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It relieves the attention ■ recruits the exhausted sp.nts ; and begeu a happy composure and tranquility. Nor is ;' //.. least of its benefits, that it associates pleasing ideas with divine -worship ; ,t n also a bond of union in religious societies, which promotes their regular attendance, and seldom fails of adding to their numbers Such IS the happy tenderuy of -well regulated so„g in the House of God : but, sacred and transporting as this exercise is, when devoutly 'per. formed, alas ! how seldom is it accompanied -with its proper effect : for, of ^l parts of public worship, this in general is performed with the least seriousness, nay, is very often most shamefully neglected. Seriousness in prayer, and soundness in preaching, have been the all in all of public worship ; while propriety and de-^otion in singing, have been almost altogether cut of the question. It -was the remark of an eminent i^riter, that " the worship in which -we should most resemble the inhabitants of Heaven, is the worst per formed t^on earth." His pious bbours have greatly enriched the matter of song, and thereby contributed to remove one cause of this complaint ; but ,n the vmnner there still remains a very great defect. Too often does ^ disgraceful silenfe prevail to the utter neglect of this duty. Too often are dissonance and discord, substituted for the charms of melody and harmony, and the singing performed in a way so slenly and indecent, that as the same writer okserves " instead cf elei'ating our devotions, to the most divine and delightful sensations, it awakens our regret, and touches all the springs of uneasiness within us." Rather than be remiss in our duty of such importance, therefor, all should bestow moderate attetP, tion and application, and thereby -we should soon cftain a suitabk proficiency in this divine art." «C'^!?'T ^^i^^m^mf^ ^^^^^^^sssssssssmjt^^ ^•«H8^^ INTRODUCTION. CHAP. I. OF MUSIC IN GENERAL. Music consists in a succession of pleasing sounds, withrcf- carcncc to a peculiar and internal sense, implanted in us by the great Creator. Considered as a science, it teacheth us the just disposition, and true relation of these sounds ; and as an art ,t enables us to express them with facility and advantage, lo trace this science to its origin would be a difficult if not a vain attempt, and to consider it as an invention merely hu- man would be rash, if not unfounded, for the bounds of it no man knows, its antiquity can be little short of the first articu- latiows of speech, differing from them in nothing but the measure and variety of tone, and can reasonably be referred I to no other cause than divine tuition. For there I, no avoid, ng the conclusion, the idea of music is connatural toman, ' and ,„,p .ed in the original principles of his constitution ; be. «des, all must allow that many and wonderful are the pro- ductions of this inexhaustible fountain, which, having furnish- ed the ingenious with such a grand and pleasing variety, is still as full as ever, and its depths as unfathomable. _ Music, therefore, especially vocal music, is most pleasing for inasmuch as that iastrument which approacheth nearest to the human voice, claims a superiority over all other instru- ments ; so docs vocal music claim a superiority over aU other kinds of music. Consequently he that hath ought arainit it muft look for the fault, either in the composer, in the per former, in the hearer, or in his own soul, and not in the art Itself, It is a science of sound j or, an art that guideth all sounds to the ear so as to please and effect by moving the passions with agreeable sounds, &c. Music is formed of Musa, signifying Muse : the invention ot wjiich, being by some, attributed to the Nine Muses } But Hesychius says, that the Athenians called every art by the Name of Music. Hence says the Poet, The art of Heav'n, the order of this Frame, Is all but Music, in another name. INTRODUCTION. But, to lay aside all other definitions, music is the gift of God and bestowed on man, to edulcorate and highten the pleasures of human life, and to alleviate and dispel its cares in this world : and the principal entertainment of the blessed hereafter. Music has been in the highest esteem in all past ages, and amongst all people, so that Authors could not express their opinions strong enough about it, for its wonderful effects here on earth ; but that it was certainly used in heaven ; for which reason the venerable Bede says, " that no science is admitted into the service of God, only music," and Scimus says, " that music is intolerable to devils." Athenius or Athen^us assures us that all laws, divine and civil ; all exhortations to virtue, divine and human knowledge of things ; and all actions of illustrious persons, were formerly written in verse, and set to music and were publicly sung in chorus, with instruments, as an effectual means to impress morality, and a right sense of duty on the minds of the people. And as this art was known in the earliest times, so it ought to.have the superiority of all others, as it is the most curious and sublime ; whether we consider it either in its theory, its practical, or in its mechanic parts. I St. The theoretic, or mathematic parts is the grammar, or natural ground work ; and greatly employs the thought. to find out all the ratio's and proportions of sounds in all their curious branches. This lies very deep in Natural Philosophy and requires great research to unfold it, before such sounds can be well modelled, to make harmony compl* it. 2dly. The practical part, is the well dispo-og of sounds which compose and contrive them into so many curious and pleasing varieties ; this proceeding from well taken concords, and intervening discords, &c. in a regular composition. 3dly. The mechanic, or active part, is that which readily gives a production of such sounds to the ear, and understand- ing J either from the soft modulation of a natural voice, or from dexterity of hand, on an artificial instrument, &c. The antieat music writers were very mysterious in th«r writing, and greatly perplexed before our scale was brought into the good order as it now is ; whose names will never be forgotton by the ingenious, to whom we arc beholden for all we know, viz. Lasus Hermionensis, Arisroxcnus, Aristotle and Euclid, who wrote about 303 years before Christ, after them were Aristides, Quintillianus, Alipiui, Gaudentius, Py- thagoras, Nichomachus, Boetius, Th«odrik, and Cassiodorus, about 505 years after Christ : Martianus Capella, and St. Augustin being a little after. ^ The modern writers were Zarlin, Salinus, Galileo, Doni, Kercher, Merennus, Paran, De Caux, Pereault, Dcs Gates, Wallis, Sir Isaac Newton, Malcom, Morly, Simpson, Douland, AUlgon, RavcMcroft, PUyford, Blow, PurceJ, Holden, Ga Hard, Ecclcs, Tansur, Green, Holdroyd, Knap. &c. whofc characters arc sufficiently known by their laborious Works, and undeniable compositions. AH of whom, in some measure' have been consulted in the compiling the following treatise ; as. weU as many other ingenious authors, too tedious here to mention. But tl^is list is only inserted to perpetuate their names, in as just an order as can be gathered, down to the present time. Music has not only been adrorre(J, and recommended by all noble and virtuous persons, in all ages, but has also in some measure, been practised by them j whose examples are worthy of our imitation. And the better Arts and Sciences are known, the more they are esteemed by the ingenions. Trismeoistus says, « that the thanks, and praises of « men are the noblest incense tKat can t>c oflFered up to God." Con. stantine the great, Theodotius, Justinian, and many others com- posed Church-Hymns and sung them in Congregation, &c. Alfred, the Saxon King's only delight was Music. And Mr. Owen Feltham, in his book of Resolves, speaking of Di- vine Music hath these words *» W6 find, saith he, that in Hca- ven there is Music, and Hallelujahs siirig ; aiid I believe it is here an helper unto both good and evil : Therefore I will honor it when it moves to virtue, and wiU beware of it when. «ver it shall flatter into vice j" a poble resolution for us to B iNTRObUCTION; follow ! Henry the VIU invited the best masters from Italy to perform the service he had composed ih five and six parts ; and Edward the VI caused Doctor Tye's acts of the Apostlei in verse to be printed to Music in four parts and to be sung in h,s Chapel Royal. Quefen Elizabeth was a great practitioner on the PoHphant, i wire instrument like a tute, aiid also pro- moted instruments in the worship of Odd, as appears by her 49th injunction : And Jimes I. grinted his Letters Patenti to the Musicians in London for a corporatioh. Charles the I of blessed mf4 Muiic the cbWwt heart eari warnii-i The hardest melt, the fiereeit diikin. Disarm the savage of his rag6, ' .' 13ispel our OAKa, and pains assuage. With joy it can, our souls inspire, i: And tune our tempers to the lyre, I. Our passions like the tones agree " And stand subdu'd by harmony. (,. he; When David twi'd the titmbKng y^jng , It chcei''d tlM meJanfiholy King. . , !. ' Hii muiic chai'd his «f lees away. And nuukhia sou} serenely gay. When music sounds in martial airs, The coward then focgeta hi« feaix^i. .., j^ Or, if the notes to pity sound. Revenge, and envy, cease to wouhU >"**-•'' «" The power of music, has been known, To raise, or tumble cities down ; The Theban turrets, authors say. Were rais'd by music's magic lay i And Jericho's heav'n-hatcd wall, From sacred music had its fall. nit If God tteJn hath granted such grtM bcnf)^t|S to mankind 1>y the otiercise of music, surely the divip? 4^4 heavenly use must I'eddtitKd much more to .faurietcmal cQOjfon, when we johi our hekrts with our voices, in' his holy pl«!e which give* us a taste of heaven, whilst on earth, and lifts up our hearta pn heavenly things : hoping foi- the £uU fruition of joy, after the trpuhlesof this life are eftded. Which the poet thus dc scribes as rewards to the righteous. Then crown'd again, their golden h^ps they tpok, Harps ever tUn'd, that glittering by their sides I Like quivers hung j and with preamble sweet, , -r lo Of charming sympadiy Aey introduce ' ' The sacred song: and waken raptures high t No one exempt, no voice biit well could join Melodious part : such concord- i» in heaven. Which Tansur rhymes thus : ,/ . , When blewcd •ouU the carUiFy orb, forsook, INTRODUCTION. MlLT3Ni f> And wing'd for hcav'n, their golden harps they took, , For ever tun'd like glitt'ring quivers hung, ,,,., Ai»d sympathy prepar'd this glorious song,, ^ , .^ ^ ;,3,.. ..Holy, Holy !— their never ceasing crjr,, . " , To praise the Lord they raise in raptures high I To cVry tongue, both voice and heart is ghr'n. To join in concert, with the host of hcav'n. n 3 ■tft ■iSi.hV: •il.^f; ►i^r(,vj ■Uri'-fn'' / CHAPTER II. r OF THE, GAMUT, OR SCALE OF MUSIC, . jr.. , The Gamut or Scale of Music is ;:: peculiar table; and fo nec- essary to be leatned and known by heart, that no perspn can attain to any khowledgs in that; art without b^ing^ well ac- quainted with it ; though tooJ6as^ny are so cop^Ud as to flattet themselves to the contrary^ ■. ,,, . As to the very first inventor of music, it is tiard to deter, mines but this much we know,^ that the most ancient Greek Scale, as laid down by Vetruvius, was invented about 2000 years after the creation, by Mercury, who then invented a musical instrument called the Lyre, with only three strings ; „_ J ♦Mr-H "Q -^ " C ♦■'^ «rViirb Anollo added a 4th. Corebus. a iih, Ha'gnis a 6th, Trepander a 7th, and Pythagoras an 8th string, to make an Octave } and aftfcrward fifteen strings to compleat a double octave, which Boetius called the system of Mercury, being tuned as our A, B, C, D, &c. vising ; which was afterwards called, the Pythagorian system. This Scale the ancients called Diatonical from the semitones lying be- tween B and C, E and F, as ours now does : But in process of time, Timotheus added another string between C and D, and F and G, and so brought in a chromatic or half tone scale, and after that, Olympus added another between B and C, E and F, &c. to make an enharmonic or quarter tone scale ; \ INTRODUCTION, but this latter was looked on as but of little use to practical music— in this form the scale remaitied till the time of the Lattins, who finding the names too long and perplexing, they used the above letters in their stead— And Pope Gregory, ac- cording to F. Kircher, finding that H, I, K, &c. were only a repetition of .he seven first sounds, he repeated the seven up- per by the same names as we do now— After this Baronius in- forms us that Guido Auretinus, about the eleventh century, invented the scale we now have, consisting of both the diaton-' ic and chromatic ; on five parallel lines ; (or more if occa- sion) which were formerly set on but one, two, three, and four lines j whose scale is now so ready, and undeniable that it sets aside all »he disputes of the ancients ; which are to tedious here to mention. Guido Auretinus was a monk cf Aurezzo in Tuscany ; this scale he invented about 740 years ago, and to shew that he took his from that of the Greeks he placed this Greek letter T Gama, or G, at the root of the scale, this letter, was by others called Ut, vhich being joined and abreviated make Gamut. Hence it appears that because the letter Gamma was placed as the lowest, or mark- ed the first .cund in Guido's scale, the whole scale of music, came to be called Gama. Ut, or Gamut. And though mu- SIC aff-ords infinite variety, it is all produced from the scale of seven letters, the eighth being an exact duplicate or octave of the finst and distinguishable from it in point of accutene^s on- C It ly : indeed all beyond the scale Is repetition. In order to know the name and place of each rote more perfectly, how- ever, it may be proper t > consider the relation and conncc tion there is between the several parts in ^he ,,encral scale of music ; Three octaves or twenty two notes, are supposed to comprehend the ordinary compass of the human voice ; for, low G in the Bass, is commonly the gravest sound a man's voice can form ; and high G in Treble, the accutest sound a woman's voice can ordinarily reach. These twenty two sounds which complete the vocal scale, are expressed by eleven parallel lines and their intermediate spaces, but as the eye would be unable to read with facility, so extensive a scale, it IS divided into staves of five lines each ; to the five lowest are allotted the gravest voices, and so called the Bass Stave, and to the five highest, are assigned the voices of women or children, and are called the Treble Stave. On examining the vocil scale, it appears that the Tenor has origmally but one line and therefor borrows two of the Treble and two of the Bass to complete its five, which borrowed hues are distinguished by being dotted ; sometimes, indeed, more lines are taken from the bass and fewer from the treble or more from the treble ard (ewer from tlic bass, and the stave thus formed is allotted to the middle vc.ices, and is termed Tenor, Counter-Tenor, or Medius. And here observe, that on whatever line or space notes may be placed, they are i! 12 INTRODUCTION. 1 m 1. called after the letters thereon fixed, whose places are known by the Clifi' that governs them. Also take notice, that when notes ascend higher than the treble octave, they are called in alt ; and when they descend bcneatj^tBift-^ldwcst line in bau are called double. t*»*>i*5C3saEsggSEf2 CHAPTER III. OF GUFFS. A CLIFF, (in music) is a character placed at the beginning of the five lines of a piece of music, in order to denote what part of music it is, and what relation each part bears with an- other. It is called a Cliff, from Clavis, in Lattin, and signifies to open, or as a key to let into, &c. which opcneth to us the names of tvery tone in music. If you look into the scale of music, you will Grd three in number, all of different forms, each being appropriated to the three several systems, or parts thereof, and arc called the F Cliff, the C Cliff, and the G Cliff. The Bass, or F Cliff, which is generally placed on the fourth line, but gives the name of F to any line on which it is placed ; the Tenor, Counter, or C (liff, which is commonly set on the fourth line in the Ten- or, and third in the Counter, always gives the name of C, to that line which passes through its transverse strokeF. The 4 Treble, or G CHfF, is usually put on the second line ; it is call- ed the G Cliflf, from the letter G being always found on the same line with it, aqd though this Cliff, properly belongs to the Treble, or uppsr stave ; yet it is now commonly used for the inner parts, instead of the C Cliff. This last, however, is certainly the most natur^ and proper for these parts j yet as it increases the difficulty of the musical art, and as the greatest number of people who study psalmody, have seldom leisure to consider every particular belonging to music, it is certainly better not to use it, except when the extent of a part is so very great that the number of ledger lines would become inconvenient. The Cliffs, as exhibited in the general scale, stand in the re- lation of fifths to each other. We must not imagine, howev- er, that to each of the three Cliffs is assigned a particular syf- i V INTRODUCTION, tcm, or scalfe of letters, as if each part had particular bounds, within which another must never come, for sometimes the treble comes so low as to be equal with the bass. It may be observed, that the ordinary signatures of Cliflfe bear but little resemblance to the letters they are named by. Malcolm thinks it would be well if we used the letters them* , selvei, and Kdper takes great pains to shew, that the com- mon signatures are only corruptions of the letters they mean to represent— and I am sure that some alterations for the bet- ter, might be made, with respect to Cliffs. For the above see Example 5th. CHAPTER IV. OF TIME, 1 HIS part of Music is called Time, and is as necessary to be understood, as Tune, by reason no one can sing, or play with- out having the true notion of it, neither in Concert, nor a- lone, to give any delight to a Musical ear ; for by Time, kept by true qiotion every note is justly regulated, so as all move in a true decorum be the parts ever so many. And as the Tones are represented to us by certain charac- ters, on parallel lines and spaces, Cliffs, Flats, Shai'ps, &c. even so is the prolation or length disinguished by certain charac ters called notes, with their respective rests, then divided by bars, to regulate the movement, ascertaining the number of Beats contained in every bar, by a pendulous instrument: with moods or marks directing thereunto, &c. Of Time, our Musicians make two sorts, or Measures, viz. Binary.Measure, and Trenury-Measure, i. e. Common-Titae and Tripla-Time (though in effect both are but as one, with regard to a pendulous motion) differing only in velosity. Binary.Measure, or Common-Time is so called from its rise being equal to its fall, when you measure the length of your bars, by the motion of your hand or foot, &c. which motions are called Time and Measure, by the regular motions of a pcndulunj : Four of which Beats or Pulstk are commonly the H 14 INTRODUCTION. ^ ^ ■ ' :};'' »5 ( 1 1 length of a Scmibreve, two the length of a Minim, and one the length of a Grotehet, (a Quaver being reckoned in Tinae, as the Pulse or Beat of a common watch,) so that one Pplse of the royal pendulum of a : clock is commonly the Time of two Quavers, four Semiquavers or eight Demiseraiquavers or sixteen Quadruple-quavers or their respective Rests, &c. OF COMMON TIME. AS Time is regulated by motion, so Common-Time, is mea- sured by even numbers, i, 2, 4, 8, i , &c. when one Bar in- cludes such a quantity of notes, as amount to one Semibreve, which is called the Measure-Note, the Time-Note, or a Whole- Time. And as the Semibreve is held so long as you may leisurely count I, 2, 3, 4 ; you may keep your hand or foot down, while you tell in thought 1, a, and up while you say 3, 4 ; you having once down, and once up, in every Bar : But in doing this your thought must guide the nnotion and not the iDption drive the thought into hurryand confusion j this be ing the most curious branch of Mu ical performance, &c. If your Music consists of two Minims in a Bar, then y< ound one while you tell i, a, down, and the other while you say 3, 4, up — if four Crotchets in a Bar, then 2 down and 2 up — if eight quavers in a Bar tj|en you Beat 4 down and 4 up, &c. each Bar contains 2 Beats, and each Beat 2 motions or Puhcs. Some there are, who make 4 Beats to every Bar in Cora- mon-Tisie i. e. one to each Crotchet, 2 to a Minim, and 4 to a Semibreve ; which method I rather choose than the foimer» in any Time whatsoever — observing to have the hand or foot ddwn at the first note in every Bar and to Beat all rests as if they were notes, &c. OF TRIPLA TIME. Trenury-Measure, Tripla-Measure, or Tripla Time, is so call, ed from its fall being double to its rise ; i. e. beating as many more down as up. Tripla-Time moves by threes j as 3 Minims, 3 Crotchets, 3 Quavers in a Bar to be Beat, just as long again down as up. The three Tripla-Time Moods, which we make use of in Church Music, are known by the following characters, ^, |, ^, the upper figure stand as a numerator of the notes contain- ed in a Bar ; and the lower figure signifies of what denomina- tion the notes are, with reference to a Semibreve as the inti- gcr or Measure-Note, and the terms Adagio, Largo and Alle- gro signifies of which Mood whether first second or third. It is to be remembered, that all sorts of Time, are deducted from Common-Time, for which reason the lower figures have recourse thereunto, in order to denote what kind of notes the Tripla doth consist of. Suppose the Mood be marked thus I, then the 3 underneath, iuiporis, that the Tripla must con- Mst of Minims, and as two Minims make one Bat in Com- mon-Time, the 3 over the 2 denotes that you must sing three Minims (in Triple-Time,) to two in Common-Time : So the four hath regard to Crotchets, and eight, to Quavers. &c. The first, and slowest Mood in Triple Time, is Sequialtera Proportion (or double Triple) being a Triple measure of three Mm,ms, to two such Uke notes in Common Tims and per- formed in the same time J which is half as qnick again or one third quicker than Common Time in every Bar : two to be performed down and one up, marked thus f j so that each Mm.m m every Bar, is one third dimished from these in Common Time. This Mood is mostly used in Church, and other grave mu. •ic, and generally performed slower than the rule, by reason The second Mood of this kind of Time is. single Tripla and vulgarly (or rather ignorantly) called three to f o'ur ; but mt er should be three from four j each two of which, to be per formed down, and one up j „,arked thus ; |, being one crochet less m every bar, than common time, and mostly us. cd m anthems, &c. Suppose according to the first term, it be called three to four, then it imports one fourth slower than common time, hpranep T tv,„n* ~__r I . ., ' """"'■ h>-""i"» cut tnree cruUJiets in tripIa time, in the time of four, in common time. But if I D INTRODUCTION. '5 say three from four, thin. I am one fourth quicker than com. mon time, by reason I have but three crotchets in a bar, and in common time there arc four. The reader is here left to choose either term as he likes best. The third Mood of Tripla Time, is also single tripla or three from eight, each bar containing three quavers, two down and one up, marked thus. ^ being five eights less in every bar than common time, &c. OF COMPOUND TIME, OF which there are only two Moods made use of in psalmo. dy, they are called Sextuple, or Compound.Tripla, or Benary- Tripla Time, by reason the fall is equal to the rise : the ist i* caUedsix to four j each bar containing six crotchets, three down, and three up. marked thus, j, each having one third diminished from those in Common Time, and two fourths more in every Bar. The second sort of Sextuple, is also Compound-Tripla, or Binary Tripla, and called six from eight, each Bar containing six Quavers, three down, and three up, marked thus ^, being as quick again as . ; each Bar having two eights less than those in Common lime. N. B. That nothing is more misunderstood, than the sev^. ral moods or marks of Music, by reason the slow tunes are generally pricked down with the shortest notes, and the ¥ If *** INTRODUCTION, quickest with the longest, &c. our slowest mood | should have never but three Minims in a Bar, or else be laid f|uite aside, or be changed for f, of three Crotchets, &c. 0- And though the foregoing directions, import that your hand or foot, must always be down at the first note in every Bar, it is now become a practice, with many, to Beat every Beat Down in aU sorts of Time. And I think it is not very material, how a person Beats : or what motion he makes use of, so it be but secret and modest, and, that he keeps a true and regular movement, so as to answer both notes and rests. by another's false antic motions ; for unless a pewoh da* count his time in his thoughts, as he sees it, it is imposSiWe for him either to beat it, or perform in ».•,^ coi- over the Cliff, at the beginning of a piece of Music, or when the IfeSfe-aififert for then you might at one view, know what lort df Blnaty movcincnt your Trenory was cotoposed of j and fcbw ^uidc or slow the movement wa« intended, by the wi- ther : this I say Would make Time very easy ito -every practi- INTRODUCTION. If tioner, and take away many obscurities, that have heretofore coitfounded the ignorant ; for when things are falsely com- pared together, the absurdity thereof, greatly darkeneth the understanding, &c CHAPTER V. OF NOTES AND THEIR NAMES, X HE length of tones, or continuance of soun«fe. Is expressed by several characters called Notes j each having a different name and shape. The Semibreve is in form, like the letter o, and sounded so long as you may tell i, 2, 3, 4, by the pulses of the pendulum of a hrgc house clock, it is called the measure note, because it measuerth all the others. The Minim is but half the length of a Semibreve, having a tail toit. The Crotchet, is but half the length of a Minim, having a black head. The Quaver, is but half the length of a Crotchet, having t)it tail turned up like a hook. The Semiquaver, is but half the length of a quaver, having its tail turned up, with double marks. The Demisemiquaver, is but iialf the length of a Scmiqu*. ver, having its tail turned up, with a triple mark. By these, as before hinted, you see that one Semibreve con- tains two Minims, two Minims contains four Crotchets, and four Crotchets contains eight Quavers, and eight Quavers con- tains sixteen Semiquavers, and sixteen Semiquavers contains thirty-two Demisemiquavers.— So that, in a mathematical sense, if the Semibreve be one bar of time, the Minim is one 2d, the Crotchet one 4th, the Quaver one 8th, the Semiquaver one :6th, and the Demisemiquaver one ^ad part, &c. i ilJ ** Introduction. Befor I ■ I III CHAPTER VIII. OF SOLMIZATION, OR SOLFA-ING. nOLMIZATION is the appropriating peculiar syllables to the seven letters contained in the Octave, or the Practice of calling the notes by a system of unmeaning syllables, as Sol, la, mi, faw, &c. That the sacred word of God may not be prophaned by careless repetitions. These are called singing syllables being used in practising leffons, &c. Some use seven such letters while others only use four j to accomodate each class therefor both ways arc inserted— see Example 7th. The former way having a syllable for each letter in the scale is certainly so far preferable, for the latter having only four such syllables must repeat three of them to have the scale complet- cd, this last way being most commonly used however, it shall be more particularly explained. Observe then that Mi whose natural place is B, and which occurs only once in the octave, is called the master syllable, because it determines the situa- tion of the rest in the following order— viz. Above Mi twice sing fa, sol, la, Below Mi twice sing la, sol, fa, Which rule observ'd in every strain B — Mi in course comes in again. Thus stands the scale in every part, Which must be truly learnt by heart ; Then knowing well, each line and space. You'll rightly read them in their place f To find the Mi, remember that it is always a semitone be- low the Key note in the sharp scries, and a tone above the Key note in the flat series, or thus, whatever number of sharps are placed at the beginning of a tune Mi is in the last, and whatever number of flats. Mi is in that letter which would come next in order to be flatted, (see Example 29th.) In the sharp series Fa answers to the Key note and in the flat series La and the semitones always lie below the syllabic Fa. Though Solmization has undoubtedly been used, as many by it have learnt to sing tolerably well, yet from the various ways of applying the singing syllables, in consequence of trans- position it appears that it is an exercise of considerable diffi- culty, indeed it never was calculated for contending mudi with flats and sharps. And although conceit and ignorance, have prompted some positively to asstii, Jut a tune could not be learnt properly, nor perfectly with vt '•. , I me tell ^uJi \M*ii li'^il emitone be« : above the ler of sharps le last, and dich woiild h.) In the e flat series Fa. d, as many the various ce of trans- rablc diffi. iing mudi ignorance, : could not le tell i>uJi short sighted mortals that if they had learnt their Gamut in stead of solfa-ing, that it would have been much more to their advantage and hindered them from exposing themselves before those whom experience has taught better. Besides, considering that in Vocal Music we have occasion to apply aU sorts of syllables to every sound, and that in in- strumental music we have nothing to do with articulate sylla* bles at all, it seems unnecessary to bestow much time or trou- ble in associating unmeaning syllables, with sounds which are already distinguishable by their effects ; some of the sylla. bles, too, are ambiguously applied thus : Fa, Sol, is at one time a second and at another a fifth. Fa, la, is a third and tNTRODUCTtON. 13 also a sixth ; indeed it has been very much queried, whether the utility of Solmization, corresponds with the labour re- quired in attaining it. Mr. Malcolm's sarcasm on it is tlut at best it is the stumbling block of young minds. Instead of sol faing by the singing syUibles, then, would it not be better to use iie seven letters of the Gamut as the Ger- man's do, or the figures . , j, 3, &c. to 8, inclusive as others do, -eeing either of these is easier learnt, and the former more useful— These last methods however, are only hinted at, im- agining custom has too long given sanction to the first'— to admit of any alteration though for the better. CHAPTER IX. OF THEORY IN GENERAL ) OR^ A PhlU..,U.al m,.„a,U. of ,te Na,ure ./ SouM ; ^ / ,& R„i,. and Propcr,im ^ fractal /*W,. He. OUONI or Sound— b the undalatory motion of the air aris- the ears ; convev bv th, „«„.. ,v .■ ■ , cationed by its having been struck ; and those. Undulations, in., rn th. , „r ,,. ,J ^ . ' ^^*'°'^'' or DuIsM nf tJiA ,;- i,-,f' .1 rn ' _ "' '"° •-&>vvL«i,ut. ot their uincrent motions, in the air or pulses of the air beating on the Tympanum, or Drum of producing them, &c. 'I' Mr. Dcrham, says that the mean velocity of sound is at the 1 rate of 1 143 feet in one second of time : and that, in all man- I ner of directions ; obstacles excepted. j| AH Sound is made by motion ; and that motion is the ver- beration or modulation of air, being the object of Music, Air is that fluid or element, in which we live, move, and consist, composed of minute springy particles, which give way ,j ij| to the least impression made on them, which particle.; move "I freely, one among another, for which reason, it is known to be a fluid, and every force that presseth upon air, presscvh at the same time in all manner of directions ;— And as the pres- sure increaseth, so does its density ; as is evident of air forc- ed into a bladder ; for the more it is forced the more dence it is, and as it decreases, it expands it self again in all manner of directions— the force that presseth common air, is the weight of the amosphere (that is the Clouds, Rain, &c.) and the spring of the air is equal thereunto, by reason they always bal- Jance each other, and produce equal effects, kc. The generative part of sound is that which produceth found, and bringeth it forth ; and tliat is motion by colli- -.ion ; or a body's striking against the air wiatii causcth I sound ; and this sound is more grave or acute according to I I the force and magnitude of the body that strikes against it ; I this being that whi-h constitutes different tores simple, or com- pound, &c. INTRODUCTION. All sound is supported and carried distant by the medium or air which is called the sphere of activity ; the element of sound ; or the element < '^ Music ; and so far as the medium passeth, so far passeth the motion with it, and when the mo- tion ceaseth then must the sound cease also—but if it meets with any hindcrance in the way which it passeth, it strikes and shakes at every obstacle it meets, making echos and sounds according to the nature of the obstacle : But if it meets with no hinderance as it passeth, then it passeth into the sphere of the air, or medium, cutting, dividing or plough- ing the same, according io the force of the sonorous sound- ing.body ; (which body is the center,) moving in a certain degree of velocity, or quickness : and from this very princi- ple all tones are deduced. And, as all sounds move in a trem- bling or vibrating motion, the difference of tone, appears to be no other than the different velocity or quickness of the vibrations of the sounding b(,dy, it being proved that the small vibrations, or tremblings of any cord, or string, are all performed in equal times ; and thr.t the tone of the sound (which continues for some tirne after it is struck) is the very same from first to last, whose vibrations arc supported by the air or medium. From this very principle, arises what wc call Concords ; which are nothing else but the frequent unitirg of the vibrations of two sounding-bodies, and of the undulat- ir.g motions of the air j occasioned tiiereby ; and that discords ,-;_■_, i^-iJjiPBti; are the result of the less frequent unitings of the vibrations, &c. &c. Hence it is, that sound (with regard to Music) is to be con- sidered two ways, viz. Simple and Compound~A simple or single sound, is the effect of a single vibration, or of so many vibrations as are necessary to excite in us the idea of sound • that is, the product of one voice, or of one instrument, &c -1 A compound-sound, consits of several sounds, proceedint. from several distinct instruments, or voices all uniting in the same individual Time, and measure of duration ; that is, all striking on the ear together, be their differences as they will -and as the several degrees ot tune, are proportional to the number of the vibrations, even so are the vibrations, equal, or unequal, swift or more slow, according to the nature and constituon of the sonorous-bodics : the vibrations or trem- bhngs of such bodies, being by which all sounds do proceed and arrive from a certain pitch, or tension, either grave, or acute : according to the greatness, and tension of the sound- ing body. From what has been said it appears that the whole theory of mus,c proceeds from the vibrations, oscillations or trem- bhngs of the sonorous bodies, and also the proportion of sound ; for what bodies or sounds are more acute, the more swift are their vibrations, and those more gr.vc, their vibra- Uom are more slow, &c. Therefor, the fir.t principal, by INTRODUCTION. 05 which the nature of harmonical sounds was found out, was by the measure, and proportion of the vibrations of the sonorous body ; each tone or tune being made by a certain measure of the velocity of the vibrations. I mean, that, such a certain measure of courses and recourses, doth in such a certain space of time, constitute, or appoint, such a certain determinate tone. And that the continuance of sounds, even unto the last, dependeth only on the equality of the time of its vibra- tions ; as may be observed of a wire string after it is struck : which was first observed, by Pythagoras, &c. and this is that which is said to bring musical sounds under mathematical proportions. To find out their proportions, you must find out their numbers, and then examine the cause, why some are pleasant and others unpleasant, (of which the ear is the umpire :) which shall be the business of the next. OF PROPORTIONS OF CONCORDS, ^c. FIRST,, take two musical strings of an equal length, and stretch them to an equal tention, or tightness, and then strike them both together and they will vibrate in times, both course and recourse, in the nature of a pendulum till they rest : for wlien two strings arc in exact unison, to each other, OHR will vibrate to the other, though untouched ; or, if you hy a straw or a scrap of paper on one. and strike the other. '14 a6. if it be in unison with it. It wiU so vibrate as to shake it off, and also sound the tone of the other string. And because these two, sound so perfect to each othsr they are called unison, the ratio's of their vibrations, being even, both course and recourse, and called i to i ; because each motion, or par. tide of sound strike on the ear both together j thus, UNISON. im'RODUCTION. I to I. See Example ad. The next concord, is the diapason, (being the next ratio or proportion in whole numbers) which is found by doubling or taking but one half the string by dividing it into two parts and placing a bridge in the middle. This wiU produce an eighth to the whole string j whose ratio is called dupla or double proportion to its octave, by reason, each half of the string, vibrates two courses in the same time as the whole string does one, it being in ratio or proportion, as 2 to i- thus, 3 to 1 2 to I <^ctave. Octave. All other proportions, are found by dividing the octave Tn- to the other mean ratio's that are included in it, &c. The next concord is the diapentc, or perfect 5th, which ig found by dividing the chord into three parts and placing a bridge, to take off one third, then will the two thirds of the chord produce a diapente to the whole, and vibrate three courses to two in doupla proportion, and unite every third course j which ratio is called sesquialteria proportion, or 7 to 2, Thus, •* 3 to 2 Perfect 5th. The next chord, is the diatessaron, being found by dividing the line into four equal parts, and by stopping off one fourth with a bridge; then will the three fourths of the line pro- duce a diatessaron to the whole line, and unite every fourth course of its vibration : This is called quadruple proportion whose ratio is 4 to 3, by reason it vibrates four courses in the time of three, in sesqualteria- Thus, 4 to 3 Diatessaron or perfect 4th. Then take another string and divide that, that was stopped off to make the Diapente, in two equal parts, and it will give the Ditone to the open string and its motion will unite every fifth course, its Ratio is 5 to 4 by reason it vibrates five cour- ses, m the same time as tour in the Ratio before it. Y INTRODUCTION. By this you may easily cfcncelve the SemidUone, whose ra- tio is 6 to 5, its courses 'Uniting every sixth course of its vi- brations } i. e. six courses in the Time of five of the Ditone motions. N. B. That all Ratios that are within the number six are called Concords, &c. The Hexachord Major, or greater, or sharp sixth, is within the number of concording Ratios, and Ratio 5 to 3, and vi- brate five coures in the time of three, meeting every fifth course of its vibrations— and although the H?!xacord Minor, is not within the number of six, yet it is a far better cord, by reason when joined with the Diapason and Diatessaron it hath the Semiditone to the one and the Ditone to the other ; their motions uniting accordingly whose Rotio is 8 to 5 and the conpliment of 6 to 5, to the Octave or Diapason. Thus have I laid down the first causes and the most useful natural grounds. Ratios and Proportions of Harmony, which proceed only from the vibrations of the courses, and motions, of the soi;orous.bodies ; which motions determine both Time and Tune ; and also render each sound, niore or less pleasant, according to the frequent uniting of their courses, as they fall on the ear together : from which we distinguish both Con- cord and discord ; Concord being produced by the frequent 27 motions falling on the ear, at the same time ; and Discord is when they seldom or never meet whose Rotios, are innumer- able by reason of their cross motions, &c. N. B. It is said that C in the Bass Octave, makes 104 vi. brations in one second of Time. 1. Thus ; by division of a line. We measure sound, as well as time •, Whose tlirembling motions, we do sum, Like Beats made by the Pendulum. 2. For, by experience, it is found. That motion is the source of sound. Not without Air .—(it doth appear,) For, Air conveys it to the ear. 3. Air, (like a circling wave i'th' Ocean,) Expands itself at every motion. But when that force is spent. Air then, ' Returns itself to rest again. 4. Concord is form'd it dotli appear When various sounds meet on the car. But, when their tremblings disform move. Such sounds will then discordant prove. m ■ti * > I Skft INTRODUCTION. CHAFIER X. OF THE ACCENTS IN MUSIC. In common speech the word, Accent, signifies the tone of the voice, of which the Grammarians have sundry sorts, marked by various dashes over the vowels signifying the more high or low, longer Qr shorter tone of the voice or a more pressing emphasis, or tone, on such syllables, or words, as are more to be taken notice of than any other ; in order to strike such vowels, wo;ds, syllables or sentences, more pressing to the audici.cc, according as the passion and subject requires, &c. — so in Music. An Accent is a sort of wavering, or shaking of the voice, or instrument, on certain notes, with a stronger or weaker tone than the rest,&c. to express the passion there- of, which renders Music (cspecialiy Vocal,) m) very agreeable to the ear, it being chiefly ihtenc'sd to move and affect ; and on this the very soul and spirit of Music depends j by reason it touches and causes emotions in the mind, either of love, sorrow, pity, or any oth'.T passion whatsoever, &c.--T;i^t is what is called the Accccnted and Unaccented parts of the measure ; which the Italians call Tcmpo.Buono, or Time- Good ; and Tempo Cativo, or Time or Measure Bad ; that ?s lO say, the good, and bad parts of the measure, &c. In Common Time, the first note of the beginning of a bar, and the first note of the last half of the bar, is the Accented part J that is the first and third Crotchet of eyery bar, the rest being the unaccented parts : but in Tripla Time (where notes go by three and three,) the first of the three, is the Ac cented part, and the rest the unaccented. The Accented parts shoukl be always as full of Harmony as possible, and as void of discords, as may be, in order to render the composition more affecting : But the unaccented^ parts may consist of discords and the Uke without any great offence to the ear, &c. This being that part of Music, that, few or no Authors, have treated of ; although it is the whole ornament and spir- it of every composition, especially where any person performs alone. In Common Time, remember well by heart, The first wid third is the Accented part ; And if your Music Tripla Time should be. Your \cccnt is the first of every three, INTRODUCTION. As the Ught of every Art and Science is conveyed unto us by skilful Authors who have laboured for our improvement, how much ought we, to consult what they have written ; to whom we are beholden in some measure, for aU we know j whose names not only shone bright in their days, in past z. ges, but in those to come, will never lose their luster ! and whose works are their lasting Monuments to all posterity. I could mention a great number of Authors who took vast pains in the art of Music and made great improvements there- unto, whoie bodies have laid many years moldering in the dust, yet their names will never be forgotten by the ingeni. ous, who daily converse with both the living and the dead j and improve from the latter as well as from the former. The ingenious Mr. Morley, in his Treatise, (wrote by him, above 199 years ago,) in page 179, greatly complains of ill performers of Church Music, who like some of ours, now-a- days loved always to be heard abov;. their fellows, without havmg the least regard to know the excellency of Divine Mu- SIC. wlw> ought as well to study the beauty of the words, as the knowledge of the Music ; so as to draw the ears of the hearers as it were with chainr. of Gold, to the consideration of Holy Things, &c. And as no reader can well understand what he reads until he knows the spirit r^his author, and can (as it were) person- ate him, to know his real gesture, temper, and disposition, at j every turn, even so, no singer can perform as he ought, unless I 29 he knows the beauty of his words, so as to give them that emphasis as becomes the subject ; and to deliver them in such a manner as to strike the audience ; without which he never can sing either to delight himself or his hearers. The first, and principal embellishment of a good singer, is to read well, speak in good dialect, and express bis vowels ve- ry distinct, always pronouncing ty, or cy, as tee, or cee, unless It be where the strictness of the poetry obliges to the contra- ry ; and always to perform in good time without affectation : great care must always be taken, that you make.not yourself the object of the hearers ridicule, by bad gestures of body, and ill grimaces, (a thing much now in vogye among the conceit- ed ; but that you always use a free, and open expression, and act in such a manner as is suitable to the air, and passion of the subject, whether it be. grave, chaste, or merry, &c. Let young beginners, either sol, fa, or call the notes some other way, of all things weU at first, and that slow, strong, and steady, and not sound through the nose, with their teeth shut } nor yet with a fainting voice ; for a Falsetto will soon spoil a good voice ; especiaUy a treble ; and t^ke care to sing sometimes standing lest you spoU the organization, of the voice } whereby you may sing Forte or Piano ; that is to say, hold out the swell of any note : and embejiish all sounds at pleasure, with TriUoes, Apoggiafuras, or Transitions, atc^ See Lessons. I -^m i n m 3° I INTRODUCTION And as it is a master's business to invent, it must in like manner, be the scholars business to copy, and follow the best authors ; and to extract honey from all flowers ; for persons of good spirits will always endeavor for the best company, and strive to imitate them in what they do ; in order to im- prove in performance, and to gain an universal esteem of their superiors. Another good caution I would give to the performer, is, that he always so manage his respiration, that he never wants breath when he has most occasion for it, nor be perceived to take in breath in the middle of a word ; and that he never holds any thing before his mouth to stop the tone of his voice ; for no good singing ever was heard from any person of ever so much skill, that did not in some measure, conform to the before written precepts, &c. There are five proper embellifliments, that every good sing. er ought to observe, viz. The putting forth the voice in good order ; the Appogiatura ; the Shake ; the Gliding, or Slur ; and the Dragg, which is rather a very slow shake, than a di- vision, See Example From what has been before hinted, concerning the orna- ments of song, it is to be noted, by every practitioner, wheth- er vocal or instrumental, that all sounds have their shape, though they differ in tone, with respect to their acuteness and continuance) may consist of three terms from its bring put forth to its last degree of being heard j viz. its Piano, its Forte, and then its Piano again, when it terminates, as thus, i Suppose the sound of the above note consists of four beats, the first is begun very soft, and swelled to its extreme degree of loudness, till it passeth by 2, its second beat, and then the other half of its time, 3, 4, decreases in its loudness till it ends its time at 4, as soft as it first began. The like may be ob- served ot all sounds or notes whatsoever, let their number of beats, or lengths of sound, be as they will j so that the sound is made stronger, or weaker, according as the moving, force of air, is more or less on the sonorous body ; this being ac. cording to Sir Isaac Newton's 2d Law of Nature, &c. The reason why this secret has been discovered to the world, pro- ceeds from that abominable, and newfangled practice, of some of our ignorant and conceited psalmodists, who greatly offend all good masters in our age, and renders their compositions an« ..a. every soun« ^especuily such as are of long | as ridiculous as the performers do themselves, who with ma< iNTROBUCTION. ay antic gestures of body, and -wry /aces, end their hotes as harsh, stunt, and as loud as if they cough'd them out of their throats, and end with no more tone of music than if they had struck them out of a stone, which is as contrary to the laws of harmony, as darkness is from light. W. T» From what has been said on tliis elegant branch of music, every skillful performer may, with diligence easily perform with grace, spirit, and grandeur, and express the several pas- sions of the subject, whether it be grave or merry, according to the true intent of the author who composed it ; wliich is the greatest accomplishment that a good singer can be endow. ed with, &c. CHAPTER XI. CONCERNING PSALMODT, hfc. In the year 383, Psalms aw said then to be begun to be sung ; and were brought in by Bishop Damasius though they were not then turned into metre. Benedictus,an Abbot of the Monastery of Peter and Paul, at war, is also said to have took with him from Rome, one John, called the Arch chanter, who taught first in England how they should sing in choir, after the same manner as they, did at Rome, in 724.--See Acts and Monuments, vol. i, Page 164. " o — o " '^^'S"* /4/» "«c oyiiuu or ijisnops greatly disputed upon the profit and excellency of singing of Psalms H in Churches, and established h law to promote the same to be sung, with a modest voice and gesture, in Churches, as was then so called. In the year 459, in the time of Gennadius, the Church of Constantinople is said then to be so augmented by singing, that they built the grand structure, called the Acoimenia;, acd dedicated it to St. John the Baptist : wherein the praises of God were incessantly sung both day and night, by three seve- ral choirs, alternately (who had fixed salleries for the same,) by which the citir-ns enjoyed an Heaven on earth, according to holy David's words in Psahn 84, verse 4th, viz. « Blc.scd r^K Maw ■ U'l ■I INTRODUCTION, they will al are they who dwell in thine house, O ! Lord ways be praising thee." As this is a perfect symbol of eternity, hence it is certainly good for us to be there. Matt. 1 7. 4, Beza was also a great lover of psalmody, in his time, and made it his greatest part of devotion ; hence, (out of redi- cule) some malicious persons, then called the Psalms the Ge- neva- Jiggs, &c. „ , to be understood as plaiwss if the words were not sung j and to be used between any parts of the Church service. She al- so permitted and ordered, that, such as delighted in Music should, for their godly solace, and comfort (before and after service,) sing the praises of God, in the best Music that could be composed whither to psalms or to hymns, &c. rightly a- dapted : but not in play-house tunes, as are used now, in too many Churches, which are as rediculous as they are new ; tq King Athelston or Atelston, to encourage psalmody made i the great grief of all well disposed persons, a law in 924, that fifty of the psalms should daily be sung in I As the chief end of church music, is to relieve the weariness the Church ; for the King, as he called it, meaning for the ' of a too tedious attention ; to make the mind more cheerful, good of the Commonwealth, and for the praise of God, &c. jl and composed ; and to endear the offices of religion ; that In the reign of King Henry VI. Thomas Sternhold of Bar- [I sort should always imitate the sweet perfume of the ancient nat, in the county of Southhampton, translated thirty-scven of || Tabernacle, and have as little of the play-house maggots, and the psalms into metre, for the use of Churches In the reign of King Henry VIII. Sir Thomas Wiat trans lated the seven penitential psalms into metre : And in the reign of Queen Mary, John Hopkins translated several other psalms into metre, all to be sung in Churches, &c. Queen Elizabeth of blessed memory, in her Injunction to the Clergy and Laity, desired that the revenue: of the livings of some Collegiate and Parish-Churches, might be restored to their antient intended use, viz. to maintain men and children, TO Ki,cp u^ iiic i^uuauic sticiii-c VI fviubic 111 v^iiurtiicK ; :o as to be restored and kept up in a modest and good way ; and voluntaries in it as possible, it should always be free from all galliardizing notes. Military tattoos, or common frothy jigg- ing airs ; which only tickle the ears of the chimerical, with trifling fancies and corrupt the mind, with impure thoughts ; such like strains as these, only prophane the service of God and bring the play-house into the Church : whereby we are as it were toodlcd out of our reason, religion, morality and devotion, by persons of corrupt morals. — What can be a greater scandal to our religion, than to hear the praises of God oiTcrcd up in immodest strains of Music, through the organ of the devil ? a^d too often by irregular persons, more INTRODUCTION, 'vfit for tlie exercises of penance, and correction, than for the offices of religion and exultation. All religious harmony should be so composed, as to cher. ish and warm our very souls within us, with piety and devo- tion; and take hold of our grandest afiicctions : and so trans- port us to the beauty of holiness, above the satisfactions of 33 this life, as to make us ambitious of the glories of Heaven, &c. &C. For When we to Heav'ns celestial temple come. Petition there shall cease, and pray'r be dumb j But praise, in accents more sublime and strong, Shall then commence her everlasting song. CHAPTER XII. CONCLUSION. W E shall not reach the true pleasure of sacred music, if we feel not the genuine spirit of devotion. Let the melody of spiritual song then, be accompanied by the melody of the heart, let it be rendered subservient to the true end of relig- ious worship, and let us ever maintain an awful reverence of that glorious Being, whom we profess to celebrate. Thus let the understanding, and affections concur in this sacred exercise, that it may at once express and cherish true piety. Then shall we partake of its sweetest pleasures, and be cheered and conducted through the present pilgrimage, in the pleasing hopes of at length joining with the glorious hosts of the church triumphant, in singing praises to God and the Lamb through eternal ages. THE semibreve, our measure note we call, Good reason why, for it includeth all ; The lesser notes as I before have told, On page seventeen you may the same behold. A flat, (or feint) dotli press a sound down low'r, Just half a tone, to what it was before ; And what if so. if tune Khnu},\ f1,on .■^— ••— A natural, will rais't a half tone higher. ('■> Imi 34 INTRODUCTION. If natural tones should be too flat and dull, A sharp will raise your tones more high and full By half a tone, than what they were before } Which if too high, a natural will bring low'r. And rectify both flat and sharp m score. A slur, doth many notes together join, A point, it addeth half as much more time ; A repeat, causeth parts to move again, And double bars, they do divide each strain. A single bar, dotn well divide the time. And a direct, guides to the following line j A rest, craves silence, be it short or long. The trill or shake, doth ornament the song. As the divider keeps the score in bounds, £v'u so the close, includes the latest sounds. Learn first by difl^s to call your notesj Both lines and spaces right } Then tune in time to ground your skill, la music's sweet delight. li --'-■■'■^■'V L "■■ ri" V'-nf^ O '' O-rA^- , . -, ... . V- ■■■^-"■" ■. • - - xm - i^ ■' i - * v* t ' ■ j^^^^i^fm^^^^^^^^^^^^^ mt^mmm^gMm THE Bass Cliff is placed on the fourth lioe, and called the F Cliff, and is used in Bass, and gives the name of F to any line on which it is set. INTRODUCTION. Fxanple. 37 m The Treble Cliff, is placed on the second line in the Treble Octave, and called the G Cliff, (because the letter G was always found upon that line,) and is used in Treble, and generally in Tenor, and in Counter, to prevent difficulty. The Counter Cliff, is placed on the third line, or it gives the name of C, to any line that passcth through its transverse marks. A Staff, or Stave, is five lines with their spaces, whereon notes, and other musical characters are written. Ledger lines are used when notes ascend or descend beyond the compass of the stave. A Brace shews how many parts move together, by its uniting them all as one. A Sharp, stt at the beginning of a Stave or movement, shews that all notes set on that line or space throughout and their octaves are to be raised a semitone higher, than in the nat- ural series, unless contradicted by a Natural } when a Sharp or Flat is prefixed to any par- ticular note, it only effects that note, and so many as follow it on the same line or space ia the compass of a Bar, and no farther. N. B. Those arc called accidental Flats and Sharps. A Flat (or rather a Feint) is a mark of con- traction and used to sink any note before which it is set, one semi or half-tone lower. ' A Natural, is a mark of restoration, and usually set m^JBi before any note in the middle of the composition that msS was made either flat or sharp on that line or space j SeSS 38 INTRODUCTION. ; iM Hi^ M causing such notes to be sung in their natural primative sound. Some call this a Proper. A Double Flat sinks a note one whole tone lower. A Double Sharp raises a note one whole tone higher. A Repeat, or Return denotes a repetition, or that such a strain of the composition must be re. peated over again from the note the character is set R over, under, or after. A Slur shews what notes are sung to one syllable, but when notes are tied at the bot- tom, the Slur is unnecessary in vocal Music. A Hold is usually placed over any note, importing, that it may be held longer than its usual length of Time, i. c. at the pleasure of the perforujer ; Ti'hcn set over a bar it signifies a rest. m or pause j when a rest is placed just under a Hold, that stands over a note, it then denotes that you may either rest or continue the sound of the said note, as long as the rest contains ; it being { never used, but on words of great im- portance, to express the real passion of the subject, or, in order that all the performers may listen if they are in true order. By some, this character is called a surprise, and may be used at pleasure. A Divider, is a character used as an help to the eye, in separating so mnny parts as are to be sung at one time. A Direct or Inddx, is a small sign placed at the extremity of a Stave on the same line or space where the note is placed, which begins the following Stave of the same part. If this note is accidentally accompanied with a Flat or Sharp the Direct should be accompanied also. kL INTRODUCTION. The Figure 3, placed over or under any three notes, reduces them to two of the same kind, likewise figure 6, placed in the same manner over any six notes, reduces them to four of the same kind. A Point of Addition adds to a note one half its original length, when set after a Semibreve it makes it equal to three Minims, so of Crotchets, Qua- ▼ers, &c. Choosing Notes are placed in a direct line one above another, either of which, or both may be sung. The Trilloe, or Shake, is the principal grace in music, that is, to move, or shake your voice distinctly one note or syllable, the distance of a whole Tone, marked tr. A Swell signifies that you begin the note over which it is set soft, and increase in loudness to the end. A Diminish, signifies that the note over which it is set, should begin loud and full, and ended soft, as a natural echo. A double Swell requires, that the note o- Hil^P*^^!,! ver which it is set should be begun soft, swelled to the middle, and ended like a di- minish. A Single Bar, divides the Time accord- ing to the measure note. A Measure Note, is that which fills a Bar. A Double Bar, shews the end of a Strain. The Appoggiatura, which is a preparative or leading Note, is used that we may come at the j principal note uiofc gracefully, whatever time we dwell on it, must be taken from th-: princi- Ik. ..jK.T^WBl^ "s. 40 pal, as it is not reckoned in the time, the Bar being complete without it ; which is the per- fection of a singer, be it man or woman. INTRODUCTION. Transitior s used to soften the roughness of a leap, by making a gradual passage to the note next following, it is most frequently used in thirds, being difEcult to use it in greater intervals writtCD. igaiTirsrsii Stoccato marks, signify that the Notes over which they are placed, should be sung with spirit and taste, and held only half their time, the remaining parts being made up by an im- aginary rest between each note, as in the example. Figures i, 2, when set over notes that arc different in their length of sound, and after a repeat, import ^hat the note under figure J, is to be sung before repeating, and the note under figure 2, after repeating, if tied, both are to be sung. A Close, is two, three or more short marks at the end ot a tune, denoting it* i.iil conclu- sion. Sometimes the characters Hold and Close, are somewhat confounded as the double use of the Hold makes it a little ambiguous. There is no cause for ambig. uity, however, if we consider, that the Close always implies a Hold, but the Hold does not always imply a Close. • When the Hold is used simply as such, the unfinish- ed expectation of the ear infallibly shews, that it cannot in that situation bt consid- ered as a ^nal Close. SINCOPJTION OR DRIVING NOTES. SYNCOPATION is used for connecting the last note of one Bar, with the first of the following one, either by drawing a Bar down through the middle of a note, or by representing shorter ones, with the Bar between them, and. an arch drawn over them so as to make one note of both. Sometimes again, a note at the end of a measure is carried on to the beginning of the next measure, by means of a Point of Addition, in which case the Bar is drawn between the note and the Point. "When notes are placed as above, the hand or foot must rise or fall in the middle of, or while the note is sounding, hence they are called driving notes, and arc very I difficult for young beginners. See cxarriplc lu, P«gc 36. lote of one drawing a presenting rch drawn is carried of a Point n the note le hand or lie note is 1 are very •c s6. ^^^^.f^f^^ .»-■•- ^ ^ ,N \ \v \^ .44i» tf; !i Em ail INTRODUCTION. Characters of the NOTES andt/je Proportion they bear to each other. There are scvtn notes made use of in Music, though but six in vocal Music, for the different characters of which and also the proportion they bear to each other, I refer you to £xample j, page ^fi. RESTS. IT often happens, that a Lesson, Air, or Song, is interrupted in some part by a sign or signs, called rests or pauses for the characters and explanation of which see Example 3, page 36. So that if you meet with a Semibreve rest, you muft re- main silent as long as you would be singing a Semibreve in the piece you are performing, if with a minim, as long as a minim would take up in singing, and so on for the rest. A Point or dot, following any note or rest, makes such VPte or rest, half as long again as it otherwise would be, were there no dot annexed to it, which may be seen in Example 4i page 41. APPOGIA'TURAS. THERE are two sorts of Appogiaturas, called the greater ax)d the lesser Appogiaturas. The greater Appogiatura is most frequently used in slow movements and at the ends of strains ; when judiciously placed, is a very great addition to 431 the composition, and if nrnn/.rl«^ «»,.*■ J ^-.- -n- ., formance to the utmost advantage. The Appogiatura com- ing before a dotted minim should be held two-thirds the time of the note, to which it is prefixed, and coming before a min- im without a dot, you should divide both notes equally. But it is more graceful at the end of a strain particularly to make the most of fhe Appogiatura by sustaining it as long as the Time will admit. GREATER APPOGIATURA. See Exam. 5, p. 4,. FURTHER ELUCIDATION OF THE APPOGIATURA. IN the first Example, the Appogiatura comes before a dot- ted minim. From what has been before said in this little work the dotted minim is equal to three crotchets ; now if we allow two-thirds of the dotted minim on the Appogiatura. consequentely there remains but one third for the duration of the minim, which is equal to a crotchet. T^tT 3 Crotchets=«dotted Minim lake - c Crotchets=Appogiatura ZT'""' , . u ' ^'■°''^'' ^^"^ '^' ^"^^^»°« °f t^e Minim, bee JExample 6th, page 41. Sometimes the Appogiatura is plated under the note, so as to ascend to it. Example 7, page 41. LESS APPOGIATURA. ^ ^ THIS Appogiatura is chiefly made use of in quick move »^uu .nc per. j a.ents i and when it occurs is always slur'd immediately into \pr 44 INTRODUCTION. I , i the note to which it belongs ; it is also placed at the begin ning of a lesson or piece of music to take off that harsh and disagreeble effect which it otherwise would have, were it not for the aforesaid note. See Example 8, page 4a. OF TIME. COMMON TIME is measured by even numbers, as 2, 4, 8, &c. it has commonly four different characters of distinc- tion placed in the different Cliffs of tlic different pieces of music in Common Time, to denote their movements — but, the fourth of these characters is through ignorance often mis- applied, or misunderstood, it is only an exact duplicate of the third Mood, for, as the first consists of four crotchets or two minims, beaten four beats in a bar, the second one half faster, the third, one half faster still, diminishes the minims half, from what they were in the first mood, in which state they represent two crotchets in their primitive lengths of Time. 'Ihen what is called the fourth (Mood containing f of a bar in the first) is the same thing as the third. Therefor, it is call- tii Retortive Mood, and may be used instead of the third but f -nnct be properly called a Fourth Mood. Take them as ye jikc. Sec the four following Examples. The first mark called Adagio, de- notes a very slow movement, has a Scmibreve for its measure note, two k D Minims or four Crotchets BXi a Bar, and is beaten two beats down and two up. The second mark d Largo and has a Semibreve i«>r its measure note, two minims or four crochets fill a bar, and is beaten two down and two up as the first mood only one half faster. Adagio and Largo Moods with respect to beating common time, may with the greatest propriety be compared to a rec- tangular four equal sided figure, that is, a square whose four sides are equal and its angles all right ones, the hand to fall the perpendicular D A, the first accented note or part of the bar and move along the base A B, the first unaccented part of the f& bar and rise the perpendicular B C, the second accented part of the bar and move the hand from C to D (paralled to the base,) the last unaccented part of the bar which prepares the hand again to proceed. The third mood is c 'led Allegro or ______________ retorted mood, has m^»»«W"S!«« a minim for its measure note, and is beaten two beats in a bar, one down and INtftODUCTION. one up, and \ faster than Largo time, and twice as fast as A- dagio, being used for brisk and airy pieces of R^asic. So that a nninim in Alegro, is but a crotchet in Adagio. OF TRIPLE TIME. TRIPLA Time moves by threes ; as three minims, three crotchets, or three quavers in a bar, tc be beat just as long again down as up. The first marie is Adagio in Tripla Time vailed three to two, the 2 under* neath imports that the triple must consist of minims and as two minins make a bar in common time, the 3 over the 2 directs, that you must sing three minims (in tripla time,) to two in common time, so the 4 hath regard to crotchets, and 8 to quavers, &c. They are generally performed slower than the rule by reason of the solemnity of the words to which they are generally adapted. Observe that the most regebr method of C beating Time in Trenary Measure, is to let the hand move in a triangular form, viz. fall the perpendicular C A, the accented part of the Bar, then move along the base A B, the serond bcit, but unaccented part of the Bar, \ 45 then move the hand in a right line from B to C, the third beat, and unaccented part of the Bar, which completes it, and prepafes the hard for proceeding in the manner before mentioned — this makes two down and one up without much difficulty. N. B. Although that through prejudice some may object to this rule, yet I think it the most practicable of any extant be- cause it divides the bar so exact, into three equal movements of equal durations of time— the want of a knowledge of which makes many rather decline performing in tripla time, than to puzzle themselves any about which way it should be perform- ed. — This rule has been sufficiently tried, to prove its facility. The second mark, 3 to 4, or 3 ^ from 4, called Largo, signifies that .%SSI5"SySS! each bar contains 4 of a bar of Lar- "^^"J^ wwawi— 1 go mood in common time, every ddu ddu ddu two first of which to be beaten down and one up also that it must consist of crotchets and mostly used to Anthems, &c. and has a pointed minim for its measure note. N. B. That although this mood is performed slower than the rule, also, yet, if you call it 3 from 4 you must perform it as I of a bar in the Largo mood of common time, i. e. one | faster than common time, by reason in common time you have four crotchets in a bar, but here you have only three. But, if you call it 3 to 4 you must then perform one quarter ' 1 ' lit 46 INTRODUCTION. slower than common time, because you must sing three crotchets in this mood to the time of four in the mood of common time, from which this is taken.— This is the differ- ence betwen from, and to, take ye the terms as ye like. The third mark ^QHIIHHIHBipBBHBKSHP^ 3 from 8 caUed ImMBSSSmBSB*"'^ u dd u d d u ddu nifies that it con- sists of crotchets and quavers, has a pointed crochet for its measure note, three quavers fill a bar which must be beaten two down and one up, being | less in every bar than common time, &c. There arc seven other moods in tripla time which being uselefs in psalmody.— I shall not take up the readers time with any thing that does not concern the subject in hand. OF COMPOUND TIME. COMPOUND TIME is known by the following Marks or Characters. The first Mark is I a Bar and a half of Largo. Hme divided in- u d u d u d to two equal parts beaten one down and one up, has a pointed Semibreve for its measure note, two pointed Minims, two Min. ims and two Crotchets, or six Crotchets fill a Bar. The 2d Mark is g, a Bar and a half of Allegro Time divided into two j „ d equal parts, has a pointed Minim for its measure note, two pointed Crotchets, two Crotchets and two quavers, or six quavers fill a Bar, beaten one down and one up as before. These Rules will be of general use to all. And ihcw what we do. Time and Measvre call. g Marks or u s a pointed i, two Min< ,# note, tviro ers, or six before. ■^ 1 ill H i'^l' it (14^^^/^- J^;i%. 41^ M^^ ^. 4-rl \^ i^^ 1¥^ ^-ftr ^V- ^^Sr ^^S.^ f^ m -«^ %;^ -_liL "^ H A. E 7\ t 7i t=^ ft tX^. 1^ E 3 "F C y#^ D J^ C TE IB 3H. JL ■ 1)' >^^^/4^^^ >2^^.^^ ^*^^/^.;.=^.^4^/^ A^ y^ a:;^tM!y^ J ^ rwt 4 — v used* Q. What is sound ? A. Sound is the undvijating motions of the air arising from the tremulous motions of the parts of any body, occa- sioned by its having been str-uck, and those undulations, or pulses of the air beating on the tympanum or d^um of the cars, convey by the nerves this sensation to our minds, &c. which lojinds arc more or less pleasing to the ear, according L A MUSICAL CATECHISM ; (W5, A DIALOGUE BETWEEN SCHOLAR AND MASTER. to the agreement of the different motions of the air produc- log thsm. g. Who invented concords ? A. Pythagoras, from the sound of Smith's hammars of dif. ferent sizes all striking at the same time in harmony and by this means, was the first that brought music under mathemat. ical calculations. Q. What are the powers of music. * A. Music the coldest heart can warm. Page 9. Q. What is church music ? A. All music set to sacred words if vnx\x propriety. Q. What is the chief end of church music ? A, The chief end of church music, is to relieve the weari- ness of a too tedious attention, to make the mind more cheer- ful and composed, and to endear the offices of religion, and so transport us to the beauty of holiness, above the satisfac- tion of this life, as to make us ambitious of the 'glories of heaven, &c. For, When wt to Ii6av*n9 celestial temple come, Petition there ahall cpasc, ajid pray'r be dumb. See page 33. 'fr i ^^ ' INTRODUCTION. Q. What are the qualifications requisite for a teucJicr of psalmody. /i. IJc nuglit, in the first place, to be a man of good char- actcr, and then to be fit to command in a school, and to be a inabtcr in music, or to understand it properly he must be a raaUiematician. Q. What arc the duties required of him ?• ..: A. To keep good order in school, and ^ive his pupils all the instructions that his knowledge in that art will allow. Q. What are the duties required of a scholar ? A. That he behave himself orderly in school, and pay par- ticular attention to the master's tuition. Q^ What is a psalm ? /t? !? '^' . J. A sacred song. Q. What is an hymn ? y/. A divine song in honor to God, derived from the Greek, which signifies celebro, or I celebrate—Composed and first brought into churches "by St. Hilary and St. Ambrose Q. What is an anthem ? J. A divine song, generally in prose. O. Wliat is metre ? A. Lines formed so as to rhyme with each other. Q. What is a key in music ? /i. It is a certain principal dominant tone, whicli regulates every tone else to a certain degree or pitch of acutcness or gravity, occasioning every member of the whole composi- tion, to move in a true decorum, and without which every minuttf part would be nothing but confusion. Q. Where do you find the key note ? ^. It is the last note of the Bass, which is the foundation of all the other parts be they ever so many. Q. What is the distinction of sharp and flat keys ? j4. There are but two keys, naturally, which arc called primitive, viz. C the natural sharp and cheerful key, and A the natural flat and melancholy key, so that no tunc can be pricked down on any other key whatsoever, but on these twoj» without placing eithci: flats or sharps, at the beginning of the stave, in order to change and regulate, the natural order of the semitones. <2- What makes C a sharp key .? j4. Because its first third above, is a greater or major 3d, containing five semitones, inclusively C D E, or fa sol la. Q. What makes A a flat key ? A. Because its first third is mih6r or flat, of only four sem- itones including ABC, which is the manner of counting for aHl the keys, though they be artificial. Q. What is an artificial key ? A. A key is called artifirial, when flats or sharps are put to crowd ihe semitones into other places, higher or lower. INTRODUCTION. 49 which admits of changing the place of the key note, in or._,, . .u< i \r i erase. 5* INTRDDUeriON* Q; How do yoii expect to reaclf the. true pleasure of Music ?• ^-y^*^'^''-' ' '•lt*^afrt>.A , ■,. • *,»^;j^|rf;:' • A. By joining the heart with the voice in this holy ex. Most gracious God, thy Heaven'ly M imi^i^" ' Direct my muse, to sing of Music's irt j" '' ' Oi:ce more vouchsafe, to'iune m^ VoCal ivie^' And in' iny soul, diy HdaVeh'Jy grace ihsjfec^ - • " ....i-ii:-, .- sal r'iijvii. .. , r/. vil,! . 9 K- Bkss'd Music's art, can never be defind. The noblest task, of an exalted mind. To charm you with, lier great Creators praisiCn . Soars, above Nature, to celestial lays. ■■■'' ■■■'■ ■ ■ '■ ■' ■ ' ' ' •■! 'j^:;-! , Nor earthly mortals only Music love, It also cheers, celestial Siints above ; i,. Sweet Holy ! Holy I Holy ! Angles sing In Heav'n, around, their grea^ Atherul Kin^, -T^'TTiryTCTih-rnt-TT t Ti i ^riiiiv A ^MVSICAK^ jpfCTJONARY, CONTAINING T«;CHNICAL TERMS, A. , An abrevialSoH of AJMnjtrc.and Are. JSee, Qamut, A bene placito, ij^you pleue or :wi)l. . . ,/ i rf^.j Accent, strong tones to cxprcfcsr|)a8sions, also JtriUdcsi &o. Accentor, the leading signer', ida.. ■ ,' i' Accord, with concord or- agreement. ' r" ' Acute, high, s!i»p or shrill, &c.' ' Adagio or Adi, very slow in movenient. Adlibituiri, if y&u please- or will. A Due or A Do?, two parts. - Affetto or AflFctu'dso, tender and affectionate. Ajelcth, the name of an ancient divine song. Allegretto, very quick and lively. Allegro, time very q-aick, the quickest common timc^ AUegrome non presto, not too quick. AUclujah, praise the Lord. Ako or Alt US, the counter tenor. Alto Ripieno, tenor of the grand chorus. Alto Concertante, tenor of the little chorus. Alternately, performed by turns. An:brosian Chant, he being the author. Animato, with life spirit and vigor. Anthem, a divine song, in prose generally, and invented a- bout ihe year -i^o. i INTRODUCTION, t , small notes to lean on, &c. to soften a Appoggiatura notes leap. Arsin and Thesin, rising and falling in a canon. ..^ > Art, the skill or knowledge of acting— not the science itselfc Asaph, one of King David's chief authors or singers. Assai, enough. Assaying Trying, if voices are in tune. r . A Tempo giusto, equal time. } , ,) Authentic, chosen or approved V .B. „ ., \ B, An ahrcviation of B mi or B fa bemi. Bar, perpendicular strokes across the five lines to divide the time. Bass, the lowest or ground notes of all parts. Basso, the vocal bass. Battuta, the motion* of the hand in beating time.- Baripicua, low, grave and deep. Bassist, a performer of bass. Basso Concertante, the bass of th^ little chorus. Basso Continue, the continual or thorough bass. Basso Repieno, bass of the grand chorus. Basso Recitante, the bass that moves continually. Bcat, oqe motion or parf of a bar or measure in any sort of Binary-Mcasure, time equally beat down, and up, 3 [time. Bizarro, ita.okange as.. thsi, composer or. p_crfc»raicr quick iOTffilo^V. blo^^.^r- Chords, musical strings or soupds. Chorus, fulls or all parts moving together. Choral-Music, eight parts sung by turns. Ciffra-Fieures, set over the instrumental bass. Clavis, a cHfF or key to let into. '" . . Close, a conclusion of all parts, ** ' Continued, not yet indeed. Contractions, shortenings. Colaratura, with all trillocs and ornamehts as can be made. Corona, a rest or hold; " ' "" Consecution, a following of the same. Conjointly, moving by degrees. Comma, the supposed niiith part oi a tone. Come Sopra, as abbvei ^ Comes, the following fuges. Common Time, equal in number as 2, 4, 8, &c. Composition, many parts musically joined or melody well framed. ' . . Con, with. Con Deligenza, with care and deligencc. INTRODUCTION. Con Descrctienc, whh judgement smd discretion. Concert, in three or more parts. Concords, all agreeable intervals. Concert Ktch, the common pitch of instrument*. Contra, coup*5r tenor. Concinnons, cords disagreeable. Consonance, •) > ; Consonant, j cor^s very agreeable. Conjoint, degrees lying next one another. Conclusio, the concluding strain. Con Spirito, with life and spirit. [ws. Cords, various sounds struck together, invented by Pythagor- Countcr Fuges, fuges proceeding contrar/ to each other, Counterist, a performer of counter tenor. Counterpoint, note agdnst note. Counter Bass, a double bass. Counter Tenor, between treble and tenor. C solfaut, the cliff note of the inner parts. C solut, the note C solfaut. Crotchet, a note held while you say one. Cromatiu., moving by semitones. Currant, a musical air in tiiplft tim«. D. D, An abreyiation of D-sol-re. Da-Capo, end with the firft ftrain. INTRODUCTION. t)a, or bal, of, for, frono, with ot by. Dalmatio, a declamation or crying out. Degrees, gradually ascending or decending. Demi, the half, as demiton^, a semitone% Demiquaver, a note with a triple tail. Dcpressio, the fall of the hand or foot. Descant, the tones that a composition consists of. Plain Descant, the orderly placing concords. Figurate Descant, when cUscords are orderly taken or mixed. Double Descant, the upper made under, and under upper. Decimaj a tenth or oAave third. Decimi Contrapunto aia, the counterpoint to rise a tenth a- bove or fall below the subject. DecimaTerza, a double 6th, or i6th. Decima Quarta, a double 7th, or 14th. Decima Quinta, a double 8th, or 1 5th. Decims. Sexta, a second trebled. Decima Settima, a tenth doubled. Diapason, a perfect 8th. Diapente, a perfect 5th. Diaphora, a discord. Diaphonic, treating of rcfractured sounds as they pass through different mediums. Diatonic Scale, the common scale in music. Disonant, discording. ^ Ditone, the greater 3d or live semitones. Dominant, the first note, also, chief. Doxology, Gloria Patri, a song to the blessed Trinity. Dolce, sweet and agreeable. Doric Mood, an ancient mood very grave. Duodecima, a 5ih doubled. Dux, the leading fuge. Drum of the tar, the inner part of the ear like a drum, whose outer part is covered with a very thin membrane or skin, called the memfJrana tympani, whose ofEce is to modify the sound which it performs by its different degrees of ten- sion, to convey sound to the auditory nerve j whereby we perceive and judge of harmony, &c. Doctor Willis says^ that there is a certain nerve in the brain which some per- sons have, and some have not ; and that such nerves are composed of small fibres, such as the ears are composed of, &c. Now if these fibres arc imperfect, why may not there be a deficiency in some persons in the auditory nerve ? which nerve conveyeth sound from the tympanum, to the understanding, and arc put in motion by the least vibration of air. And as it is said, that this musical nerve hath a conformity with, and commandeth the voice to express any tone transmitted to it from the vibrations of the air's strik- ing against it— well may they who are endowed with this nci ve be said to have a good ear, and they that have it not 56 INTRODUCTION. 1 1 f be said to have a bad ear, and some to have a gfeatcr dis- like to music than others, &c. But this very rarely bap- pens J for the Italian proverb is, « God loycs not whom he hath not made to love music." ' £. E, an abbreviation of ela or clami. Ear, the umpire of all sound. "^ Echo, soft like an echo. See page 30. Ecclcsiastico Stylo, church music. Elegy, a funeral song. Eolick Mood, an ancient mood soft and mating. Emphy Soomena, sounds made by breath. Emphatical, main accent. Evovac, the ending note. Encore, more of the same. Eptacurd, a seventh. Epi, below. Erretta, faults made in printing. Et-Cetcra, or &c. and soforth. . Etymology, the first derivation. Euphony, sweet agreeable sounds. Exempli Gratia, e. g. as for example. Explore, to find out by study. Expunge, to blot out or put out. i Extempore, to sing to another without Aotes. Extreme, cords at their utmost bounds high or low. Exultation, joy and gladness, &c. Extcntio, to arrange sounds in a melodious order. F, An abbreviation of F, faut. Fa, a flat or feint tone. Faburden, the main subject-part, tcnor^ melody, or churcli tone, &c. F faut, the cliff note in the bais, also others in the scale. Fifteenth, a double octave. Fifth, a sweet perfect cord. Fin, the last note of a composition. Flat, a mark to sink a sound a half tone. Forte, loud and strong. Fortement, more loud than fort*. Fortissimo, as loud as possible. Fourth, a discording interval. Friction, the rubbing of bodies one against another which with air causeth sound. Fuga or Fuge, parts flying before one another. Fundamentals, the principal tones. Furioso, furiously or hastily. Funuainenis, basses in general. INTRODUCTION. »tir. , or chnrch : scale. ther which Fura, with haste and fury. FuU, in full chohis. 57 G. G, An abbreviation o( gammut or G solreut. ' Gamut, the scale of music or the first note thereof in the bass. Galliarda, gay brisk and lively. Gavotta, a brisk air in common time. Glossary, a dictionary explaining obscure terms of art, &c. Grave Gravemcnte, slow and mournful, or deep. Group, a trill, shake, or beat, to ornament the tunc. Grounds, the first principles, &c. G.re, sol, the note G-sol-reut. G-solreut, the cliff note of the tenor, or treble. Guido Auretinusj the improver of our present gamut-scale, Guida, the leading voice. , H. Hallelujah, Praise the Lord. Hatitude, the relation that one sound bears to another. Hand Harmonical, the old scale of music expressed by fingers. Harmonics, that part which considers the proportions of tottes grave and acute. Harmonic Sounds, all agreeable intervals. HarmOnV, the result of rnncorr^a nr ^arpr^chU cr)iin'1c AMnht- ing the ear. Harp^gio, sounds heard distinct, one after another. Haut-Contra, the counter part. Harmonics, the whole doctrine of sound. Hautdessus, the treble part. Henritone, an halftone, Hemiola, as much and half as much. Hexacord, a sixth. Homophinous, in one pitch or in unison* Hosanna, save now, I beseech thee. Hypoproslambanomenous, a low sound in the old scale. Hyper, below* Hypo, below. Hymn, a divice song in honor to God, derived from the Greek word which signifies celebro, or I celebrate : Being first brought into Churches by St. Hilary, St. Ambrose and others who composed them, about the year 370, some of which they called Chants. Jar, disagreeing sounds. Ionic Mood, the ancient mood, very light, airy and melting. Id est i. e. that is to say. Jesscian Harper, a name given to King Divid. Interval, the snare between two or nifire Rnursf^* Index, a director. i 1 whR ■ 58 BrfTRODUCTION. Ir).tonator or Retonator, an clastic soundmg instrument a tuning fork. ' lule, a Greek harvest hymn. • K. Key, the donainant or ending tone. Kcy-Notes, the two principals A and C. Kyrie, the first word of masses signifying Lord>its music be-- ing called a fine Kyrie, i. e. well composed. L. La, the practical vocal word for alami and alamirc. Large, a note as long as eight semibreves. Largo, a middle mOyeroent of time. , Lauda Syon SaJvatorem, an ancient church hymn in prose, used before the gospel ; also at burials, nobly set to music. Laud, praise or commendation. Latinia, musical churcii litany. Lesser Cords, wanting a seniitonc. Legato, notes tied or slured — Legafura. Ledger-lines, above the common number. Long, a note as long as four semibreves. Lydian Mood, an ancient mood very slow and doleful. M. Maestro, a master or teacher cf music. Major, the greater 3d, &c. Magnify, to Udorc, praise or enlarge. Measure note, containing a whole bar of time. Medius, the counter or middle parts. Melody, a mixture of single musical sounds to delight the ear, Melos, a piece of melody. Medium, the air or sphrere of activity — also in a middle way. Melodious, sweet and pleasing. Metro Soprano, counter tenor. Mean, the medius or counter tenor. Measure, in music is that space or interval of time that musi- cians take in rabing and falling the hand or foot, which is marked out by bars^ one rise and one fall, being called one measure or bar ; also one swing of a pendulum (which is the 60th part of a minute,) or the time of one crotchet : So that in common time a sembrevc takes 4 beats to make one measure or bar and in tripla time w« have 3 beats to a measure cr bar which are made quicker or slower just as the mood or measure note directs, &c. Minim, a note containing two crotchets. Minstrel, one who sings methodically. Minor, the lesser or smaller 3, &c. Metron, the beating of time by n^ tion. Mode, the order of an Octave j the key note or the mark of the time. Modern, now living, or in this age. • "gViISis liuiv, 33 sciiiiurcVcS, ac. O INTRODUCTION. Mood, the marks, measures or movements. Modulation, the art of tuning, warbligg, or regulating the voice so as to perform a piece of music harmoniously. Molle, flat or feint. Molcttc, a church composition in various parts. Motion, is the continual, and successive change of place OC' casioned by some external force or power applied to any body : which being greater than its resistance, impelleth, or driveth it out of its place, &c. from which all sounds are made. Music Master, the chief composer, of a teachef. Musica Ecclesiastica, church music in general. Musico, a musician or master of m usic. Musico Theorico, a person who studies the science of music in general, and private, writes treatises, and comments thereon, and endeavours to explain all critical and obscure passages therein both ancient and modern as well as to give instructions by practice, &c. Musica Music, the whole doctrine of sounds in gsneral, said to be invented by King Bardus, in Abraham's time. Music Vocal, the singing of the voice only, as psalms and such like ; which Aristides, Quintilianus, and others called the first of all, it being both contemplative and active. Natural, a mark of restoration to its first state. Nona, a ninth^ ' NoteSs characters to disfina-'iUK t'^T^x 1= =fc S9 Nota Bene, N. B. mark well. N. B. Some mathematicians have computed taat one may make 720 changes or varieties with six notes, without repeat- ing the same twice ; and that 40,320 different tunes may be made from any single cKtave. Numbers, In thorough basses are from i, to 8, or more. Octaves are also meant. 0. Obsequies, fun^'ral song performed in honor to the dead. Octave, a perfect eighth. Obstacle, an hinderance to stop sounds, &c. which causeth echo's, or returns. Octuple measure, eight quavers in a bar* Omnes, all together. Oratorio, a sacred opera or a divine subject from Scripture, whose music should be set in the greatest perfection. Orchestra, the place for musicians^ Oscilation, waving or trembling. P. P. P. more soft. P. P. P. as soft and weak as possiblci Part, any proportion of music in its proper cliff. Partico or Partist, one who gives himself no other trouble — . ... ....,.,..„. !,„ orrij pail j use as nc Tas ic sec down, be it right or wrong, in concord. , ,-!r.i fi« INTRopirCTlON. Partition, a divider, or mark to di\4dc the score. Pastoral, a soft air sung like shepherds, &c. Pause, a rest, or note of silence. Pause, to stop, or a mark so called. PcntatoDon, the major 6th. Per. by. Perfect Cords, the unison, 3d, 5th, 6th and their octaves. Philosophy, the study of natural causes. Phiio Musica, a lover of tnusic. Piano P. soft and sweet like an echo. Fitch Pipe, an instrument to set other instruments and tunes by. Point, a dot of addition. « Poco, 1 little less. Practice, cue who only performs and not studies. Professor, one who professes, studies, composes, and teacheth »nusic. Prima or Primo, the first. Preludes, played before the piece, presto, quick time. * Presto Presto or Prestissimo, as quick as possible. Prolation, the art of shaking the voice on any note. Pronto, quick without loss of time. Proportion, the true relation of sounds or time, &c. Prosiambanomenos, a low sound added. Practical Music, the aft of c6nii>osing, &c, IVinciple, the bass on which a matter ii first grouhded. Principal, the head, or chieJf. Precentor., he that begins or leads the chant or tune, especially in a cathedral chuf'ch. Practitiorncr, one who practtses, &c. Psalms, divine songs put into metre by Stenihofd and Efop- kins, ill I552. Psalmody, the art of singing psalms. Psalmodist, a teacher of psalmody. Psalmist, a singer of psalms. (^ardo, a character caUcd a natural, (^aver, a note half a^ long as a crotchet. C^inta, a fifth. Quatricibma, a semiquaver. C^avering, to shake or trill the voice. Ratio, rate or prqjortioh. Radical, the root or lowest term. Ratios or Rational, the Protions, &c. of intervals sought and known by their vibrations. Resolvent, the concord that follows a discord. Resolvinff, passinir next into, &Cr as discord* are resolved by concords. mtkbbucnoi^. Reconcile, to make »n artificial key be in e^eet a< tht tW6 naturid ones. Recte and Retro, forwards and backwards. Rectus Ductus, rising or failing by degrees. Re, the ancient syllable, soU , Rehearsals, tune of practice to learn music. Repeat, a character denoting a repetition, :lfe: Resonance, a resounding or sounding again. Rest, to keep silence or a mark so called. Riga-Lines, the five lines whereon notes are fixed. Ro'^.id, canons so performed. Rondeaus, tunes ending with the first strain, 13 C a|1:he end. Roundeley, a strain repeated at the end of every l^rsc Roulade, a trilloing or shaking. Rotondo, a natural. . "^ Rudiments, tht fir^i detfifents of any art or !ic||a^e« Rhymes, lines that gingle musically. ^ > S. Salmo, a psalm. ^' Salto, a leap or moving by leaps. ^' Scale, a table of any sort drawn uniform j our fi^s^ilt scale of music was improved by Guido Aurctinus, if iosB. Science, any sort of knowledge in learning which^concems itself piincipally about the reason of things more'*' than the practice, &c. There are seven liberal sciences, vir. litzm- mar. Logic, Rhetoric, Arithmetic, Geometry, Astronomy, and Music ; all of which require both learning and knowU edge in a superlative degree. Score, all parts in viewJi|Mpninii(ft!||^ first composed. Secon4».'tt:-4^ordinfldHer^ ^^,a ^ih, an mlillfford used seventy «>#« |||es in the old ^ book of psalott, and twice in the bobk of HalM^kuk, signi- fying forever, amen, &c. but thosdy for a pauilor stop for thb singers to ^ais* their Voices, in a full chc^r^to verses of great importance, &c. Semi, the half, » • ' Semiconic, a scale consisting of semitonM* Sesquialteral, as much and half as much more. Seventh, a discording interval. Sethibreve, a note of four beats. Semeditone, a major third. Sexta, a sixth. Sharp, a mark of extention, also notes rused half a tone. Sing, to sound tunes by voice. Sixth, an agreeable intervaL Singmg of Psalms, brought into churches in 1548. Singing Master, a teacher of singing. Sion. thst H Solo, alone. ■M^ \ 62 Sonouorour, sounding. Sopra, above or the upper. Soprano, the treble. Song, the general subject. Solemn, grave, and ^^|-dp|||L^ Soliloquy, a tu^|gp|s bwnthouglui^ Speculative, (g^^cliotis in causes and Strain, par^ a composition. Stave, the^vc lines with their spaces. INTRODUCTION. Tenorist, a performer of tenor. Theory, the contemplative part of any science ; wherein the demonstration of the truth, is more examined after than the bare outside practical performance. Third, a concording interval. Theological Music, divine or church muiic. Time, Tune and Concord, the three great propricUes of mc^ lody and harmony j which with some discords, gives us aU the pleasing varieties of music. q^vl/. tuJm^. • t.. . . ^- ^"'^ picawng varieties or music. SuonI or Sound, see page 23. ^Supernumerary, above number. Superlative, the highest degree. Swell, to strengthen. Syncopated, driven on or forward. Syncopation, driving the time of notes through the next bar. System, see page 10 and 22. Technical, the scholastic terms or words used in Arts and Sciences. Tenore or Tenor, the church tunc or leading part, being the second octave above the bass or the chief melody. Tr^liist, a performer of treble. Tritone, the greater third. Tune, ali.air judicially composed according to the rules pf music. \ V. Vibrations, th<^rcmbHngs of sounds, strings, &c. Vide, see thou or look thou. Virtuoso, an expert master of music. ^ XJ. Unison, many voices in one sound. LJni.vocal, voices singing unison. Ut, the no&i G solre in the ancient scale. # wherein the d after than ieiies of mc^ I gives us all ISS. the rales pf