                  
                   serve
                   to
                   divide
                   the
                   Time
                   ,
                   according
                   to
                   the
                   Measure
                   of
                   the
                   Semibreve
                   :
                   The
                   
                     double
                     Bars
                  
                   are
                   set
                   to
                   divide
                   the
                   several
                   Strains
                   or
                   Stanzaes
                   of
                   the
                   Songs
                   and
                   Lessons
                   ,
                   and
                   are
                   thus
                   made
                   ,
                   
                
                 
                   3.
                   
                   A
                   Repeat
                   is
                   thus
                   marked
                   
                   ,
                   and
                   is
                   used
                   to
                   signifie
                   that
                   such
                   a
                   part
                   of
                   a
                   Song
                   or
                   Lesson
                   must
                   be
                   Played
                   or
                   Sung
                   over
                   again
                   from
                   that
                   Note
                   over
                   which
                   it
                   is
                   placed
                   .
                
                 
                   
                     4.
                     
                     A
                     Tye
                     is
                     of
                     two
                     uses
                     ;
                     first
                     ,
                     when
                     the
                     Time
                     is
                     broken
                     or
                     struck
                     in
                     the
                     middle
                     of
                     the
                     Note
                     ,
                     it
                     is
                     usual
                     to
                     Tye
                     two
                     Minims
                     ,
                     or
                     a
                     Minim
                     and
                     a
                     Crotchet
                     together
                     ,
                     as
                     thus
                     ,
                     
                  
                   
                   
                     The
                     second
                     sort
                     of
                     Tye
                     is
                     ,
                     when
                     two
                     or
                     more
                     Notes
                     are
                     to
                     be
                     Sung
                     to
                     one
                     Syllable
                     ,
                     or
                     two
                     Notes
                     or
                     more
                     to
                     be
                     plaid
                     with
                     once
                     drawing
                     the
                     Bow
                     on
                     the
                     Viol
                     or
                     Violin
                     ,
                     as
                     thus
                     :
                     
                     
                       Thou
                       art
                       not
                       Kind
                       but
                       Cruel
                       .
                    
                  
                
                 
                   5.
                   
                   A
                   Hold
                   is
                   thus
                   made
                   
                   ,
                   and
                   is
                   placed
                   over
                   the
                   Note
                   which
                   the
                   Author
                   intends
                   should
                   be
                   held
                   to
                   a
                   longer
                   Measure
                   than
                   the
                   Note
                   contains
                   ,
                   and
                   over
                   the
                   last
                   Note
                   of
                   a
                   Lesson
                   .
                
                 
                   6.
                   
                   The
                   Figures
                   usually
                   placed
                   over
                   Notes
                   in
                   the
                   Thorough-Bass
                   of
                   Songs
                   or
                   Ayres
                   ,
                   for
                   the
                   Organ
                   or
                   Theorbo
                   ,
                   is
                   to
                   direct
                   the
                   Performer
                   to
                   strike
                   in
                   other
                   Parts
                   to
                   those
                   Notes
                   ,
                   as
                   
                     Thirds
                     ,
                     Sixths
                  
                   ,
                   and
                   the
                   like
                   ,
                   to
                   the
                   Ground
                   ,
                   as
                   thus
                   :
                   
                
              
               
                 
                   I
                   shall
                   here
                   conclude
                   the
                
                 First
                 Part
                 ,
                 
                   wherein
                   I
                   have
                   set
                   down
                   what
                   is
                   needful
                   to
                   be
                   understood
                   of
                   the
                   Theorick
                   Part
                   of
                   Musick
                   ,
                   in
                   the
                   plainest
                   and
                   easiest
                   Method
                   that
                   I
                   could
                   ;
                   not
                   doubting
                   but
                   by
                   it
                   ,
                   and
                   a
                   little
                   assistance
                   of
                   some
                   already
                   skill'd
                   in
                   Musick
                   ,
                   to
                   guide
                   you
                   to
                   the
                   Practick
                   .
                
              
            
             
               
               
                 A
                 Brief
                 Discourse
                 of
                 the
                 Italian
                 manner
                 of
                 Singing
                 ;
                 wherein
                 is
                 set
                 down
                 ,
                 the
                 Vse
                 of
                 those
                 Graces
                 in
                 Singing
                 ,
                 as
                 the
                 Trill
                 and
                 Gruppo
                 ,
                 used
                 in
                 Italy
                 ,
                 and
                 now
                 in
                 England
                 :
                 Written
                 some
                 years
                 since
                 by
                 an
                 English
                 Gentleman
                 ,
                 who
                 had
                 lived
                 long
                 in
                 Italy
                 ,
                 and
                 being
                 returned
                 ,
                 Taught
                 the
                 same
                 here
                 .
              
               
                 
                   The
                   Proem
                   to
                   the
                   said
                   Discourse
                   is
                   to
                   this
                   effect
                   .
                
                 
                   HItherto
                   I
                   have
                   not
                   put
                   forth
                   to
                   the
                   view
                   of
                   the
                   World
                   ,
                   those
                   Fruits
                   of
                   my
                   Musick
                   Studies
                   employed
                   about
                   that
                   Noble
                   manner
                   of
                   Singing
                   ,
                   which
                   I
                   learnt
                   of
                   my
                   Master
                   the
                   famous
                   
                     Scipione
                     del
                     Palla
                  
                   in
                   Italy
                   ;
                   nor
                   my
                   Compositions
                   of
                   Ayres
                   ,
                   Composed
                   by
                   me
                   ,
                   which
                   I
                   saw
                   frequently
                   practised
                   by
                   the
                   most
                   famous
                   Singers
                   in
                   Italy
                   ,
                   both
                   Men
                   and
                   Women
                   :
                   But
                   seeing
                   many
                   of
                   them
                   go
                   about
                   maimed
                   and
                   spoil'd
                   ,
                   and
                   that
                   those
                   long
                   winding
                   Points
                   were
                   ill
                   performed
                   ,
                   I
                   therefore
                   devis'd
                   to
                   avoid
                   that
                   old
                   manner
                   of
                   running
                   Division
                   ,
                   which
                   has
                   been
                   hitherto
                   
                   used
                   ,
                   being
                   indeed
                   more
                   proper
                   for
                   Wind
                   and
                   Stringed
                   Instruments
                   than
                   for
                   the
                   Voice
                   .
                   And
                   seeing
                   that
                   there
                   is
                   made
                   now
                   a
                   days
                   an
                   indifferent
                   and
                   confused
                   use
                   of
                   those
                   excellent
                   Graces
                   and
                   Ornaments
                   to
                   the
                   good
                   manner
                   of
                   Singing
                   ,
                   which
                   we
                   call
                   
                     Trills
                     ,
                     Grupps
                     ,
                     Exclamations
                  
                   of
                   Increasing
                   and
                   Abating
                   of
                   the
                   Voice
                   ,
                   of
                   which
                   I
                   do
                   intend
                   in
                   this
                   my
                   Discourse
                   to
                   leave
                   some
                   foot-prints
                   ,
                   that
                   others
                   may
                   attain
                   to
                   this
                   excellent
                   manner
                   of
                   Singing
                   :
                   To
                   which
                   manner
                   I
                   have
                   framed
                   my
                   last
                   Ayres
                   for
                   one
                   Voice
                   to
                   the
                   Theorbo
                   ,
                   not
                   following
                   that
                   old
                   way
                   of
                   Composition
                   ,
                   whose
                   Musick
                   not
                   suffering
                   the
                   Words
                   to
                   be
                   understood
                   by
                   the
                   Hearers
                   ,
                   for
                   the
                   multitude
                   of
                   Divisions
                   made
                   upon
                   short
                   and
                   long
                   Syllables
                   ,
                   though
                   by
                   the
                   Vulgar
                   such
                   Singers
                   are
                   cryed
                   up
                   for
                   famous
                   .
                   But
                   I
                   have
                   endeavoured
                   in
                   those
                   my
                   late
                   Compositions
                   ,
                   to
                   bring
                   in
                   a
                   kind
                   of
                   Musick
                   ,
                   by
                   which
                   men
                   might
                   as
                   it
                   were
                   Talk
                   in
                   Harmony
                   ,
                   using
                   in
                   that
                   kind
                   of
                   Singing
                   a
                   certain
                   noble
                   neglect
                   of
                   the
                   Song
                   (
                   as
                   I
                   have
                   often
                   heard
                   at
                   Florence
                   by
                   the
                   Actors
                   in
                   their
                   Singing
                   Opera's
                   )
                   in
                   which
                   I
                   endeavoured
                   the
                   Imitation
                   of
                   the
                   Conceit
                   of
                   the
                   Words
                   ,
                   seeking
                   out
                   the
                   Cords
                   more
                   or
                   less
                   passionate
                   ,
                   according
                   to
                   the
                   meaning
                   of
                   them
                   ,
                   having
                   concealed
                   
                   in
                   them
                   so
                   much
                   as
                   I
                   could
                   the
                   
                     Art
                     of
                     Descant
                  
                   ,
                   and
                   paused
                   or
                   stayed
                   the
                   Consonances
                   or
                   Cords
                   upon
                   long
                   Syllables
                   ,
                   avoiding
                   the
                   short
                   ,
                   and
                   observing
                   the
                   same
                   Rule
                   in
                   making
                   the
                   passages
                   of
                   Division
                   by
                   some
                   few
                   Quavers
                   to
                   Notes
                   and
                   to
                   Cadences
                   ,
                   not
                   exceeding
                   the
                   value
                   of
                   a
                   quarter
                   or
                   half
                   a
                   Semibreve
                   at
                   most
                   .
                   But
                   ,
                   as
                   I
                   said
                   before
                   ,
                   those
                   long
                   windings
                   and
                   turnings
                   of
                   the
                   Voice
                   are
                   ill
                   used
                   ,
                   for
                   I
                   have
                   observed
                   that
                   Divisions
                   have
                   been
                   invented
                   ,
                   not
                   because
                   they
                   are
                   necessary
                   unto
                   a
                   good
                   fashion
                   of
                   Singing
                   ,
                   but
                   rather
                   for
                   a
                   certain
                   tickling
                   of
                   the
                   Ears
                   of
                   those
                   who
                   do
                   not
                   well
                   understand
                   what
                   it
                   is
                   to
                   sing
                   Passionately
                   ;
                   for
                   if
                   they
                   did
                   undoubtedly
                   Divisions
                   would
                   have
                   been
                   abhorr'd
                   ,
                   there
                   being
                   nothing
                   more
                   contrary
                   to
                   Passion
                   than
                   they
                   are
                   ;
                   yet
                   in
                   some
                   kind
                   of
                   Musick
                   less
                   Passionate
                   or
                   Affectuous
                   ,
                   and
                   upon
                   long
                   Syllables
                   ,
                   not
                   short
                   ,
                   and
                   in
                   final
                   Cadences
                   ,
                   some
                   short
                   Points
                   of
                   Division
                   may
                   be
                   used
                   ,
                   but
                   not
                   at
                   all
                   adventures
                   ,
                   but
                   upon
                   the
                   practice
                   of
                   the
                   Descant
                   ;
                   but
                   to
                   think
                   of
                   them
                   first
                   in
                   those
                   things
                   that
                   a
                   man
                   will
                   sing
                   by
                   himself
                   ,
                   and
                   to
                   fashion
                   out
                   the
                   manner
                   of
                   them
                   ,
                   and
                   not
                   to
                   promise
                   a
                   mans
                   self
                   that
                   his
                   Descant
                   will
                   bear
                   it
                   ;
                   for
                   to
                   the
                   good
                   manner
                   of
                   Composing
                   and
                   Singing
                   in
                   
                   this
                   way
                   ,
                   the
                   understanding
                   of
                   the
                   conceit
                   and
                   the
                   humour
                   of
                   the
                   words
                   ,
                   as
                   well
                   in
                   passionate
                   Cords
                   as
                   passionate
                   Expressions
                   in
                   Singing
                   ,
                   doth
                   more
                   avail
                   than
                   Descant
                   ;
                   I
                   having
                   made
                   use
                   of
                   it
                   only
                   to
                   accord
                   two
                   Parts
                   together
                   ,
                   and
                   to
                   avoid
                   certain
                   notable
                   Errours
                   ,
                   and
                   bind
                   certain
                   Discords
                   for
                   the
                   accompanying
                   of
                   the
                   Passion
                   ,
                   more
                   than
                   to
                   use
                   the
                   Art
                   :
                   And
                   certain
                   it
                   is
                   ,
                   that
                   an
                   Ayre
                   composed
                   in
                   this
                   manner
                   upon
                   the
                   conceit
                   of
                   the
                   words
                   ,
                   by
                   one
                   that
                   hath
                   a
                   good
                   fashion
                   of
                   Singing
                   ,
                   will
                   work
                   a
                   better
                   effect
                   and
                   delight
                   ,
                   more
                   than
                   another
                   made
                   with
                   all
                   the
                   Art
                   of
                   Descant
                   ,
                   where
                   the
                   Humour
                   or
                   Conceit
                   of
                   the
                   words
                   is
                   not
                   minded
                   .
                
                 
                   The
                   original
                   of
                   which
                   defect
                   (
                   if
                   I
                   deceive
                   not
                   my self
                   )
                   is
                   hence
                   occasioned
                   ,
                   because
                   the
                   Musician
                   doth
                   not
                   well
                   possess
                   and
                   make
                   himself
                   Master
                   of
                   that
                   which
                   he
                   is
                   to
                   Sing
                   .
                   For
                   if
                   he
                   did
                   so
                   ,
                   undoubtedly
                   he
                   would
                   not
                   run
                   into
                   such
                   Errours
                   ,
                   as
                   most
                   easily
                   he
                   falleth
                   into
                   ,
                   who
                   hath
                   framed
                   to
                   himself
                   a
                   manner
                   of
                   Singing
                   ;
                   for
                   Example
                   ,
                   altogether
                   Passionate
                   ,
                   with
                   a
                   general
                   Rule
                   that
                   in
                   Encreasing
                   and
                   Abating
                   the
                   Voice
                   ,
                   and
                   in
                   Exclamations
                   ,
                   is
                   the
                   foundation
                   of
                   Passion
                   ,
                   doth
                   always
                   use
                   them
                   in
                   every
                   sort
                   of
                   Musick
                   ,
                   not
                   discerning
                   whether
                   the
                   words
                   require
                   
                   it
                   :
                   Whereas
                   those
                   that
                   well
                   understand
                   the
                   conceit
                   and
                   the
                   meaning
                   of
                   the
                   Words
                   ,
                   know
                   our
                   defects
                   ,
                   and
                   can
                   distinguish
                   where
                   the
                   Passion
                   is
                   more
                   or
                   less
                   required
                   .
                   Which
                   sort
                   of
                   people
                   we
                   should
                   endevour
                   to
                   please
                   with
                   all
                   diligence
                   ,
                   and
                   more
                   to
                   esteem
                   their
                   praise
                   ,
                   than
                   the
                   applause
                   of
                   the
                   ignorant
                   Vulgar
                   .
                
                 
                   Thus
                   Art
                   admitteth
                   no
                   Mediocrity
                   ,
                   and
                   how
                   much
                   the
                   more
                   curiosities
                   are
                   in
                   it
                   ,
                   by
                   reason
                   of
                   the
                   excellence
                   thereof
                   ,
                   with
                   so
                   much
                   the
                   more
                   labour
                   and
                   love
                   ought
                   we
                   ,
                   the
                   Professors
                   thereof
                   ,
                   to
                   find
                   them
                   out
                   :
                   Which
                   love
                   hath
                   moved
                   me
                   (
                   considering
                   that
                   from
                   Writings
                   we
                   receive
                   the
                   light
                   of
                   all
                   Science
                   ,
                   and
                   of
                   all
                   Art
                   )
                   to
                   leave
                   behind
                   me
                   this
                   little
                   light
                   in
                   the
                   ensuing
                   Notes
                   and
                   Discourses
                   ;
                   it
                   being
                   my
                   intention
                   to
                   show
                   so
                   much
                   as
                   appertaineth
                   to
                   him
                   who
                   maketh
                   profession
                   of
                   Singing
                   alone
                   ,
                   upon
                   the
                   Harmony
                   of
                   the
                   Theorbo
                   ,
                   or
                   other
                   Stringed
                   Instrument
                   ,
                   so
                   that
                   he
                   be
                   already
                   entred
                   into
                   the
                   Theorie
                   of
                   Musick
                   ,
                   and
                   Play
                   sufficiently
                   .
                   Not
                   that
                   this
                   cannot
                   also
                   be
                   attain'd
                   by
                   long
                   Practise
                   ,
                   as
                   it
                   is
                   seen
                   that
                   many
                   ,
                   both
                   Men
                   and
                   Women
                   ,
                   have
                   done
                   ,
                   and
                   yet
                   this
                   they
                   attain
                   is
                   but
                   unto
                   a
                   certain
                   degree
                   :
                   But
                   because
                   the
                   Theorie
                   of
                   these
                   Writings
                   c●nduceth
                   
                   unto
                   the
                   attaining
                   of
                   that
                   degree
                   ;
                   and
                   because
                   in
                   the
                   profession
                   of
                   a
                   Singer
                   (
                   in
                   regard
                   of
                   the
                   excellence
                   thereof
                   )
                   not
                   only
                   particular
                   things
                   are
                   of
                   use
                   ,
                   but
                   they
                   all
                   together
                   do
                   better
                   it
                   ;
                   therefore
                   to
                   proceed
                   in
                   order
                   ,
                   thus
                   I
                   will
                   say
                   :
                
                 
                   That
                   the
                   chiefest
                   foundations
                   ,
                   and
                   most
                   important
                   Grounds
                   of
                   this
                   Art
                   are
                   ,
                   the
                   Tuning
                   of
                   the
                   Voice
                   in
                   all
                   the
                   Notes
                   ;
                   not
                   only
                   that
                   it
                   be
                   neither
                   too
                   high
                   nor
                   too
                   low
                   ,
                   but
                   that
                   there
                   be
                   a
                   good
                   manner
                   of
                   Tuning
                   it
                   used
                   .
                   Which
                   Tuning
                   being
                   used
                   for
                   the
                   most
                   part
                   in
                   two
                   fashions
                   ,
                   we
                   will
                   consider
                   both
                   of
                   the
                   one
                   and
                   the
                   other
                   ;
                   and
                   by
                   the
                   following
                   Notes
                   will
                   shew
                   that
                   which
                   to
                   me
                   seemeth
                   more
                   proper
                   to
                   other
                   effects
                   .
                
                 
                   There
                   are
                   some
                   therefore
                   that
                   in
                   the
                   Tuning
                   of
                   the
                   first
                   Note
                   ,
                   Tune
                   it
                   a
                   Third
                   under
                   :
                   Others
                   Tune
                   the
                   said
                   first
                   Note
                   in
                   its
                   proper
                   Tune
                   ,
                   always
                   increasing
                   it
                   in
                   Lowdness
                   ,
                   saying
                   ,
                   that
                   this
                   is
                   a
                   good
                   way
                   of
                   putting
                   forth
                   the
                   Voice
                   gracefully
                   .
                
                 
                   Concerning
                   the
                   first
                   :
                   Since
                   it
                   is
                   not
                   a
                   general
                   Rule
                   ,
                   because
                   it
                   agrees
                   not
                   in
                   many
                   Cords
                   ,
                   although
                   in
                   such
                   places
                   as
                   it
                   may
                   be
                   used
                   ,
                   it
                   is
                   now
                   become
                   so
                   ordinary
                   ,
                   that
                   instead
                   of
                   being
                   a
                   Grace
                   (
                   because
                   some
                   stay
                   too
                   long
                   in
                   the
                   third
                   Note
                   under
                   ,
                   whereas
                   
                   it
                   should
                   be
                   but
                   lightly
                   touched
                   )
                   it
                   is
                   rather
                   tedious
                   to
                   the
                   Ear
                   ;
                   and
                   that
                   for
                   Beginners
                   in
                   particular
                   it
                   ought
                   seldom
                   to
                   be
                   used
                   :
                   but
                   instead
                   of
                   it
                   ,
                   as
                   being
                   more
                   strange
                   ,
                   I
                   would
                   chuse
                   the
                   second
                   for
                   the
                   Increasing
                   of
                   the
                   Voice
                   .
                
                 
                   Now
                   ,
                   because
                   I
                   have
                   not
                   contained
                   my self
                   within
                   ordinary
                   terms
                   ,
                   and
                   such
                   as
                   others
                   have
                   used
                   ,
                   yea
                   rather
                   have
                   continually
                   searched
                   after
                   novelty
                   ,
                   so
                   much
                   as
                   was
                   possible
                   for
                   me
                   ,
                   so
                   that
                   the
                   Novelty
                   may
                   fitly
                   serve
                   to
                   the
                   better
                   obtaining
                   of
                   the
                   Musicians
                   end
                   ,
                   that
                   is
                   to
                   delight
                   and
                   move
                   the
                   affections
                   of
                   the
                   mind
                   ,
                   I
                   have
                   found
                   it
                   to
                   be
                   a
                   more
                   affectuous
                   way
                   to
                   Tune
                   the
                   Voice
                   by
                   a
                   contrary
                   effect
                   to
                   the
                   other
                   ,
                   that
                   is
                   ,
                   to
                   Tune
                   the
                   first
                   Note
                   in
                   its
                   proper
                   Tune
                   ,
                   diminishing
                   it
                   ;
                   because
                   Exclamation
                   is
                   the
                   principal
                   means
                   to
                   move
                   the
                   affection
                   ;
                   and
                   Exclamation
                   properly
                   is
                   no
                   other
                   thing
                   ,
                   but
                   the
                   slacking
                   of
                   the
                   Voice
                   to
                   re-inforce
                   it
                   somewhat
                   more
                   .
                   Whereas
                   Increasing
                   of
                   the
                   Voice
                   in
                   the
                   Treble
                   Part
                   ,
                   especially
                   in
                   feigned
                   Voices
                   ,
                   doth
                   oftentimes
                   become
                   harsh
                   ,
                   and
                   unsufferable
                   to
                   the
                   Hearing
                   ,
                   as
                   upon
                   divers
                   occasions
                   I
                   have
                   heard
                   .
                   Undoubtedly
                   therefore
                   ,
                   as
                   an
                   affection
                   more
                   proper
                   to
                   move
                   ,
                   it
                   will
                   work
                   a
                   better
                   effect
                   to
                   Tune
                   the
                   Voice
                   diminishing
                   it
                   ,
                   rather
                   than
                   
                   Increasing
                   of
                   it
                   :
                   Because
                   in
                   the
                   first
                   of
                   these
                   ways
                   now
                   mentioned
                   ,
                   when
                   a
                   man
                   Increases
                   the
                   Voice
                   ,
                   to
                   make
                   an
                   Exclamation
                   ,
                   it
                   is
                   needful
                   that
                   in
                   slacking
                   of
                   it
                   ,
                   he
                   Increase
                   it
                   the
                   more
                   .
                   And
                   therefore
                   I
                   have
                   said
                   that
                   it
                   showeth
                   harsh
                   and
                   rough
                   .
                   But
                   in
                   the
                   Diminishing
                   of
                   the
                   Voice
                   it
                   will
                   work
                   a
                   quite
                   contrary
                   effect
                   ,
                   because
                   when
                   the
                   Voice
                   is
                   slacked
                   ,
                   then
                   to
                   give
                   it
                   a
                   little
                   spirit
                   ,
                   will
                   always
                   make
                   it
                   more
                   passionate
                   .
                   Besides
                   that
                   also
                   ,
                   using
                   sometimes
                   one
                   ,
                   sometimes
                   another
                   ,
                   variety
                   may
                   be
                   used
                   ,
                   which
                   is
                   very
                   necessary
                   in
                   this
                   Art
                   ,
                   so
                   that
                   it
                   be
                   directed
                   to
                   the
                   said
                   end
                   .
                
                 
                   So●
                   then
                   ,
                   if
                   this
                   be
                   the
                   greatest
                   part
                   of
                   that
                   Grace
                   in
                   Singing
                   ,
                   which
                   is
                   apt
                   to
                   move
                   the
                   affection
                   of
                   the
                   mind
                   ,
                   in
                   those
                   conceits
                   certainly
                   where
                   there
                   is
                   most
                   use
                   of
                   such
                   Affections
                   or
                   Passions
                   ,
                   and
                   if
                   it
                   be
                   demonstrated
                   with
                   such
                   lively
                   reasons
                   ,
                   a
                   new
                   consequence
                   is
                   hence
                   inferred
                   ,
                   that
                   from
                   Writings
                   of
                   men
                   likewise
                   may
                   be
                   learned
                   that
                   most
                   necessary
                   Grace
                   ,
                   which
                   cannot
                   be
                   described
                   in
                   better
                   manner
                   ,
                   and
                   more
                   cleerly
                   for
                   the
                   understanding
                   thereof
                   ;
                   and
                   yet
                   it
                   may
                   be
                   perfectly
                   attained
                   unto
                   :
                   So
                   that
                   after
                   the
                   Study
                   of
                   the
                   Theorie
                   ,
                   and
                   of
                   these
                   Rules
                   ,
                   they
                   may
                   be
                   put
                   in
                   practise
                   ,
                   by
                   which
                   a
                   man
                   
                   grows
                   more
                   perfect
                   in
                   all
                   Arts
                   ,
                   but
                   especially
                   in
                   the
                   profession
                   of
                   a
                   perfect
                   Singer
                   ,
                   be
                   it
                   man
                   or
                   woman
                   .
                
                 
                   More
                   languid
                   .
                   A
                   livelier
                   Exclamation
                   .
                   For
                   Example
                   .
                   
                   
                     Cor
                     mio
                     deh
                     non
                     langui
                     —
                     re
                     gui
                     —
                     re
                     .
                  
                   
                
                 
                   Of
                   Tuning
                   therefore
                   with
                   more
                   or
                   less
                   Grace
                   ,
                   and
                   how
                   it
                   may
                   be
                   done
                   in
                   the
                   aforesaid
                   manner
                   ,
                   tryal
                   may
                   be
                   made
                   in
                   the
                   above-written
                   Notes
                   with
                   the
                   words
                   under
                   them
                   ,
                   
                     Cor
                     mio
                     ,
                     deh
                     non
                     languire
                     .
                  
                   For
                   in
                   the
                   first
                   Minim
                   with
                   the
                   Prick
                   ,
                   you
                   may
                   Tune
                   
                     Cor
                     mio
                  
                   ,
                   diminishing
                   it
                   by
                   little
                   and
                   little
                   ,
                   and
                   in
                   the
                   falling
                   of
                   the
                   Crotchet
                   increase
                   the
                   Voice
                   with
                   a
                   little
                   more
                   spirit
                   ,
                   and
                   it
                   will
                   become
                   an
                   Exclamation
                   passionate
                   enough
                   ,
                   though
                   in
                   a
                   Note
                   that
                   falls
                   but
                   one
                   degree
                   :
                   But
                   much
                   more
                   spriteful
                   will
                   it
                   appear
                   in
                   the
                   word
                   deh
                   ,
                   by
                   holding
                   of
                   a
                   Note
                   that
                   falls
                   not
                   by
                   one
                   degree
                   :
                   As
                   likewise
                   it
                   will
                   become
                   most
                   sweet
                   by
                   the
                   taking
                   of
                   the
                   
                     greater
                     Sixth
                  
                   that
                   falls
                   by
                   a
                   leap
                   .
                   Which
                   thing
                   I
                   have
                   observed
                   ,
                   not
                   only
                   to
                   show
                   to
                   others
                   
                   what
                   a
                   thing
                   Exclamation
                   is
                   ,
                   and
                   from
                   whence
                   it
                   grows
                   ;
                   but
                   also
                   that
                   there
                   may
                   be
                   two
                   kinds
                   of
                   it
                   ,
                   one
                   more
                   passionate
                   than
                   the
                   other
                   ;
                   as
                   well
                   by
                   the
                   manner
                   in
                   which
                   they
                   are
                   described
                   ,
                   or
                   tuned
                   in
                   the
                   one
                   way
                   or
                   the
                   other
                   ;
                   as
                   also
                   by
                   imitation
                   of
                   the
                   word
                   ,
                   when
                   it
                   shall
                   have
                   a
                   signification
                   sutable
                   to
                   the
                   conceit
                   .
                   Besides
                   that
                   ,
                   Exclamations
                   may
                   be
                   used
                   in
                   all
                   Passionate
                   Musicks
                   ,
                   by
                   one
                   general
                   Rule
                   in
                   all
                   Minims
                   and
                   Crotchets
                   with
                   a
                   Prick
                   falling
                   ;
                   and
                   they
                   shall
                   be
                   far
                   more
                   Passionate
                   by
                   the
                   following
                   Note
                   ,
                   which
                   runneth
                   ,
                   than
                   they
                   can
                   be
                   in
                   Semibreves
                   ;
                   in
                   which
                   it
                   will
                   be
                   fitter
                   for
                   increasing
                   and
                   diminishing
                   the
                   Voice
                   ,
                   without
                   using
                   the
                   Exclamations
                   .
                   Yet
                   by
                   consequence
                   understand
                   ,
                   that
                   in
                   Airy
                   Musicks
                   ,
                   or
                   Corants
                   to
                   dance
                   ,
                   instead
                   of
                   these
                   Passions
                   ,
                   there
                   is
                   to
                   be
                   used
                   onl●
                   a
                   lively
                   cheerful
                   kind
                   of
                   Singing
                   ,
                   which
                   is
                   carried
                   and
                   ruled
                   by
                   the
                   Air
                   it self
                   .
                   In
                   the
                   which
                   ,
                   though
                   sometimes
                   there
                   may
                   be
                   place
                   for
                   some
                   Exclamation
                   ,
                   that
                   liveliness
                   of
                   Singing
                   is
                   in
                   that
                   place
                   to
                   be
                   omitted
                   ,
                   and
                   not
                   any
                   Passion
                   to
                   be
                   used
                   which
                   savoureth
                   of
                   Linguishment
                   .
                   Whereupon
                   we
                   see
                   how
                   necessary
                   a
                   certain
                   judgment
                   is
                   for
                   a
                   Musician
                   ,
                   which
                   sometimes
                   useth
                   to
                   prevail
                   above
                   Art.
                   As
                   also
                   we
                   may
                   perceive
                   by
                   the
                   
                   foregoing
                   Notes
                   ,
                   how
                   much
                   greater
                   Grace
                   the
                   four
                   first
                   Quavers
                   have
                   upon
                   the
                   second
                   syllable
                   of
                   the
                   word
                   Languire
                   (
                   being
                   so
                   stayed
                   by
                   the
                   second
                   Quaver
                   with
                   a
                   Prick
                   )
                   than
                   the
                   four
                   last
                   equal
                   Quavers
                   ,
                   so
                   printed
                   for
                   Example
                   .
                   But
                   because
                   there
                   are
                   many
                   things
                   which
                   are
                   used
                   in
                   a
                   good
                   fashion
                   of
                   Singing
                   ,
                   which
                   because
                   there
                   is
                   found
                   in
                   them
                   a
                   greater
                   Grace
                   ,
                   being
                   described
                   in
                   some
                   one
                   manner
                   ,
                   make
                   a
                   contrary
                   effect
                   one
                   to
                   the
                   other
                   ;
                   whereupon
                   we
                   use
                   to
                   say
                   of
                   a
                   man
                   that
                   he
                   sings
                   with
                   much
                   Grace
                   ,
                   or
                   little
                   Grace
                   :
                   These
                   things
                   will
                   occasion
                   me
                   at
                   this
                   time
                   first
                   to
                   demonstrate
                   in
                   what
                   fashion
                   I
                   have
                   described
                   the
                   Trill
                   and
                   the
                   Grup
                   ;
                   and
                   the
                   manner
                   used
                   by
                   me
                   to
                   teach
                   them
                   to
                   those
                   who
                   have
                   been
                   interessed
                   in
                   my
                   house
                   ;
                   and
                   further
                   ,
                   all
                   other
                   the
                   more
                   necessary
                   effects
                   :
                   So
                   that
                   I
                   leave
                   not
                   unexpressed
                   any
                   curiosity
                   which
                   I
                   have
                   observed
                   .
                
                 
                   
                     Trill
                     ,
                     or
                     plain
                     shake
                     .
                     Gruppo
                     ,
                     or
                     Double
                     Relish
                     .
                  
                   
                   
                     Cor
                     —
                     re
                     mi
                     —
                     a.
                     
                  
                
                 
                   The
                   Trill
                   described
                   by
                   me
                   is
                   upon
                   one
                   Note
                   only
                   ,
                   that
                   is
                   to
                   say
                   ,
                   to
                   begin
                   with
                   the
                   first
                   Crotchet
                   ,
                   and
                   to
                   beat
                   every
                   Note
                   with
                   
                   the
                   throat
                   upon
                   the
                   Vowel
                   [
                   a
                   ]
                   unto
                   the
                   last
                   Breve
                   ;
                   as
                   likewise
                   the
                   Gruppo
                   or
                   
                     double
                     Relish
                     .
                     Which
                  
                   Trill
                   and
                   Gruppo
                   
                     was
                     exactly
                     learned
                     ,
                     and
                     exquisitly
                     performed
                     by
                     my
                     Scholars
                     .
                  
                   So
                   that
                   if
                   it
                   be
                   true
                   ,
                   that
                   Experience
                   is
                   the
                   Teacher
                   of
                   all
                   things
                   ,
                   I
                   can
                   with
                   some
                   confidence
                   affirm
                   and
                   say
                   ,
                   that
                   there
                   cannot
                   be
                   a
                   better
                   means
                   used
                   to
                   teach
                   it
                   ,
                   nor
                   a
                   better
                   form
                   to
                   describe
                   it
                   .
                   Which
                   Trill
                   and
                   Grup
                   ,
                   because
                   they
                   are
                   a
                   step
                   necessary
                   unto
                   many
                   things
                   that
                   are
                   described
                   ,
                   and
                   are
                   effects
                   of
                   that
                   Grace
                   which
                   is
                   most
                   desired
                   for
                   Singing
                   well
                   ;
                   and
                   (
                   as
                   is
                   aforesaid
                   )
                   being
                   described
                   in
                   one
                   or
                   other
                   manner
                   ,
                   do
                   work
                   a
                   contrary
                   effect
                   to
                   that
                   which
                   is
                   requisite
                   :
                   I
                   will
                   shew
                   not
                   only
                   how
                   they
                   may
                   be
                   used
                   ,
                   but
                   also
                   all
                   the
                   effects
                   of
                   them
                   described
                   in
                   two
                   manners
                   ,
                   with
                   the
                   same
                   value
                   of
                   the
                   Notes
                   ,
                   that
                   still
                   we
                   may
                   know
                   (
                   as
                   is
                   aforementioned
                   )
                   that
                   by
                   these
                   Writings
                   ,
                   together
                   with
                   Practise
                   ,
                   may
                   be
                   learned
                   all
                   the
                   Curiosities
                   of
                   this
                   Art.
                   
                
              
               
                 
                   
                     Example
                     of
                     the
                     most
                     usual
                     Graces
                     .
                  
                   
                   
                   1
                   Beating
                   of
                   the
                   Throat
                   .
                   
                   2
                   Beating
                   the
                   Throat
                   .
                   
                   2
                   Trill
                   .
                   
                   2
                   Trill
                   .
                   1
                   A
                   plain
                   fall
                   .
                   2
                   D●uble
                   fall
                   .
                   
                   A
                   fall
                   to
                   take
                   breath
                   .
                   
                   Another
                   fall
                   like
                   it
                   .
                   
                   
                     Where
                     this
                     Mark
                     
                     is
                     set
                     over
                     a
                     Note
                     ,
                     the
                     Trill
                     is
                     to
                     be
                     used
                     .
                  
                
                 
                   It
                   is
                   to
                   be
                   observed
                   in
                   these
                   Graces
                   that
                   the
                   second
                   hath
                   more
                   grace
                   in
                   it
                   than
                   the
                   first
                   ;
                   and
                   for
                   your
                   better
                   experience
                   we
                   will
                   in
                   this
                   following
                   Ayre
                   describe
                   some
                   of
                   those
                   Graces
                   with
                   words
                   under
                   ,
                   together
                   with
                   the
                   Bass
                   for
                   the
                   Theorbo
                   ;
                   in
                   which
                   Ayre
                   is
                   contained
                   the
                   most
                   passionate
                   passages
                   .
                
                 
                 
                   Abating
                   the
                   Voice
                   A
                   sprightly
                   Exclam
                   .
                   A
                   more
                   lively
                   Exclam
                   .
                   
                   
                     Deh
                     deh
                     doue
                     son
                     fuggiti
                     deh
                     doue
                     son
                     spariti
                  
                   
                   Exclam
                   .
                   Exclam
                   .
                   Exclam
                   .
                   Trillo
                   .
                   
                   
                     g'oc
                     chi
                     de
                     qualier
                     rai
                     jo
                     son
                     ce
                     ner
                     homa
                     i
                  
                   
                   Exclam
                   .
                   cheerful
                   ,
                   as
                   it
                   were
                   talking
                   in
                   harmony
                   ,
                   and
                   neglecting
                   
                   
                     Aure
                     aure
                     divine
                     ch'er
                     rate
                     peregrine
                     in
                     que
                     -
                  
                   
                   the
                   M●sick
                   .
                   ●rill
                   .
                   Exclamation
                   .
                   
                   
                     sta
                     par●'en
                     quella
                     deh
                     recate
                     nouella
                     dell
                     '
                     alma
                  
                   
                   
                   Exclam
                   .
                   larger
                   time
                   .
                   Trill
                   .
                   Exclam
                   .
                   
                   
                     luce
                     loro
                     aure
                     ch'io
                     me
                     ne
                     moro
                     deh
                     recate
                     no
                     -
                  
                   
                   Ex●lam
                   .
                   
                   
                     uella
                     deli
                     '
                     alma
                     luce
                     loro
                     Aure
                     Aure
                  
                   
                   Exclam
                   .
                   reinforced
                   .
                   
                   
                     ch'io
                     me
                     ne
                     moro
                  
                   .
                   
                
                 
                   And
                   because
                   in
                   the
                   two
                   last
                   lines
                   of
                   the
                   foregoing
                   Ayre
                   ,
                   
                     Deh
                     doue
                     son
                     fuggiti
                  
                   ,
                   there
                   are
                   contained
                   the
                   best
                   passions
                   that
                   can
                   be
                   used
                   in
                   this
                   noble
                   manner
                   of
                   Singing
                   ,
                   I
                   have
                   therefore
                   thought
                   good
                   to
                   set
                   them
                   down
                   ,
                   
                   both
                   to
                   show
                   where
                   it
                   is
                   fit
                   to
                   encrease
                   and
                   abate
                   the
                   voice
                   ,
                   to
                   make
                   
                     Exclamations
                     ,
                     Trills
                  
                   ,
                   and
                   Grups
                   ;
                   and
                   in
                   a
                   word
                   ,
                   all
                   the
                   Treasures
                   of
                   this
                   Art
                   ;
                   and
                   that
                   they
                   may
                   serve
                   for
                   Example
                   ,
                   whereby
                   men
                   may
                   take
                   notice
                   in
                   the
                   Musick
                   of
                   the
                   places
                   ,
                   where
                   they
                   are
                   most
                   necessary
                   ,
                   according
                   to
                   the
                   passions
                   of
                   the
                   words
                   .
                   Although
                   I
                   call
                   that
                   the
                   noble
                   manner
                   of
                   Singing
                   ,
                   which
                   is
                   used
                   without
                   tying
                   a
                   mans
                   self
                   to
                   the
                   ordinary
                   measure
                   of
                   time
                   ,
                   making
                   many
                   times
                   the
                   value
                   of
                   the
                   Notes
                   less
                   by
                   half
                   ,
                   and
                   sometimes
                   more
                   ,
                   according
                   to
                   the
                   conceit
                   of
                   the
                   words
                   ;
                   whence
                   proceeds
                   that
                   excellent
                   kind
                   of
                   Singing
                   with
                   a
                   graceful
                   neglect
                   ,
                   whereof
                   I
                   have
                   spoken
                   before
                   .
                
                 
                   [
                   
                     Our
                     Author
                     being
                     short
                     in
                     setting
                     forth
                     this
                     chief
                     or
                     most
                     usual
                     Grace
                     in
                     Singing
                     ,
                     called
                     the
                  
                   Trill
                   ,
                   
                     which
                     ,
                     as
                     he
                     saith
                     very
                     right
                     ,
                     is
                     by
                     a
                     beating
                     in
                     the
                     Throat
                     on
                     the
                     Vowel
                  
                   (
                   a'h
                   )
                   
                     some
                     observe
                     that
                     it
                     is
                     rather
                     the
                     shaking
                     of
                     the
                     Uvula
                     or
                     Pallate
                     on
                     the
                     Throat
                     ,
                     in
                     one
                     sound
                     ,
                     upon
                     a
                     Note
                     .
                     For
                     the
                     attaining
                     of
                     this
                     ,
                     the
                     most
                     surest
                     and
                     ready
                     way
                     is
                     by
                     imitation
                     of
                     those
                     who
                     are
                     perfect
                     in
                     the
                     same
                     ;
                     yet
                     I
                     have
                     heard
                     of
                     some
                     that
                     have
                     attained
                     it
                     by
                     this
                     manner
                     ,
                     in
                     singing
                     a
                     plain
                     Song
                     ,
                     of
                  
                   6
                   
                     Notes
                     up
                     and
                  
                   6
                   
                     down
                     ,
                     they
                     have
                     in
                     the
                     midst
                     of
                     every
                     Note
                     beat
                     or
                     shaked
                     
                     with
                     their
                     finger
                     upon
                     their
                     Throat
                     ,
                     which
                     by
                     often
                     practice
                     came
                     to
                     do
                     the
                     same
                     Notes
                     exactly
                     without
                     .
                     It
                     was
                     my
                     chance
                     lately
                     to
                     be
                     in
                     company
                     with
                     three
                     Gentlemen
                     at
                     a
                     Musical
                     Practice
                     ,
                     which
                     sung
                     their
                     Parts
                     very
                     well
                     ,
                     and
                     used
                     this
                     Grace
                  
                   (
                   
                     called
                     the
                  
                   Trill
                   )
                   
                     very
                     exactly
                     :
                     I
                     desired
                     to
                     know
                     their
                     Tutor
                     ,
                     they
                     told
                     me
                     I
                     was
                     their
                     Tutor
                     ,
                     for
                     they
                     never
                     had
                     any
                     other
                     but
                     this
                     my
                  
                   Introduction
                   :
                   
                     That
                     (
                     I
                     answered
                     )
                     could
                     direct
                     them
                     but
                     in
                     the
                     Theory
                     ,
                     they
                     must
                     needs
                     have
                     a
                     better
                     help
                     in
                     the
                     Practick
                     ,
                     especially
                     in
                     attaining
                     to
                     sing
                     the
                  
                   Trill
                   
                     so
                     well
                     .
                     One
                     of
                     them
                     made
                     this
                     Reply
                     ,
                     (
                     which
                     made
                     me
                     smile
                     )
                     I
                     used
                     ,
                     said
                     he
                     ,
                     at
                     my
                     first
                     learning
                     the
                  
                   Trill
                   ,
                   
                     to
                     imitate
                     that
                     breaking
                     of
                     a
                     Sound
                     in
                     the
                     Throat
                     ,
                     which
                     Men
                     use
                     when
                     they
                     Leuer
                     their
                     Hawks
                     ,
                     as
                  
                   he-he-he-he-he
                   ;
                   
                     which
                     he
                     used
                     slow
                     at
                     first
                     ,
                     and
                     by
                     often
                     practice
                     on
                     several
                     Notes
                     ,
                     higher
                     and
                     lower
                     in
                     sound
                     ,
                     he
                     became
                     perfect
                     therein
                     .
                     The
                  
                   Trill
                   ,
                   or
                   Shake
                   
                     of
                     the
                     Voice
                     ,
                     being
                     the
                     most
                     usual
                     Grace
                     ,
                     is
                     made
                     in
                  
                   Closes
                   ,
                   Cadences
                   ,
                   
                     and
                     other
                     places
                     ,
                     where
                     by
                     a
                     long
                     Note
                     an
                  
                   Exclamation
                   or
                   Passion
                   
                     is
                     expressed
                     ,
                     there
                     the
                  
                   Trill
                   
                     is
                     made
                     in
                     the
                     latter
                     part
                     of
                     any
                     such
                     Note
                     ;
                     but
                     most
                     usually
                     upon
                     binding
                     Notes
                     in
                  
                   Cadences
                   and
                   Closes
                   ,
                   
                     and
                     on
                     that
                     Note
                     that
                     precedes
                     the
                     closing
                     Note
                     .
                     Those
                     who
                     once
                     attain
                     to
                     the
                     perfect
                     use
                     of
                     the
                  
                   Trill
                   ,
                   
                     other
                     Graces
                     will
                     become
                     easie
                  
                   .
                   ]
                
                 
                 
                   Since
                   there
                   are
                   so
                   many
                   effects
                   to
                   be
                   used
                   for
                   the
                   excellency
                   of
                   this
                   Art
                   ,
                   there
                   is
                   required
                   (
                   for
                   the
                   performing
                   of
                   them
                   )
                   necessarily
                   a
                   good
                   voice
                   ,
                   as
                   also
                   a
                   good
                   wind
                   to
                   give
                   liberty
                   ,
                   and
                   serve
                   upon
                   all
                   occasions
                   where
                   is
                   most
                   need
                   .
                   It
                   shall
                   therefore
                   be
                   a
                   profitable
                   advertisement
                   ,
                   that
                   the
                   Professor
                   of
                   this
                   Art
                   ,
                   being
                   to
                   sing
                   to
                   a
                   Theorbo
                   or
                   other
                   stringed
                   instrument
                   ,
                   and
                   not
                   being
                   compelled
                   to
                   fit
                   himself
                   to
                   others
                   ,
                   that
                   he
                   so
                   pitch
                   his
                   Tune
                   ,
                   as
                   to
                   sing
                   in
                   his
                   full
                   and
                   natural
                   Voice
                   ,
                   avoiding
                   feigned
                   Tunes
                   of
                   Notes
                   .
                   In
                   which
                   ,
                   to
                   feign
                   them
                   ,
                   or
                   at
                   the
                   least
                   to
                   inforce
                   Notes
                   ,
                   if
                   his
                   Wind
                   serve
                   him
                   well
                   ,
                   so
                   as
                   he
                   do
                   not
                   discover
                   them
                   much
                   ;
                   (
                   because
                   for
                   the
                   most
                   part
                   they
                   offend
                   the
                   Ear
                   ;
                   )
                   yet
                   a
                   man
                   must
                   have
                   a
                   command
                   of
                   Breath
                   to
                   give
                   the
                   greater
                   Spirit
                   to
                   the
                   Increasing
                   and
                   Diminishing
                   of
                   the
                   Voice
                   ,
                   to
                   Exclamations
                   and
                   other
                   Passions
                   by
                   us
                   related
                   ;
                   and
                   therefore
                   let
                   him
                   take
                   heed
                   ,
                   that
                   spending
                   much
                   Breath
                   upon
                   such
                   Notes
                   ,
                   it
                   do
                   not
                   afterward
                   fail
                   him
                   in
                   such
                   places
                   as
                   it
                   is
                   most
                   needful
                   :
                   For
                   from
                   a
                   feigned
                   Voice
                   can
                   come
                   no
                   noble
                   manner
                   of
                   singing
                   ;
                   which
                   only
                   proceeds
                   from
                   a
                   natural
                   Voice
                   ,
                   serving
                   aptly
                   for
                   all
                   the
                   Notes
                   which
                   a
                   man
                   can
                   manage
                   according
                   to
                   his
                   ability
                   employing
                   his
                   wind
                   in
                   such
                   
                   a
                   fashion
                   as
                   he
                   command
                   all
                   the
                   best
                   passionate
                   Graces
                   used
                   in
                   this
                   most
                   worthy
                   manner
                   of
                   Singing
                   .
                   The
                   love
                   whereof
                   ,
                   and
                   generally
                   of
                   all
                   Musick
                   ,
                   being
                   kindled
                   in
                   me
                   by
                   a
                   natural
                   inclination
                   ,
                   and
                   by
                   the
                   study
                   of
                   so
                   many
                   years
                   ,
                   shall
                   excuse
                   me
                   ,
                   if
                   I
                   have
                   suffered
                   my self
                   to
                   be
                   carried
                   further
                   than
                   perhaps
                   was
                   fit
                   for
                   him
                   ,
                   who
                   no
                   less
                   esteems
                   and
                   desires
                   to
                   learn
                   from
                   others
                   ,
                   than
                   to
                   communicate
                   to
                   others
                   what
                   himself
                   hath
                   learned
                   ;
                   and
                   to
                   be
                   further
                   transported
                   in
                   this
                   Discourse
                   ,
                   than
                   can
                   stand
                   with
                   that
                   respect
                   I
                   bear
                   to
                   all
                   the
                   Professors
                   of
                   this
                   Art.
                   Which
                   Art
                   being
                   excellent
                   and
                   naturally
                   delightful
                   ,
                   doth
                   then
                   become
                   admirable
                   ,
                   and
                   entirely
                   wins
                   the
                   love
                   of
                   others
                   ,
                   when
                   such
                   as
                   possess
                   it
                   ,
                   both
                   by
                   teaching
                   and
                   delighting
                   others
                   ,
                   do
                   often
                   exercise
                   it
                   ,
                   and
                   make
                   it
                   appear
                   to
                   be
                   a
                   pattern
                   and
                   true
                   resemblance
                   of
                   those
                   never
                   ceasing
                   celestial
                   Harmonies
                   ,
                   whence
                   proceed
                   so
                   many
                   good
                   effects
                   and
                   benefits
                   upon
                   earth
                   ,
                   raising
                   and
                   exciting
                   the
                   minds
                   of
                   the
                   Hearers
                   ,
                   to
                   the
                   contemplation
                   of
                   those
                   infinite
                   delights
                   which
                   Heaven
                   affordeth
                   .
                
                 
                   
                     This
                     Author
                     having
                     set
                     most
                     of
                     his
                     Examples
                     and
                     Graces
                     to
                     the
                  
                   Italian
                   
                     words
                     ,
                     it
                     cannot
                     be
                     denyed
                     but
                     the
                  
                   Italian
                   
                     Language
                     is
                     more
                     smooth
                     
                     and
                     better
                     vowelled
                     than
                     the
                  
                   English
                   ,
                   
                     by
                     which
                     it
                     has
                     the
                     advantage
                     in
                  
                   Musick
                   ,
                   
                     yet
                     of
                     late
                     our
                     Language
                     is
                     much
                     refined
                     ,
                     and
                     so
                     is
                     our
                     Musick
                     ,
                     to
                     a
                     more
                     smooth
                     and
                     delightfal
                     way
                     and
                     manner
                     of
                     singing
                     after
                     this
                     new
                     method
                     ;
                     especially
                     by
                     the
                     excellent
                     Compositions
                     of
                     Mr.
                  
                   Henry
                   Lawes
                   ,
                   
                     and
                     other
                     excellent
                     Masters
                     in
                     this
                     Art
                     ,
                     and
                     was
                     by
                     them
                     Taught
                     for
                     above
                     this
                     forty
                     years
                     past
                     ,
                     and
                     is
                     daily
                     used
                     and
                     taught
                     by
                     several
                     eminent
                     Professors
                     at
                     this
                     day
                     .
                     Therefore
                     such
                     as
                     desire
                     to
                     be
                     taught
                     to
                     sing
                     after
                     this
                     way
                     ,
                     need
                     not
                     seek
                     after
                  
                   Italian
                   or
                   French
                   
                     Masters
                     ,
                     for
                     our
                     own
                     Nation
                     was
                     never
                     better
                     furnished
                     with
                     able
                     and
                     skilful
                     Artists
                     in
                     Musick
                     than
                     it
                     is
                     at
                     this
                     time
                     ,
                     though
                     few
                     of
                     them
                     have
                     the
                     Encouragement
                     they
                     deserve
                     ,
                     nor
                     must
                     Musick
                     expect
                     it
                     as
                     yet
                     ,
                     when
                     all
                     other
                     Arts
                     and
                     Sciences
                     are
                     at
                     so
                     low
                     an
                     Ebb
                     :
                     But
                     I
                     do
                     hope
                     ,
                     as
                     Almighty
                     God
                     has
                     most
                     miraculously
                     restored
                     His
                     Sacred
                     Majesty
                     in
                     Peace
                     ,
                     whose
                     Virtues
                     and
                     Piety
                     declare
                     Him
                     a
                     Lover
                     and
                     Encourager
                     of
                     Arts
                     ,
                     and
                     of
                     Musick
                     especially
                     ;
                     so
                     I
                     hope
                     the
                     Clergy
                     ,
                     Nobility
                     ,
                     and
                     Gentry
                     of
                     this
                     Kingdom
                     ,
                     will
                     follow
                     His
                     Gracious
                     and
                     Royal
                     Example
                     .
                  
                
              
            
             
               
               
                 Of
                 the
                 five
                 Moods
                 used
                 by
                 the
                 Grecians
                 .
              
               
                 
                   1.
                   
                   The
                   Dorick
                   ,
                
                 
                   2.
                   
                   The
                   Lydian
                   ,
                
                 
                   3.
                   
                   The
                   AEolick
                   ,
                
                 
                   4.
                   
                   The
                   Phrygian
                   ,
                
                 
                   5.
                   
                   The
                   Ionick
                   .
                
              
               
                 OF
                 these
                 Moods
                 ,
                 though
                 of
                 little
                 use
                 among
                 us
                 ,
                 there
                 is
                 scarce
                 any
                 Author
                 that
                 has
                 wrote
                 of
                 Musick
                 but
                 do
                 give
                 some
                 account
                 of
                 them
                 ;
                 among
                 the
                 
                   Latin
                   ,
                   Alstedius
                   ,
                   Cassiodorus
                
                 ,
                 and
                 others
                 ;
                 in
                 English
                 ,
                 Mr.
                 Butler
                 and
                 Mr.
                 Morley
                 ;
                 therefore
                 not
                 intending
                 to
                 be
                 singular
                 ,
                 I
                 shall
                 give
                 you
                 this
                 short
                 Narrative
                 .
              
               
                 These
                 five
                 Moods
                 have
                 no
                 relation
                 to
                 those
                 Moods
                 mentioned
                 in
                 the
                 former
                 part
                 of
                 this
                 Book
                 ;
                 those
                 have
                 reference
                 to
                 Notes
                 and
                 Time
                 ,
                 these
                 only
                 concern
                 Tune
                 .
                 That
                 which
                 the
                 Grecians
                 called
                 Mode
                 or
                 Mood
                 ,
                 the
                 Latins
                 termed
                 Tone
                 or
                 Tune
                 :
                 The
                 design
                 of
                 either
                 ,
                 was
                 to
                 shew
                 in
                 what
                 Key
                 the
                 Song
                 was
                 set
                 ,
                 and
                 how
                 each
                 Musical
                 Key
                 had
                 relation
                 one
                 to
                 another
                 .
                 These
                 five
                 appertained
                 to
                 the
                 Grecians
                 only
                 ,
                 and
                 had
                 their
                 several
                 appellations
                 
                 from
                 the
                 Countries
                 in
                 which
                 they
                 were
                 invented
                 and
                 practised
                 .
                 The
                 Latins
                 reduced
                 theirs
                 to
                 Eight
                 Tones
                 or
                 Tunes
                 ,
                 and
                 were
                 by
                 the
                 Churchmen
                 termed
                 Plain-songs
                 .
                 These
                 exceeded
                 not
                 the
                 compass
                 of
                 six
                 Notes
                 ,
                 and
                 was
                 to
                 direct
                 how
                 to
                 begin
                 and
                 end
                 in
                 the
                 proper
                 Keys
                 ;
                 which
                 eight
                 Tones
                 or
                 Tunes
                 are
                 printed
                 in
                 the
                 Tenor
                 Part
                 of
                 Mr.
                 
                 Morley's
                 
                   Introduction
                   ,
                   pag.
                
                 147.
                 
                 The
                 
                   Grecian
                   Moods
                
                 had
                 these
                 various
                 effects
                 .
              
               
                 
                   1.
                   
                   The
                   
                     Dorick
                     Mood
                  
                   consisted
                   of
                   
                     sober
                     slow
                     Tun'd
                     Notes
                  
                   (
                   Counterpoint
                   )
                   where
                   the
                   Composition
                   of
                   Parts
                   goes
                   Note
                   for
                   Note
                   together
                   ,
                   be
                   they
                   of
                   two
                   ,
                   three
                   ,
                   or
                   four
                   Parts
                   ,
                   as
                   is
                   set
                   forth
                   in
                   my
                   late
                   Book
                   of
                   Musick
                   of
                   four
                   Parts
                   to
                   the
                   Psalms
                   and
                   Hymns
                   used
                   in
                   our
                   Churches
                   ,
                   Printed
                   in
                   Folio
                   ,
                   1671.
                   
                   This
                   Mood
                   had
                   its
                   name
                   from
                   Doria
                   ,
                   a
                   civil
                   part
                   of
                   Greece
                   near
                   Athens
                   ;
                   and
                   being
                   solemn
                   ,
                   moveth
                   to
                   Sobriety
                   and
                   Godliness
                   .
                
                 
                   2.
                   
                   The
                   
                     Lydian
                     Mood
                  
                   was
                   used
                   to
                   grave
                   solemn
                   Musick
                   ,
                   the
                   Descant
                   or
                   Composition
                   being
                   of
                   slow
                   time
                   ,
                   fitted
                   to
                   Sacred
                   Hymns
                   and
                   Anthems
                   ,
                   or
                   Spiritual
                   Songs
                   ,
                   in
                   Prose
                   ,
                   sometimes
                   in
                   Verses
                   alone
                   ,
                   and
                   ●ometimes
                   in
                   a
                   full
                   Chorus
                   of
                   four
                   or
                   five
                   Parts
                   ;
                   which
                   moveth
                   a
                   kind
                   of
                   Heavenly
                   Harmony
                   ,
                   whereby
                   the
                   mind
                   is
                   lifted
                   up
                   from
                   the
                   regard
                   of
                   
                   earthly
                   things
                   to
                   those
                   celestial
                   Joys
                   above
                   .
                   This
                   Mood
                   had
                   its
                   derivation
                   from
                   the
                   famous
                   River
                   in
                   Lidia
                   called
                   Pactolus
                   ,
                   and
                   the
                   winding
                   retrograde
                   Meander
                   ,
                   representing
                   thereby
                   the
                   admirable
                   variety
                   of
                   Sound
                   in
                   Musick
                   ,
                   passing
                   by
                   the
                   famous
                   Cities
                   ,
                   Philadelphia
                   ,
                   and
                   Sardis
                   once
                   the
                   Royal
                   Seat
                   of
                   rich
                   King
                   Croesus
                   .
                
                 
                   3.
                   
                   The
                   
                     AEolick
                     Mood
                  
                   ,
                   was
                   that
                   which
                   was
                   of
                   a
                   more
                   Airy
                   and
                   soft
                   pleasing
                   sound
                   ,
                   as
                   your
                   Madrigals
                   or
                   
                     Fa
                     la's
                  
                   of
                   five
                   and
                   six
                   Parts
                   ,
                   which
                   were
                   Composed
                   for
                   Viols
                   and
                   Voices
                   by
                   many
                   of
                   our
                   excellent
                   English
                   Authors
                   ,
                   as
                   Mr.
                   
                     Morley
                     ,
                     Wilks
                     ,
                     Wilbey
                     ,
                     Ward
                     ,
                  
                   and
                   others
                   :
                   Which
                   Musick
                   by
                   its
                   variety
                   and
                   delightfulness
                   ,
                   allayeth
                   the
                   Passions
                   ,
                   and
                   charmeth
                   the
                   Affections
                   into
                   a
                   sweet
                   and
                   pleasing
                   temper
                   ;
                   such
                   as
                   was
                   that
                   enchanting
                   Musick
                   of
                   the
                   Harp
                   ,
                   provided
                   for
                   King
                   Saul
                   ,
                   1
                   Sam.
                   16.
                   
                   That
                   Saul
                   
                     was
                     refreshed
                     ,
                     and
                     the
                     evil
                     Spirit
                     departed
                     from
                     him
                     .
                  
                   This
                   Mood
                   had
                   its
                   derivation
                   from
                   AEolia
                   (
                   a
                   Kingdom
                   of
                   AEolus
                   )
                   whence
                   he
                   is
                   feigned
                   to
                   send
                   his
                   rushing
                   Winds
                   ,
                   which
                   do
                   resemble
                   this
                   Mood
                   ,
                   that
                   is
                   so
                   commixt
                   with
                   fancy
                   and
                   airy
                   reports
                   ,
                   one
                   part
                   after
                   other
                   .
                
                 
                   4.
                   
                   The
                   
                     Phrygian
                     Mood
                  
                   was
                   a
                   more
                   warlike
                   and
                   couragious
                   kind
                   of
                   Musick
                   ,
                   expressing
                   the
                   Musick
                   of
                   Trumpets
                   and
                   other
                   Instruments
                   
                   of
                   old
                   ,
                   exciting
                   to
                   Arms
                   and
                   Activity
                   ,
                   as
                   Almans
                   ,
                   and
                   the
                   like
                   .
                   This
                   Mood
                   had
                   its
                   derivation
                   from
                   Phrygia
                   (
                   a
                   Region
                   bordering
                   upon
                   Lydia
                   and
                   Caria
                   )
                   in
                   which
                   is
                   that
                   Martial
                   Town
                   Cios
                   ,
                   and
                   the
                   most
                   high
                   Hill
                   Idae
                   ,
                   famous
                   for
                   the
                   Trojan
                   War.
                   Many
                   Historians
                   have
                   written
                   of
                   its
                   rare
                   Effects
                   in
                   warlike
                   Preparations
                   :
                   
                     Suidas
                     (
                     in
                     litera
                     T
                  
                   )
                   writes
                   of
                   Timotheus
                   ,
                   a
                   skilful
                   Musician
                   ,
                   that
                   when
                   Alexander
                   the
                   Great
                   was
                   much
                   dejected
                   in
                   his
                   mind
                   ,
                   and
                   loth
                   to
                   take
                   up
                   Arms
                   ,
                   he
                   with
                   his
                   Phrygian
                   Flute
                   expressed
                   such
                   excellent
                   sounds
                   and
                   varieties
                   of
                   Musick
                   ,
                   that
                   the
                   Kings
                   passions
                   were
                   immediately
                   stirred
                   to
                   War
                   ,
                   and
                   ran
                   presently
                   and
                   took
                   up
                   Arms.
                   But
                   the
                   Story
                   of
                   Ericus
                   the
                   Musician
                   passes
                   all
                   ;
                   who
                   had
                   given
                   forth
                   ,
                   that
                   by
                   his
                   Musick
                   he
                   could
                   drive
                   men
                   into
                   what
                   Affections
                   he
                   listed
                   ;
                   and
                   being
                   required
                   by
                   Bonus
                   King
                   of
                   Denmark
                   to
                   put
                   his
                   Skill
                   in
                   practice
                   ,
                   he
                   with
                   his
                   Harp
                   ,
                   or
                   
                     Polycord
                     Lyra
                  
                   ,
                   expressed
                   such
                   effectual
                   melody
                   and
                   harmony
                   ,
                   in
                   the
                   variety
                   of
                   changes
                   in
                   several
                   Keyes
                   ,
                   and
                   in
                   such
                   excellent
                   Fug's
                   and
                   spritely
                   Ayres
                   ,
                   that
                   his
                   Auditors
                   began
                   first
                   to
                   be
                   moved
                   with
                   some
                   strange
                   passions
                   ,
                   but
                   ending
                   his
                   excellent
                   Voluntary
                   with
                   some
                   choice
                   Fancy
                   upon
                   this
                   
                     Phrygian
                     Mood
                  
                   ,
                   the
                   Kings
                   passions
                   were
                   
                   altered
                   ,
                   and
                   excited
                   to
                   that
                   height
                   ,
                   that
                   he
                   fell
                   upon
                   his
                   most
                   trusty
                   friends
                   which
                   were
                   near
                   him
                   ,
                   and
                   flew
                   some
                   of
                   them
                   with
                   his
                   fist
                   for
                   lack
                   of
                   another
                   weapon
                   ;
                   which
                   the
                   Musician
                   perceiving
                   ,
                   ended
                   with
                   the
                   sober
                   and
                   solemn
                   Dorick
                   ,
                   which
                   brought
                   the
                   King
                   to
                   himself
                   ,
                   who
                   much
                   lamented
                   what
                   he
                   had
                   done
                   .
                   This
                   is
                   recorded
                   at
                   large
                   by
                   
                     Crantzius
                     ,
                     lib.
                  
                   5.
                   
                   
                     Daniae
                     cap.
                  
                   3.
                   and
                   by
                   
                     Saxo
                     Grammaticus
                     ,
                     lib.
                  
                   12.
                   
                   
                     Hist.
                     Daniae
                  
                   ,
                   and
                   others
                   .
                
                 
                   5.
                   
                   The
                   
                     Ionick
                     Mood
                  
                   was
                   for
                   more
                   light
                   and
                   effeminate
                   Musick
                   ,
                   as
                   pleasant
                   
                     amorous
                     Songs
                     ,
                     Corants
                     ,
                     Sarabands
                     ,
                  
                   and
                   Iigs
                   ,
                   used
                   for
                   honest
                   mirth
                   and
                   delight
                   at
                   Feasts
                   and
                   other
                   merriments
                   .
                   This
                   Mood
                   had
                   its
                   derivation
                   from
                   the
                   Ionians
                   of
                   Ionia
                   ,
                   which
                   lies
                   between
                   AEolia
                   and
                   Caria
                   ,
                   a
                   situation
                   full
                   of
                   all
                   pleasure
                   ,
                   whose
                   plenty
                   and
                   idleness
                   turned
                   their
                   honest
                   mirth
                   into
                   lasciviousness
                   .
                   By
                   this
                   Mood
                   was
                   the
                   
                     Pythagorean
                     Huntsup
                  
                   ,
                   or
                   Morning
                   Musick
                   ,
                   which
                   wakened
                   and
                   roused
                   their
                   dull
                   Spirits
                   to
                   study
                   and
                   action
                   .
                   The
                   abuse
                   of
                   this
                   Mood
                   is
                   soon
                   reformed
                   by
                   the
                   sober
                   Dorick
                   ;
                   for
                   what
                   this
                   excites
                   above
                   moderation
                   ,
                   the
                   other
                   draws
                   into
                   a
                   true
                   Decorum
                   .
                
              
               
                 
                   Let
                   thus
                   much
                   suffice
                   to
                   have
                   been
                   spoken
                   of
                   the
                
                 Grecian
                 Moods
                 .
                 
                   I
                   shall
                   now
                   set
                   down
                   some
                   short
                   Songs
                   ,
                   and
                   Ayres
                   for
                   two
                   Voices
                   ,
                   very
                   useful
                   for
                   Beginners
                   .
                
              
            
             
               
               
                 Short
                 Ayres
                 or
                 Songs
                 of
                 Two
                 Voices
                 ,
                 Treble
                 and
                 Bass
                 for
                 Beginners
                 .
              
               
                 
                   
                     A.
                     2.
                     
                     Voc.
                     TREBLE
                     .
                     W.
                     L.
                     
                  
                   
                     
                     GAther
                     your
                     Rose-buds
                     while
                     you
                     may
                     ,
                     old
                     
                     Time
                     is
                     still
                     a
                     flying
                     ,
                     and
                     that
                     same
                     Flow'r
                     that
                     
                     smiles
                     to
                     day
                     ,
                     to
                     morrow
                     will
                     be
                     dying
                     .
                  
                
                 
                   
                     A.
                     2.
                     
                     Voc.
                     BASSE
                     .
                     W.
                     L.
                     
                  
                   
                     
                     GAther
                     your
                     Rose-buds
                     while
                     you
                     may
                     ,
                     old
                     
                     Time
                     is
                     still
                     a
                     flying
                     ,
                     and
                     that
                     same
                     Flow'r
                     that
                     
                     smiles
                     to
                     day
                     ,
                     to
                     morrow
                     will
                     be
                     dying
                     .
                  
                
              
               
                 
                 
                   
                     A.
                     2.
                     
                     Voc.
                     TREBLE
                     .
                     I.
                     P.
                     
                  
                   
                     
                     COmely
                     Swain
                     why
                     sitt'st
                     thou
                     so
                     ,
                     
                       Fa
                       la
                       la
                       la
                       la
                       &c.
                       la.
                       
                    
                     
                     Folded
                     arms
                     are
                     signs
                     of
                     woe
                     ,
                     
                       Fa
                       la
                       la
                       la
                       la
                       la
                       la
                       la
                       la
                       la.
                       
                    
                     
                     If
                     thy
                     Nymph
                     no
                     favour
                     show
                     ,
                     
                       Fa
                       la
                       la
                       la
                       la
                       la
                       la
                       la.
                       
                    
                     
                     Chuse
                     another
                     ,
                     let
                     her
                     go
                     ,
                     
                       Fa
                       la
                       la
                       la
                       la
                       la
                       la
                       la
                       la
                       la.
                       
                    
                  
                
                 
                   
                     A.
                     2.
                     
                     Voc.
                     BASSE
                     .
                     I.
                     P.
                     
                  
                   
                     
                     COmely
                     Swain
                     why
                     fitt'st
                     thou
                     so
                     ;
                     
                       Fa
                       la
                       la
                       la
                       la
                       &c.
                       la.
                       
                    
                     
                     Folded
                     Arms
                     are
                     signs
                     of
                     woe
                     ,
                     
                       Fa
                       la
                       la
                       la
                       la
                       la
                       la
                       la
                       la
                       la
                       la.
                       
                    
                     
                     If
                     thy
                     Nymph
                     no
                     favour
                     show
                     ,
                     
                       Fa
                       la
                       la
                       la
                       la
                       la
                       la
                       la.
                       
                    
                     
                     Chuse
                     another
                     ,
                     let
                     her
                     go
                     ,
                     
                       Fa
                       la
                       la
                       ,
                       &c.
                    
                     
                  
                
              
               
                 
                 
                   
                     A.
                     2.
                     
                     Voc.
                     TREBLE
                     .
                     T.
                     M.
                     
                  
                   
                     
                     NOw
                     is
                     the
                     Month
                     of
                     Maying
                     ,
                     when
                     merry
                     
                     Lads
                     are
                     playing
                     ,
                     
                       Fa
                       la
                       la
                       la
                       la
                       ,
                       &c.
                       
                    
                     
                     Each
                     wi●h
                     his
                     bonny
                     Lass
                     upon
                     the
                     greeny
                     grass
                     ,
                     
                     
                       Fa
                       la
                       la
                       la
                       la
                       ,
                       &c.
                       
                    
                  
                
                 
                   
                     A.
                     2.
                     
                     Voc.
                     BASSE
                     .
                     T.
                     M.
                     
                  
                   
                     
                     NOw
                     is
                     the
                     Month
                     of
                     Maying
                     ,
                     when
                     merry
                     
                     Lads
                     are
                     playing
                     ,
                     
                       Fa
                       la
                       la
                       la
                       la
                       ,
                       &c.
                       
                    
                     
                     Each
                     with
                     his
                     bonny
                     Lass
                     upon
                     the
                     greeny
                     grass
                     ,
                     
                     
                       Fa
                       la
                       la
                       la
                       la
                       ,
                       &c.
                       
                    
                  
                
              
               
                 
                 
                   
                     A.
                     2.
                     
                     Voc.
                     TREBLE
                     .
                     B.
                     R.
                     
                  
                   
                     
                     IN
                     the
                     merry
                     month
                     of
                     May
                     ,
                     in
                     a
                     morn
                     by
                     break
                     of
                     day
                     ;
                     
                     forth
                     I
                     walkt
                     the
                     wood
                     so
                     wide
                     ,
                     when
                     as
                     May
                     was
                     in
                     her
                     pride
                     ;
                     
                     there
                     I
                     spyed
                     all
                     alone
                     ,
                     Philida
                     and
                     Coridon
                     .
                  
                
                 
                   
                     A.
                     2.
                     
                     Voc.
                     BASSE
                     .
                     B.
                     R.
                     
                  
                   
                     
                     IN
                     the
                     merry
                     month
                     of
                     May
                     ,
                     in
                     a
                     morn
                     by
                     break
                     of
                     day
                     ;
                     
                     Sorth
                     I
                     walkt
                     the
                     wood
                     so
                     wide
                     ,
                     when
                     as
                     May
                     was
                     in
                     her
                     pride
                     ;
                     
                     there
                     I
                     spyed
                     all
                     alone
                     Philida
                     and
                     Coridon
                     .
                  
                
              
               
                 
                 
                   
                     A.
                     2.
                     
                     V●c
                     .
                     TREBLE
                     .
                     H.
                     L.
                     
                  
                   
                     
                     COme
                     Cloris
                     hye
                     we
                     to
                     the
                     Bow'r
                     ,
                     to
                     sport
                     us
                     e're
                     
                     the
                     day
                     be
                     done
                     ;
                     such
                     is
                     thy
                     pow'r
                     that
                     ev'ry
                     Flow'r
                     
                     will
                     ope
                     to
                     thee
                     as
                     to
                     the
                     Sun.
                     
                  
                   
                     The
                     wanton
                     Suckling
                     and
                     the
                     Vine
                  
                   
                     Will
                     strive
                     for
                     th'
                     Honour
                     ,
                     who
                     first
                     may
                  
                   
                     With
                     their
                     green
                     Arms
                     incircle
                     thine
                     ,
                  
                   
                     To
                     keep
                     the
                     burning
                     Sun
                     away
                     .
                  
                
                 
                   
                     A.
                     2.
                     
                     Voc.
                     BASSE
                     .
                     H.
                     L.
                     
                  
                   
                     
                     COme
                     Cloris
                     hye
                     we
                     to
                     the
                     Bow'r
                     ,
                     to
                     spo●t
                     us
                     
                     e're
                     the
                     day
                     be
                     done
                     ;
                     such
                     is
                     thy
                     pow'r
                     ,
                     that
                     ev'ry
                     Flow'r
                     
                     will
                     ope
                     to
                     thee
                     as
                     to
                     the
                     Sun.
                     
                  
                
              
               
                 
                 
                   
                     A.
                     2.
                     
                     Voc.
                     TREBLE
                     .
                     I.
                     G.
                     
                  
                   
                     
                     VVIll
                     Cloris
                     cast
                     her
                     Sun-bright
                     Eye
                     upon
                     so
                     
                     mean
                     a
                     Swain
                     as
                     I
                     ?
                     Can
                     she
                     affect
                     my
                     oaten
                     reed
                     ?
                     or
                     
                     stoop
                     to
                     wear
                     my
                     Shepherds
                     weed
                     .
                  
                   
                     What
                     rural
                     sport
                     can
                     I
                     devise
                     ,
                  
                   
                     To
                     please
                     her
                     Ears
                     ,
                     to
                     please
                     her
                     Eyes
                     ?
                  
                   
                     Fair
                     Cloris
                     sees
                     ,
                     fair
                     Cloris
                     hears●
                  
                   
                     With
                     Angels
                     Eyes
                     and
                     Angels
                     Ears
                     .
                  
                
                 
                   
                     A.
                     2.
                     
                     Voc.
                     BASSE
                     .
                     I.
                     G.
                     
                  
                   
                     
                     VVIll
                     Cloris
                     cast
                     her
                     Sun-bright
                     Eye
                     upon
                     so
                     
                     mean
                     a
                     Swain
                     as
                     I
                     ?
                     Can
                     she
                     affect
                     my
                     oaten
                     reed
                     ?
                     or
                     
                     stoop
                     ●o
                     wear
                     my
                     Shepherds
                     weed
                     .
                  
                
              
               
                 
                 
                   
                     A.
                     2.
                     
                     Voc.
                     TREBLE
                     .
                     T.
                     B.
                     
                  
                   
                     
                     TUrn
                     Amarillis
                     to
                     thy
                     Swain
                     ,
                     turn
                     Amarillis
                     to
                     thy
                     
                     Swain
                     ,
                     turn
                     Amarillis
                     to
                     thy
                     Swain
                     ,
                     thy
                     Damon
                     calls
                     thee
                     
                     back
                     again
                     ,
                     thy
                     Damon
                     calls
                     thee
                     back
                     again
                     :
                     Here
                     is
                     a
                     
                     pretty
                     ,
                     pretty
                     ,
                     pretty
                     ,
                     pretty
                     ,
                     pretty
                     Arbour
                     by
                     ,
                     where
                     Apollo
                     ,
                     
                     where
                     Apollo
                     ,
                     where
                     Apollo
                     ,
                     where
                     Apollo
                     cannot
                     ,
                     cannot
                     
                     spy
                     ,
                     where
                     Apollo
                     cannot
                     spy
                     .
                     Here
                     let
                     's
                     fit
                     ,
                     and
                     whilst
                     I
                     
                     play
                     ,
                     sing
                     to
                     my
                     Pipe
                     ,
                     sing
                     to
                     my
                     Pipe
                     ,
                     sing
                     to
                     my
                     Pipe
                     ,
                     
                     sing
                     to
                     my
                     Pipe
                     ,
                     sing
                     to
                     my
                     Pipe
                     a
                     Roundelay
                     ;
                     sing
                     to
                     
                     my
                     Pipe
                     ,
                     sing
                     to
                     my
                     Pipe
                     ,
                     sing
                     to
                     my
                     Pipe
                     a
                     Roundelay
                     .
                  
                
                 
                   
                   
                     A.
                     2●
                     Voc.
                     BASSE
                     .
                     T.
                     B.
                     
                  
                   
                     
                     TUrn
                     Amarillis
                     to
                     thy
                     Swain
                     ,
                     turn
                     Amarillis
                     ,
                     turn
                     
                     Amarillis
                     ,
                     turn
                     Amarillis
                     to
                     thy
                     Swain
                     ,
                     thy
                     Damon
                     calls
                     
                     thee
                     back
                     again
                     ,
                     thy
                     Damon
                     calls
                     thee
                     back
                     again
                     :
                     Here
                     
                     is
                     a
                     pretty
                     Arbour
                     by
                     ,
                     where
                     Apollo
                     ,
                     where
                     Apollo
                     ,
                     where
                     
                     Apollo
                     ,
                     where
                     Apollo
                     cannot
                     spy
                     ,
                     where
                     Apollo
                     cannot
                     
                     spy
                     :
                     There
                     let
                     's
                     sit
                     ,
                     and
                     whilst
                     I
                     play
                     ,
                     sing
                     to
                     my
                     Pipe
                     ,
                     
                     sing
                     to
                     my
                     Pipe
                     ,
                     sing
                     to
                     my
                     Pipe
                     ,
                     sing
                     to
                     my
                     Pipe
                     ,
                     sing
                     to
                     
                     my
                     Pipe
                     a
                     Roundelay
                     ;
                     sing
                     to
                     my
                     Pipe
                     ,
                     sing
                     to
                     my
                     
                     Pipe
                     ,
                     sing
                     ro
                     my
                     Pipe
                     a
                     Roundelay
                     .
                  
                
              
               
                 
                 
                   
                     A.
                     2.
                     
                     Voc.
                     TREBLE
                     .
                     W.
                     L.
                     
                  
                   
                     
                     LOve
                     is
                     lost
                     and
                     gone
                     astray
                     being
                     blind
                     hath
                     lost
                     
                     his
                     way
                     .
                     Ve╌nus
                     cryeth
                     for
                     her
                     son
                     .
                     out
                     alass
                     she
                     is
                     undone
                     !
                     
                     Cupid
                     sor
                     his
                     mother
                     wept
                     ,
                     weepin●
                     ,
                     thus
                     sate
                     down
                     and
                     slept
                     .
                  
                
                 
                   
                     A.
                     2.
                     
                     Voc.
                     BASSE
                     .
                     W.
                     L.
                     
                  
                   
                     
                     LOve
                     is
                     lost
                     and
                     gone
                     astray
                     ,
                     being
                     blind
                     hath
                     lost
                     
                     his
                     way
                     .
                     Venus
                     cryeth
                     for
                     her
                     son
                     ,
                     out
                     a╌lass
                     she
                     is
                     undone
                     !
                     
                     Cupid
                     for
                     his
                     mother
                     wept
                     ,
                     weeping
                     ,
                     thus
                     sate
                     down
                     and
                     slept
                     .
                  
                
              
               
                 
                   
                     For
                     more
                     Songs
                     and
                     Ayres
                     of
                     this
                     nature
                     for
                     Beginners
                     ,
                     I
                     refer
                     you
                     to
                     two
                     Books
                     lately
                     published
                     ,
                     one
                     entituled
                     ,
                  
                   Select
                   Ayres
                   and
                   Dialogue
                   ●or
                   One
                   ,
                   Two
                   ,
                   and
                   Three
                   Voices
                   ;
                   
                     the
                     other
                  
                   ,
                   The
                   Musical
                   Commpanion
                   ,
                   containing
                   Ayres
                   for
                   Two
                   ,
                   Three
                   ,
                   and
                   Four
                   Voices
                   .
                
              
            
             
               
               
                 RULES
                 and
                 DIRECTIONS
                 For
                 SINGING
                 the
                 PSALMS
                 .
              
               
                 THe
                 Tunes
                 of
                 Psalms
                 are
                 of
                 general
                 use
                 ,
                 all
                 who
                 are
                 true
                 Lovers
                 of
                 Divine
                 Musick
                 will
                 have
                 them
                 in
                 estimation
                 ,
                 they
                 may
                 be
                 called
                 Holy
                 
                 David's
                 Musick
                 ,
                 they
                 are
                 easie
                 and
                 delightful
                 :
                 Those
                 who
                 are
                 principally
                 concerned
                 ,
                 are
                 Parish-Clerks
                 ,
                 as
                 being
                 the
                 Leaders
                 of
                 those
                 Tunes
                 in
                 their
                 Congregations
                 ,
                 for
                 whose
                 use
                 and
                 benefit
                 ,
                 I
                 have
                 set
                 down
                 these
                 following
                 Directions
                 .
              
               
                 First
                 ,
                 observe
                 how
                 many
                 Notes
                 Compass
                 the
                 Tune
                 is
                 ;
                 secondly
                 ,
                 the
                 place
                 of
                 the
                 first
                 Note
                 ;
                 and
                 lastly
                 ,
                 how
                 many
                 Notes
                 above
                 and
                 below
                 that
                 ,
                 so
                 that
                 you
                 may
                 begin
                 the
                 first
                 Note
                 in
                 such
                 a
                 Key
                 ,
                 as
                 the
                 rest
                 may
                 be
                 sung
                 in
                 the
                 compass
                 of
                 your
                 own
                 and
                 the
                 peoples
                 Voices
                 ,
                 without
                 squeaking
                 above
                 ,
                 or
                 grumbling
                 below
                 .
                 For
                 the
                 better
                 understanding
                 of
                 which
                 ,
                 these
                 following
                 Instructions
                 are
                 necessary
                 ,
                 which
                 serve
                 also
                 for
                 all
                 other
                 Tunes
                 that
                 are
                 not
                 here
                 ;
                 but
                 when
                 you
                 are
                 perfected
                 in
                 these
                 ,
                 I
                 refer
                 you
                 to
                 my
                 large
                 Book
                 lately
                 published
                 in
                 Folio
                 ,
                 Entituled
                 ,
                 
                   Psalms
                   and
                   Hymns
                   in
                   Solemn
                   Musick
                   of
                   Four
                   Parts
                
                 ;
                 in
                 which
                 is
                 47
                 several
                 Tunes
                 ,
                 with
                 the
                 Bass
                 under
                 each
                 Common-Tune
                 ,
                 as
                 proper
                 to
                 sing
                 to
                 the
                 
                   Organ
                   ,
                   Theorbo
                
                 ,
                 or
                 Bass-Viol
                 ;
                 also
                 variety
                 of
                 excellent
                 Translations
                 of
                 Psalms
                 and
                 Hymns
                 ,
                 never
                 before
                 published
                 .
              
               
                 
                 
                   The
                   
                     Short
                     Tunes
                  
                   to
                   Four
                   Lines
                   ,
                   whose
                   Measure
                   is
                   Eight
                   Syllables
                   on
                   the
                   first
                   Line
                   ,
                   and
                   six
                   on
                   the
                   next
                   .
                
                 
                   These
                   Tunes
                   ,
                   in
                   Tuning
                   ,
                   the
                   first
                   Note
                   will
                   bear
                   a
                   cheerful
                   high
                   pitch
                   ,
                   in
                   regard
                   their
                   whole
                   Compass
                   is
                   not
                   above
                   five
                   or
                   six
                   Notes
                   ,
                   from
                   the
                   highest
                   Note
                   to
                   the
                   lowest
                   .
                   
                     
                       To
                       Psal.
                       Consolatory
                       .
                       
                         
                           
                             Oxford
                             Tune
                          
                        
                         
                           
                             Cambridge
                             Tune
                          
                        
                         
                           
                             Litchfield
                             Tune
                          
                        
                         
                           
                             Low-Dutch
                             Tune
                          
                        
                      
                    
                     
                       To
                       Psalms
                       of
                       Prayer
                       ,
                       Confession
                       ,
                       and
                       Funerals
                       .
                       
                         
                           
                             York
                             Tune
                          
                        
                         
                           
                             Windsor
                             Tune
                          
                        
                         
                           
                             Westminster
                             Tune
                          
                        
                         
                           
                             Ely
                             Tune
                          
                        
                         
                           
                             Worcester
                             Tune
                          
                        
                         
                           
                             Hartfordshire
                             Tune
                          
                        
                      
                    
                     
                       To
                       peculiar
                       Psal.
                       as
                       25,50,67,70,134
                       .
                       
                         
                           
                             Southwell
                             Tune
                          
                        
                         
                           
                             New
                             Tune
                          
                        
                      
                    
                  
                
                 
                   These
                   Tunes
                   are
                   eight
                   Notes
                   Compass
                   above
                   the
                   first
                   ,
                   and
                   therefore
                   you
                   must
                   begin
                   the
                   first
                   Note
                   indifferent
                   low
                   .
                   
                     
                       To
                       Psalms
                       of
                       Praise
                       and
                       Thanksgiving
                       .
                       
                         
                           
                             St.
                             David's
                             Tune
                          
                        
                         
                           
                             Martyrs
                             Tune
                          
                        
                         
                           
                             Winchester
                             Tune
                          
                        
                         
                           
                             London
                             Tune
                          
                        
                         
                           
                             London
                             new
                             Tune
                          
                        
                         
                           
                             Norwich
                             Tune
                          
                        
                         
                           
                             Hereford
                             Tune
                          
                        
                         
                           
                             Exceter
                             Tune
                          
                        
                      
                    
                  
                
              
               
                 
                   
                     Long
                     Tunes
                  
                   ,
                   most
                   of
                   them
                   usual
                   to
                   Psalms
                   of
                   Eight
                   Lines
                   ,
                   which
                   contain
                   Eight
                   Syllables
                   in
                   the
                   first
                   Line
                   ,
                   and
                   six
                   in
                   the
                   next
                   .
                
                 
                   These
                   Tunes
                   are
                   eight
                   Notes
                   in
                   Compass
                   above
                   the
                   first
                   Note
                   ,
                   and
                   therefore
                   you
                   must
                   begin
                   the
                   first
                   Note
                   low
                   .
                   
                     
                       
                         1
                         Psal.
                         Tune
                      
                    
                     
                       
                         81
                         Psal.
                         Tune
                      
                    
                     
                       
                         113
                         Psal.
                         Tune
                      
                    
                     
                       
                         119
                         Psal.
                         Tune
                      
                    
                     
                       
                         148
                         Psal.
                         Tune
                      
                    
                  
                
                 
                   These
                   Tunes
                   fall
                   four
                   Notes
                   lower
                   than
                   the
                   first
                   Note
                   ,
                   therefore
                   begin
                   that
                   indifferent
                   high
                   .
                   
                     
                       
                         51
                         Psal.
                         Tune
                      
                    
                     
                       
                         68
                         Psal.
                         Tune
                      
                    
                     
                       
                         100
                         Psal.
                         Tune
                      
                    
                     
                       
                         125
                         Psal.
                         Tune
                      
                    
                  
                
              
               
                 
                 
                   The
                   most
                   usual
                   Common
                   Tunes
                   Sung
                   in
                   Parish
                   Churches
                   ,
                   with
                   the
                   Bass
                   under
                   each
                   Tune
                   .
                
                 
                   
                     Psal.
                     4.
                     
                     Oxford
                     Tune
                     .
                  
                   
                     
                     O
                     God
                     that
                     art
                     my
                     righteousness
                     ,
                     Lord
                     hear
                     me
                     when
                     I
                     call
                     :
                     Thou
                     hast
                     set
                     me
                     at
                     liberty
                     ,
                     when
                     I
                     was
                     bound
                     and
                     thrall
                     .
                  
                
                 
                   
                     Psal.
                     69.
                     
                     Litchfield
                     Tune
                     .
                  
                   
                     
                     SIng
                     ye
                     with
                     praise
                     unto
                     the
                     Lord
                     ,
                     new
                     songs
                     with
                     joy
                     &
                     mirth
                     .
                     Sing
                     unto
                     him
                     with
                     one
                     accord
                     ,
                     all
                     people
                     on
                     the
                     earth
                     .
                  
                
                 
                   
                   
                     Psal.
                     116.
                     
                     Windsor
                     Tune
                     .
                  
                   
                     
                     I
                     Love
                     the
                     Lord
                     ,
                     because
                     my
                     voice
                     and
                     prayer
                     heard
                     hath
                     he
                     :
                     
                     
                     When
                     in
                     my
                     days
                     I
                     call`d
                     on
                     him
                     ,
                     he
                     bow'd
                     his
                     ear
                     to
                     me
                     .
                     
                  
                
                 
                   
                     Psal.
                     141.
                     
                     Westminster
                     Tune
                     .
                  
                   
                     
                     O
                     Lord
                     upon
                     thee
                     do
                     I
                     call
                     ,
                     Lord
                     hast
                     thee
                     unto
                     me
                     :
                     
                     
                     And
                     hearken
                     Lord
                     unto
                     my
                     voice
                     ,
                     when
                     I
                     do
                     cry
                     to
                     thee
                     .
                     
                  
                
                 
                   
                   
                     Psal.
                     26.
                     
                     Worcester
                     Tune
                     .
                  
                   
                     
                     LOrd
                     be
                     my
                     Judge
                     ,
                     and
                     thou
                     shalt
                     see
                     my
                     paths
                     be
                     right
                     &
                     plain
                     :
                     
                     
                     I
                     trust
                     in
                     God
                     ,
                     and
                     hope
                     that
                     He
                     will
                     strength
                     me
                     to
                     remain
                     .
                     
                  
                
                 
                   
                     Psal.
                     133.
                     
                     Hereford
                     Tune
                     .
                  
                   
                     
                     O
                     How
                     happy
                     a
                     thing
                     it
                     is
                     ,
                     and
                     joyful
                     for
                     to
                     see
                     :
                     
                     
                     Brethren
                     together
                     fast
                     to
                     hold
                     the
                     band
                     of
                     amity
                     .
                     
                  
                
                 
                   
                   
                     Psal.
                     21.
                     
                     Cambridge
                     Tune
                     .
                  
                   
                     
                     HElp
                     Lord
                     ,
                     for
                     good
                     and
                     godly
                     men
                     do
                     perish
                     and
                     decay
                     :
                     
                     
                     And
                     faith
                     and
                     truth
                     from
                     worldly
                     men
                     is
                     parted
                     clean
                     away
                     .
                     
                  
                
                 
                   
                     Psal.
                     39.
                     
                     Martyrs
                     Tune
                     .
                  
                   
                     
                     I
                     Said
                     I
                     will
                     look
                     to
                     my
                     ways
                     ,
                     for
                     fear
                     I
                     should
                     go
                     wrong
                     :
                     
                     
                     I
                     will
                     take
                     heed
                     all
                     times
                     that
                     I
                     offend
                     not
                     with
                     my
                     tongue
                     .
                     
                  
                
                 
                   
                   
                     Psal.
                     25.
                     or
                     50,67,70,134
                     .
                     Cambridge
                     short
                     Tune
                     .
                  
                   
                     
                     I
                     Lift
                     mine
                     heart
                     to
                     thee
                     ,
                     my
                     God
                     and
                     guide
                     most
                     just
                     :
                     
                     
                     Now
                     suffer
                     me
                     to
                     take
                     no
                     shame
                     ,
                     for
                     in
                     thee
                     do
                     I
                     trust
                     .
                     
                  
                
                 
                   
                     Psal.
                     134.
                     or
                     25.
                     
                     New
                     Tune
                     .
                  
                   
                     
                     BEhold
                     and
                     have
                     regard
                     ,
                     ye
                     Servants
                     of
                     the
                     Lord
                     :
                     
                     
                     Which
                     in
                     his
                     house
                     by
                     night
                     do
                     watch
                     ,
                     praise
                     him
                     with
                     one
                     accord
                     .
                     
                  
                
                 
                   
                   
                     Psal.
                     23.
                     
                     Low-Dutch
                     Tune
                     .
                  
                   
                     
                     THe
                     Lord
                     is
                     only
                     my
                     support
                     ,
                     and
                     he
                     that
                     doth
                     me
                     feed
                     :
                     
                     
                     How
                     can
                     I
                     then
                     lack
                     any
                     thing
                     whereof
                     I
                     stand
                     in
                     need
                     .
                     
                  
                
                 
                   
                     Psal.
                     84.
                     
                     Winchester
                     Tune
                     .
                  
                   
                     
                     HOw
                     pleasant
                     is
                     thy
                     dwelling
                     place
                     ,
                     O
                     Lord
                     of
                     hosts
                     to
                     me
                     !
                     
                     
                     The
                     Tabernacles
                     of
                     thy
                     grace
                     ,
                     how
                     pleasant
                     Lord
                     they
                     be
                     !
                     
                  
                
                 
                   
                   
                     Psal.
                     103.
                     
                     Hartfordshire
                     Tune
                     .
                  
                   
                     
                     MY
                     Soul
                     give
                     land
                     unto
                     the
                     Lord
                     ,
                     my
                     Sp'rit
                     shall
                     do
                     the
                     same
                     :
                     
                     
                     And
                     all
                     the
                     Secrets
                     of
                     my
                     Heart
                     ,
                     praise
                     ye
                     His
                     Holy
                     Name
                     .
                     
                  
                
                 
                   
                     Psal.
                     145.
                     
                     Exceter
                     Tune
                     .
                  
                   
                     
                     THee
                     will
                     I
                     laud
                     my
                     God
                     and
                     King
                     ,
                     and
                     bless
                     thy
                     name
                     for
                     aye
                     :
                     
                     
                     For
                     ever
                     will
                     I
                     praise
                     thy
                     name
                     ,
                     and
                     bless
                     thee
                     day
                     by
                     day
                     .
                     
                  
                
                 
                   
                   
                     Psal.
                     73.
                     
                     York
                     Tune
                     .
                  
                   
                     
                     THe
                     L.
                     is
                     both
                     my
                     health
                     and
                     light
                     ,
                     shall
                     man
                     make
                     me
                     dismaid
                     ?
                     
                     
                     Sith
                     God
                     doth
                     give
                     me
                     strength
                     &
                     might
                     ,
                     why
                     should
                     I
                     be
                     afraid
                     ?
                     
                  
                
                 
                   
                     Psal.
                     95.
                     
                     St.
                     David's
                     Tune
                     .
                  
                   
                     
                     O
                     Come
                     let
                     us
                     lift
                     up
                     our
                     voice
                     ,
                     and
                     sing
                     unto
                     the
                     Lord
                     :
                     
                     
                     In
                     him
                     our
                     rock
                     of
                     health
                     ●ejoyce
                     ,
                     let
                     us
                     with
                     one
                     accord
                     .
                     
                  
                
                 
                   
                   
                     Psal.
                     Hackney
                     Tvne
                     .
                  
                   
                     
                     REgard
                     ,
                     O
                     Lord
                     ,
                     for
                     I
                     complain
                     ,
                     and
                     make
                     my
                     sute
                     to
                     thee
                     :
                     
                     
                     let
                     not
                     my
                     words
                     return
                     in
                     vain
                     ,
                     but
                     give
                     an
                     ear
                     to
                     mee
                     .
                     
                  
                
                 
                   
                     Psal.
                     135.
                     
                     London
                     New
                     Tune
                     .
                  
                   
                     
                     O
                     Praise
                     the
                     L.
                     praise
                     him
                     ,
                     praise
                     him
                     ,
                     praise
                     him
                     with
                     one
                     accord
                     
                     
                     O
                     praise
                     him
                     still
                     all
                     ye
                     that
                     be
                     ,
                     that
                     servants
                     of
                     the
                     Lord.
                     
                     
                  
                
                 
                   
                   
                     Psal.
                     100.
                     
                  
                   
                     
                     ALl
                     Pple
                     that
                     on
                     earth
                     do
                     dwel
                     ,
                     sing
                     to
                     the
                     L.
                     w
                     th
                     cheerful
                     voice
                     :
                     
                     
                     Him
                     serv
                     with
                     fear
                     ,
                     his
                     praise
                     forth
                     tel
                     ;
                     cōe
                     ye
                     before
                     him
                     &
                     rejoyce
                     .
                     
                  
                
                 
                   
                     Psal.
                     125.
                     
                     Ten
                     Commandement
                     Tune
                     .
                  
                   
                     
                     THose
                     that
                     do
                     put
                     their
                     confidence
                     ,
                     upon
                     the
                     L.
                     our
                     God
                     only
                     :
                     
                     
                     And
                     fly
                     to
                     him
                     for
                     their
                     defence
                     ,
                     in
                     all
                     their
                     need
                     and
                     misery
                     .
                     
                  
                
                 
                   
                   
                     First
                     Psalm
                     .
                  
                   
                     
                     THe
                     man
                     is
                     blest
                     that
                     hath
                     not
                     bent
                     ,
                     to
                     wicked
                     read
                     his
                     ear
                     :
                     
                     
                     Nor
                     led
                     his
                     life
                     as
                     sinners
                     do
                     ,
                     nor
                     sate
                     in
                     scorner●
                     chair
                     .
                     
                     
                     But
                     in
                     the
                     Law
                     of
                     God
                     the
                     Lord
                     doth
                     set
                     his
                     whole
                     delight
                     :
                     
                     
                     And
                     in
                     that
                     Law
                     doth
                     exercise
                     himself
                     ,
                     both
                     day
                     and
                     night
                     .
                     
                  
                
                 
                   
                   
                     Psal.
                     51.
                     
                  
                   
                     
                     O
                     Lord
                     consider
                     my
                     distress
                     ,
                     and
                     now
                     with
                     speed
                     some
                     pity
                     take
                     
                     
                     My
                     sins
                     deface
                     ,
                     my
                     faults
                     redress
                     ,
                     good
                     L.
                     for
                     thy
                     great
                     mercy
                     sake
                     
                     
                     Wash
                     me
                     ,
                     O
                     L.
                     and
                     make
                     me
                     clean
                     from
                     this
                     un●ust
                     &
                     sinful
                     act
                     :
                     
                     
                     And
                     purifie
                     yet
                     once
                     again
                     my
                     hainous
                     crime
                     and
                     bloody
                     fact
                     .
                     
                  
                
                 
                   
                   
                     Psal.
                     68.
                     
                  
                   
                     
                     LEt
                     God
                     arise
                     ,
                     and
                     then
                     his
                     foes
                     will
                     turn
                     themselves
                     to
                     flight
                     ,
                     
                     
                     His
                     en'mies
                     then
                     will
                     run
                     abroad
                     ,
                     and
                     scatter
                     out
                     of
                     sight
                     :
                     
                     
                     And
                     as
                     the
                     fire
                     doth
                     melt
                     the
                     wax
                     ,
                     and
                     wind
                     blow
                     smoak
                     away
                     :
                     
                     
                     So
                     in
                     the
                     presence
                     of
                     the
                     Lord
                     the
                     wicked
                     shall
                     decay
                     .
                     
                  
                
                 
                   
                   
                     Psal.
                     81.
                     
                  
                   
                     
                     BE
                     light
                     and
                     glad
                     in
                     God
                     rejoyce
                     ,
                     which
                     is
                     our
                     strength
                     and
                     stay
                     :
                     
                     
                     Be
                     joyful
                     ,
                     and
                     lift
                     up
                     you
                     voice
                     ,
                     to
                     
                     Iacob's
                     God
                     I
                     say
                     .
                     
                     
                     Prepare
                     your
                     Instruments
                     most
                     meet
                     ,
                     some
                     joyful
                     Psalm
                     to
                     sing
                     :
                     
                     
                     Stri●e
                     up
                     with
                     Harp
                     and
                     Lute
                     so
                     sweet
                     ,
                     on
                     every
                     pleasant
                     string
                     .
                     
                  
                
                 
                   
                   
                     Psal.
                     113.
                     
                  
                   
                     
                     YE
                     childrē
                     wch
                     do
                     serve
                     the
                     L.
                     praise
                     ye
                     his
                     nāe
                     with
                     one
                     accord
                     :
                     Who
                     from
                     the
                     rising
                     of
                     the
                     Sun
                     ,
                     till
                     it
                     return
                     where
                     it
                     begun
                     :
                     
                     
                     Ye
                     blessed
                     be
                     alwa●s
                     his
                     name
                     .
                     The
                     L.
                     all
                     Pple
                     doth
                     surmoūt
                     ,
                     Is
                     to
                     be
                     praised
                     with
                     great
                     fame
                     .
                     The
                     L.
                     all
                     Pple
                     doth
                     surmoūt
                     ,
                     
                     
                     As
                     for
                     his
                     glory
                     we
                     may
                     count
                     ,
                     above
                     the
                     Heavens
                     high
                     to
                     be
                     .
                     
                     
                     With
                     God
                     the
                     Lord
                     who
                     may
                     compare
                     ,
                     whose
                     dwellings
                     in
                     the
                     
                     
                     
                     Heavens
                     are
                     :
                     Of
                     such
                     great
                     pow'r
                     and
                     fo●ce
                     is
                     He.
                     
                     
                  
                
                 
                   
                     Psal.
                     148.
                     
                  
                   
                     
                     GIve
                     laud
                     unto
                     the
                     Lord
                     ,
                     from
                     heav'n
                     that
                     is
                     so
                     high
                     ;
                     
                     
                     Praise
                     him
                     in
                     deed
                     and
                     word
                     above
                     the
                     starry
                     sky
                     :
                     
                     
                     And
                     also
                     ye
                     ,
                     his
                     Angels
                     all
                     ,
                     Armies
                     royal
                     ,
                     praise
                     him
                     with
                     glee
                     .
                     
                  
                
                 
                   
                   
                     Psal.
                     119.
                     
                  
                   
                     
                     BLessed
                     are
                     they
                     that
                     perfect
                     are
                     ,
                     and
                     pure
                     in
                     mind
                     and
                     heart
                     ,
                     
                     
                     Whose
                     lives
                     and
                     conversations
                     from
                     Gods
                     Laws
                     never
                     start
                     .
                     
                     
                     Blessed
                     are
                     they
                     that
                     give
                     themselves
                     his
                     S●atutes
                     to
                     observe
                     ,
                     
                     
                     Seeking
                     the
                     L.
                     with
                     all
                     their
                     hearts
                     ,
                     and
                     never
                     from
                     him
                     swerve
                     .
                     
                  
                
              
            
          
           
             
             
               
            
             
               
               
                 A
                 BRIEF
                 INTRODUCTION
                 To
                 the
                 Playing
                 on
                 the
                 Bass-Viol
                 .
                 The
                 Second
                 BOOK
                 .
              
               
                 THe
                 Viol
                 (
                 usually
                 called
                 )
                 
                   de
                   Gambo
                
                 ,
                 or
                 
                   Consort
                   Viol
                
                 ,
                 because
                 the
                 Musick
                 thereon
                 is
                 play'd
                 from
                 the
                 Rules
                 of
                 the
                 Gam-vt
                 ,
                 and
                 not
                 as
                 the
                 Lyra-Viol
                 ,
                 which
                 is
                 by
                 Letters
                 or
                 Tableture
                 .
                 Of
                 this
                 
                   Viol
                   de
                   Gambo
                
                 there
                 are
                 three
                 several
                 sizes
                 ,
                 one
                 larger
                 than
                 the
                 other
                 ,
                 according
                 to
                 the
                 three
                 Parts
                 of
                 Musick
                 set
                 forth
                 in
                 the
                 
                   Gam-vt
                   ,
                   viz.
                   Treble-Viol
                   ,
                   Tenor-Viol
                   ,
                
                 and
                 Bass-Viol
                 .
                 The
                 Treble-Viol
                 plays
                 the
                 highest
                 Part
                 ,
                 and
                 its
                 Lessons
                 are
                 prick'd
                 by
                 the
                 
                   G
                   sol
                   re
                   vt
                
                 Cliff
                 
                 ;
                 the
                 Tenor-Viol
                 ,
                 or
                 middle
                 part
                 ,
                 its
                 Lessons
                 are
                 by
                 the
                 
                   C
                   sol
                   fa
                   vt
                
                 Cliff
                 
                 ;
                 and
                 the
                 Bass-Viol
                 ,
                 which
                 is
                 the
                 largest
                 ,
                 
                 its
                 Lessons
                 are
                 by
                 the
                 
                   F
                   fa
                   vt
                
                 Cliff
                 
                 These
                 three
                 Viols
                 agree
                 in
                 one
                 manner
                 of
                 Tuning
                 ;
                 where
                 I
                 shall
                 give
                 you
                 the
                 Directions
                 for
                 Tuning
                 the
                 Bass-Viol
                 ,
                 which
                 is
                 usually
                 strung
                 with
                 
                   six
                   Strings
                
                 (
                 as
                 you
                 may
                 observe
                 on
                 the
                 Figure
                 expressed
                 in
                 the
                 foregoing
                 page
                 )
                 which
                 six
                 strings
                 are
                 known
                 by
                 six
                 several
                 names
                 ;
                 the
                 first
                 ,
                 which
                 is
                 the
                 smallest
                 ,
                 is
                 called
                 the
                 Treble
                 ;
                 the
                 second
                 ,
                 the
                 
                   small
                   Mean
                
                 ;
                 the
                 third
                 ,
                 the
                 
                   great
                   Mean
                
                 ;
                 the
                 fourth
                 ,
                 the
                 Counter-Tenor
                 ;
                 the
                 fifth
                 ,
                 the
                 Tenor
                 or
                 Gam-vt
                 string
                 ;
                 the
                 sixth
                 ,
                 the
                 Bass.
                 But
                 if
                 you
                 will
                 name
                 them
                 after
                 they
                 are
                 Tuned
                 ,
                 according
                 to
                 the
                 Rule
                 of
                 the
                 Gam-vt
                 ,
                 the
                 
                   Treble
                   string
                
                 ,
                 is
                 
                   D
                   la
                   sol
                   re
                
                 ;
                 the
                 
                   smal
                   Mean
                   ,
                   A
                   la
                   mi
                   re
                
                 ;
                 the
                 
                   great
                   Mean
                   ,
                   E
                   la
                   mi
                
                 ;
                 the
                 
                   Counter-Tenor
                   ,
                   C
                   fa
                   vt
                
                 ;
                 the
                 Tenor
                 or
                 fifth
                 string
                 ,
                 Gam-vt
                 ;
                 and
                 the
                 sixth
                 or
                 
                   Bass
                   ,
                   double
                   D
                   sol
                   re
                   .
                
                 Belonging
                 to
                 these
                 
                   six
                   strings
                
                 there
                 are
                 
                   seven
                   Frets
                
                 or
                 Stops
                 on
                 the
                 neck
                 of
                 your
                 Viol
                 ,
                 which
                 are
                 for
                 stopping
                 the
                 various
                 Sounds
                 ,
                 according
                 to
                 the
                 several
                 Notes
                 of
                 the
                 Gam-vt
                 ,
                 both
                 Flats
                 and
                 Sharps
                 :
                 For
                 the
                 more
                 plain
                 understanding
                 of
                 which
                 ,
                 I
                 have
                 drawn
                 an
                 exact
                 Table
                 in
                 the
                 following
                 pag.
                 88.
                 beginning
                 with
                 the
                 lowest
                 Note
                 on
                 your
                 
                   sixth
                   string
                
                 ,
                 and
                 so
                 ascending
                 to
                 the
                 highest
                 on
                 the
                 first
                 or
                 
                   Treble
                   string
                
                 .
                 Your
                 perfect
                 understanding
                 of
                 that
                 
                 Table
                 will
                 much
                 further
                 you
                 in
                 the
                 knowledg
                 of
                 Tuning
                 your
                 Viol
                 ;
                 for
                 which
                 Tuning
                 I
                 will
                 give
                 you
                 two
                 Rules
                 ,
                 one
                 by
                 Tableture
                 or
                 Letters
                 ,
                 the
                 other
                 by
                 the
                 Gam-vt
                 Rule
                 ;
                 the
                 first
                 being
                 the
                 easiest
                 way
                 to
                 a
                 Beginner
                 ,
                 whose
                 Ear
                 at
                 first
                 is
                 not
                 well
                 acquainted
                 with
                 the
                 several
                 distances
                 of
                 Sounds
                 that
                 the
                 Strings
                 are
                 Tuned
                 in
                 ,
                 shall
                 by
                 this
                 way
                 use
                 only
                 one
                 Sounding
                 ,
                 viz.
                 an
                 Unison
                 ,
                 which
                 is
                 to
                 make
                 two
                 strings
                 (
                 one
                 of
                 them
                 being
                 stopt
                 ,
                 the
                 other
                 not
                 )
                 to
                 agree
                 in
                 one
                 and
                 the
                 same
                 sound
                 :
                 The
                 Letters
                 are
                 Eight
                 ,
                 
                   A
                   ,
                   B
                   ,
                   C
                   ,
                   D
                   ,
                   E
                   ,
                   F
                   ,
                   G
                   ,
                   H
                
                 ;
                 seven
                 of
                 these
                 are
                 assigned
                 to
                 the
                 seven
                 Frets
                 on
                 the
                 Neck
                 of
                 the
                 Viol
                 ;
                 A
                 is
                 for
                 the
                 string
                 open
                 ,
                 so
                 B
                 is
                 the
                 first
                 
                   Fret
                   ,
                   C
                
                 the
                 second
                 ,
                 D
                 the
                 third
                 ,
                 E
                 the
                 fourth
                 ,
                 F
                 the
                 fifth
                 ,
                 G
                 the
                 sixth
                 ,
                 and
                 H
                 the
                 seventh
                 .
              
               
                 
                   Six
                   Strings
                   .
                
              
               
                 When
                 you
                 begin
                 to
                 Tune
                 ,
                 raise
                 your
                 Treble
                 or
                 smallest
                 string
                 as
                 high
                 as
                 conveniently
                 it
                 will
                 bear
                 without
                 breaking
                 ;
                 then
                 stop
                 only
                 your
                 second
                 or
                 
                   small
                   Mean
                
                 in
                 F
                 ,
                 and
                 
                 tune
                 it
                 till
                 it
                 agree
                 in
                 sound
                 with
                 your
                 Treble
                 open
                 ;
                 that
                 done
                 ,
                 stop
                 your
                 Third
                 in
                 F
                 ,
                 and
                 make
                 it
                 agree
                 with
                 your
                 Second
                 open
                 ;
                 then
                 stop
                 your
                 Fourth
                 in
                 F
                 ,
                 and
                 make
                 it
                 agree
                 with
                 your
                 Third
                 open
                 ;
                 then
                 stop
                 your
                 Fifth
                 in
                 F
                 ,
                 and
                 make
                 it
                 agree
                 with
                 your
                 Fourth
                 open
                 ;
                 and
                 lastly
                 ,
                 stop
                 your
                 Sixth
                 in
                 F
                 ,
                 and
                 make
                 it
                 agree
                 to
                 your
                 Fifth
                 open
                 .
                 This
                 being
                 exactly
                 done
                 ,
                 you
                 will
                 find
                 your
                 Viol
                 in
                 Tune
                 ,
                 according
                 to
                 the
                 Rule
                 of
                 the
                 Gam-vt
                 .
              
               
                 
                   Example
                   ,
                   Tuning
                   by
                   Letters
                
                 .
                 
              
               
                 
                   Example
                   ,
                   Tuning
                   by
                   Notes
                
                 .
                 
                 
                   D
                   la
                   sol
                   re
                   .
                   A
                   la
                   mi
                   re
                   .
                   E
                   la
                   mi.
                   C
                   fa
                   vt
                   .
                   Gam-vt
                   .
                   D
                   D
                   sol
                   re
                   .
                
              
               
                 The
                 other
                 way
                 of
                 Tuning
                 is
                 by
                 the
                 Rule
                 of
                 the
                 Gam-vt
                 ,
                 by
                 distances
                 of
                 Sounds
                 ,
                 as
                 in
                 the
                 foregoing
                 Example
                 ,
                 thus
                 :
                 The
                 Treble
                 being
                 raised
                 as
                 high
                 as
                 it
                 will
                 conveniently
                 bear
                 without
                 breaking
                 ,
                 is
                 called
                 
                   D
                   la
                   sol
                   re
                
                 ,
                 then
                 tune
                 your
                 second
                 four
                 Notes
                 lower
                 ,
                 and
                 it
                 is
                 
                   A
                   la
                   mi
                   re
                
                 ;
                 the
                 third
                 four
                 Notes
                 lower
                 
                 is
                 
                   E
                   la
                   mi
                
                 ;
                 the
                 fourth
                 three
                 Notes
                 ,
                 or
                 a
                 f●at
                 Third
                 lower
                 ,
                 is
                 
                   C
                   fa
                   vt
                
                 ;
                 the
                 fifth
                 four
                 Notes
                 lower
                 ,
                 is
                 Gam-vt
                 ;
                 and
                 the
                 sixth
                 four
                 Notes
                 lower
                 than
                 the
                 fifth
                 ,
                 is
                 
                   double
                   D
                   sol
                   re
                
                 :
                 This
                 is
                 the
                 most
                 usual
                 way
                 of
                 Tuning
                 it
                 ;
                 yet
                 there
                 are
                 some
                 Lessons
                 do
                 require
                 it
                 one
                 Note
                 lower
                 ,
                 which
                 is
                 
                   double
                   C
                   fa
                   vt
                
                 ,
                 but
                 that
                 is
                 very
                 seldom
                 .
              
               
                 
                   Example
                   of
                   the
                   Notes
                   ascending
                   and
                   descending
                   .
                
                 
                 
                 
                 
              
               
               
                 Your
                 Viol
                 being
                 Tuned
                 ,
                 practice
                 to
                 play
                 this
                 Example
                 of
                 the
                 Notes
                 ascending
                 and
                 descending
                 ,
                 and
                 by
                 it
                 you
                 shall
                 know
                 your
                 Viol
                 is
                 right
                 Tuned
                 .
              
               
                 
                   An
                   exact
                   Table
                   ,
                   directing
                   the
                   Places
                   of
                   the
                   Notes
                   ,
                   Flat
                   and
                   Sharp
                   ,
                   to
                   every
                   Stop
                   on
                   the
                   Bass-Viol
                   ,
                   according
                   to
                   the
                   Gam-ut
                   ;
                   beginning
                   at
                   the
                   lowest
                   Note
                   of
                   the
                   Bass
                   on
                   the
                   Sixth
                   String
                   ,
                   and
                   ascending
                   to
                   the
                   highest
                   on
                   the
                   Treble
                   .
                
                 
                   
                     6
                     String
                     .
                  
                   
                     
                     
                       Double
                       D
                       ●ol
                       re
                       .
                       Double
                       E
                       la
                       mi.
                       Flat
                       .
                       D
                       D
                       E
                       la
                       mi.
                       Proper
                       .
                       D
                       D
                       Ffa
                       ut
                       .
                       D
                       D
                       F
                       fa
                       ut
                       .
                       Sharp
                       .
                       Sixth
                       string
                       open
                       .
                       Sixth
                       string
                       first
                       fret
                       .
                       Sixth
                       string
                       second
                       fret
                       .
                       Sixth
                       string
                       third
                       fret
                       .
                       Sixth
                       st●ing
                       fourth
                       fret
                       .
                    
                  
                
                 
                   
                     5.
                     
                     String
                     .
                  
                   
                     
                     
                       Gamut
                       .
                       Gamut
                       sharp
                       .
                       A
                       re
                       .
                       B
                       mi
                       flat
                       .
                       B
                       mi
                       proper
                       .
                       Fifth
                       string
                       open
                       .
                       fifth
                       string
                       ●●●st
                       fret
                       .
                       fifth
                       string
                       second
                       fret
                       .
                       fifth
                       string
                       third
                       fret
                       .
                       fifth
                       string
                       fourth
                       fret
                       .
                    
                  
                
                 
                   
                   
                     4
                     String
                     .
                  
                   
                     
                     
                       C
                       fa
                       ut
                       .
                       C
                       fa
                       ut
                       ,
                       sharp
                       .
                       D
                       sol
                       re
                       .
                       E
                       la
                       mi
                       ,
                       flat
                       Fourth
                       string
                       open
                       .
                       fourth
                       string
                       first
                       fret
                       .
                       fourth
                       string
                       second
                       fret
                       .
                       fourth
                       string
                       fourth
                       fret
                       .
                    
                  
                
                 
                   
                     2
                     String
                     .
                  
                   
                     
                     
                       E
                       la
                       mi
                       F
                       fa
                       ut
                       F
                       fa
                       ut
                       ,
                       sharp
                       G
                       sol
                       re
                       ut
                       .
                       G
                       sol
                       ●e
                       ut
                       ,
                       sharp
                       .
                       Third
                       string
                       open
                       .
                       third
                       string
                       first
                       f●et
                       .
                       third
                       string
                       second
                       fret
                       .
                       third
                       string
                       third
                       fret
                       .
                       third
                       string
                       fourth
                       f●et
                       .
                    
                  
                
                 
                   
                     2
                     String
                     .
                  
                   
                     
                     
                       A
                       la
                       mi
                       re
                       .
                       B
                       fa
                       b
                       mi
                       ,
                       flat
                       .
                       B
                       fa
                       b
                       mi.
                       proper
                       .
                       ●
                       〈◊〉
                       fa
                       ut
                       .
                       C
                       sol
                       fa
                       ut
                       ,
                       sharp
                       .
                       Second
                       string
                       open
                       .
                       second
                       string
                       first
                       fret
                       .
                       second
                       string
                       second
                       fret
                       ,
                       second
                       string
                       third
                       fret
                       .
                       second
                       string
                       fourth
                       fret
                       .
                    
                  
                
                 
                   
                     1
                     String
                     .
                  
                   
                     
                     
                       D
                       la
                       sol
                       re
                       E
                       la
                       mi
                       ,
                       flat
                       E
                       la
                       mi
                       F
                       fa
                       ut
                       E
                       la
                       ut
                       sharp
                       G
                       sol
                       r●
                       ut
                       .
                       first
                       string
                       open
                       .
                       first
                       string
                       first
                       fret
                       .
                       first
                       string
                       second
                       fret
                       .
                       first
                       string
                       third
                       fret
                       .
                       first
                       string
                       fourth
                       fret
                       .
                       first
                       string
                       fifth
                       fret
                       .
                    
                  
                
              
               
                 
                   It
                   is
                   usual
                   in
                   Lessons
                   for
                   the
                   Bass-Viol
                   ,
                   to
                   change
                   the
                   Cliff
                   where
                   the
                   Notes
                   ascend
                   above
                   
                     D
                     la
                     sol
                     re
                  
                   ,
                   which
                   is
                   very
                   necessary
                   to
                   
                   prevent
                   the
                   drawing
                   of
                   more
                   lines
                   above
                   ;
                   therefore
                   the
                   Practitioner
                   ought
                   to
                   be
                   perfect
                   in
                   the
                   
                     C
                     sol
                     fa
                     ut
                     Cliff
                  
                   on
                   the
                   
                     middle
                     line
                  
                   ,
                   as
                   you
                   see
                   in
                   the
                   five
                   last
                   Notes
                   of
                   the
                   Table
                   ;
                   also
                   this
                   Example
                   mentions
                   the
                   like
                   agreement
                   of
                   Notes
                   in
                   both
                   Cliffs
                   .
                
                 
                   Example
                   .
                   
                   
                
                 
                   In
                   this
                   Example
                   the
                   Notes
                   prick'd
                   in
                   the
                   
                     Tenor
                     Cliff
                  
                   ,
                   are
                   the
                   same
                   with
                   those
                   in
                   the
                   Bass
                   or
                   
                     F
                     fa
                     ut
                     Cliff
                  
                   ,
                   and
                   are
                   stopp'd
                   in
                   the
                   same
                   places
                   on
                   the
                   Viol.
                   This
                   I
                   thought
                   fit
                   to
                   mention
                   ,
                   because
                   you
                   will
                   meet
                   with
                   the
                   change
                   of
                   Cliffs
                   in
                   the
                   following
                   Lessons
                   .
                
                 
                   Observe
                   ,
                   that
                   in
                   the
                   foregoing
                   Table
                   the
                   Sharp
                   (
                   
                   )
                   before
                   a
                   Note
                   makes
                   it
                   stopt
                   a
                   Fret
                   lower
                   ,
                   and
                   a
                   
                     b
                     Flat
                  
                   before
                   a
                   Note
                   a
                   Fret
                   higher
                   ;
                   for
                   two
                   Frets
                   go
                   to
                   one
                   whole
                   or
                   perfect
                   Note
                   ,
                   as
                   that
                   Table
                   doth
                   direct
                   :
                   Sometimes
                   you
                   may
                   see
                   a
                   
                   before
                   
                     D
                     sol
                     re
                  
                   ,
                   then
                   it
                   is
                   stopt
                   a
                   Fret
                   lower
                   ,
                   which
                   is
                   the
                   place
                   of
                   
                     E
                     la
                     mi
                     flat
                  
                   ,
                   so
                   if
                   a
                   Flat
                   is
                   set
                   before
                   
                     A
                     la
                     mi
                     re
                  
                   ,
                   it
                   is
                   a
                   Fret
                   higher
                   ,
                   which
                   is
                   
                     G
                     sol
                     re
                     ut
                  
                   
                   ;
                   the
                   like
                   of
                   other
                   flat
                   or
                   
                     sharp
                     Notes
                  
                   .
                
                 
                 
                   Also
                   if
                   a
                   
                     B
                     flat
                  
                   or
                   
                     B
                     sharp
                  
                   be
                   set
                   on
                   Rule
                   or
                   Space
                   at
                   the
                   beginning
                   of
                   any
                   Line
                   with
                   the
                   Cliff
                   ,
                   that
                   Flat
                   or
                   Sharp
                   makes
                   all
                   the
                   Notes
                   which
                   are
                   in
                   the
                   same
                   Rules
                   or
                   Spaces
                   to
                   be
                   flat
                   or
                   sharp
                   through
                   the
                   whole
                   Lesson
                   .
                
                 
                   
                     TREBLE-VIOL
                     .
                  
                   
                     These
                     Directions
                     for
                     the
                     Bass-Viol
                     do
                     also
                     serve
                     the
                     Treble-Viol
                     ,
                     which
                     is
                     strung
                     and
                     tuned
                     in
                     the
                     same
                     manner
                     ,
                     only
                     eight
                     Notes
                     higher
                     ,
                     
                       G
                       sol
                       re
                       ut
                    
                     on
                     the
                     Treble
                     is
                     the
                     Eighth
                     above
                     
                       G
                       sol
                       re
                       ut
                    
                     on
                     the
                     Bass
                     ,
                     being
                     stopped
                     on
                     the
                     same
                     String
                     and
                     Fret
                     with
                     the
                     Bass
                     ;
                     and
                     so
                     other
                     Notes
                     accordingly
                     .
                  
                
                 
                   
                     TENOR-VIOL
                     .
                  
                   
                     The
                     Tenor-Viol
                     is
                     an
                     excellent
                     
                       inward
                       Part
                    
                     ,
                     and
                     much
                     used
                     in
                     Consort
                     ,
                     especially
                     in
                     Fantasies
                     and
                     Ayres
                     of
                     3
                     ,
                     4
                     ,
                     5
                     and
                     6
                     parts
                     .
                     The
                     Tuning
                     of
                     it
                     is
                     the
                     same
                     with
                     the
                     Bass
                     and
                     Treble
                     ,
                     for
                     the
                     distance
                     of
                     sound
                     betwixt
                     each
                     string
                     ;
                     but
                     being
                     an
                     Inward
                     Part
                     betwixt
                     both
                     ,
                     its
                     Tuning
                     is
                     four
                     Notes
                     higher
                     than
                     the
                     Bass
                     ,
                     and
                     five
                     Notes
                     lower
                     than
                     the
                     Treble
                     ;
                     its
                     first
                     or
                     Treble
                     string
                     is
                     tuned
                     to
                     
                       G
                       sol
                       re
                       ut
                    
                     on
                     the
                     third
                     string
                     of
                     the
                     Treble-Viol
                     ;
                     its
                     second
                     four
                     Notes
                     lower
                     ,
                     which
                     is
                     
                       D
                       la
                       sol
                       re
                    
                     ;
                     the
                     third
                     for
                     Notes
                     lower
                     ,
                     is
                     
                       A
                       la
                       mì
                       re
                    
                     ;
                     the
                     fourth
                     three
                     Notes
                     (
                     or
                     a
                     flat
                     Third
                     )
                     lower
                     ,
                     is
                     
                       F
                       fa
                       ut
                    
                     ;
                     the
                     fifth
                     four
                     Notes
                     lower
                     than
                     it
                     ,
                     is
                     
                       C
                       fa
                       ut
                    
                     ;
                     
                     and
                     the
                     sixth
                     four
                     Notes
                     lower
                     than
                     the
                     fifth
                     ,
                     is
                     Gam-vt
                     ;
                     which
                     is
                     answerable
                     to
                     the
                     Gam-vt
                     on
                     the
                     Bass-Viol
                     .
                  
                   
                     For
                     the
                     better
                     understanding
                     of
                     these
                     Tunings
                     severally
                     ,
                     
                       viz.
                       Treble
                    
                     or
                     Tenor
                     ,
                     observe
                     these
                     two
                     Examples
                     of
                     them
                     ,
                     according
                     as
                     their
                     
                       six
                       strings
                    
                     are
                     Tuned
                     by
                     the
                     several
                     Distances
                     of
                     Notes
                     in
                     the
                     Gam-vt
                     .
                  
                   
                     
                       The
                       Treble-Viol
                       Tuning
                    
                     .
                     
                     1
                     2
                     3
                     4
                     5
                     6
                     String
                     .
                  
                   
                     The
                     fifth
                     string
                     on
                     the
                     Treble-Viol
                     is
                     the
                     same
                     with
                     
                       G
                       sol
                       re
                       vt
                    
                     on
                     the
                     third
                     string
                     of
                     the
                     Bass-Viol
                     .
                  
                   
                     
                       The
                       Tenor-Viol
                       Tuning
                    
                     .
                     
                     1
                     2
                     3
                     4
                     5
                     6
                     String
                     .
                  
                   
                     The
                     fifth
                     string
                     of
                     the
                     Tenor-Viol
                     is
                     tuned
                     to
                     
                       C
                       fa
                       vt
                    
                     or
                     fourth
                     string
                     of
                     the
                     Bass-Viol
                     .
                  
                   
                     For
                     the
                     Names
                     of
                     the
                     Notes
                     ,
                     and
                     their
                     Proportions
                     of
                     Time
                     ,
                     I
                     refer
                     you
                     to
                     the
                     fourth
                     and
                     seventh
                     Chapters
                     in
                     the
                     first
                     Book
                     .
                  
                
              
            
             
               
               
                 Some
                 General
                 Rules
                 for
                 the
                 Viol.
                 
              
               
                 THere
                 are
                 three
                 sorts
                 of
                 Bass-Viols
                 ,
                 as
                 there
                 are
                 three
                 manners
                 of
                 ways
                 in
                 playing
                 .
              
               
                 First
                 ,
                 a
                 Bass-Viol
                 for
                 Consort
                 must
                 be
                 one
                 of
                 the
                 largest
                 size
                 ,
                 and
                 the
                 Strings
                 proportionable
                 .
              
               
                 Secondly
                 ,
                 a
                 Bass-Viol
                 for
                 Divisions
                 must
                 be
                 of
                 a
                 less
                 size
                 ,
                 and
                 the
                 Strings
                 according
                 .
              
               
                 Thirdly
                 ,
                 a
                 Bass-Viol
                 to
                 play
                 Lyra-way
                 ,
                 that
                 is
                 by
                 Tableture
                 ,
                 must
                 be
                 somewhat
                 less
                 than
                 the
                 two
                 former
                 ,
                 and
                 strung
                 proportionably
                 .
              
               
                 2.
                 
                 In
                 the
                 choice
                 of
                 your
                 
                   Viol
                   Bow
                
                 ,
                 let
                 it
                 be
                 proportioned
                 to
                 the
                 Viol
                 you
                 use
                 ,
                 and
                 let
                 the
                 Hair
                 be
                 laid
                 stiff
                 ,
                 and
                 the
                 Bow
                 not
                 too
                 heavy
                 ,
                 nor
                 too
                 long
                 .
              
               
                 3.
                 
                 In
                 holding
                 your
                 Viol
                 observe
                 this
                 Rule
                 :
                 Place
                 it
                 gently
                 between
                 your
                 Knees
                 ,
                 resting
                 the
                 lower
                 end
                 thereof
                 upon
                 the
                 Calves
                 of
                 your
                 Legs
                 ,
                 and
                 let
                 your
                 Feet
                 rest
                 flat
                 on
                 the
                 Ground
                 ,
                 your
                 Toes
                 turned
                 a
                 little
                 outward
                 ,
                 and
                 let
                 the
                 top
                 of
                 your
                 Viol
                 lean
                 towards
                 your
                 left
                 shoulder
                 .
              
               
                 4.
                 
                 In
                 the
                 holding
                 of
                 your
                 Bow
                 ,
                 observe
                 this
                 Rule
                 :
                 Hold
                 the
                 Bow
                 betwixt
                 the
                 ends
                 of
                 your
                 Thumb
                 and
                 your
                 Forefinger
                 ,
                 an
                 Inch
                 below
                 the
                 Nut
                 ,
                 the
                 Thumb
                 and
                 first
                 Finger
                 resting
                 on
                 the
                 Wood
                 ,
                 the
                 ends
                 of
                 
                 your
                 second
                 and
                 third
                 Fingers
                 staid
                 upon
                 the
                 Hair
                 ,
                 by
                 which
                 you
                 may
                 poise
                 and
                 keep
                 up
                 your
                 Bow.
                 Your
                 Bow
                 being
                 thus
                 fix'd
                 ,
                 you
                 must
                 draw
                 it
                 over
                 one
                 string
                 ,
                 and
                 then
                 another
                 ,
                 in
                 a
                 right
                 angle
                 ,
                 about
                 two
                 or
                 three
                 Inches
                 above
                 the
                 Bridge
                 ,
                 making
                 each
                 several
                 string
                 yield
                 a
                 clear
                 sound
                 .
              
               
                 5.
                 
                 In
                 the
                 posture
                 of
                 your
                 left
                 hand
                 observe
                 this
                 Rule
                 ,
                 place
                 your
                 Thumb
                 on
                 the
                 back
                 of
                 the
                 Neck
                 ,
                 and
                 opposite
                 to
                 your
                 Forefinger
                 ,
                 so
                 that
                 when
                 your
                 Fingers
                 are
                 to
                 rest
                 on
                 the
                 several
                 Stops
                 or
                 Frets
                 ,
                 your
                 hand
                 may
                 have
                 liberty
                 to
                 move
                 up
                 and
                 down
                 ,
                 as
                 occasion
                 shall
                 require
                 ;
                 and
                 in
                 the
                 stopping
                 observe
                 ,
                 that
                 when
                 you
                 set
                 any
                 finger
                 down
                 ,
                 let
                 it
                 not
                 be
                 just
                 upon
                 the
                 Fret
                 ,
                 but
                 close
                 to
                 it
                 ,
                 bearing
                 it
                 hard
                 down
                 with
                 the
                 end
                 of
                 your
                 finger
                 ,
                 and
                 let
                 it
                 rest
                 there
                 ,
                 playing
                 the
                 following
                 Notes
                 with
                 your
                 other
                 fingers
                 ,
                 until
                 occasion
                 require
                 the
                 moving
                 it
                 ;
                 and
                 be
                 sure
                 not
                 to
                 lift
                 your
                 fingers
                 too
                 high
                 ,
                 but
                 keep
                 them
                 in
                 an
                 even
                 distance
                 to
                 the
                 Frets
                 ,
                 that
                 so
                 they
                 may
                 pass
                 more
                 readily
                 from
                 Fret
                 to
                 Fret
                 .
              
               
                 Also
                 in
                 the
                 Rule
                 of
                 true
                 Fingering
                 ,
                 where
                 you
                 skip
                 a
                 Fret
                 ,
                 there
                 leave
                 a
                 finger
                 ;
                 and
                 when
                 you
                 have
                 any
                 Notes
                 which
                 are
                 high
                 Notes
                 ,
                 that
                 reach
                 lower
                 than
                 the
                 Frets
                 ,
                 there
                 the
                 highest
                 Note
                 is
                 always
                 stopt
                 either
                 with
                 
                 the
                 third
                 or
                 fourth
                 finger
                 ;
                 if
                 with
                 the
                 third
                 ,
                 then
                 the
                 first
                 and
                 second
                 fingers
                 are
                 ready
                 to
                 stop
                 the
                 two
                 next
                 Notes
                 either
                 ascending
                 or
                 descending
                 from
                 it
                 :
                 But
                 if
                 the
                 highest
                 Note
                 be
                 stopt
                 with
                 the
                 fourth
                 finger
                 ,
                 then
                 the
                 Note
                 under
                 it
                 is
                 stopt
                 either
                 with
                 the
                 third
                 or
                 second
                 finger
                 ,
                 according
                 as
                 it
                 is
                 either
                 Flat
                 or
                 Sharp
                 ;
                 if
                 Sharp
                 ,
                 the
                 third
                 ;
                 if
                 Flat
                 ,
                 the
                 second
                 .
                 But
                 whether
                 the
                 highest
                 Note
                 be
                 stopt
                 with
                 the
                 third
                 or
                 fourth
                 finger
                 ,
                 the
                 third
                 below
                 it
                 must
                 be
                 stopt
                 with
                 the
                 first
                 finger●
                 which
                 is
                 ever
                 as
                 a
                 guide
                 to
                 the
                 two
                 Notes
                 above
                 it
                 .
                 Lastly
                 ,
                 when
                 two
                 Notes
                 which
                 follow
                 one
                 another
                 are
                 stopt
                 with
                 the
                 same
                 finger
                 removed
                 ,
                 it
                 is
                 to
                 prepare
                 the
                 other
                 fingers
                 to
                 the
                 aforementioned
                 posture
                 ,
                 or
                 to
                 remove
                 them
                 to
                 some
                 other
                 place
                 .
                 This
                 order
                 of
                 Fingering
                 directs
                 the
                 whole
                 Finger-board
                 (
                 in
                 stopping
                 three
                 Notes
                 which
                 follow
                 upon
                 any
                 one
                 string
                 )
                 with
                 this
                 proviso
                 ,
                 where
                 stops
                 are
                 wide
                 ,
                 the
                 fourth
                 or
                 little
                 finger
                 is
                 of
                 more
                 use
                 ,
                 than
                 lower
                 down
                 ,
                 where
                 the
                 stops
                 fall
                 more
                 close
                 .
              
               
                 6.
                 
                 In
                 the
                 moving
                 your
                 Bow
                 observe
                 this
                 Rule
                 ,
                 when
                 you
                 see
                 an
                 even
                 number
                 of
                 Quavers
                 or
                 Semiquavers
                 ,
                 as
                 2
                 ,
                 4
                 ,
                 6
                 ,
                 or
                 8
                 ,
                 tyed
                 together
                 ,
                 you
                 must
                 begin
                 with
                 your
                 Bow
                 forward
                 ,
                 though
                 the
                 Bow
                 be
                 drawn
                 forward
                 the
                 
                 Note
                 before
                 ;
                 but
                 if
                 the
                 number
                 be
                 odd
                 ,
                 as
                 3
                 ,
                 5
                 ,
                 or
                 7
                 ,
                 (
                 which
                 is
                 by
                 reason
                 of
                 a
                 Prick
                 Note
                 or
                 an
                 odd
                 Quaver
                 Rest
                 )
                 then
                 the
                 first
                 Note
                 must
                 be
                 plaid
                 with
                 the
                 bow
                 drawn
                 backward
                 .
              
               
                 Lastly
                 ,
                 in
                 the
                 practice
                 of
                 any
                 Lesson
                 ,
                 play
                 it
                 slow
                 at
                 first
                 ,
                 and
                 by
                 often
                 practice
                 it
                 will
                 bring
                 your
                 hand
                 to
                 a
                 more
                 swift
                 motion
                 .
              
               
                 And
                 now
                 ,
                 your
                 Viol
                 Being
                 Tuned
                 according
                 to
                 the
                 foregoing
                 Directions
                 ,
                 I
                 have
                 here
                 following
                 set
                 down
                 a
                 few
                 Lessons
                 for
                 to
                 begin
                 with
                 ,
                 and
                 over
                 the
                 Notes
                 I
                 have
                 set
                 figures
                 ,
                 to
                 direct
                 with
                 what
                 fingers
                 to
                 stop
                 them
                 ;
                 1
                 ,
                 2
                 ,
                 3
                 ,
                 4
                 ,
                 is
                 set
                 for
                 first
                 ,
                 second
                 ,
                 third
                 ,
                 and
                 fourth
                 fingers
                 ;
                 those
                 which
                 have
                 no
                 figures
                 over
                 them
                 ,
                 are
                 the
                 string
                 open
                 .
              
               
                 For
                 the
                 usual
                 Graces
                 ,
                 the
                 Shake
                 is
                 the
                 principal
                 ;
                 of
                 which
                 there
                 are
                 two
                 ,
                 the
                 
                   close
                   shake
                
                 and
                 the
                 
                   open
                   shake
                
                 ;
                 the
                 
                   close
                   shake
                
                 is
                 when
                 you
                 stop
                 with
                 your
                 first
                 Finger
                 on
                 the
                 first
                 Fret
                 ,
                 and
                 shake
                 with
                 your
                 second
                 Finger
                 as
                 close
                 to
                 it
                 as
                 you
                 can
                 ;
                 the
                 
                   open
                   shake
                
                 is
                 when
                 you
                 stop
                 with
                 your
                 first
                 Finger
                 on
                 the
                 first
                 Fret
                 ,
                 and
                 shake
                 with
                 your
                 third
                 Finger
                 on
                 the
                 third
                 Fret
                 ;
                 this
                 observe
                 in
                 all
                 stops
                 whatsoever
                 .
                 For
                 other
                 Graces
                 ,
                 as
                 
                   Double
                   Relishes
                   ,
                   Back-falls
                   ,
                   &c.
                   
                
                 I
                 refer
                 you
                 to
                 the
                 Table
                 of
                 the
                 several
                 Graces
                 in
                 my
                 Directions
                 for
                 the
                 Treble-Violin
                 ,
                 which
                 are
                 proper
                 also
                 to
                 the
                 Bass-Viol
                 .
              
            
             
               
               
                 Short
                 Lessons
                 for
                 the
                 Bass-Viol
                 .
              
               
                 1
                 3
                 1312
                 12
                 13
                 3
                 2
                 12
                 12
                 
                 
                 2
                 3
                 23
                 1
                 3
                 23
                 2
                 2
                 12
                 
                 2
                 3
                 31
                 3
                 1
                 21
                 2
                 2
                 32
                 
                 31
                 31
                 3
                 1
                 3
                 13
                 1
                 2
                 
                 The
                 Ground
                 of
                 
                   Iohn
                   come
                   kiss
                
                 .
                 
                 
                 
                 A
                 Ground
                 .
                 
                 
                 
                 A
                 Ground
                 .
                 
                 
                 A
                 Ground
                 .
                 
                 
                 
                 A
                 Tune
                 .
                 
                 
                 
                 
                 A
                 tune
                 .
                 
                 
                 
                 
                 
                 A
                 Preludium
                 .
                 
                 
                 
                 
                 
                 
                 
                 
                 An
                 easie
                 Division
                 .
                 
                 
                 
                 
                 
                 
                 
                 
                 
              
            
             
               
               
                 A
                 BRIEF
                 INTRODUCTION
                 To
                 the
                 Playing
                 on
                 the
                 TREBLE-VIOLIN
                 .
              
               
               
                 THE
                 Treble-Violin
                 is
                 a
                 cheerful
                 and
                 spritely
                 Instrument
                 ,
                 and
                 much
                 practised
                 of
                 late
                 ,
                 some
                 by
                 Book
                 ,
                 and
                 some
                 without
                 ;
                 which
                 of
                 these
                 two
                 is
                 the
                 best
                 way
                 ,
                 
                 may
                 easily
                 be
                 resolved
                 :
                 First
                 ,
                 to
                 learn
                 to
                 play
                 by
                 rote
                 or
                 ear
                 without
                 Book
                 ,
                 is
                 the
                 way
                 never
                 to
                 play
                 more
                 than
                 what
                 he
                 can
                 gain
                 by
                 hearing
                 another
                 play
                 ,
                 which
                 may
                 soon
                 be
                 forgot
                 ;
                 but
                 on
                 the
                 contrary
                 ,
                 he
                 which
                 learns
                 and
                 practises
                 by
                 Book
                 ,
                 according
                 to
                 the
                 Grounds
                 of
                 Musick
                 ,
                 fails
                 not
                 ,
                 after
                 he
                 comes
                 to
                 be
                 perfect
                 in
                 those
                 Rules
                 ,
                 which
                 guide
                 him
                 to
                 play
                 more
                 than
                 ever
                 he
                 was
                 taught
                 or
                 heard
                 ,
                 and
                 also
                 to
                 play
                 his
                 part
                 in
                 Consort
                 ;
                 which
                 the
                 other
                 will
                 never
                 be
                 capable
                 of
                 ,
                 unless
                 he
                 have
                 this
                 
                   sure
                   guide
                
                 .
              
               
                 The
                 Violin
                 is
                 usually
                 strung
                 with
                 
                   four
                   strings
                
                 ,
                 and
                 tuned
                 by
                 fifths
                 ;
                 for
                 the
                 more
                 plain
                 and
                 easie
                 understanding
                 thereof
                 ,
                 and
                 the
                 stopping
                 all
                 Notes
                 in
                 their
                 right
                 places
                 and
                 tune
                 ,
                 it
                 will
                 be
                 necessary
                 that
                 on
                 the
                 neck
                 or
                 finger-board
                 of
                 your
                 Violin
                 ,
                 there
                 be
                 placed
                 six
                 frets
                 ,
                 as
                 is
                 on
                 a
                 Viol
                 :
                 This
                 ,
                 though
                 it
                 be
                 not
                 usual
                 ,
                 yet
                 it
                 is
                 the
                 best
                 and
                 easiest
                 way
                 for
                 a
                 Beginner
                 who
                 has
                 a
                 bad
                 Ear
                 ,
                 for
                 by
                 it
                 he
                 has
                 a
                 certain
                 rule
                 to
                 direct
                 and
                 guide
                 him
                 to
                 stop
                 all
                 his
                 Notes
                 in
                 exact
                 tune
                 ,
                 which
                 those
                 that
                 do
                 learn
                 without
                 ,
                 seldom
                 have
                 at
                 first
                 so
                 good
                 an
                 Ear
                 to
                 stop
                 all
                 Notes
                 in
                 perfect
                 tune
                 .
              
               
                 Therefore
                 for
                 the
                 better
                 understanding
                 thereof
                 ,
                 in
                 this
                 following
                 Example
                 is
                 assigned
                 to
                 those
                 six
                 frets
                 on
                 the
                 finger-board
                 ,
                 six
                 Letters
                 
                 of
                 the
                 Alphabet
                 in
                 their
                 order
                 ;
                 the
                 first
                 Fret
                 is
                 B
                 ,
                 the
                 second
                 C
                 ,
                 the
                 third
                 D
                 ,
                 fourth
                 E
                 ,
                 fifth
                 F
                 ,
                 and
                 sixth
                 
                   G
                   ;
                   A
                
                 is
                 not
                 assigned
                 to
                 any
                 of
                 the
                 Frets
                 ,
                 but
                 is
                 the
                 String
                 open
                 .
              
               
               
                 In
                 this
                 Example
                 you
                 have
                 the
                 names
                 of
                 the
                 4
                 strings
                 ,
                 and
                 the
                 letters
                 assigned
                 to
                 each
                 fret
                 .
              
               
                 
                   The
                   Scale
                   of
                   Musick
                   on
                   the
                   four
                   Strings
                   of
                   the
                   Treble-Violin
                   ,
                   expressed
                   by
                   Letters
                   and
                   Notes
                   .
                
                 
                   
                     The
                     Fourth
                     String
                     or
                     Bass.
                  
                   
                   
                
                 
                   
                     The
                     Third
                     or
                     Great
                     Mean.
                  
                   
                   
                
                 
                   
                     The
                     Second
                     or
                     Small
                     Mean.
                  
                   
                   
                
                 
                   
                     The
                     First
                     or
                     Treble
                  
                   .
                   
                
                 
                 
                   This
                   Example
                   doth
                   direct
                   the
                   places
                   of
                   all
                   the
                   
                     Notes
                     ,
                     Flat
                  
                   and
                   Sharp
                   ;
                   each
                   Note
                   being
                   placed
                   under
                   the
                   Letters
                   ,
                   according
                   to
                   their
                   several
                   Stops
                   upon
                   each
                   string
                   distinctly
                   ,
                   beginning
                   at
                   the
                   lowest
                   Note
                   on
                   the
                   Bass
                   ,
                   or
                   
                     fourth
                     string
                  
                   ,
                   and
                   ascending
                   up
                   to
                   the
                   highest
                   on
                   the
                   Treble
                   ,
                   according
                   to
                   the
                   Scale
                   of
                   the
                   Gam-vt
                   ;
                   in
                   which
                   you
                   may
                   also
                   observe
                   ,
                   that
                   the
                   Lessons
                   for
                   the
                   Violin
                   by
                   Letters
                   are
                   prick'd
                   on
                   four
                   Lines
                   ,
                   according
                   to
                   the
                   four
                   several
                   strings
                   ;
                   but
                   Lessons
                   by
                   Notes
                   are
                   prick'd
                   upon
                   five
                   Lines
                   ,
                   as
                   appears
                   in
                   that
                   Example
                   .
                
                 
                   For
                   the
                   Tuning
                   of
                   your
                   Violin
                   it
                   is
                   by
                   Fifths
                   ,
                   which
                   is
                   five
                   Notes
                   distance
                   betwixt
                   each
                   string
                   ;
                   for
                   ,
                   according
                   to
                   the
                   Scale
                   or
                   Gam-vt
                   ,
                   the
                   Bass
                   or
                   
                     fourth
                     string
                  
                   is
                   called
                   
                     G
                     sol
                     re
                     vt
                  
                   ,
                   (
                   and
                   is
                   tuned
                   an
                   eight
                   above
                   Gam-vt
                   on
                   the
                   Bass-Viol
                   )
                   the
                   third
                   or
                   
                     great
                     Mean
                     ,
                     D
                     la
                     sol
                     re
                  
                   ;
                   the
                   second
                   or
                   
                     small
                     Mean
                     ,
                     A
                     la
                     mi
                     re
                  
                   ;
                   and
                   the
                   first
                   or
                   
                     Treble
                     ,
                     Ela
                  
                   ;
                   as
                   in
                   the
                   following
                   Example
                   the
                   first
                   Note
                   of
                   each
                   string
                   is
                   upon
                   ●
                   ,
                   and
                   is
                   known
                   by
                   this
                   signature
                   *
                   under
                   each
                   of
                   those
                   Notes
                   .
                
                 
                   But
                   for
                   a
                   Beginner
                   to
                   Tune
                   by
                   Eights
                   ,
                   will
                   be
                   easier
                   than
                   by
                   Fifts
                   ,
                   if
                   his
                   Violin
                   be
                   fretted
                   ;
                   to
                   begin
                   which
                   ,
                   he
                   must
                   wind
                   up
                   his
                   first
                   or
                   
                     Treble
                     string
                  
                   as
                   high
                   as
                   it
                   will
                   bear
                   ,
                   and
                   stop
                   it
                   in
                   F
                   ,
                   then
                   Tune
                   his
                   second
                   an
                   Eighth
                   below
                   
                   it
                   ;
                   then
                   stop
                   the
                   second
                   in
                   F
                   ,
                   and
                   Tune
                   the
                   third
                   an
                   Eighth
                   under
                   it
                   ;
                   then
                   stop
                   the
                   third
                   in
                   F
                   ,
                   and
                   Tune
                   the
                   fourth
                   an
                   Eighth
                   below
                   that
                   ;
                   and
                   so
                   your
                   Strings
                   will
                   be
                   in
                   perfect
                   Tune
                   .
                
                 
                   Example
                   of
                   the
                   Tuning
                   
                     By
                     Eights
                     .
                     By
                     Fifts
                  
                   .
                   
                   2
                   2
                   3
                   1
                   2
                   3
                   
                   2
                   3
                   4
                   2
                   3
                   4
                
                 
                   Another
                   Example
                   of
                   the
                   Tuning
                   ,
                   as
                   the
                   five
                   Notes
                   ascend
                   on
                   each
                   of
                   the
                   
                     four
                     strings
                  
                   ,
                   beginning
                   on
                   the
                   Bass
                   or
                   
                     fourth
                     string
                  
                   .
                
                 
                   
                   *
                   4
                   String
                   .
                   *
                   3
                   String
                   .
                   *
                   2
                   String
                   .
                   *
                   1
                   String
                   .
                   
                   
                     G
                     sol
                     re
                     vt
                     .
                     D
                     la
                     sol
                     re
                     .
                     A
                     la
                     mi
                     ●e
                     .
                     E
                     la.
                     
                  
                
              
            
             
               
               
                 Some
                 General
                 Rules
                 for
                 the
                 TREBLE
                 VIOLIN
                 .
              
               
                 FIrst
                 ,
                 The
                 Violin
                 is
                 usually
                 plaid
                 above-hand
                 ,
                 the
                 Neck
                 thereof
                 being
                 held
                 by
                 the
                 left
                 hand
                 ;
                 the
                 lower
                 part
                 thereof
                 is
                 rested
                 on
                 the
                 left
                 breast
                 ,
                 a
                 little
                 below
                 the
                 shoulder
                 :
                 The
                 Bow
                 is
                 held
                 in
                 the
                 right
                 hand
                 ,
                 between
                 the
                 ends
                 of
                 the
                 Thumb
                 and
                 the
                 three
                 first
                 Fingers
                 ,
                 the
                 Thumb
                 being
                 staid
                 upon
                 the
                 Hair
                 at
                 the
                 Nut
                 ,
                 and
                 the
                 three
                 Fingers
                 resting
                 upon
                 the
                 Wood
                 :
                 Your
                 Bow
                 being
                 thus
                 fixed
                 ,
                 you
                 are
                 first
                 to
                 draw
                 an
                 even
                 stroke
                 over
                 each
                 string
                 severally
                 ,
                 making
                 each
                 string
                 yield
                 a
                 clear
                 and
                 distinct
                 sound
                 .
              
               
                 Secondly
                 ,
                 for
                 the
                 posture
                 of
                 your
                 left
                 hand
                 ,
                 place
                 your
                 Thumb
                 on
                 the
                 back
                 of
                 the
                 Neck
                 ,
                 opposite
                 to
                 your
                 Forefinger
                 ,
                 so
                 will
                 your
                 Fingers
                 have
                 the
                 more
                 liberty
                 to
                 move
                 up
                 and
                 down
                 in
                 the
                 several
                 Stops
                 .
              
               
                 Thirdly
                 ,
                 for
                 your
                 true
                 fingering
                 ,
                 observe
                 these
                 directions
                 ,
                 which
                 will
                 appear
                 more
                 easie
                 to
                 your
                 understanding
                 ,
                 if
                 in
                 your
                 first
                 practice
                 you
                 have
                 your
                 
                   Violin
                   fretted
                
                 ,
                 as
                 is
                 before
                 mentioned
                 ,
                 that
                 where
                 you
                 skip
                 a
                 fret
                 or
                 stop
                 ,
                 there
                 to
                 leave
                 a
                 finger
                 ,
                 for
                 every
                 stop
                 is
                 but
                 half
                 a
                 Tone
                 or
                 Note
                 ,
                 for
                 from
                 
                 to
                 
                 is
                 but
                 half
                 a
                 Note
                 ,
                 but
                 from
                 
                 to
                 
                 is
                 a
                 whole
                 Note
                 ,
                 therefore
                 the
                 leaving
                 of
                 a
                 finger
                 
                 is
                 necessary
                 to
                 be
                 in
                 readiness
                 when
                 half
                 Notes
                 happen
                 ,
                 which
                 is
                 by
                 flats
                 and
                 sharps
                 .
              
               
                 Next
                 ,
                 when
                 you
                 have
                 any
                 high
                 Notes
                 ,
                 which
                 reach
                 lower
                 than
                 your
                 usual
                 Frets
                 or
                 Stops
                 ,
                 there
                 you
                 are
                 to
                 shift
                 your
                 fingers
                 ;
                 if
                 there
                 be
                 but
                 two
                 Notes
                 ,
                 then
                 the
                 first
                 is
                 stopt
                 with
                 the
                 third
                 finger
                 ;
                 but
                 if
                 there
                 be
                 three
                 Notes
                 that
                 ascend
                 ,
                 then
                 the
                 first
                 is
                 stopt
                 with
                 the
                 second
                 finger
                 ,
                 and
                 the
                 rest
                 by
                 the
                 next
                 fingers
                 .
              
               
                 Fourthly
                 ,
                 in
                 the
                 moving
                 your
                 Bow
                 up
                 and
                 down
                 observe
                 this
                 Rule
                 ,
                 when
                 you
                 see
                 an
                 even
                 number
                 of
                 Quavers
                 and
                 Semiquavers
                 ,
                 as
                 2
                 ,
                 4
                 ,
                 6
                 or
                 8
                 tyed
                 together
                 ,
                 your
                 Bow
                 must
                 move
                 up
                 or
                 forwards
                 ,
                 though
                 it
                 was
                 up
                 at
                 the
                 Note
                 immediately
                 before
                 ,
                 but
                 if
                 you
                 have
                 an
                 odd
                 number
                 ,
                 as
                 3
                 ,
                 5
                 or
                 7
                 (
                 which
                 happens
                 very
                 often
                 ,
                 by
                 reason
                 of
                 a
                 prickt
                 Note
                 or
                 an
                 odd
                 
                   Quaver
                   Rest
                
                 )
                 there
                 your
                 Bow
                 must
                 draw
                 back
                 at
                 the
                 first
                 Note
                 .
              
               
                 Lastly
                 ,
                 in
                 your
                 practice
                 of
                 any
                 Lesson
                 ,
                 play
                 it
                 slow
                 at
                 first
                 ,
                 and
                 by
                 often
                 practice
                 you
                 will
                 bring
                 your
                 hand
                 to
                 a
                 more
                 swift
                 motion
                 .
              
               
                 As
                 for
                 the
                 several
                 Graces
                 and
                 Flourishes
                 that
                 are
                 used
                 ,
                 as
                 
                   Shakes
                   ,
                   Backfalls
                
                 ,
                 and
                 
                   double
                   Relishes
                
                 ,
                 this
                 following
                 Table
                 will
                 be
                 some
                 help
                 to
                 your
                 practice
                 ;
                 for
                 there
                 is
                 first
                 the
                 Note
                 plain
                 ,
                 and
                 after
                 the
                 Grace
                 expressed
                 by
                 Notes
                 at
                 length
                 .
              
               
                 
                 
                   A
                   Table
                   of
                   Graces
                   proper
                   to
                   the
                   Viol
                   or
                   Violin
                   .
                
                 
                   
                     Smooth
                     Graces
                     .
                  
                   
                     
                     
                       A
                       Beat
                       Explan
                       :
                       A
                       Backfall
                       Expla
                       :
                       A
                       Double
                       Backfall
                       Explan
                       :
                    
                     
                     
                       Elavation
                       Explan
                       :
                       A
                       Springer
                       Expla
                       .
                       A
                       Cadent
                       Explan
                       :
                    
                  
                
                 
                   
                     Shaked
                     Graces
                     .
                  
                   
                     
                     
                       A
                       Backfall
                       shaked
                       Explan
                       :
                       A
                       Close
                       shake
                       Explan
                       :
                       A
                       shaked
                       Beat
                    
                     
                     
                       Explan
                       :
                       Elevation
                       Explan
                       .
                       Cadent
                    
                     
                     
                       Explan
                       :
                       Double
                       Relish
                       Explan
                    
                     .
                     
                     
                       or
                       thus
                       Explan
                    
                     :
                  
                
              
               
                 
                 
                   Short
                   Tunes
                   for
                   the
                   Treble-Violin
                   ,
                   by
                   Letters
                   and
                   Notes
                   .
                
                 
                   
                   Maiden
                   Fair.
                   
                   
                
                 
                   Note
                   ,
                   
                     That
                     in
                     these
                     Lessons
                     by
                     Letters
                     ,
                     the
                     Time
                     is
                     not
                     put
                     over
                     every
                     Letter
                     ,
                     but
                     if
                     a
                     Crotchet
                     be
                     over
                     any
                     Letter
                     ,
                     the
                     following
                     Letters
                     are
                     to
                     be
                     Crotchets
                     also
                     ,
                     till
                     you
                     see
                     the
                     Note
                     changed
                     ,
                     and
                     so
                     in
                     ●ther
                     Notes
                     likewise
                     .
                  
                
                 
                   
                   Maiden
                   Fair.
                   
                   
                   
                
                 
                 
                   
                   The
                   Kings
                   Delight
                   .
                   
                   
                   
                   
                   The
                   Kings
                   Delight
                   .
                   
                   
                   
                   
                   Parthenia
                   .
                   
                   
                   
                   
                   Parthenia
                   .
                   
                   
                   
                   
                     Iohn
                     come
                     kiss
                  
                   ,
                   with
                   Division
                   to
                   each
                   Strain
                   .
                   
                   
                   
                   
                   
                   
                   
                   
                   
                   
                   
                   
                   
                   
                   
                   The
                   Lark
                   ,
                   with
                   Division
                   .
                   
                   
                   
                   
                   
                   
                   
                
              
            
          
           
             
             
               Ingenious
               Practitioner
               ,
            
             
               HAving
               thus
               (
               after
               the
               plainest
               method
               I
               could
               )
               set
               down
               several
               Rules
               and
               Directions
               for
               thy
               practice
               on
               the
               
                 Treble
                 Violin
              
               ,
               by
               way
               of
               Fretting
               ;
               which
               way
               I
               have
               known
               used
               by
               some
               of
               the
               most
               eminent
               Teachers
               on
               this
               Instrument
               ,
               as
               the
               most
               facile
               and
               easie
               to
               initiate
               their
               Scholars
               :
               And
               also
               by
               the
               way
               of
               Pricking
               down
               Lessons
               in
               Letters
               ;
               yet
               do
               I
               not
               approve
               of
               this
               way
               of
               Playing
               by
               Letters
               ,
               save
               only
               as
               a
               Guide
               to
               young
               Practitioners
               ,
               to
               bring
               them
               the
               more
               readily
               to
               know
               all
               the
               Stops
               and
               Places
               of
               the
               Notes
               ,
               both
               Flat
               and
               Sharp
               ,
               as
               is
               set
               down
               in
               the
               Table
               pag.
               
                 96
                 ,
                 97.
              
               
               And
               having
               by
               this
               practice
               come
               to
               the
               perfect
               knowledge
               thereof
               ,
               to
               lay
               the
               use
               of
               Letters
               aside
               ,
               and
               keep
               to
               their
               practice
               by
               Notes
               only
               .
               And
               therefore
               in
               the
               Introduction
               to
               the
               Skill
               of
               this
               Musick
               ,
               I
               have
               added
               some
               few
               Lessons
               both
               ways
               ,
               that
               after
               thou
               canst
               play
               them
               by
               Letters
               ,
               thou
               maist
               play
               the
               same
               again
               by
               Notes
               :
               Those
               who
               desire
               to
               be
               furnished
               with
               more
               Lessons
               ,
               I
               refer
               to
               a
               Book
               lately
               published
               ,
               Entituled
               ,
               
                 Apollo's
                 Banquet
              
               ,
               containing
               above
               two
               hundred
               new
               Tunes
               for
               the
               
                 Treble
                 Violin
              
               ,
               with
               the
               most
               usual
               French
               Dances
               added
               to
               them
               .
            
             
               By
               the
               practice
               of
               these
               Rules
               ,
               and
               a
               little
               help
               of
               a
               Master
               ,
               I
               doubt
               not
               but
               thou
               mayst
               in
               a
               short
               time
               become
               a
               good
               Proficient
               on
               this
               Instrument
               ;
               which
               is
               the
               hearty
               desire
               of
               thy
               Well-wisher
               ,
            
             
               
                 J.
                 P.
                 
              
            
             
               FINIS
               .
            
          
        
      
       
         
           
             
             
               The
               ART
               of
               DESCANT
               :
               OR
               ,
               Composing
               of
               Musick
               in
               Parts
               .
            
             
               By
               a
               most
               familiar
               and
               easie
               Rule
               .
            
             
               In
               Three
               several
               TREATISES
               :
            
             
               I.
               Of
               making
               Four
               Parts
               in
               Counterpoint
               .
            
             
               II.
               A
               necessary
               Discourse
               of
               the
               several
               Keyes
               ,
               and
               their
               proper
               Closes
               .
            
             
               III.
               The
               Allowed
               Passages
               of
               all
               Concords
               ,
               Perfect
               and
               Imperfect
               .
            
             
               By
               Dr.
               
                 THO.
                 CAMPION
              
               .
            
             
               With
               Annotations
               thereon
               ,
               by
               Mr.
               
                 Chr.
                 Simpson
              
               .
            
             
               London
               ,
               Printed
               for
               
                 Iohn
                 Playford
              
               ,
               and
               are
               to
               be
               sold
               at
               his
               Shop
               in
               the
               Temple
               .
               1674.
               
            
          
           
             
             
               THere
               are
               Nine
               Concords
               of
               Musick
               ,
               as
               followeth
               :
            
             
               A
               
                 Unison
                 ,
                 Third
                 ,
                 Fifth
                 ,
                 Sixth
                 ,
                 Eighth
                 ,
                 Tenth
                 ,
                 Twelfth
                 ,
                 Thirteenth
                 ,
              
               and
               Fifteenth
               ;
               whereof
               five
               are
               called
               perfect
               ,
               and
               four
               imperfect
               .
            
             
               The
               five
               perfect
               ,
               are
               
                 Unison
                 ,
                 Fifth
                 ,
                 Eighth
                 ,
                 Twelfth
                 ,
              
               and
               Fifteenth
               :
               Of
               these
               ,
               you
               may
               not
               take
               two
               of
               one
               sort
               together
               ,
               neither
               rising
               or
               falling
               ,
               as
               two
               Fifths
               ,
               or
               two
               Eighths
               .
            
             
               Of
               the
               other
               four
               ,
               called
               imperfect
               ,
               you
               may
               take
               two
               or
               three
               together
               of
               one
               sort
               ,
               rising
               or
               falling
               ,
               which
               are
               a
               
                 Third
                 ,
                 Sixth
                 ,
                 Tenth
              
               ,
               and
               Thirteenth
               .
            
             
               These
               Nine
               Concords
               are
               comprehended
               in
               four
               ,
               viz.
               
            
             
               
                 Unison
                 ,
                 Eighth
                 ,
                 Fifteenth
              
               ,
               are
               accounted
               as
               one
               ,
               for
               every
               Eighth
               is
               the
               same
               .
            
             
               
                 Third
                 ,
                 Tenth
              
               ,
               likewise
               .
            
             
               
                 Fifth
                 ,
                 Twelfth
              
               ,
               likewise
               .
            
             
               
                 Sixth
                 ,
                 Thirteenth
              
               ,
               in
               like
               sort
               .
            
             
               So
               that
               in
               effect
               there
               are
               but
               four
               Concords
               .
            
             
               The
               Discords
               are
               ,
               a
               
                 Second
                 ,
                 Fourth
              
               ,
               and
               Seventh
               ,
               with
               their
               Eighths
               ;
               which
               being
               sometime
               mixt
               with
               Concords
               ,
               make
               the
               best
               Musick
               ,
               being
               orderly
               taken
               .
            
          
        
         
           
             
             
               THE
               ART
               of
               DESCANT
               :
               OR
               ,
               Composing
               Musick
               in
               Parts
               .
            
             
               
                 I.
                 Of
                 *
                 Counterpoint
                 .
              
               
                 THe
                 Parts
                 of
                 Musick
                 are
                 in
                 all
                 but
                 four
                 ,
                 howsoever
                 some
                 skilful
                 Musicians
                 have
                 Composed
                 Songs
                 of
                 twenty
                 ,
                 thirty
                 ,
                 and
                 forty
                 parts
                 ;
                 for
                 be
                 the
                 parts
                 never
                 so
                 many
                 ,
                 they
                 are
                 but
                 one
                 of
                 these
                 four
                 in
                 nature
                 .
                 The
                 names
                 of
                 those
                 four
                 parts
                 are
                 these
                 :
                 The
                 Bass
                 ,
                 which
                 is
                 the
                 lowest
                 part
                 and
                 foundation
                 of
                 the
                 whole
                 Song
                 ;
                 the
                 Tenor
                 ,
                 placed
                 next
                 above
                 the
                 Bass
                 ;
                 next
                 above
                 the
                 Tenor
                 ,
                 the
                 Mean
                 or
                 Counter-Tenor
                 ;
                 and
                 in
                 the
                 highest
                 
                 place
                 ,
                 the
                 Treble
                 .
                 These
                 four
                 Parts
                 by
                 the
                 Learned
                 are
                 said
                 to
                 resemble
                 the
                 four
                 Elements
                 ;
                 the
                 Bass
                 expresseth
                 the
                 true
                 nature
                 of
                 the
                 Earth
                 ,
                 who
                 being
                 the
                 gravest
                 and
                 lowest
                 of
                 all
                 the
                 Elements
                 ,
                 is
                 as
                 a
                 foundation
                 to
                 the
                 rest
                 ;
                 the
                 Tenor
                 is
                 likened
                 to
                 the
                 Water
                 ,
                 the
                 Mean
                 to
                 the
                 Air
                 ,
                 and
                 the
                 Treble
                 to
                 the
                 Fire
                 :
                 Moreover
                 ,
                 by
                 how
                 much
                 the
                 Water
                 is
                 more
                 light
                 than
                 the
                 Earth
                 ,
                 by
                 so
                 much
                 the
                 Air
                 is
                 lighter
                 than
                 the
                 Water
                 ,
                 and
                 Fire
                 than
                 Air.
                 They
                 have
                 also
                 in
                 their
                 native
                 property
                 every
                 one
                 place
                 above
                 the
                 other
                 ;
                 the
                 lighter
                 uppermost
                 ,
                 the
                 weightiest
                 in
                 the
                 bottom
                 .
                 Having
                 now
                 demonstrated
                 that
                 there
                 are
                 in
                 all
                 but
                 four
                 Parts
                 ,
                 and
                 that
                 the
                 Bass
                 is
                 the
                 foundation
                 of
                 the
                 other
                 three
                 ,
                 I
                 assume
                 that
                 the
                 true
                 sight
                 and
                 judgment
                 of
                 the
                 upper
                 three
                 must
                 proceed
                 from
                 the
                 lowest
                 ,
                 which
                 is
                 the
                 Bass
                 ;
                 and
                 also
                 I
                 conclude
                 ,
                 that
                 every
                 part
                 in
                 nature
                 doth
                 affect
                 his
                 proper
                 and
                 natural
                 place
                 ,
                 as
                 the
                 Elements
                 do
                 .
              
               
                 True
                 it
                 is
                 ,
                 that
                 the
                 ancient
                 Musicians
                 ,
                 who
                 intended
                 their
                 Musick
                 only
                 for
                 the
                 Church
                 ,
                 took
                 their
                 sight
                 from
                 the
                 Tenor
                 ,
                 which
                 was
                 rather
                 done
                 out
                 of
                 necessity
                 ,
                 than
                 any
                 respect
                 to
                 the
                 true
                 nature
                 of
                 Musick
                 ;
                 for
                 it
                 was
                 usual
                 with
                 them
                 to
                 have
                 a
                 Tenor
                 as
                 a
                 Theam
                 ,
                 to
                 which
                 they
                 were
                 compelled
                 to
                 adapt
                 their
                 
                 other
                 Parts
                 :
                 But
                 I
                 will
                 plainly
                 convince
                 by
                 demonstration
                 ,
                 that
                 contrary
                 to
                 some
                 opinions
                 the
                 Bass
                 contains
                 in
                 it
                 both
                 the
                 Ayr
                 and
                 true
                 judgment
                 of
                 the
                 Key
                 ,
                 expressing
                 how
                 any
                 man
                 at
                 first
                 sight
                 may
                 view
                 in
                 it
                 all
                 the
                 other
                 Parts
                 in
                 their
                 original
                 essence
                 .
              
               
                 In
                 respect
                 of
                 the
                 variety
                 in
                 Musick
                 which
                 is
                 attained
                 to
                 by
                 farther
                 proceeding
                 in
                 the
                 Art
                 ,
                 as
                 when
                 Notes
                 are
                 shifted
                 out
                 of
                 their
                 native
                 places
                 ,
                 the
                 Bass
                 above
                 the
                 Tenor
                 ,
                 or
                 the
                 Tenor
                 above
                 the
                 Mean
                 ,
                 and
                 the
                 Mean
                 above
                 the
                 Treble
                 ;
                 this
                 kind
                 of
                 Counterpoint
                 ,
                 which
                 I
                 promise
                 ,
                 may
                 appear
                 simple
                 and
                 only
                 fit
                 for
                 young
                 Beginners
                 ,
                 (
                 as
                 indeed
                 chiefly
                 it
                 is
                 )
                 yet
                 the
                 right
                 speculation
                 may
                 give
                 much
                 satisfaction
                 ,
                 even
                 to
                 the
                 most
                 skilful
                 ,
                 laying
                 open
                 unto
                 them
                 ,
                 how
                 manifest
                 and
                 certain
                 are
                 the
                 first
                 grounds
                 of
                 Counterpoint
                 .
              
               
                 First
                 ,
                 it
                 is
                 in
                 this
                 case
                 requisite
                 that
                 a
                 formal
                 Bass
                 ,
                 or
                 at
                 least
                 part
                 thereof
                 be
                 framed
                 ,
                 the
                 Notes
                 rising
                 and
                 falling
                 according
                 to
                 the
                 nature
                 of
                 that
                 Part
                 ,
                 not
                 so
                 much
                 by
                 degrees
                 ,
                 as
                 by
                 leaps
                 of
                 a
                 third
                 ,
                 fourth
                 ,
                 or
                 fifth
                 ,
                 or
                 eighth
                 ,
                 a
                 sixth
                 being
                 seldom
                 ,
                 a
                 seventh
                 never
                 used
                 ,
                 and
                 neither
                 of
                 both
                 without
                 the
                 discretion
                 of
                 a
                 skilful
                 Composer
                 .
                 Next
                 ,
                 we
                 must
                 consider
                 whether
                 the
                 Bass
                 doth
                 rise
                 or
                 fall
                 ,
                 for
                 in
                 that
                 consists
                 the
                 mystery
                 :
                 That
                 rising
                 
                 or
                 that
                 falling
                 doth
                 never
                 exceed
                 a
                 fourth
                 ,
                 (a)
                 for
                 a
                 fourth
                 above
                 ,
                 is
                 the
                 same
                 that
                 a
                 fifth
                 is
                 underneath
                 ,
                 and
                 a
                 fourth
                 underneath
                 is
                 as
                 a
                 fifth
                 above
                 ;
                 for
                 Example
                 ,
                 if
                 a
                 Bass
                 should
                 rise
                 thus
                 :
                 1
                 2
                 3
                 
              
               
                 The
                 first
                 rising
                 is
                 said
                 to
                 be
                 by
                 degrees
                 ,
                 because
                 there
                 is
                 no
                 Note
                 between
                 the
                 two
                 Notes
                 ;
                 the
                 second
                 rising
                 is
                 by
                 leaps
                 ,
                 for
                 G
                 skips
                 over
                 A
                 to
                 B
                 ,
                 and
                 so
                 leaps
                 into
                 a
                 third
                 ;
                 the
                 third
                 Example
                 also
                 leaps
                 two
                 Notes
                 into
                 a
                 fourth
                 .
                 Now
                 for
                 this
                 fourth
                 ,
                 if
                 the
                 Bass
                 had
                 descended
                 from
                 G
                 above
                 to
                 C
                 underneath
                 ,
                 that
                 descending
                 fifth
                 in
                 sight
                 and
                 use
                 had
                 been
                 all
                 one
                 with
                 the
                 fourth
                 ,
                 as
                 here
                 you
                 may
                 discern
                 ,
                 for
                 they
                 both
                 begin
                 and
                 end
                 in
                 the
                 same
                 Keys
                 ,
                 thus
                 :
                 G
                 C
                 
                 G
                 C
              
               
                 This
                 Rule
                 likewise
                 holds
                 ,
                 if
                 the
                 Notes
                 descend
                 a
                 second
                 ,
                 (b)
                 third
                 ,
                 or
                 fourth
                 ;
                 for
                 the
                 
                 fifth
                 ascending
                 ,
                 is
                 all
                 one
                 with
                 the
                 fourth
                 descending
                 .
                 Example
                 of
                 the
                 first
                 Notes
                 .
              
               
                 1
                 2
                 3
                 
                 The
                 third
                 two
                 Notes
                 which
                 make
                 the
                 distance
                 of
                 a
                 fourth
                 ,
                 are
                 all
                 one
                 with
                 this
                 fifth
                 following
                 .
              
               
                 But
                 let
                 us
                 make
                 our
                 approach
                 G
                 D
                 
                 GD
                 yet
                 nearer
                 :
                 if
                 the
                 Bass
                 shall
                 ascend
                 either
                 a
                 second
                 ,
                 third
                 ,
                 or
                 four●h●
                 that
                 part
                 which
                 stands
                 in
                 the
                 third
                 or
                 tenth
                 above
                 the
                 Bass
                 ,
                 shall
                 fall
                 into
                 an
                 eighth
                 ,
                 that
                 which
                 is
                 a
                 fifth
                 shall
                 pass
                 into
                 a
                 third
                 ,
                 and
                 that
                 which
                 is
                 an
                 eighth
                 shall
                 remove
                 into
                 a
                 fifth
                 .
              
               
               
                 Though
                 you
                 find
                 here
                 only
                 mention●d
                 and
                 figured
                 a
                 third
                 ,
                 fifth
                 ,
                 and
                 eighth
                 ,
                 yet
                 not
                 only
                 these
                 single
                 Concords
                 are
                 meant
                 ,
                 but
                 by
                 them
                 also
                 their
                 (c)
                 Compounds
                 ,
                 as
                 a
                 tenth
                 ,
                 a
                 twelfth
                 ,
                 a
                 fifteenth
                 ,
                 and
                 so
                 upwards
                 ;
                 and
                 also
                 this
                 Unison
                 as
                 well
                 as
                 the
                 eighth
                 .
              
               
                 This
                 being
                 granted
                 ,
                 I
                 will
                 give
                 you
                 an
                 Example
                 of
                 those
                 figures
                 prefixed
                 :
                 When
                 the
                 
                 Bass
                 riseth
                 ,
                 beginning
                 from
                 the
                 lowest
                 figure
                 ,
                 and
                 rising
                 to
                 the
                 upper
                 ;
                 as
                 if
                 the
                 Bass
                 should
                 rise
                 a
                 second
                 ,
                 in
                 this
                 manner
                 :
                 
              
               
                 Then
                 if
                 you
                 begin
                 with
                 your
                 third
                 ,
                 you
                 must
                 set
                 your
                 Note
                 in
                 
                   A
                   la
                   mi
                   re
                
                 ,
                 which
                 is
                 a
                 third
                 to
                 
                   F
                   fa
                   vt
                
                 ,
                 and
                 so
                 look
                 upward
                 ,
                 and
                 that
                 Cord
                 which
                 you
                 see
                 next
                 above
                 it
                 use
                 ,
                 and
                 that
                 is
                 an
                 eight
                 in
                 
                   G
                   sol
                   re
                   vt
                
                 .
              
               
                 After
                 that
                 ,
                 if
                 you
                 will
                 take
                 a
                 fifth
                 to
                 the
                 first
                 Note
                 ,
                 you
                 must
                 look
                 upward
                 ,
                 and
                 take
                 the
                 third
                 you
                 find
                 there
                 for
                 the
                 second
                 Note
                 .
                 Lastly
                 ,
                 if
                 you
                 take
                 an
                 eighth
                 for
                 the
                 first
                 Note
                 ,
                 you
                 must
                 take
                 for
                 the
                 second
                 Note
                 the
                 Cord
                 above
                 it
                 ,
                 which
                 is
                 the
                 fifth
                 .
              
               
                 
                   Example
                   of
                   all
                   the
                   three
                   Parts
                   added
                   to
                   the
                   Bass.
                   
                
              
               
                 8
                 5
                 Treble
                 
                 5
                 3
                 Mean.
                 
                 
                 3
                 8
                 Tenor.
                 
                 
                 Bass.
                 
                 
              
               
                 What
                 Parts
                 arise
                 out
                 of
                 the
                 rising
                 of
                 the
                 second
                 ;
                 the
                 same
                 answer
                 in
                 the
                 rising
                 of
                 the
                 3
                 d
                 and
                 4
                 th
                 ,
                 thus
                 :
                 8
                 5
                 8
                 5
                 
                 5
                 3
                 5
                 3
                 
                 3
                 8
                 3
                 8
                 
                 
                   This
                   rises
                
                 3
                 
                   d
                   this
                   a
                
                 4
                 th
                 
              
               
               
                 Albeit
                 any
                 man
                 by
                 the
                 rising
                 of
                 parts
                 ,
                 might
                 of
                 himself
                 conceive
                 the
                 same
                 reason
                 in
                 the
                 falling
                 of
                 them
                 ;
                 yet
                 that
                 nothing
                 may
                 be
                 thought
                 obscure
                 ,
                 I
                 will
                 also
                 illustrate
                 the
                 descending
                 Notes
                 by
                 example
                 .
              
               
                 If
                 the
                 Bass
                 descends
                 or
                 falls
                 a
                 second
                 ,
                 third
                 ,
                 or
                 fourth
                 ,
                 or
                 riseth
                 a
                 fifth
                 (
                 which
                 is
                 all
                 one
                 as
                 if
                 it
                 had
                 fallen
                 a
                 fourth
                 ,
                 as
                 hath
                 been
                 shewed
                 before
                 )
                 then
                 look
                 upon
                 the
                 six
                 figures
                 ,
                 where
                 in
                 the
                 first
                 place
                 you
                 shall
                 find
                 the
                 eighth
                 which
                 descends
                 into
                 the
                 third
                 ,
                 in
                 the
                 second
                 place
                 the
                 third
                 descending
                 into
                 the
                 fifth
                 ,
                 and
                 in
                 the
                 third
                 and
                 last
                 place
                 the
                 fifth
                 which
                 hath
                 under
                 it
                 an
                 eighth
                 .
              
               
                 8
                 3
                 8
                 3
                 8
                 3
                 Treble
                 .
                 
                 5
                 8
                 5
                 8
                 5
                 8
                 Mean.
                 
                 
                 3
                 5
                 3
                 5
                 3
                 5
                 Tenor.
                 
                 
                 Bass.
                 
                 
              
               
                 Thus
                 much
                 for
                 the
                 rising
                 and
                 falling
                 of
                 the
                 Bass
                 in
                 several
                 :
                 Now
                 I
                 will
                 give
                 you
                 a
                 brief
                 example
                 of
                 both
                 of
                 them
                 mixed
                 together
                 in
                 the
                 plainest
                 fashion
                 ,
                 let
                 this
                 following
                 strain
                 serve
                 for
                 the
                 Bass.
                 
              
               
               
                 Example
                 .
                 
              
               
                 The
                 two
                 first
                 Notes
                 fall
                 a
                 second
                 ,
                 the
                 second
                 and
                 third
                 Notes
                 fall
                 a
                 fifth
                 ,
                 which
                 you
                 must
                 call
                 rising
                 a
                 fourth
                 ;
                 the
                 third
                 and
                 fourth
                 Notes
                 fall
                 a
                 fifth
                 ,
                 which
                 you
                 must
                 name
                 the
                 fourth
                 falling
                 ;
                 the
                 fourth
                 and
                 fifth
                 Notes
                 rise
                 a
                 second
                 ,
                 the
                 fifth
                 and
                 sixth
                 Notes
                 rise
                 a
                 third
                 ,
                 the
                 sixth
                 and
                 seventh
                 Notes
                 also
                 fall
                 a
                 third
                 ,
                 the
                 seventh
                 and
                 eighth
                 rise
                 a
                 second
                 ,
                 the
                 eighth
                 and
                 ninth
                 Notes
                 rise
                 a
                 fourth
                 ,
                 the
                 tenth
                 and
                 eleventh
                 Notes
                 fall
                 a
                 fifth
                 ,
                 which
                 you
                 must
                 reckon
                 rising
                 a
                 fourth
                 .
              
               
                 Being
                 thus
                 prepared
                 ,
                 you
                 may
                 chuse
                 whether
                 you
                 will
                 begin
                 with
                 an
                 eighth
                 ,
                 or
                 fifth
                 ,
                 or
                 a
                 third
                 ;
                 for
                 assoon
                 as
                 you
                 have
                 taken
                 any
                 one
                 of
                 them
                 ,
                 all
                 the
                 other
                 Notes
                 necessarily
                 without
                 respect
                 of
                 the
                 rest
                 of
                 the
                 parts
                 ,
                 and
                 every
                 one
                 orderly
                 without
                 mixing
                 ,
                 keeps
                 his
                 proper
                 place
                 above
                 the
                 other
                 ,
                 as
                 you
                 may
                 easily
                 discern
                 in
                 the
                 following
                 Example
                 .
              
               
               
                 Example
                 .
                 8
                 3
                 8
                 3
                 8
                 3
                 5
                 3
                 8
                 3
                 8
                 Treble
                 .
                 
                 5
                 8
                 5
                 8
                 5
                 8
                 3
                 8
                 5
                 8
                 5
                 Mean.
                 
                 
                 3
                 5
                 3
                 5
                 3
                 5
                 8
                 5
                 3
                 5
                 3
                 Tenor.
                 
                 
                 Bass.
                 
                 
              
               
                 Let
                 us
                 examine
                 only
                 one
                 of
                 the
                 Parts
                 ,
                 and
                 let
                 that
                 be
                 the
                 Tenor
                 ,
                 because
                 it
                 stands
                 next
                 to
                 the
                 Bass.
                 The
                 first
                 Note
                 in
                 B
                 is
                 a
                 third
                 to
                 the
                 Bass
                 ,
                 which
                 descends
                 to
                 the
                 second
                 Note
                 of
                 the
                 Bass
                 :
                 Now
                 look
                 among
                 the
                 six
                 figures
                 ,
                 and
                 when
                 you
                 have
                 found
                 the
                 third
                 in
                 the
                 upper
                 place
                 ,
                 you
                 shall
                 find
                 under
                 it
                 a
                 fifth
                 ,
                 then
                 take
                 that
                 fifth
                 which
                 is
                 C
                 next
                 from
                 F
                 to
                 B
                 below
                 ,
                 is
                 a
                 fifth
                 descending
                 ,
                 for
                 which
                 say
                 ascending
                 ,
                 and
                 so
                 you
                 shall
                 look
                 for
                 the
                 fifth
                 in
                 the
                 lowest
                 row
                 of
                 the
                 figures
                 ,
                 above
                 which
                 stands
                 a
                 third
                 ,
                 which
                 
                 is
                 to
                 be
                 taken
                 ;
                 that
                 third
                 stands
                 in
                 D
                 ;
                 then
                 from
                 B
                 to
                 F
                 the
                 Bass
                 rises
                 a
                 fifth
                 ,
                 but
                 you
                 must
                 say
                 falling
                 ,
                 because
                 a
                 fifth
                 rising
                 and
                 a
                 fourth
                 falling
                 is
                 all
                 one
                 ,
                 as
                 hath
                 been
                 often
                 declared
                 before
                 ;
                 now
                 a
                 third
                 ,
                 when
                 the
                 Bass
                 falls
                 ,
                 requires
                 a
                 fifth
                 to
                 follow
                 it
                 .
                 (d)
                 But
                 what
                 needs
                 farther
                 demonstration
                 ,
                 when
                 as
                 he
                 that
                 knows
                 his
                 Cords
                 ,
                 cannot
                 but
                 conceive
                 the
                 necessity
                 of
                 consequence
                 in
                 all
                 these
                 ,
                 with
                 help
                 of
                 those
                 six
                 figures
                 .
              
               
                 But
                 let
                 them
                 that
                 have
                 not
                 proceeded
                 so
                 far
                 ,
                 take
                 this
                 Note
                 with
                 them
                 ,
                 concerning
                 the
                 placing
                 of
                 the
                 parts
                 ;
                 if
                 the
                 upper
                 part
                 or
                 Treble
                 be
                 an
                 eighth
                 ,
                 the
                 Mean
                 must
                 take
                 the
                 next
                 Cord
                 under
                 it
                 ,
                 which
                 is
                 a
                 fifth
                 ,
                 and
                 the
                 Tenor
                 the
                 next
                 Cord
                 under
                 that
                 ,
                 which
                 is
                 a
                 third
                 :
                 But
                 if
                 the
                 Treble
                 be
                 a
                 third
                 ,
                 then
                 the
                 Mean
                 must
                 take
                 the
                 eighth
                 ,
                 and
                 the
                 Tenor
                 the
                 fifth
                 .
                 Again
                 ,
                 if
                 the
                 uppermost
                 part
                 stands
                 in
                 the
                 fifth
                 or
                 twelfth
                 ,
                 (
                 for
                 in
                 respect
                 of
                 the
                 Learners
                 Ear
                 ,
                 in
                 the
                 simple
                 Concord
                 I
                 conclude
                 
                 all
                 his
                 compounds
                 )
                 then
                 the
                 Mean
                 must
                 be
                 a
                 tenth
                 ,
                 and
                 the
                 Tenor
                 a
                 fifth
                 .
                 Moreover
                 ,
                 all
                 these
                 Cords
                 are
                 to
                 be
                 seen
                 in
                 the
                 Bass
                 ,
                 and
                 such
                 Cords
                 as
                 stand
                 above
                 the
                 Notes
                 of
                 the
                 Bass
                 are
                 easily
                 known
                 ,
                 but
                 such
                 as
                 in
                 sight
                 are
                 found
                 (e)
                 under
                 it
                 ,
                 trouble
                 the
                 young
                 Beginner
                 ;
                 let
                 him
                 therefore
                 know
                 ,
                 that
                 a
                 third
                 under
                 the
                 Bass
                 ,
                 is
                 a
                 sixth
                 above
                 it
                 ,
                 and
                 if
                 it
                 be
                 a
                 greater
                 third
                 ,
                 it
                 yields
                 a
                 lesser
                 sixth
                 above
                 ;
                 if
                 the
                 lesser
                 third
                 ,
                 the
                 greater
                 sixth
                 .
                 A
                 fourth
                 underneath
                 the
                 Bass
                 is
                 a
                 fifth
                 above
                 ,
                 and
                 a
                 fifth
                 under
                 the
                 Bass
                 is
                 a
                 fourth
                 above
                 it
                 .
                 A
                 sixth
                 beneath
                 the
                 Bass
                 is
                 a
                 third
                 above
                 ,
                 and
                 if
                 it
                 be
                 the
                 lesser
                 sixth
                 ,
                 then
                 is
                 the
                 third
                 above
                 the
                 greater
                 third
                 ,
                 and
                 if
                 the
                 greater
                 sixth
                 underneath
                 ,
                 then
                 is
                 it
                 the
                 lesser
                 third
                 above
                 :
                 And
                 thus
                 far
                 I
                 have
                 digressed
                 for
                 the
                 Scholars
                 sake
                 .
              
               
                 
                   Treb.
                   M.
                   Ten.
                   Bass.
                   
                
              
               
                 
                   Which
                   being
                   prick'd
                   in
                   several
                   Parts
                   ,
                   appeareth
                   thus
                   :
                
                 3
                 8
                 3
                 5
                 3
                 8
                 3
                 5
                 3
                 Treble
                 .
                 
                 8
                 5
                 8
                 3
                 8
                 5
                 8
                 3
                 8
                 Mean.
                 
                 
                 5
                 3
                 5
                 8
                 5
                 3
                 5
                 8
                 5
                 Tenor.
                 
                 
                 Bass.
                 
                 
              
               
               
               
                 8
                 5
                 8
                 5
                 8
                 5
                 5
                 8
                 5
                 8
                 5
                 8
                 
                 5
                 3
                 5
                 3
                 5
                 3
                 3
                 5
                 3
                 5
                 3
                 5
                 
                 3
                 8
                 3
                 8
                 3
                 8
                 8
                 3
                 8
                 3
                 8
                 3
                 
                 
                 In
                 these
                 last
                 Examples
                 you
                 may
                 see
                 what
                 variety
                 Nature
                 offers
                 of
                 her self
                 ;
                 for
                 if
                 in
                 the
                 first
                 Rule
                 the
                 Notes
                 follow
                 not
                 in
                 expected
                 formality
                 ,
                 this
                 second
                 way
                 being
                 quite
                 contrary
                 to
                 the
                 other
                 ,
                 affords
                 us
                 sufficient
                 supply
                 :
                 the
                 first
                 and
                 last
                 two
                 Notes
                 arising
                 and
                 falling
                 by
                 degrees
                 ,
                 are
                 not
                 so
                 formal
                 as
                 the
                 rest
                 ,
                 yet
                 thus
                 they
                 may
                 be
                 mollified
                 ,
                 by
                 breaking
                 two
                 of
                 the
                 first
                 Notes
                 .
              
               
                 8
                 5
                 5
                 8
                 
                 5
                 3
                 3
                 5
                 
                 3
                 8
                 8
                 3
                 
                 
                 How
                 both
                 the
                 wayes
                 may
                 be
                 mix'd
                 together
                 you
                 may
                 perceive
                 by
                 this
                 example
                 ,
                 wherein
                 the
                 black
                 Notes
                 distinguish
                 the
                 second
                 way
                 from
                 the
                 first
                 .
              
               
               
                 3
                 5
                 8
                 
                 5
                 8
                 3
                 
                 5
                 8
                 3
                 
                 
                 In
                 this
                 example
                 the
                 fifth
                 and
                 sixth
                 Notes
                 of
                 the
                 three
                 upper
                 Parts
                 are
                 after
                 the
                 second
                 way
                 ,
                 for
                 from
                 the
                 fourth
                 Note
                 of
                 the
                 Bass
                 ,
                 which
                 is
                 in
                 from
                 G
                 ,
                 and
                 goeth
                 to
                 B
                 ,
                 is
                 a
                 third
                 rising
                 ,
                 so
                 that
                 according
                 to
                 the
                 first
                 Rule
                 ,
                 the
                 eighth
                 shall
                 pass
                 into
                 the
                 fifth
                 ,
                 the
                 fifth
                 into
                 a
                 third
                 ,
                 the
                 third
                 into
                 an
                 eighth
                 .
                 But
                 here
                 contrariwise
                 the
                 eighth
                 goes
                 into
                 a
                 third
                 ,
                 the
                 fifth
                 into
                 an
                 eighth
                 ,
                 and
                 the
                 third
                 into
                 a
                 fifth
                 ;
                 and
                 by
                 these
                 Notes
                 you
                 may
                 censure
                 the
                 rest
                 of
                 that
                 kind
                 .
                 (f)
              
               
                 Though
                 I
                 may
                 now
                 seem
                 to
                 have
                 finished
                 all
                 that
                 belongs
                 to
                 this
                 sort
                 of
                 Counterpoint
                 ,
                 yet
                 there
                 remaius
                 one
                 scruple
                 ,
                 that
                 is
                 ,
                 how
                 the
                 sixth
                 may
                 take
                 place
                 here
                 ,
                 which
                 I
                 will
                 
                 also
                 declare
                 .
                 Know
                 that
                 whensoever
                 a
                 sixth
                 is
                 requisite
                 ,
                 as
                 in
                 B
                 ,
                 or
                 in
                 E
                 ,
                 or
                 A
                 ,
                 the
                 Key
                 being
                 in
                 Gam-vt
                 ,
                 you
                 may
                 take
                 the
                 sixth
                 instead
                 of
                 the
                 fifth
                 ,
                 and
                 use
                 the
                 same
                 Cord
                 following
                 ,
                 which
                 you
                 would
                 have
                 taken
                 if
                 the
                 former
                 Cord
                 had
                 been
                 a
                 fifth
                 .
              
               
                 Example
                 .
                 6
                 3
                 
                 
                 6
                 3
                 
                 
                 The
                 sixth
                 in
                 both
                 places
                 (
                 the
                 Bass
                 rising
                 )
                 passes
                 into
                 a
                 third
                 ,
                 as
                 it
                 should
                 have
                 done
                 if
                 the
                 sixth
                 had
                 been
                 a
                 fifth
                 .
              
               
                 Moreover
                 ,
                 if
                 the
                 Bass
                 shall
                 use
                 a
                 sharp
                 ,
                 as
                 in
                 F
                 sharp
                 ;
                 then
                 must
                 we
                 take
                 the
                 sixth
                 of
                 necessity
                 ,
                 but
                 the
                 eighth
                 to
                 the
                 Bass
                 may
                 not
                 be
                 used
                 ;
                 so
                 that
                 exception
                 is
                 to
                 be
                 taken
                 against
                 our
                 Rule
                 of
                 Counterpoint
                 :
                 To
                 which
                 I
                 answer
                 thus
                 ;
                 first
                 ,
                 such
                 Basses
                 are
                 not
                 (g)
                 true
                 Basses
                 ,
                 for
                 where
                 a
                 
                 sixth
                 is
                 to
                 be
                 taken
                 either
                 in
                 F
                 sharp
                 ,
                 or
                 in
                 E
                 sharp
                 ,
                 or
                 in
                 B
                 ,
                 or
                 in
                 A
                 ,
                 the
                 true
                 Bass
                 is
                 a
                 third
                 lower
                 ,
                 F
                 sharp
                 in
                 
                   D
                   ,
                   E
                
                 in
                 
                   C
                   ,
                   B
                
                 in
                 
                   G
                   ,
                   A
                
                 in
                 F
                 ;
                 as
                 for
                 Example
                 .
              
               
                 
                 In
                 the
                 first
                 Bass
                 two
                 sixths
                 are
                 to
                 be
                 taken
                 ,
                 by
                 reason
                 of
                 the
                 imperfection
                 of
                 the
                 Bass
                 wanting
                 due
                 latitude
                 ,
                 the
                 one
                 in
                 E
                 ,
                 the
                 other
                 in
                 F
                 sharp
                 ;
                 but
                 in
                 the
                 second
                 Bass
                 the
                 sixths
                 are
                 removed
                 away
                 ,
                 and
                 the
                 Musick
                 is
                 fuller
                 .
              
               
                 Nevertheless
                 ,
                 if
                 any
                 be
                 pleased
                 to
                 use
                 the
                 Bass
                 sharp
                 ,
                 then
                 instead
                 of
                 the
                 eighth
                 to
                 the
                 Bass
                 ,
                 he
                 may
                 take
                 the
                 third
                 to
                 the
                 Bass
                 ,
                 in
                 this
                 manner
                 .
              
               
                 3
                 
                 
                 3
                 
                 
                 Here
                 the
                 Treble
                 in
                 the
                 third
                 Note
                 ,
                 when
                 it
                 should
                 have
                 past
                 in
                 the
                 sharp
                 eight
                 in
                 F
                 takes
                 for
                 it
                 a
                 third
                 to
                 the
                 Bass
                 in
                 A
                 ,
                 which
                 causeth
                 the
                 Bass
                 and
                 Treble
                 to
                 rise
                 two
                 thirds
                 ,
                 whereof
                 we
                 will
                 speak
                 hereafter
                 .
              
               
                 Note
                 also
                 ,
                 that
                 when
                 the
                 Bass
                 stands
                 in
                 E
                 flat
                 ,
                 and
                 the
                 part
                 that
                 is
                 an
                 eighth
                 to
                 it
                 must
                 pass
                 into
                 a
                 sharp
                 ,
                 or
                 greater
                 third
                 ,
                 that
                 this
                 passage
                 from
                 the
                 flat
                 to
                 the
                 sharp
                 would
                 be
                 unformal
                 ;
                 and
                 therefore
                 
                 it
                 may
                 be
                 thus
                 with
                 small
                 alteration
                 avoided
                 ,
                 by
                 removing
                 the
                 latter
                 part
                 of
                 the
                 Note
                 into
                 the
                 third
                 above
                 ,
                 which
                 though
                 it
                 meets
                 in
                 Unison
                 with
                 the
                 upper
                 part
                 ,
                 yet
                 it
                 is
                 right
                 good
                 ,
                 because
                 it
                 jumps
                 not
                 with
                 the
                 whole
                 ,
                 but
                 only
                 with
                 the
                 last
                 half
                 of
                 it
                 .
              
               
                 Example
                 .
                 1
                 2
                 Teble
                 .
                 
                 8
                 3
                 Mean.
                 
                 
                 Tenor.
                 
                 
                 Bass.
                 
                 
              
               
                 For
                 the
                 second
                 Example
                 look
                 hereafter
                 in
                 the
                 rule
                 of
                 thirds
                 ,
                 but
                 for
                 the
                 first
                 Example
                 here
                 ,
                 if
                 in
                 the
                 Mean
                 Part
                 the
                 third
                 Note
                 that
                 is
                 divided
                 ,
                 had
                 stood
                 till
                 a
                 Minum
                 (
                 as
                 by
                 rule
                 it
                 should
                 )
                 and
                 so
                 had
                 past
                 in
                 F
                 sharp
                 ,
                 as
                 it
                 must
                 of
                 force
                 be
                 made
                 sharp
                 at
                 a
                 close
                 ,
                 it
                 had
                 been
                 then
                 passing
                 unformal
                 .
                 But
                 if
                 the
                 same
                 Bass
                 had
                 been
                 set
                 in
                 the
                 sharp
                 Key
                 ,
                 the
                 rest
                 of
                 the
                 parts
                 would
                 have
                 fallen
                 out
                 formal
                 of
                 themselves
                 without
                 any
                 help
                 ,
                 as
                 thus
                 :
                 
                 Treble
                 .
                 
                 Mean.
                 
                 
                 Tenor.
                 
                 
                 Bass.
                 
                 
                 When
                 the
                 Bass
                 shall
                 stand
                 still
                 in
                 one
                 Key
                 ,
                 as
                 above
                 it
                 doth
                 in
                 the
                 third
                 Note
                 ,
                 then
                 the
                 other
                 parts
                 may
                 remove
                 at
                 their
                 pleasure
                 .
              
               
                 Moreover
                 ,
                 it
                 is
                 to
                 be
                 observed
                 ,
                 that
                 in
                 composing
                 of
                 the
                 Bass
                 ,
                 you
                 may
                 break
                 it
                 at
                 your
                 pleasure
                 ,
                 without
                 altering
                 any
                 of
                 the
                 other
                 Parts
                 :
                 as
                 for
                 Example
                 .
              
               
                 Treble
                 .
                 
                 Mean.
                 
                 
                 Tenor.
                 
                 
                 
                   Bass.
                   plain
                
                 .
                 
                 
                   Bass.
                   divided
                
                 .
                 
              
               
               
                 One
                 other
                 Observation
                 more
                 I
                 will
                 handle
                 ,
                 that
                 doth
                 arise
                 out
                 of
                 this
                 Example
                 ,
                 which
                 according
                 to
                 the
                 first
                 Rule
                 may
                 hold
                 thus
                 :
                 Treble
                 .
                 
                 Mean.
                 
                 
                 Tenor.
                 
                 
                 Bass.
                 
                 
              
               
                 Herein
                 are
                 two
                 errours
                 ;
                 first
                 ,
                 in
                 the
                 second
                 Notes
                 of
                 the
                 Bass
                 and
                 Treble
                 ,
                 where
                 the
                 third
                 to
                 the
                 Bass
                 ought
                 to
                 have
                 been
                 sharp
                 ;
                 secondly
                 ,
                 in
                 the
                 second
                 and
                 third
                 Notes
                 of
                 the
                 same
                 Parts
                 ,
                 where
                 the
                 third
                 being
                 a
                 lesser
                 third
                 ,
                 holds
                 while
                 the
                 Bass
                 falls
                 into
                 a
                 fifth
                 ,
                 which
                 is
                 unelegant
                 ,
                 (h)
                 but
                 if
                 the
                 upper
                 third
                 had
                 been
                 the
                 greater
                 third
                 ,
                 the
                 fifth
                 had
                 fitly
                 follow'd
                 ,
                 as
                 you
                 may
                 see
                 in
                 the
                 third
                 and
                 fourth
                 Notes
                 of
                 the
                 Tenor
                 and
                 the
                 Bass.
                 
              
               
               
                 There
                 may
                 yet
                 be
                 more
                 variety
                 afforded
                 the
                 Bass
                 ,
                 by
                 ordering
                 the
                 fourth
                 Notes
                 of
                 the
                 upper
                 Parts
                 ,
                 according
                 to
                 the
                 second
                 Rule
                 ,
                 thus
                 :
              
               
                 Example
                 .
                 
                 
                 
                 
              
               
                 But
                 that
                 I
                 may
                 (
                 as
                 near
                 as
                 I
                 can
                 )
                 leave
                 nothing
                 untouch'd
                 concerning
                 this
                 kind
                 of
                 Counterpoint
                 ,
                 let
                 us
                 now
                 consider
                 how
                 two
                 Thirds
                 being
                 taken
                 together
                 between
                 the
                 
                 Treble
                 and
                 the
                 Bass
                 ,
                 may
                 stand
                 with
                 our
                 Rule
                 .
                 For
                 sixths
                 are
                 not
                 in
                 this
                 case
                 to
                 be
                 mentioned
                 ,
                 being
                 distances
                 so
                 large
                 that
                 they
                 can
                 produce
                 no
                 formality
                 :
                 Besides
                 ,
                 the
                 sixth
                 is
                 of
                 it self
                 very
                 imperfect
                 ,
                 being
                 compounded
                 of
                 a
                 third
                 ,
                 which
                 is
                 an
                 imperfect
                 Concord
                 ;
                 and
                 of
                 a
                 fourth
                 ,
                 which
                 is
                 a
                 Discord
                 :
                 and
                 this
                 the
                 cause
                 is
                 ,
                 that
                 the
                 sixths
                 produce
                 so
                 many
                 fourths
                 in
                 the
                 Inner
                 Parts
                 .
                 As
                 for
                 the
                 third
                 ,
                 it
                 being
                 the
                 least
                 distance
                 of
                 any
                 Concord
                 ,
                 is
                 therefore
                 easily
                 to
                 be
                 reduced
                 into
                 good
                 order
                 .
                 For
                 if
                 the
                 Bass
                 and
                 Treble
                 do
                 rise
                 together
                 in
                 thirds
                 ,
                 then
                 the
                 first
                 Note
                 of
                 the
                 Treble
                 is
                 regular
                 with
                 the
                 other
                 Part
                 ,
                 but
                 the
                 second
                 of
                 it
                 is
                 irregular
                 ;
                 for
                 by
                 rule
                 instead
                 of
                 the
                 rising
                 third
                 ,
                 it
                 should
                 fall
                 into
                 the
                 eight
                 .
                 In
                 like
                 sort
                 ,
                 if
                 the
                 Bass
                 and
                 Treble
                 do
                 fall
                 two
                 thirds
                 ,
                 the
                 first
                 Note
                 of
                 the
                 Treble
                 is
                 irregular
                 ,
                 and
                 is
                 to
                 be
                 brought
                 into
                 rule
                 by
                 being
                 put
                 into
                 the
                 eighth
                 ,
                 but
                 the
                 second
                 Note
                 is
                 of
                 it self
                 regular
                 .
                 Yet
                 whether
                 those
                 thirds
                 be
                 reduced
                 into
                 eights
                 or
                 no
                 ,
                 you
                 shall
                 by
                 supposition
                 thereof
                 find
                 out
                 the
                 other
                 parts
                 ,
                 which
                 never
                 vary
                 from
                 the
                 rule
                 but
                 in
                 the
                 sharp
                 Bass.
                 But
                 let
                 me
                 explain
                 my self
                 by
                 Example
                 .
              
               
               
                 Example
                 .
                 
                 
                 
                 
              
               
                 The
                 first
                 two
                 Notes
                 of
                 the
                 Treble
                 are
                 both
                 thirds
                 to
                 the
                 Bass
                 ,
                 but
                 in
                 the
                 second
                 stroke
                 the
                 first
                 Note
                 of
                 the
                 Treble
                 is
                 a
                 third
                 ,
                 and
                 the
                 second
                 ,
                 which
                 was
                 before
                 a
                 third
                 ,
                 is
                 made
                 an
                 eight
                 ,
                 only
                 to
                 shew
                 how
                 you
                 may
                 find
                 out
                 the
                 right
                 Parts
                 which
                 are
                 to
                 be
                 used
                 when
                 you
                 take
                 two
                 thirds
                 between
                 the
                 Treble
                 and
                 the
                 Bass
                 :
                 For
                 according
                 to
                 the
                 former
                 rule
                 ,
                 if
                 the
                 Bass
                 descends
                 ,
                 the
                 third
                 then
                 in
                 the
                 Treble
                 is
                 to
                 pass
                 into
                 the
                 eight
                 ,
                 and
                 the
                 Mean
                 must
                 first
                 take
                 an
                 eight
                 ,
                 then
                 a
                 fift
                 ;
                 and
                 the
                 Tenor
                 a
                 fift
                 ,
                 then
                 a
                 third
                 ;
                 and
                 these
                 are
                 also
                 the
                 right
                 and
                 proper
                 parts
                 ,
                 if
                 you
                 return
                 the
                 eight
                 of
                 the
                 Treble
                 into
                 a
                 third
                 again
                 ,
                 as
                 may
                 appear
                 in
                 the
                 first
                 example
                 of
                 the
                 Bass
                 falling
                 ,
                 and
                 consequently
                 in
                 all
                 the
                 rest
                 .
              
               
               
                 But
                 let
                 us
                 proceed
                 yet
                 further
                 ,
                 and
                 suppose
                 that
                 the
                 Bass
                 should
                 use
                 a
                 sharp
                 ,
                 what
                 is
                 then
                 to
                 be
                 done
                 ?
                 as
                 if
                 thus
                 :
                 
                 
                 
                 
              
               
                 If
                 you
                 call
                 to
                 mind
                 the
                 Rule
                 delivered
                 concerning
                 the
                 sharp
                 Bass
                 ,
                 you
                 shall
                 here
                 by
                 help
                 thereof
                 see
                 the
                 right
                 parts
                 ,
                 though
                 you
                 cannot
                 bring
                 them
                 under
                 the
                 Rule
                 :
                 for
                 if
                 the
                 first
                 Note
                 of
                 the
                 Bass
                 had
                 been
                 flat
                 ,
                 the
                 Mean
                 Part
                 should
                 have
                 taken
                 that
                 ,
                 and
                 so
                 have
                 descended
                 to
                 the
                 fifth
                 ;
                 but
                 being
                 sharp
                 ,
                 you
                 take
                 for
                 it
                 (
                 according
                 to
                 the
                 former
                 observation
                 )
                 the
                 third
                 to
                 the
                 Bass
                 ,
                 and
                 so
                 rise
                 up
                 into
                 the
                 fifth
                 .
                 The
                 Tenor
                 that
                 should
                 take
                 a
                 fifth
                 ,
                 and
                 so
                 fall
                 by
                 degrees
                 into
                 a
                 third
                 ,
                 is
                 here
                 forced
                 by
                 reason
                 of
                 the
                 sharp
                 Bass
                 ,
                 for
                 a
                 fifth
                 to
                 take
                 a
                 sixth
                 ,
                 and
                 so
                 leap
                 downward
                 into
                 the
                 thirds
                 .
                 And
                 so
                 much
                 for
                 the
                 thirds
                 .
              
               
                 Lastly
                 ,
                 in
                 favour
                 of
                 young
                 beginners
                 let
                 me
                 also
                 add
                 this
                 ,
                 that
                 the
                 Bass
                 intends
                 a
                 close
                 as
                 often
                 as
                 it
                 riseth
                 a
                 fifth
                 ,
                 third
                 ,
                 or
                 second
                 ,
                 and
                 then
                 immediately
                 either
                 falls
                 a
                 fifth
                 ,
                 or
                 riseth
                 a
                 fourth
                 .
                 In
                 like
                 manner
                 ,
                 if
                 the
                 Bass
                 falls
                 a
                 fourth
                 or
                 second
                 ,
                 and
                 after
                 falls
                 a
                 fi●th
                 ,
                 the
                 Bass
                 insinuates
                 a
                 close
                 ,
                 and
                 in
                 all
                 these
                 cases
                 the
                 part
                 must
                 hold
                 ,
                 that
                 in
                 holding
                 can
                 
                 use
                 the
                 fourth
                 or
                 eleventh
                 ,
                 and
                 so
                 pass
                 either
                 in
                 the
                 third
                 or
                 tenth
                 .
              
               
                 
                   Thus
                   ,
                   or
                   thus
                   .
                   Thus
                   ,
                   or
                   thus
                   .
                
                 
                 
                 
                   Thus
                   ,
                   or
                   thus
                   .
                   Thus
                   ,
                   or
                   thus
                   .
                
                 
                 
                 
                   Thus
                   ,
                   or
                   thus
                
                 .
                 
                 
              
               
                 In
                 the
                 Examples
                 before
                 set
                 down
                 I
                 left
                 out
                 the
                 Closes
                 ,
                 of
                 purpose
                 ,
                 that
                 the
                 Cords
                 might
                 the
                 better
                 appear
                 in
                 their
                 proper
                 places
                 ,
                 but
                 this
                 short
                 admonition
                 will
                 direct
                 any
                 young
                 beginner
                 to
                 help
                 that
                 want
                 at
                 his
                 pleasure
                 .
                 And
                 thus
                 I
                 end
                 my
                 Treatise
                 of
                 Counterpoint
                 ,
                 both
                 brief
                 and
                 certain
                 ,
                 such
                 as
                 will
                 open
                 an
                 easie
                 way
                 to
                 them
                 ,
                 that
                 without
                 help
                 of
                 a
                 skilful
                 Teacher
                 endeavour
                 to
                 acquire
                 the
                 first
                 grounds
                 of
                 this
                 Art.
                 
              
               
                 
                 
                   A
                   short
                   Hymn
                   ,
                   Composed
                   after
                   this
                   form
                   of
                   Counterpoint
                   ,
                   to
                   shew
                   how
                   well
                   it
                   will
                   become
                   any
                   Divine
                   or
                   grave
                   subject
                   .
                
                 
                   
                   Lord
                   have
                   mercy
                   upon
                   me
                   ,
                   O
                   hear
                   my
                   prayers
                   both
                   
                   Lord
                   have
                   mercy
                   u●on
                   me
                   ,
                   O
                   hear
                   my
                   prayers
                   both
                   
                   Lord
                   have
                   me●cy
                   u●on
                   me
                   ,
                   O
                   hear
                   my
                   prayers
                   bo●h
                   
                   Lord
                   have
                   mercy
                   upon
                   me
                   ,
                   O
                   hear
                   my
                   pra●ers
                   both
                   
                   day
                   and
                   night
                   ,
                   with
                   tears
                   pour'd
                   forth
                   to
                   thee
                   .
                   
                   day
                   and
                   night
                   ,
                   with
                   tears
                   pou●'d
                   forth
                   to
                   thee
                   .
                   
                   day
                   and
                   night
                   ,
                   with
                   tears
                   pour'd
                   forth
                   to
                   thee
                   .
                   
                   day
                   and
                   night
                   ,
                   wi●h
                   tears
                   pour'd
                   forth
                   to
                   thee
                   .
                
              
            
             
               
               
                 THE
                 ART
                 of
                 DESCANT
                 :
                 OR
                 Composing
                 Musick
                 in
                 Parts
                 .
              
               
                 PART
                 II.
                 Of
                 Tones
                 of
                 Musick
                 .
              
               
                 OF
                 all
                 things
                 that
                 belong
                 to
                 the
                 making
                 up
                 of
                 a
                 Musician
                 ,
                 the
                 most
                 necessary
                 and
                 useful
                 one
                 for
                 him
                 is
                 the
                 true
                 knowledge
                 of
                 the
                 Key
                 or
                 Mood
                 ,
                 or
                 Tone
                 ,
                 for
                 all
                 signifie
                 the
                 same
                 thing
                 ,
                 with
                 the
                 Closes
                 belonging
                 unto
                 it
                 ,
                 for
                 there
                 is
                 no
                 Tune
                 that
                 can
                 have
                 any
                 grace
                 or
                 sweetness
                 unless
                 it
                 be
                 bounden
                 within
                 a
                 proper
                 Key
                 ,
                 without
                 running
                 into
                 strange
                 Keys
                 ,
                 which
                 have
                 no
                 affinity
                 with
                 the
                 Ayr
                 of
                 the
                 Song
                 .
                 I
                 have
                 therefore
                 thought
                 good
                 in
                 an
                 easie
                 and
                 brief
                 discourse
                 to
                 endeavour
                 to
                 express
                 that
                 which
                 many
                 in
                 large
                 and
                 obscure
                 Volumes
                 have
                 made
                 fearful
                 to
                 the
                 
                   idle
                   Reader
                
                 .
              
               
                 The
                 first
                 thing
                 herein
                 to
                 be
                 considered
                 is
                 the
                 eighth
                 ,
                 which
                 is
                 equally
                 divided
                 into
                 a
                 fourth
                 ,
                 and
                 a
                 fifth
                 ,
                 as
                 thus
                 :
                 
                 
                 The8
                 
                 The
                 4.
                 
                 The
                 5.
                 
              
               
                 Here
                 you
                 see
                 the
                 fourth
                 in
                 the
                 upper
                 place
                 ,
                 and
                 the
                 fifth
                 in
                 the
                 lower
                 place
                 ,
                 which
                 is
                 called
                 
                   Modus
                   Authentus
                
                 :
                 But
                 contrary
                 thus
                 :
                 The
                 8
                 
                 The
                 5.
                 
                 The
                 4.
                 
              
               
                 This
                 is
                 called
                 
                   Modus
                   Plagalii
                
                 ,
                 but
                 howsoever
                 the
                 fourth
                 in
                 the
                 eighth
                 is
                 placed
                 ,
                 we
                 must
                 have
                 our
                 eye
                 on
                 the
                 fifth
                 ,
                 for
                 that
                 only
                 discovers
                 the
                 Key
                 ,
                 and
                 all
                 the
                 Closes
                 pertaining
                 properly
                 thereunto
                 :
                 This
                 fifth
                 is
                 also
                 divided
                 into
                 two
                 thirds
                 ,
                 sometimes
                 the
                 lesser
                 third
                 hath
                 the
                 upper
                 place
                 ,
                 and
                 the
                 greater
                 third
                 supports
                 it
                 below
                 ,
                 sometimes
                 the
                 greater
                 third
                 is
                 higher
                 ,
                 and
                 the
                 lesser
                 third
                 rests
                 in
                 the
                 lowest
                 place
                 :
                 as
                 for
                 Example
                 :
                 
                 
                   The
                   lesser
                
                 3.
                 
                 
                   The
                   greater
                
                 3.
                 
                 
                 
                   The
                   greater
                
                 3.
                 
                 
                   The
                   lesser
                
                 3.
                 
              
               
                 The
                 lowest
                 Note
                 of
                 this
                 fifth
                 bears
                 the
                 name
                 of
                 the
                 Key
                 ,
                 as
                 if
                 the
                 eighth
                 be
                 from
                 G
                 to
                 G
                 ,
                 the
                 fifth
                 from
                 G
                 beneath
                 to
                 D
                 above
                 ,
                 G
                 being
                 the
                 lowest
                 Note
                 of
                 the
                 fifth
                 ,
                 shews
                 that
                 G
                 is
                 the
                 Key
                 ;
                 and
                 if
                 one
                 should
                 demand
                 in
                 what
                 Key
                 your
                 Song
                 is
                 set
                 ,
                 you
                 must
                 answer
                 in
                 Gam-vt
                 ,
                 or
                 
                   G
                   sol
                   re
                   vt
                
                 ,
                 that
                 is
                 ,
                 in
                 G.
                 
              
               
               
                 If
                 the
                 compass
                 of
                 your
                 Song
                 should
                 fall
                 out
                 thus
                 :
                 
              
               
                 Respect
                 not
                 the
                 fourth
                 below
                 ,
                 but
                 look
                 to
                 your
                 fift
                 above
                 ,
                 and
                 the
                 lowest
                 Note
                 of
                 that
                 fift
                 assume
                 for
                 you
                 Key
                 ,
                 which
                 is
                 C
                 ,
                 then
                 divide
                 that
                 fift
                 into
                 its
                 two
                 3
                 ds
                 ,
                 and
                 so
                 you
                 shall
                 find
                 out
                 all
                 the
                 closes
                 that
                 belong
                 to
                 that
                 Key
                 .
              
               
                 The
                 main
                 and
                 fundamental
                 close
                 is
                 in
                 the
                 Key
                 it self
                 ,
                 the
                 second
                 is
                 in
                 the
                 upper
                 Note
                 of
                 this
                 fift
                 ,
                 the
                 third
                 is
                 in
                 the
                 upper
                 Note
                 of
                 the
                 lowest
                 third
                 ,
                 if
                 it
                 be
                 the
                 lesser
                 third
                 ;
                 as
                 for
                 example
                 ,
                 if
                 the
                 Key
                 be
                 in
                 G
                 ,
                 with
                 
                   B
                   flat
                
                 ,
                 you
                 may
                 close
                 in
                 these
                 three
                 places
                 .
              
               
                 
                 
              
               
                 The
                 first
                 close
                 is
                 that
                 which
                 maintains
                 the
                 Ayr
                 of
                 the
                 Key
                 ,
                 and
                 may
                 be
                 used
                 often
                 ,
                 the
                 second
                 is
                 next
                 to
                 be
                 preferr'd
                 ,
                 and
                 third
                 last
                 .
              
               
                 But
                 if
                 the
                 Key
                 should
                 be
                 in
                 G
                 with
                 
                   B
                   sharp
                
                 ,
                 then
                 the
                 last
                 close
                 being
                 to
                 be
                 made
                 in
                 the
                 greater
                 or
                 sharp
                 third
                 ,
                 is
                 unproper
                 ,
                 and
                 therefore
                 for
                 variety
                 sometime
                 the
                 next
                 Key
                 above
                 is
                 joyned
                 with
                 it
                 ,
                 which
                 is
                 A
                 ,
                 and
                 sometimes
                 the
                 fourth
                 Key
                 ,
                 which
                 is
                 C.
                 But
                 these
                 
                 changes
                 of
                 Keys
                 ,
                 must
                 be
                 done
                 with
                 judgement
                 ,
                 yet
                 I
                 have
                 aptly
                 closed
                 in
                 the
                 upper
                 Note
                 of
                 the
                 lowest
                 third
                 of
                 the
                 Key
                 ,
                 the
                 Key
                 being
                 in
                 F
                 ,
                 and
                 the
                 upper
                 Note
                 of
                 the
                 third
                 standing
                 in
                 A
                 ,
                 as
                 you
                 may
                 perceive
                 in
                 this
                 Ayr.
                 
              
               
                 1
                 
                 
                 2
                 3
                 
                 
                 4
                 
                 
              
               
                 In
                 this
                 Ayr
                 the
                 first
                 Close
                 is
                 in
                 the
                 upper
                 Note
                 of
                 the
                 fifth
                 ,
                 which
                 from
                 F
                 is
                 C
                 ,
                 the
                 second
                 Close
                 is
                 in
                 the
                 upper
                 Note
                 of
                 the
                 great
                 third
                 ,
                 which
                 from
                 F
                 is
                 A.
                 
              
               
                 But
                 the
                 last
                 and
                 final
                 Close
                 is
                 in
                 the
                 Key
                 it self
                 ,
                 which
                 is
                 F
                 ,
                 as
                 it
                 must
                 ever
                 be
                 ,
                 wheresoever
                 
                 your
                 Key
                 shall
                 stand
                 ,
                 either
                 in
                 G
                 ,
                 or
                 C
                 ,
                 or
                 F
                 ,
                 or
                 elsewhere
                 ,
                 the
                 same
                 rule
                 of
                 the
                 fifth
                 is
                 perpetual
                 ,
                 being
                 divided
                 into
                 thirds
                 ,
                 which
                 can
                 be
                 but
                 two
                 ways
                 ,
                 that
                 is
                 ,
                 either
                 when
                 the
                 upper
                 third
                 is
                 less
                 by
                 half
                 a
                 Note
                 than
                 the
                 lower
                 ,
                 or
                 when
                 the
                 lower
                 third
                 contains
                 the
                 half
                 Note
                 ,
                 which
                 is
                 
                   Mi
                   fa
                
                 ,
                 or
                 
                   La
                   Fa.
                
                 
              
               
                 If
                 the
                 lower
                 third
                 contains
                 the
                 half
                 Note
                 ,
                 it
                 hath
                 it
                 either
                 above
                 ,
                 as
                 
                   La
                   Mi
                   Fa
                   ;
                   La
                   Mi
                
                 being
                 the
                 whole
                 Note
                 ,
                 and
                 
                   Mi
                   Fa
                
                 but
                 half
                 so
                 much
                 ,
                 that
                 is
                 the
                 half
                 Note
                 ;
                 or
                 else
                 when
                 the
                 half
                 Note
                 is
                 underneath
                 ,
                 
                   Mi
                   Fa
                   Sol
                   ;
                   Mi
                   Fa
                
                 is
                 the
                 half
                 Note
                 ,
                 and
                 
                   Fa
                   Sol
                
                 is
                 the
                 whole
                 Note
                 ;
                 but
                 whether
                 the
                 half
                 Note
                 be
                 uppermost
                 or
                 lowermost
                 ,
                 if
                 the
                 lowest
                 third
                 of
                 the
                 fifth
                 be
                 the
                 lesser
                 third
                 ,
                 that
                 Key
                 yields
                 familiarly
                 three
                 closes
                 ;
                 example
                 of
                 the
                 half
                 Note
                 ,
                 standing
                 in
                 the
                 upper
                 place
                 was
                 shewed
                 before
                 ,
                 now
                 I
                 will
                 set
                 down
                 the
                 other
                 .
              
               
                 
                 
              
               
                 But
                 for
                 the
                 other
                 Keys
                 that
                 divide
                 the
                 fifth
                 ,
                 so
                 that
                 it
                 hath
                 the
                 less
                 third
                 above
                 ,
                 and
                 the
                 greater
                 underneath
                 ,
                 they
                 can
                 challenge
                 
                 but
                 two
                 proper
                 closes
                 ,
                 one
                 in
                 the
                 lowest
                 Note
                 of
                 the
                 fift
                 ,
                 which
                 is
                 the
                 fundamental
                 Key
                 ,
                 and
                 the
                 other
                 in
                 the
                 uppermost
                 Note
                 of
                 the
                 same
                 ,
                 wherein
                 also
                 you
                 may
                 close
                 at
                 pleasure
                 .
                 True
                 it
                 is
                 ,
                 that
                 the
                 Key
                 next
                 above
                 hath
                 a
                 great
                 affinity
                 with
                 the
                 right
                 Key
                 ,
                 and
                 may
                 therefore
                 ,
                 as
                 I
                 said
                 before
                 ,
                 be
                 used
                 ,
                 as
                 also
                 the
                 fourth
                 Key
                 above
                 the
                 final
                 Key
                 .
              
               
                 
                   Examples
                   of
                   both
                   in
                   two
                   beginnings
                   of
                   Songs
                   .
                
                 1
                 
                 
                 2
                 
                 
              
               
                 In
                 the
                 first
                 Example
                 A
                 is
                 mixt
                 with
                 G
                 ,
                 and
                 in
                 the
                 second
                 C
                 is
                 joyned
                 with
                 G
                 ,
                 as
                 you
                 may
                 understand
                 by
                 the
                 second
                 closes
                 of
                 both
                 .
              
               
                 To
                 make
                 the
                 Key
                 known
                 is
                 most
                 necessary
                 in
                 the
                 beginning
                 of
                 a
                 Song
                 ,
                 and
                 it
                 is
                 best
                 exprest
                 by
                 the
                 often
                 using
                 of
                 his
                 proper
                 fift
                 ,
                 and
                 fourth
                 ,
                 and
                 third
                 ,
                 rising
                 or
                 falling
                 .
              
            
             
               
               
                 THE
                 ART
                 of
                 DESCANT
                 :
                 OR
                 Composing
                 Musick
                 in
                 Parts
                 .
              
               
                 PART
                 III.
                 Of
                 the
                 taking
                 all
                 Concords
                 ,
                 Perfect
                 and
                 Imperfect
                 .
              
               
                 THe
                 consecution
                 of
                 perfect
                 Cords
                 among
                 themselves
                 is
                 easie
                 ,
                 for
                 who
                 knows
                 not
                 that
                 two
                 eighths
                 or
                 two
                 fifths
                 are
                 not
                 to
                 be
                 taken
                 rising
                 or
                 falling
                 together
                 ,
                 but
                 a
                 fifth
                 may
                 either
                 way
                 pass
                 into
                 an
                 eight
                 ,
                 or
                 an
                 eight
                 into
                 a
                 fift
                 ,
                 yet
                 most
                 conveniently
                 when
                 the
                 one
                 of
                 them
                 moves
                 by
                 degrees
                 ,
                 and
                 the
                 other
                 by
                 leaps
                 ,
                 for
                 when
                 both
                 skip
                 together
                 the
                 passage
                 is
                 less
                 pleasant
                 :
                 the
                 ways
                 by
                 degrees
                 are
                 these
                 .
              
               
                 1
                 2
                 3
                 4
                 5
                 6
                 
                 
              
               
               
                 The
                 fourth
                 way
                 is
                 only
                 excepted
                 against
                 ,
                 where
                 the
                 fift
                 rising
                 into
                 the
                 eight
                 ,
                 and
                 in
                 few
                 parts
                 it
                 cannot
                 well
                 be
                 admitted
                 ,
                 but
                 in
                 Songs
                 of
                 many
                 Voices
                 it
                 is
                 oftentimes
                 necessary
                 .
              
               
                 The
                 passage
                 also
                 of
                 perfect
                 Concords
                 into
                 imperfect
                 ,
                 either
                 rising
                 or
                 falling
                 ,
                 by
                 degrees
                 or
                 leaps
                 ,
                 is
                 easie
                 ,
                 and
                 so
                 a
                 Unison
                 may
                 pass
                 into
                 a
                 lesser
                 third
                 ,
                 or
                 a
                 greater
                 third
                 ;
                 also
                 into
                 the
                 lesser
                 sixt
                 ,
                 but
                 seldom
                 into
                 the
                 greater
                 sixt
                 .
                 A
                 fift
                 passeth
                 into
                 the
                 greater
                 sixt
                 ,
                 and
                 into
                 the
                 lesser
                 sixt
                 ;
                 as
                 also
                 into
                 the
                 greater
                 or
                 lesser
                 third
                 ;
                 and
                 so
                 you
                 must
                 judge
                 of
                 their
                 eights
                 ,
                 for
                 
                   de
                   octavis
                   idem
                   est
                   judiciem
                
                 ;
                 and
                 therefore
                 when
                 you
                 read
                 an
                 Unison
                 ,
                 or
                 a
                 fift
                 ,
                 or
                 a
                 third
                 ,
                 or
                 a
                 sixt
                 ,
                 know
                 that
                 by
                 the
                 simple
                 Concords
                 the
                 Compounds
                 are
                 also
                 meant
                 .
              
               
                 Note
                 here
                 ,
                 that
                 it
                 is
                 not
                 good
                 to
                 fall
                 with
                 the
                 Bass
                 ,
                 being
                 sharp
                 in
                 F
                 ,
                 from
                 an
                 eight
                 unto
                 a
                 sixt
                 .
              
               
                 
                   As
                   thus
                   :
                   Or
                   thus
                
                 .
                 
                 
                 But
                 concerning
                 imperfect
                 Cords
                 ,
                 because
                 they
                 observe
                 not
                 all
                 one
                 way
                 in
                 their
                 passages
                 ,
                 we
                 will
                 speak
                 of
                 them
                 severally
                 ,
                 first
                 declaring
                 what
                 not
                 harmonical
                 doth
                 signifie
                 ,
                 whereof
                 mention
                 will
                 be
                 made
                 hereafter
                 .
              
               
                 Relation
                 ,
                 or
                 reference
                 ,
                 or
                 respect
                 not
                 harmonical
                 ,
                 
                 is
                 Mi
                 against
                 Fa
                 in
                 a
                 cross
                 form
                 ,
                 and
                 it
                 is
                 in
                 four
                 Notes
                 ,
                 when
                 the
                 one
                 being
                 considered
                 cross
                 with
                 the
                 other
                 doth
                 produce
                 in
                 the
                 Musick
                 a
                 strange
                 discord
                 ;
                 Example
                 will
                 yield
                 it
                 more
                 plain
                 .
              
               
                 1
                 2
                 3
                 4
                 5
                 6
                 
                 
              
               
                 The
                 first
                 Note
                 of
                 the
                 upper
                 parts
                 in
                 
                   E
                   la
                   mi
                
                 sharp
                 ,
                 which
                 being
                 considered
                 ,
                 or
                 referred
                 to
                 the
                 second
                 Note
                 of
                 the
                 lower
                 part
                 ,
                 which
                 is
                 
                   E
                   la
                   mi
                
                 ,
                 made
                 flat
                 by
                 the
                 cromatick
                 flat
                 sign
                 ,
                 begets
                 a
                 false
                 second
                 ,
                 which
                 is
                 a
                 harsh
                 discord
                 ;
                 and
                 though
                 these
                 Notes
                 sound
                 not
                 both
                 together
                 ,
                 yet
                 in
                 few
                 parts
                 they
                 leave
                 an
                 offence
                 in
                 the
                 ear
                 .
                 The
                 second
                 Example
                 is
                 the
                 same
                 descending
                 ;
                 the
                 third
                 is
                 from
                 
                   E
                   la
                   mi
                
                 sharp
                 in
                 the
                 first
                 Note
                 of
                 the
                 lower
                 part
                 ,
                 to
                 the
                 second
                 Note
                 in
                 the
                 upper
                 part
                 ,
                 it
                 being
                 flat
                 by
                 reason
                 of
                 the
                 flat
                 sign
                 ,
                 and
                 so
                 between
                 them
                 they
                 mix
                 in
                 the
                 Musick
                 a
                 false
                 fift
                 ;
                 the
                 same
                 doth
                 the
                 fourth
                 Example
                 ;
                 but
                 the
                 fifth
                 yields
                 a
                 false
                 fourth
                 ,
                 and
                 the
                 sixth
                 a
                 false
                 fifth
                 .
              
               
               
                 There
                 are
                 two
                 kinds
                 of
                 Imperfect
                 Concords
                 ,
                 thirds
                 or
                 sixts
                 ,
                 and
                 the
                 sixts
                 wholly
                 participate
                 of
                 the
                 nature
                 of
                 the
                 thirds
                 ;
                 for
                 to
                 the
                 lesser
                 third
                 ,
                 which
                 consists
                 but
                 of
                 a
                 whole
                 Note
                 and
                 half
                 ,
                 add
                 a
                 fourth
                 ,
                 and
                 you
                 have
                 the
                 lesser
                 sixt
                 ;
                 in
                 like
                 manner
                 to
                 the
                 greater
                 third
                 that
                 consists
                 of
                 two
                 whole
                 Notes
                 ,
                 add
                 a
                 fourth
                 ,
                 and
                 it
                 makes
                 up
                 the
                 greater
                 sixt
                 ;
                 so
                 that
                 all
                 the
                 difference
                 is
                 still
                 in
                 the
                 half
                 Note
                 ,
                 according
                 to
                 that
                 only
                 saying
                 ,
                 
                   Mi
                   &
                   Fa
                   sunt
                   tota
                   Musica
                   .
                
                 Of
                 these
                 four
                 we
                 will
                 now
                 discourse
                 ,
                 proceeding
                 in
                 order
                 from
                 the
                 lesser
                 to
                 the
                 greater
                 .
              
               
                 
                   Of
                   the
                   lesser
                   or
                   Imperfect
                   Third
                   .
                
                 
                   The
                   lesser
                   third
                   passeth
                   into
                   an
                   unison
                   ,
                   first
                   by
                   degrees
                   ,
                   when
                   both
                   parts
                   meet
                   ,
                   then
                   by
                   leaps
                   ,
                   ascending
                   or
                   descending
                   when
                   one
                   of
                   the
                   parts
                   stand
                   still
                   ,
                   but
                   when
                   both
                   the
                   parts
                   leap
                   or
                   fall
                   together
                   ,
                   the
                   passage
                   is
                   not
                   allowed
                   .
                
                 
                   
                   Lesser
                   3
                   
                     d
                     into
                     the
                     unison
                     .
                     Passages
                     not
                     allowed
                     .
                  
                   
                
                 
                 
                   Secondly
                   ,
                   the
                   lesser
                   third
                   passeth
                   into
                   a
                   fift
                   ,
                   first
                   in
                   degrees
                   ,
                   when
                   they
                   are
                   separated
                   by
                   contrary
                   motions
                   ;
                   then
                   by
                   leaps
                   ,
                   when
                   the
                   lower
                   part
                   riseth
                   by
                   degrees
                   ,
                   and
                   the
                   upper
                   part
                   descends
                   by
                   degrees
                   ,
                   and
                   thus
                   the
                   lesser
                   tenth
                   may
                   pass
                   into
                   a
                   fift
                   .
                   Lastly
                   ,
                   both
                   parts
                   leaping
                   ,
                   the
                   lesser
                   third
                   may
                   pass
                   into
                   a
                   fift
                   ,
                   so
                   that
                   the
                   upper
                   part
                   doth
                   descend
                   by
                   leap
                   the
                   distance
                   of
                   a
                   lesser
                   third
                   .
                   Any
                   other
                   way
                   the
                   passage
                   of
                   a
                   lesser
                   third
                   into
                   a
                   fift
                   ,
                   is
                   disallowed
                   .
                
                 
                   
                   
                     Allowed
                     .
                     Disallowed
                  
                   .
                   
                
                 
                   In
                   the
                   last
                   disallowance
                   ,
                   which
                   is
                   when
                   the
                   upper
                   part
                   stands
                   ,
                   and
                   the
                   lower
                   part
                   falls
                   from
                   a
                   lesser
                   third
                   to
                   a
                   fift
                   ,
                   many
                   have
                   been
                   deceived
                   ,
                   their
                   ears
                   not
                   finding
                   the
                   absurdity
                   of
                   it
                   ;
                   but
                   as
                   this
                   way
                   is
                   immusical
                   ,
                   so
                   is
                   the
                   fall
                   of
                   the
                   greater
                   third
                   in
                   the
                   former
                   manner
                   into
                   a
                   fift
                   ,
                   passing
                   harmonious
                   ;
                   insomuch
                   that
                   it
                   is
                   elegantly
                   ,
                   and
                   with
                   much
                   grace
                   taken
                   in
                   one
                   part
                   of
                   a
                   short
                   Ayr
                   four
                   times
                   ,
                   whereas
                   had
                   the
                   fift
                   been
                   half
                   so
                   often
                   taken
                   with
                   the
                   lesser
                   third
                   falling
                   ,
                   it
                   would
                   have
                   yielded
                   a
                   most
                   unpleasant
                   harmony
                   .
                
                 
                 
                   
                   1
                   
                   
                   3
                   4
                   
                   
                   
                   He
                   that
                   will
                   be
                   diligent
                   to
                   know
                   ,
                   and
                   carefull
                   to
                   observe
                   the
                   true
                   allowances
                   ,
                   may
                   be
                   bold
                   in
                   his
                   Composition
                   ,
                   &
                   shall
                   prove
                   quickly
                   ready
                   in
                   his
                   sight
                   ,
                   doing
                   that
                   safely
                   and
                   resolutely
                   which
                   others
                   attempt
                   timorously
                   and
                   uncertainly
                   .
                   But
                   now
                   let
                   us
                   proceed
                   in
                   the
                   passages
                   of
                   the
                   lesser
                   third
                   .
                
                 
                   Thirdly
                   ,
                   the
                   lesser
                   third
                   passeth
                   into
                   an
                   eight
                   ,
                   the
                   lower
                   part
                   descending
                   by
                   degrees
                   ,
                   and
                   the
                   upper
                   part
                   by
                   leaps
                   :
                   but
                   very
                   seldom
                   when
                   the
                   upper
                   part
                   riseth
                   by
                   degrees
                   ,
                   and
                   the
                   lower
                   part
                   falls
                   by
                   a
                   leap
                   .
                
                 
                   
                   
                   Fourthly
                   ,
                   the
                   lesser
                   third
                   passeth
                   into
                   other
                   Concords
                   ,
                   as
                   when
                   it
                   is
                   continued
                   ,
                   as
                   in
                   degrees
                   it
                   may
                   be
                   ,
                   but
                   not
                   in
                   leaps
                   .
                   
                   Also
                   it
                   may
                   pass
                   into
                   the
                   greater
                   third
                   ,
                   both
                   by
                   degrees
                   and
                   leaps
                   ,
                   as
                   also
                   in
                   the
                   lesser
                   sixth
                   ,
                   if
                   one
                   of
                   the
                   parts
                   stand
                   still
                   ,
                   into
                   the
                   great
                   sixth
                   it
                   sometimes
                   passeth
                   ,
                   but
                   very
                   rarely
                   .
                
                 
                   1
                   2
                   3
                   4
                   
                   
                
                 
                   Lastly
                   ,
                   add
                   unto
                   the
                   rest
                   this
                   
                   
                   passage
                   of
                   the
                   lesser
                   third
                   into
                   the
                   lesser
                   sixt
                   ,
                   as
                   when
                   the
                   lower
                   part
                   riseth
                   by
                   degrees
                   ,
                   and
                   the
                   upper
                   part
                   by
                   leaps
                   .
                
              
               
                 
                   Of
                   the
                   greater
                   or
                   perfect
                   Third
                   .
                
                 
                   The
                   greater
                   or
                   perfect
                   third
                   being
                   to
                   pass
                   into
                   perfect
                   Concords
                   ,
                   first
                   take
                   the
                   unison
                   ,
                   when
                   the
                   parts
                   ascend
                   together
                   ,
                   the
                   higher
                   by
                   degree
                   ,
                   the
                   lower
                   by
                   leap
                   ;
                   or
                   when
                   they
                   meet
                   together
                   in
                   a
                   contrary
                   motion
                   ,
                   or
                   when
                   one
                   of
                   the
                   parts
                   stand
                   still
                   .
                   Secondly
                   ,
                   it
                   passeth
                   into
                   a
                   fift
                   when
                   one
                   of
                   the
                   parts
                   rests
                   ,
                   as
                   hath
                   been
                   declared
                   before
                   ;
                   or
                   else
                   when
                   the
                   parts
                   ascend
                   or
                   descend
                   together
                   ,
                   one
                   by
                   degrees
                   ,
                   the
                   other
                   by
                   leaps
                   ;
                   and
                   so
                   the
                   greater
                   tenth
                   may
                   pass
                   into
                   a
                   fift
                   ;
                   seldom
                   when
                   both
                   parts
                   leap
                   together
                   ,
                   or
                   when
                   they
                   separate
                   themselves
                   by
                   degrees
                   ;
                   and
                   this
                   in
                   regard
                   
                   of
                   the
                   relation
                   not
                   harmonical
                   which
                   falls
                   in
                   between
                   the
                   parts
                   .
                   Thirdly
                   ,
                   the
                   greater
                   third
                   passeth
                   into
                   the
                   eight
                   by
                   contrary
                   motions
                   ,
                   the
                   upper
                   part
                   ascending
                   by
                   degrees
                   .
                
                 
                   
                   
                     The
                     Vnison
                     .
                     The
                     Fifth
                     .
                     The
                     Eighth
                     .
                  
                   
                
                 
                   The
                   greater
                   third
                   may
                   also
                   pass
                   into
                   other
                   Concords
                   ,
                   and
                   first
                   into
                   a
                   lesser
                   third
                   ,
                   when
                   the
                   parts
                   ascend
                   or
                   descend
                   by
                   degrees
                   ,
                   or
                   by
                   the
                   lesser
                   leaps
                   .
                   Secondly
                   ,
                   it
                   is
                   continued
                   but
                   rarely
                   ,
                   because
                   it
                   falls
                   into
                   relation
                   not
                   harmonical
                   ,
                   thereby
                   making
                   the
                   harmony
                   less
                   pleasing
                   .
                   Thirdly
                   ,
                   into
                   a
                   lesser
                   sixt
                   ,
                   when
                   the
                   parts
                   part
                   asunder
                   ,
                   the
                   one
                   by
                   degree
                   ,
                   the
                   other
                   by
                   leap
                   .
                   Fourthly
                   ,
                   into
                   a
                   great
                   sixt
                   ,
                   one
                   of
                   the
                   parts
                   standing
                   ,
                   or
                   else
                   the
                   upper
                   part
                   falling
                   by
                   degree
                   ,
                   and
                   the
                   lower
                   by
                   leap
                   .
                
                 
                   1
                   2
                   3
                   4
                   
                   
                
              
               
                 
                   Of
                   the
                   lesser
                   Sixth
                   .
                
                 
                   The
                   lesser
                   sixt
                   ,
                   regularly
                   goes
                   into
                   the
                   fift
                   ,
                   
                   one
                   of
                   the
                   parts
                   holding
                   his
                   place
                   ;
                   rarely
                   into
                   an
                   eight
                   ,
                   and
                   first
                   when
                   the
                   parts
                   ascend
                   or
                   descend
                   together
                   ,
                   and
                   one
                   of
                   them
                   proceeds
                   by
                   the
                   half
                   Note
                   ,
                   the
                   other
                   by
                   leap
                   .
                
                 
                   1
                   2
                   
                   
                   Howsoever
                   the
                   ways
                   of
                   rising
                   and
                   falling
                   from
                   the
                   lesser
                   sixth
                   into
                   the
                   eight
                   in
                   the
                   for●mer
                   example
                   may
                   pass
                   ,
                   I
                   am
                   sure
                   that
                   if
                   the
                   Bass
                   be
                   sharp
                   in
                   
                     F
                     fa
                     vt
                  
                   ,
                   it
                   is
                   not
                   tolerable
                   to
                   rise
                   from
                   a
                   sixt
                   to
                   an
                   eight
                   .
                
                 
                   
                   
                   Lastly
                   ,
                   the
                   lesser
                   sixth
                   may
                   pass
                   into
                   an
                   eight
                   in
                   Crotchets
                   ,
                   for
                   they
                   are
                   easily
                   tolerated
                   .
                
                 
                   It
                   passeth
                   likewise
                   into
                   other
                   Concords
                   ,
                   as
                   into
                   a
                   greater
                   sixt
                   ,
                   the
                   parts
                   rising
                   or
                   falling
                   by
                   degrees
                   ,
                   as
                   also
                   in
                   a
                   greater
                   or
                   lesser
                   third
                   ,
                   the
                   one
                   part
                   proceeding
                   by
                   degree
                   ,
                   the
                   other
                   by
                   leap
                   ;
                   or
                   when
                   one
                   of
                   the
                   parts
                   stands
                   .
                   It self
                   cannot
                   follow
                   ,
                   by
                   reason
                   of
                   the
                   falling
                   in
                   of
                   the
                   Relation
                   not
                   harmonical
                   .
                
                 
                   1
                   2
                   3
                   
                   
                
              
               
                 
                 
                   Of
                   the
                   greater
                   Sixth
                   .
                
                 
                   The
                   greater
                   sixt
                   in
                   proceeding
                   affects
                   the
                   eight
                   ,
                   but
                   it
                   will
                   hardly
                   pass
                   into
                   the
                   fift
                   ,
                   unless
                   it
                   be
                   in
                   binding-wise
                   ,
                   or
                   when
                   way
                   is
                   prepared
                   for
                   a
                   Close
                   
                   
                
                 
                   Finally
                   ,
                   the
                   greater
                   sixt
                   may
                   in
                   degrees
                   be
                   continued
                   ,
                   or
                   pass
                   into
                   a
                   lesser
                   sixt
                   ,
                   as
                   also
                   into
                   a
                   greater
                   third
                   ,
                   or
                   a
                   lesser
                   third
                   .
                
                 
                   
                   1
                   2
                   3
                   
                
                 
                   These
                   are
                   the
                   principal
                   observations
                   belonging
                   to
                   the
                   passages
                   of
                   Concords
                   ,
                   Perfect
                   and
                   Imperfect
                   ,
                   in
                   few
                   parts
                   ;
                   and
                   yet
                   in
                   those
                   few
                   ,
                   for
                   fuge
                   and
                   formality
                   sake
                   ,
                   some
                   dispensation
                   may
                   be
                   granted
                   .
                   But
                   in
                   many
                   parts
                   necessity
                   enforcing
                   ,
                   if
                   any
                   thing
                   be
                   committed
                   contrary
                   to
                   rule
                   ,
                   it
                   may
                   the
                   more
                   easily
                   be
                   excused
                   ,
                   because
                   the
                   multitude
                   of
                   Parts
                   will
                   drown
                   any
                   small
                   inconvenience
                   .
                
              
            
             
               FINIS
               .
            
          
           
             
             
               THE
               ORDER
               of
               PERFORMING
               THE
               DIVINE
               SERVICE
               IN
               Cathedrals
               and
               
                 Collegiate
                 Chappels
              
               .
            
             
               THe
               Confession
               and
               Absolution
               being
               read
               by
               the
               Priest
               in
               one
               continued
               and
               solemn
               Tone
               ,
               the
               Priest
               and
               the
               whole
               Quire
               repeat
               the
               Lords
               Prayer
               :
               Thus
               ,
               
               
                 Our
                 Father
                 which
                 art
                 in
                 Heav●n
                 ,
              
               &c.
               
                 for
                 ever
                 and
                 ever
                 ,
                 Amen
                 .
                 Priest.
                 Quire.
                 
              
               
               O
               Lord
               open
               thou
               our
               lips
               ,
               
                 And
                 our
                 mouth
                 shall
                 shew
                 forth
                 ,
              
               &c.
               
               Priest.
               Quire.
               
               
               O
               God
               make
               speed
               to
               save
               us
               .
               
                 O
                 Lord
                 make
                 hast
                 to
                 help
                 us
                 .
              
               
               Glory
               be
               to
               the
               Father
               ,
               and
               to
               the
               Son
               ,
               and
               to
               the
               Holy
               Ghost
               .
               
               
                 As
                 it
                 was
                 in
                 the
                 beginning
                 is
                 now
                 ,
              
               &c.
               
                 world
                 without
                 end
                 ,
                 Amen
              
               .
            
             
             
               The
               Venite
               is
               begun
               by
               one
               of
               the
               Quire
               ,
               then
               sung
               by
               Sides
               ,
               abs●rving
               to
               make
               the
               like
               break
               or
               Close
               in
               the
               middle
               of
               ev●ry
               Verse
               ,
               according
               as
               it
               is
               shorter
               or
               longer
               .
            
             
               Sunday
               .
               
               O
               〈◊〉
               ●et
               us
               sing
               .
               
                 &
                 c.
              
               ●et
               us
               heartily
               rejoyce
               in
               the
               strength
               ,
               
                 &c.
                 Monday
              
               .
               
               O
               come
               〈◊〉
               us
               sing
               ,
               &c.
               
               Let
               us
               heartily
               rejoyce
               in
               the
               strength
               
                 &c.
                 Tuesday
              
               .
               
               O
               come
               let
               us
               sing
               ,
               &c.
               
               Let
               us
               heartily
               rejoyce
               in
               the
               strength
               ,
               
                 &c.
                 Wednesday
              
               .
               
               O
               come
               let
               us
               sing
               ,
               &c.
               
               Let
               us
               heartily
               rejoyce
               in
               the
               strength
               ,
               
                 &c.
                 Thursday
              
               .
               
               O
               come
               let
               us
               sing
               ,
               &c.
               
               Let
               us
               heartily
               rejoyce
               in
               the
               strength
               ,
               
                 &c.
                 Friday
              
               
               O
               come
               let
               us
               sing●
               &c.
               
               Let
               us
               heartily
               rejoyce
               in
               the
               strength
               
                 &c.
                 Saturday
              
               
               O
               come
               let
               us
               sing
               ,
               &c.
               
               Let
               us
               heartily
               rejoyce
               in
               the
               strength●
               &c.
               
            
             
               A●ter
               the
               Psalms
               ,
               a
               short
               Voluntary
               is
               performed
               ●n
               the
               Organ
               .
               After
               ●he
               first
               ●●sson
               
                 Te
                 Deum
              
               is
               sung
               ,
               the
               Priest
               beginning
               alone
               ,
               
               
                 We
                 ●●aise
                 thee
                 O
                 God
              
               ,
               Then
               ●he
               whole
               Quire
               Answer
               ,
               
                 We
                 knowledge
              
               thee
               ●
               &c.
               which
               is
               Composed
               usually
               in
               4
               Parts
               for
               sides
               ,
               by
               sev●ral
               Autho●s
               :
               Sometimes
               it
               is
               su●g
               to
               one
               of
               
               th●se
               following
               Tunes
               of
               4
               parts
               with
               the
               Organ
               or
               without
               it
               .
               
                 Te
                 Deum
              
               being
               ended
               and
               the
               Second
               Lesson
               ,
               Iubilate
               or
               Benedictus
               is
               Sung
               by
               the
               Quire
               ,
               as
               they
               are
               variously
               Composed
               ,
               or
               else
               ,
               to
               one
               of
               the
               following
               Tunes
               of
               4
               parts
               .
            
             
               
                 These
                 several
                 Tunes
                 of
                 4
                 Parts
                 are
                 proper
                 for
                 Quires
                 to
                 Sing
                 the
                 
                   Psalms
                   ,
                   Te
                   Deum
                   ,
                   Benedictus
                
                 or
                 Jubilate
                 to
                 the
                 Organ
                 ,
                 or
                 sometime
                 without
                 it
                 .
              
               
                 
                   A.
                   4.
                   
                   Voc.
                   Cante●bury
                   Tune
                   .
                
                 
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                
              
               
                 
                   A.
                   4.
                   
                   Voc.
                   Imperial
                   Tune
                   .
                
                 
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   &c.
                   
                   
                   O
                   come
                   ●et
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength●
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   hea●t●●y
                   rejo●ce
                   in
                   the
                   s●reng●h
                   ,
                   &c.
                   
                   
                   O
                   come
                   le●
                   u●
                   sing
                   ,
                   &c.
                   
                   L●t
                   us
                   heartily
                   rejoyce
                   in
                   the
                   s●●ength
                   ,
                   &c.
                   
                
              
            
             
               
               
                 These
                 six
                 Tunes
                 are
                 sung
                 in
                 His
                 Majesties
                 Chappel
                 with
                 the
                 Organ
                 to
                 the
                 Psalms
                 ,
                 Te
                 Deum
                 ,
                 &c.
                 
                 Com●osed
                 by
                 Mr.
                 
                   John
                   B●ow
                
                 and
                 Mr.
                 
                   William
                   Turner
                
                 ,
                 Gentlemen
                 of
                 His
                 Majesties
                 Chappel
                 .
              
               
                 
                   A
                   4.
                   
                   Voc.
                   
                
                 
                   
                   O
                   come
                   let
                   us
                   sing
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                
              
               
                 
                   A
                   4.
                   
                   Voc.
                   
                
                 
                   
                   O
                   come
                   let
                   u●
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing●
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                
              
               
                 
                 
                   A.
                   4.
                   
                   Voc.
                   
                
                 
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing●
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                
              
               
                 
                   A
                   4.
                   
                   Voc.
                   
                
                 
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing●
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   
                     &
                     c●
                  
                
              
               
                 
                 
                   A
                   4.
                   
                   Voc.
                   
                
                 
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                
              
               
                 
                   A
                   4.
                   
                   Voc.
                   
                
                 
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rej●yce
                   in
                   the
                   strength
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   &c.
                   
                   
                   O
                   come
                   let
                   us
                   sing
                   ,
                   &c.
                   
                   Let
                   us
                   heartily
                   rejoyce
                   in
                   the
                   strength
                   ,
                   
                     &
                     c●
                  
                
                 
                 
                   The
                   followeth
                   the
                   Apostles
                   Creed
                   ,
                   which
                   is
                   sung
                   by
                   the
                   whole
                   Quire
                   in
                   one
                   continued
                   solemn
                   and
                   grave
                   Tone
                   :
                   Upon
                   Festivals
                   
                   Athanasius's
                   Creed
                   is
                   sung
                   in
                   the
                   same
                   Tune
                   by
                   sides
                   ;
                   and
                   sometimes
                   it
                   is
                   sung
                   to
                   the
                   Organ
                   to
                   one
                   of
                   the
                   following
                   Tunes
                   of
                   4
                   Parts●
                
                 
                   
                   
                     Whosoever
                     will
                     be
                     saved
                  
                   ,
                   &c.
                   
                     that
                     he
                     hold
                     the
                     Catholick
                     Faith.
                     
                  
                
                 
                   After
                   which
                   the
                   Priest
                   sings
                   ,
                   
                   The
                   Lord
                   be
                   with
                   you
                   .
                   
                     And
                     with
                     thy
                     Spirit
                     .
                     Priest.
                  
                   Quire.
                   
                   
                   Let
                   us
                   pray
                   ,
                   Lord
                   have
                   mercy
                   upon
                   us
                   .
                   
                     Christ
                     have
                     mercy
                     upon
                     us
                     .
                     Priest.
                     The
                     whole
                     Quire
                     in
                     one
                     Tone
                  
                   
                   Lord
                   have
                   mercy
                   upon
                   us
                   .
                   Our
                   Father
                   which
                   art
                   in
                   Heaven
                   ,
                   
                   &c.
                   
                   Priest.
                   Quire.
                   
                   
                   O
                   Lord
                   shew
                   thy
                   mercy
                   upon
                   us
                   .
                   
                     And
                     grant
                     us
                     thy
                     salvation
                     .
                     Priest.
                  
                   Quire.
                   
                   
                   O
                   Lord
                   save
                   the
                   King.
                   
                     And
                     mercifully●hear
                     us
                     when
                     we
                     call
                     ,
                  
                   &c.
                   
                   Priest.
                   Quire.
                   
                   
                   Indue
                   thy
                   Ministers
                   with
                   ,
                   
                     &c.
                     
                     And
                     make
                     thy
                     chosen
                  
                   people
                   ●
                   &c.
                   P●iest
                   .
                   Quire.
                   Priest.
                   
                   
                   O
                   Lord
                   save
                   thy
                   people
                   
                     And
                     bless
                     thine
                  
                   ,
                   &c.
                   〈…〉
                   &c.
                   
                   
                   Priest.
                   Quire.
                   
                   
                   
                     Because
                     there
                     is
                     no
                     other
                     that
                     fighteth
                     ,
                  
                   &c.
                   
                   O
                   God
                   make
                   clean
                   ,
                   &c.
                   
                   Quire.
                   
                   
                   
                     And
                     take
                     not
                     thy
                     holy
                     Spirit
                     from
                     us
                     .
                  
                   After
                   every
                   Collect
                   the
                   Quire
                   Answers
                   
                   Amen
                   .
                
                 
                   Upon
                   the
                   usual
                   day
                   that
                   the
                   Litany
                   is
                   appointed
                   to
                   be
                   sung
                   ,
                   it
                   is
                   sung
                   by
                   two
                   of
                   the
                   Quire
                   in
                   the
                   middle
                   of
                   the
                   Church
                   ,
                   near
                   the
                   Bible-desk
                   .
                
                 
                   
                   
                     The
                     whole
                     Quire
                     answering
                     in
                     the
                     same
                     Tune
                     .
                  
                   O
                   God
                   the
                   Father
                   ,
                   &c.
                   have
                   mery
                   upon
                   us
                   miserable
                   ,
                   &c.
                   
                   
                   
                     The
                     whole
                     Quire
                     answering
                     the
                     same
                     .
                  
                   O
                   God
                   the
                   Son
                   ,
                   &c.
                   have
                   mercy
                   upon
                   us
                   miserable
                   ,
                   &c.
                   
                   
                   
                     The
                     Quire
                     Answer
                     the
                     same
                  
                   .
                   O
                   God
                   the
                   holy
                   Ghost
                   ,
                   &c.
                   have
                   mercy
                   upon
                   us
                   ,
                   &c.
                   
                   
                   
                     The
                     Quire
                     Answer
                     the
                     same
                  
                   .
                   O
                   holy
                   blessed
                   and
                   ,
                   &c.
                   have
                   mercy
                   upon
                   us
                   ,
                   
                     &c.
                     
                     Priest.
                  
                   Quire.
                   Quire.
                   
                   
                   Remember
                   not
                   Lord
                   ,
                   
                     &c.
                     
                     Spare
                     us
                     good
                     Lord●
                     Good
                     Lord
                     deliver
                     us
                     .
                  
                   
                   Quire.
                   Quire.
                   
                   
                   
                     We
                     beseech
                     thee
                     to
                     hear
                     us
                     good
                     Lord.
                     Son
                     of
                     God
                     ,
                     we
                     beseech
                     thee
                     ,
                  
                   &c.
                   
                   Priest.
                   Quire.
                   
                   
                   O
                   Lamb
                   of
                   God
                   ,
                   that
                   takest
                   away
                   the
                   sins
                   ,
                   
                     &c.
                     Grant
                     us
                     thy
                     peace
                     .
                     Priest.
                  
                   Quire.
                   
                   
                   O
                   Lamb
                   of
                   God
                   ,
                   that
                   takest
                   away
                   the
                   ,
                   
                     &c.
                     
                     Have
                     me●cy
                     upon
                     us
                     .
                     Priest.
                  
                   Quire.
                   Priest.
                   
                   
                   O
                   Christ
                   hear
                   us
                   .
                   
                     O
                     Christ
                     hear
                     us
                  
                   .
                   Lord
                   have
                   mercy
                   upon
                   us
                   .
                   Quire.
                   Priest.
                   Quire.
                   
                   
                   
                     Lord
                     have
                     mercy
                  
                   ,
                   &c.
                   
                   Christ
                   have
                   mercy
                   ,
                   
                     &c.
                     
                     Christ
                     have
                     mercy
                  
                   ,
                   &c.
                   
                   Priest.
                   Quire.
                   Quire.
                   
                   
                   Lord
                   have
                   mercy
                   upon
                   us
                   .
                   
                     Lord
                     have
                     mercy
                  
                   ,
                   &c.
                   
                     Our
                     Father
                  
                   ,
                   &c.
                   
                   Quire.
                   Priest.
                   
                   
                   
                     But
                     deliver
                     us
                     from
                     evil
                     ,
                     Amen
                     .
                  
                   O
                   Lord
                   deal
                   not
                   with
                   us
                   after
                   ,
                   &c.
                   
                   Quire.
                   Priest.
                   Quire.
                   
                   
                   
                     Neither
                     reward
                     us
                     after
                  
                   ,
                   &c.
                   
                   O
                   God
                   merciful
                   F●ther
                   that
                   ,
                   &c.
                   
                   
                   
                     O
                     Lo●d
                     ar●se
                     ,
                     &c.
                  
                   
                   Priest.
                   
                   
                   
                     for
                     thy
                     name
                     sake
                  
                   .
                   O
                   God
                   we
                   have
                   heard●
                   &c.
                   time
                   before
                   them
                   .
                   Quire.
                   Priest.
                   
                   
                   
                     O
                     Lord
                     arise
                     ,
                     help
                  
                   ,
                   &c.
                   
                     for
                     thine
                  
                   honour
                   ●
                   Glory
                   be
                   to
                   the
                   Father
                   ,
                   &c.
                   Quire.
                   
                   
                   and
                   to
                   the
                   Holy
                   Ghost
                   .
                   
                     As
                     it
                     was
                  
                   ,
                   &c.
                   
                     world
                     without
                     end
                     ,
                     Amen
                     .
                     Priest.
                  
                   Quire.
                   
                   
                   From
                   o●r
                   enemies
                   defend
                   us
                   O
                   Christ.
                   
                     Graciously
                     look
                     up
                     our
                  
                   ,
                   &c.
                   
                   Priest.
                   Quire.
                   
                   
                   Pitifu●ly
                   behold
                   the
                   sorrows
                   ,
                   
                     &c.
                     
                     Mercifully
                     forgive
                     the
                     Sins
                     ,
                  
                   &c.
                   
                   Priest.
                   Quire.
                   Priest.
                   
                   
                   Favourably
                   with
                   mercy
                   ,
                   
                     &c.
                     O
                     Son
                     of
                     David
                  
                   ,
                   &c.
                   
                   Both
                   now
                   and
                   Quire.
                   Priest.
                   
                   
                   ever
                   vouchsafe
                   ,
                   
                     &c.
                     
                     Graciously
                     hear
                     us
                     &c.
                     O
                     L.
                     Christ.
                  
                   O
                   Lord
                   let
                   thy
                   Quire.
                   Priest.
                   Quire.
                   
                   
                   mercy
                   be
                   ,
                   
                     &c.
                     
                     As
                     we
                     do
                     put
                     our
                     trust
                     ,
                  
                   &c.
                   
                   We
                   humbly
                   beseech
                   ●hee
                   ,
                   &c.
                   
                   
                   Amen
                   .
                
              
            
             
               FINIS
               .
            
          
        
         
           
             
             
               Musick
               Books
               Sold
               by
               
                 John
                 Playford
              
               at
               his
               Shop
               near
               the
               
                 Temple
                 Church
              
               .
            
             
               
                 CAnticum
                 Sacra
              
               ,
               the
               fi●st
               Set
               ,
               containing
               Latin
               Hymns
               for
               two
               and
               three
               Voyces
               to
               the
               Organ
               ,
               Composed
               by
               Mr.
               
                 Richard
                 Deering
              
               ,
               in
               four
               books
               ,
               in
               fol.
               price
               3
               s.
               6.
               d.
               
            
             
               
                 Canticum
                 Sacra
              
               ,
               the
               second
               Set
               ,
               containing
               Hymns
               and
               Anthems
               for
               two
               Voyces
               to
               the
               Organ
               ,
               some
               in
               Latin
               and
               some
               in
               English
               ,
               Composed
               by
               Dr.
               Gibbons
               ,
               Dr.
               Rogers
               ,
               Mr.
               
                 Ma●thew
                 Lock
              
               ,
               and
               others
               ,
               in
               three
               books
               in
               fol.
               price
               5
               s.
               
            
             
               
                 Hymns
                 and
                 Mottets
              
               for
               two
               Voyces
               to
               the
               Organ
               ,
               Composed
               by
               Mr.
               
                 Walt.
                 Porter
              
               ,
               in
               three
               books
               ,
               fol.
               price
               2
               s.
               6
               d.
               
            
             
               
                 The
                 Psalms
                 of
                 David
              
               ,
               Composed
               in
               four
               parts
               ,
               as
               they
               are
               sung
               in
               Parish
               Churches
               ,
               in
               one
               volume
               in
               fol.
               price
               3
               s.
               
            
             
               
                 An
                 Introduction
                 to
                 Musick
              
               ,
               both
               Vocal
               and
               Instrumental
               ,
               with
               
                 A
                 Compendium
                 o●
                 the
                 Art
                 of
                 Descant
                 ,
              
               or
               Composing
               Musick
               in
               parts
               ,
               newly
               printed
               ,
               and
               enlarged
               with
               an
               addition
               of
               
                 The
                 manner
                 of
                 performing
                 Divine
                 Service
                 in
                 Cathedral
                 Churches
                 and
                 College
                 Chappels
                 ,
              
               published
               by
               
                 Iohn
                 Playford
              
               ,
               in
               octavo
               ,
               price
               bound
               2
               s.
               
            
             
               
                 The
                 Treasury
                 of
                 Musick
              
               ,
               containing
               three
               volumes
               of
               Ayres
               and
               Dialogues
               ,
               published
               by
               Mr.
               
                 Henry
                 Laws
              
               ,
               and
               other
               Eminent
               Composers
               of
               Musick
               ,
               for
               to
               Sing
               to
               the
               Theorbo
               or
               Bass-Viol
               ,
               price
               bound
               10
               s.
               
            
             
               
                 Choice
                 Ayres
                 and
                 Dialogues
              
               ,
               to
               Sing
               to
               the
               Theorbo
               or
               Bass-Viol
               ,
               being
               most
               of
               the
               newest
               Ayres
               and
               Songs
               su●g
               at
               Court
               and
               at
               the
               Publick
               Theaters
               ,
               Composed
               by
               several
               Gentlemen
               of
               His
               Majesties
               Musick
               ,
               to
               which
               in
               this
               new
               Edition
               are
               added
               many
               more
               new
               Songs
               ,
               and
               also
               those
               Songs
               sung
               in
               the
               famous
               Play
               call'd
               the
               Tempest
               ,
               in
               fol.
               price
               3
               s.
               
            
             
               
                 The
                 Musical
                 Companion
              
               ,
               in
               two
               books
               ,
               the
               first
               containing
               a
               Collection
               of
               choice
               Catches
               for
               three
               Voyces
               ,
               the
               second
               containing
               a
               choice
               Collection
               of
               Ayres
               ,
               Songs
               and
               Glees
               ,
               some
               for
               two
               ,
               some
               for
               three
               ,
               and
               some
               for
               four
               Voyces
               ,
               all
               bound
               in
               one
               volume
               in
               quarto
               ;
               the
               price
               of
               this
               new
               Edition
               is
               3
               ●
               .
               6
               d.
               
            
             
             
               
                 The
                 Dancing
                 Master
              
               ,
               containing
               above
               200
               Country
               Dances
               ,
               with
               the
               Tune
               to
               every
               Dance
               ,
               and
               also
               plain
               and
               easie
               Rules
               directing
               the
               manner
               and
               way
               of
               Dancing
               them
               ,
               price
               bound
               2
               s.
               6
               d.
               
            
             
               
                 Apollo's
                 Banquet
              
               ,
               containing
               a
               choice
               Collection
               of
               the
               newest
               Tunes
               ,
               Ayres
               and
               Jiggs
               ,
               for
               the
               Treble-Violin
               ,
               to
               which
               is
               added
               the
               Tunes
               of
               French
               Dances
               used
               at
               Court
               and
               in
               Dancing-Schools
               ,
               with
               Instructions
               for
               such
               as
               learn
               to
               play
               on
               the
               Treble-Violin
               ,
               price
               1
               s.
               6
               d.
               
            
             
               
                 Musicks
                 Recreation
              
               ,
               containing
               a
               choice
               Collection
               of
               Lessons
               for
               the
               Ba●s-Viol
               Lyra-way
               ,
               to
               variety
               of
               new
               Tunings
               ,
               and
               also
               Instructions
               for
               the
               Practitioners
               ,
               price
               2
               s.
               6
               d.
               
            
             
               
                 Musicks
                 Handmaid
              
               ,
               containing
               a
               Collection
               of
               new
               and
               choice
               Lessons
               for
               the
               Harpsecon
               or
               Virginals
               ,
               price
               2
               s.
               6
               d.
               
            
             
               
                 Musicks
                 Delight
              
               ,
               containing
               new
               and
               pleasant
               Lessons
               and
               Instructions
               for
               the
               Cithren
               ,
               price
               bound
               1
               s.
               6
               d.
               
            
             
               
                 The
                 Pleasant
                 Companion
              
               ,
               containing
               variety
               of
               new
               Ayres
               and
               Tunes
               for
               the
               Flagelet
               ,
               with
               Instructions
               for
               Learners
               on
               the
               same
               ,
               price
               bound
               1
               s.
               6
               d.
               
            
             
               
                 Other
                 Books
                 .
              
               
                 
                   THe
                   Psalms
                   of
                   David
                
                 ,
                 Translated
                 into
                 English
                 Metre
                 by
                 the
                 Reverend
                 Dr.
                 
                   Henry
                   King
                
                 ,
                 late
                 Lord
                 Bishop
                 of
                 Chichester
                 ,
                 according
                 to
                 the
                 Measure
                 of
                 the
                 common
                 Psalms
                 sung
                 in
                 Parish
                 Churches
                 ,
                 published
                 for
                 publick
                 ,
                 or
                 private
                 use
                 of
                 Families
                 ,
                 in
                 octavo
                 ,
                 price
                 bound
                 2
                 s.
                 
              
               
                 
                   An
                   Antidote
                   against
                   Melancholly
                
                 ,
                 the
                 first
                 part
                 ,
                 compounded
                 of
                 witty
                 Ballads
                 ,
                 Songs
                 ,
                 Poems
                 ,
                 and
                 merry
                 Catches
                 ,
                 in
                 octavo
                 ,
                 price
                 bound
                 2
                 s.
                 
              
               
                 
                   A
                   Cabinet
                   of
                   Mirth
                
                 ,
                 or
                 the
                 second
                 part
                 of
                 the
                 
                   Antidote
                   against
                   Mela●cholly
                
                 ,
                 containing
                 a
                 choice
                 Collection
                 of
                 merry
                 Tales
                 ,
                 witty
                 Jests
                 ,
                 and
                 ridiculous
                 Bulls
                 ,
                 in
                 octavo
                 ,
                 price
                 bound
                 1
                 s.
                 
              
            
          
        
      
    
     
       
         Notes, typically marginal, from the original text
         
           Notes for div A55066-e540
           
             Tria
             sunt
             Omnia
             .
             
             Benedicta
             sit
             Sancta
             &
             Individua
             Trinitas
             .
          
        
         
           Notes for div A55066-e2880
           
             *
             B
             fa
             B
             mi.
             
          
           
             *
             E
             la
             mi.
             
          
           
             *
             A
             la
             mi
             re
             .
          
           
             *
             D
             la
             sol
             .
          
        
         
           Notes for div A55066-e31890
           
             *
             Cou●terpoint
             ,
             in
             Latin
             
               Contra
               punctum
            
             ,
             was
             the
             old
             manner
             of
             Composing
             Parts
             together
             ,
             by
             setting
             Points
             or
             Pricks
             one
             against
             anoth●r
             (
             as
             Minims
             and
             Semibreves
             are
             set
             in
             this
             following
             Treatise
             )
             the
             measure
             of
             which
             Points
             or
             Pricks
             were
             sung
             acco●ding
             to
             the
             quantity
             of
             the
             Words
             or
             Syllables
             to
             which
             they
             were
             applied
             .
             (
             For
             these
             Figures
             
             were
             not
             as
             yet
             inven●ed
             .
             )
             And
             ,
             because
             in
             Plain
             song
             Musick
             we
             set
             Note
             against
             ●ote
             ,
             as
             they
             did
             point
             against
             point
             ,
             thence
             it
             is
             ,
             that
             this
             kind
             of
             Musick
             doth
             still
             r●tain
             th●
             name
             of
             Counterpoint
             .
          
           
             (a)
             
               If
               the
               Bass
               do
               rise
               more
               than
               a
               fourth
               ,
               it
               must
               be
               called
               falling
               :
               and
               likewise
               ,
               if
               it
               fall
               any
               distance
               more
               than
               a
               fourth
               ,
               that
               falling
               must
               be
               called
               rising
               .
            
          
           
             (b)
             
               If
               your
               Bass
               should
               fall
               a
               seventh
               ,
               it
               is
               but
               the
               same
               as
               if
               it
               did
               rise
               a
               second
               ;
               or
               a
               sixth
               falling
               ,
               is
               but
               the
               same
               of
               a
               third
               rising
               :
               and
               so
               on
               the
               contrary
               ,
               if
               the
               Bass
               do
               rise
               a
               seventh
               or
               sixth
               ,
               it
               is
               the
               same
               as
               though
               it
               did
               fall
               a
               s●cond
               or
               third
               .
            
          
           
             (c)
             
               By
               their
               Compounds
               is
               me●nt
               their
               Octa●es
               ,
               as
               a
               third
               and
               it●
               eig●ts
               ,
               a
               ●●●th
               and
               i●s
               ●ig●ts
               ,
            
             &c.
             
          
           
             (d)
             
               When
               you
               have
               made
               a
               formal
               Bass
               ,
               and
               would
               joyn
               other
               three
               parts
               to
               it
               ,
               set
               the
               first
               Note
               of
               your
               Tenor
               either
               a
               third
               ,
               fifth
               ,
               or
               eighth
               ,
               above
               your
               Bass
               ,
               (
               which
               of
               them
               you
               please
               )
               which
               done
               ,
               place
               your
               Mean
               in
               the
               next
               Cord
               you
               find
               above
               your
               Tenor
               ,
               and
               your
               Treble
               in
               the
               next
               Cord
               above
               your
               Mean
               ,
               then
               follow
               the
               Rule
               of
               your
               figures
               ,
               according
               to
               the
               rising
               or
               falling
               of
               your
               B●ss
               ,
               and
               the
               other
               Notes
               will
               follow
               in
               their
               due
               order
               .
            
          
           
             (e)
             
               
                 If
                 this
                 Discourse
                 of
                 Cordt
                 under
                 the
                 Bass
                 do
                 trouble
                 the
                 young
                 Beginner
                 ,
                 let
                 him
                 think
                 no
                 more
                 upon
                 them
                 (
                 for
                 it
                 is
                 not
                 intended
                 that
                 he
                 should
                 place
                 any
                 Notes
                 below
                 the
                 Bass
                 )
                 but
                 let
                 him
                 look
                 for
                 his
                 Cords
                 ,
                 reckoning
                 always
                 from
                 his
                 Bass
                 upward
                 ;
                 which
                 that
                 he
                 may
                 more
                 easily
                 perform
                 ,
                 let
                 him
                 draw
                 eleven
                 lines
                 (
                 which
                 is
                 the
                 whole
                 compass
                 of
                 the
                 Scale
                 )
                 and
                 set
                 the
                 three
                 used
                 Cliffs
                 in
                 their
                 proper
                 places
                 ;
                 this
                 done
                 ,
                 he
                 may
                 prick
                 his
                 Bass
                 in
                 the
                 lowest
                 five
                 lines
                 ,
                 and
                 then
                 set
                 the
                 other
                 three
                 parts
                 in
                 their
                 orderly
                 distances
                 above
                 the
                 Bass
                 ,
                 Note
                 against
                 Note
                 ,
                 as
                 you
                 see
                 in
                 this
                 following
                 Example
                 .
              
            
             
               
                 I
                 hav●
                 proposed
                 the
                 former
                 Example
                 of
                 the
                 eleven
                 lines
                 ,
                 to
                 lead
                 the
                 young
                 beginner
                 to
                 a
                 true
                 k●owledge
                 of
                 the
                 Scale
                 ,
                 without
                 which
                 nothing
                 can
                 be
                 effected
                 ;
                 but
                 having
                 once
                 got
                 that
                 knowledge●
                 let
                 him
                 then
                 compose
                 his
                 Musick
                 in
                 several
                 parts
                 ,
                 as
                 be
                 seeth
                 in
                 this
                 second
                 Example
                 .
              
            
             
               
                 He●e
                 I
                 think
                 it
                 not
                 a●●ss
                 to
                 advertise
                 the
                 young
                 Beginner
                 ,
                 that
                 so
                 often
                 as
                 the
                 Bass
                 doth
                 fall
                 a
                 fifth
                 ,
                 or
                 rise
                 a
                 fourth
                 (
                 which
                 is
                 all
                 one
                 ,
                 as
                 hath
                 been
                 said
                 )
                 that
                 〈◊〉
                 which
                 is
                 a
                 third
                 to
                 the
                 Bass
                 in
                 the
                 antecedent
                 Note
                 ,
                 that
                 third
                 I
                 say
                 must
                 always
                 be
                 the
                 sharp
                 or
                 greater
                 third
                 ,
                 as
                 was
                 apparent
                 in
                 the
                 last
                 example
                 of
                 four
                 Parts●
                 in
                 the
                 first
                 Notes
                 of
                 the
                 second
                 Bar
                 in
                 the
                 Mean
                 Part
                 ,
                 and
                 likewise
                 in
                 the
                 last
                 Note
                 but
                 one
                 of
                 the
                 same
                 Part
                 ;
                 in
                 both
                 which
                 places
                 there
                 is
                 a
                 
                 set
                 to
                 make
                 it
                 the
                 greater
                 third
                 .
                 The
                 same
                 is
                 to
                 be
                 observed
                 in
                 what
                 Part
                 soever
                 this
                 third
                 shall
                 happen
                 .
              
            
          
           
             (f)
             
               When
               your
               Bass
               standeth
               still
               (
               that
               is
               to
               say
               ,
               hath
               two
               or
               more
               Notes
               together
               in
               one
               and
               the
               same
               place
               )
               you
               may
               chuse
               whether
               you
               will
               make
               your
               parts
               do
               so
               too
               ,
               or
               change
               them
               ,
               as
               you
               see
               our
               Author
               hath
               done
               in
               the
               second
               Note
               of
               this
               present
               example
               .
               If
               you
               change
               them
               ,
               you
               may
               do
               it
               either
               by
               the
               Rule
               of
               descendi●g
               or
               ascending
               ,
               which
               you
               please
               ,
               so
               you
               do
               but
               observe
               formality
               .
            
          
           
             (g)
             
               He
               do●h
               not
               mean
               ,
               that
               such
               Basses
               are
               bad
               ,
               false
               ,
               or
               defective
               ,
               but
               that
               they
               have
               (
               perhaps
               for
               elegancy
               or
               variety
               )
               assumed
               the
               nature
               of
               some
               part
               for
               a
               Note
               or
               two
               ,
               and
               so
               want
               the
               full
               latitude
               of
               a
               Bass
               in
               those
               Notes
               .
            
          
           
             (h)
             
               
                 but
                 that
                 scruple
                 may
                 be
                 taken
                 away
                 by
                 making
                 the
                 second
                 Note
                 of
                 the
              
               Treble
               
                 sharp
                 ,
                 and
                 instead
                 of
                 a
                 fifth
                 by
                 removing
                 the
                 third
                 Note
                 into
                 a
                 sixth
                 .
              
            
             
               
                 When
                 any
                 informality
                 doth
                 occu●
                 ,
                 the
                 Scholar
                 need
                 not
                 keep
                 himself
                 to
                 the
                 first
                 rules
                 of
                 the
                 Bass
                 rising
                 or
                 falling●
                 but
                 may
                 take
                 such
                 Cords
                 as
                 his
                 Genius
                 shall
                 prom●t
                 him
                 to●
                 (
                 having
                 a
                 care
                 that
                 he
                 take
                 not
                 two
                 eighths
                 or
                 fif●hs
                 together
                 )
                 rising
                 or
                 falling
                 betwixt
                 any
                 two
                 Parts
                 whatsoever
                 :
                 'T
                 is
                 true
                 ,
                 our
                 Author
                 did
                 invent
                 this
                 Rule
                 of
                 the
                 Figures
                 ,
                 as
                 the
                 easiest
                 way
                 to
                 lead
                 the
                 young
                 Beginner
                 to
                 this
                 kind
                 of
                 Composition
                 ,
                 in
                 which
                 he
                 hath
                 done
                 more
                 than
                 any
                 that
                 I
                 have
                 ever
                 seen
                 upon
                 this
                 subject
                 ;
                 but
                 this
                 he
                 did
                 to
                 shew
                 the
                 smoothest
                 way
                 ,
                 and
                 not
                 to
                 tye
                 his
                 Scholar
                 to
                 keep
                 strictly
                 that
                 way
                 ,
                 when
                 a
                 block
                 or
                 stone
                 should
                 happen
                 to
                 lye
                 in
                 it
                 ,
                 but
                 that
                 he
                 may
                 in
                 such
                 a
                 case
                 step
                 out
                 of
                 this
                 way
                 for
                 a
                 Note
                 or
                 two
                 ,
                 and
                 then
                 return
                 again
                 into
                 it
                 .