Andreas Ornithoparcus his Micrologus, or Introduction: containing the art of singing Digested into foure bookes. Not onely profitable, but also necessary for all that are studious of musicke. Also the dimension and perfect vse of the monochord, according to Guido Aretinus. By Iohn Douland lutenist, lute-player, and Bachelor of Musicke in both the Vniuersities. 1609.

THE FOVRTH BOOKE OF ORNITHO PARCHUS HIS Musicke, declaring the Principles of the Counter-point. (Book 4)

The Argument of Master Cotherus. (Book 4)

THE FIRST CHAPTER.

Of the Definition, Diuision, and difference of the names of the Counterpoint.

NIcomachus the Musitian saith, That the Art of Musicke was at first so simple, that it consisted of a Tetrachord. And was made with the voice Assa, that is, one Voyce alone (for Assa the An∣cients called alone, whereof it is called Vox assa, when it is vt∣tered with the mouth, not adding to it other Musicall Con∣cents, wherein the praises of the Ancients was sung, as Phil. Beroaldus wri∣teth in the Tenth booke of his Commentary vpon Apuleius. Yet by the meanes of diuers authors, the Tetrachord from foure Cords grew to fifteen. To which the after-ages haue added fiue and sixe Voyces, and more. So that a Song in our times hath not one voyce alone, but fiue, sixe, eight, and sometimes more. For it is euident, that Ioannes Okeken did compose a Mot∣tet of 36. Voyces. Now that part of Musick which effecteth this, is called of the Musitians, the Counterpoint. For a Counterpoint generally, is nothing else than the knowledge of finding out of a Song of many parts. Or it is the mother of Modulation, or (as Franchinus lib. 3. cap. 1. writes) it is the Art of bending founds that may be sung, by proportionable Dimension, and mea∣sure of time. For, as the clay is in the hands of the Potter; so is the making of a Song in the hands of the Musitian. Wherefore most men call this Art not the Counter-point, but Composition. Assigning this difference of names, and saying, that Composition is the collection of diuers parts of Harmony by diuers Concords. For to compose is to gather together the diuers parts of Harmony by diuers Concords. But the Counter-point is the sodaine, and vn∣expected ordering of a plaine Song by diuers Melodies by chance. Whence Sortisare signifies to order a plain Song by certain Concords on the sodaine. Now it is called Counterpoint (as Bacchus saith) as it were a concordant Con∣cent of Voyces set one against another, examined by Art.

Of the Diuision of the Counter-point.

THe Counter-point is two-fold: Simple and Coloured. The Simple Coun∣ter-point is the concordant ordering of a Song of diuers parts by Notes of the same kind. As when a plaine Note is set against a plaine Note, a Breefe against a Breefe, thus: 〈♫〉〈♫〉 Discantus. Tenor. Altus. Bassus.

The Coloured Counter-point is the constitution of a Song of diuers parts by diuers figures, and differing Concords, thus: 〈♫〉〈♫〉 Cantus. Tenor. Altus. Bassus.

THE SECOND CHAPTER.

Of Concords and Discords.

BEing that Concordance (as saith Boêtius) is the due mingling of two or more voices, and neither can be made without a Sound, nor a Sound without beating, nor beating without Motion, it is necessary motion be diuided. Of motions therefore some be equall, some vne∣quall. Now it is plaine, that out of the equality of Motions doe proceed equall sounds, and out of the inequality of it, vnequal sounds: and out of the mean inequalitie doe proceed consonant Sounds, out of the greater inequalitie, Discords. Hence is it, that the Pythagoreans concluded, that no Concord could be beyond the Disdiapason (as before appeared lib. 1. cap. 5.) because of the too great distance of the extreames. By how much therefore Sounds are neerer one another, they are so much the sweeter? and the further they are distant one from another, the lesse they agree. Which I doe chiefly proue to come by the inequall falling of such sounds into the eares, because a Con∣sonance is a mixture of two Sounds, falling into the eares vniformely. For high Sounds are heard sooner, than base Sounds. As a sharpe Sword pier∣ceth quicker, whereas a blunt one doth not so, but enters slowly: euen so when we heare an high forced Voyce, it strikes into one: but a base voyce doth dully, as it were thrust at one, saith Coelius lib. 10. cap. 53.

Of Voyces.

BEcause the likenesse of Voyces, doth not breed Concord, but the vnlike∣nesse. Therefore Voyces are called some Vnisons; some not Vnisons. Vni∣sons are those, whose Sound is one. Not Vnisons are those, whereof one is

deeper, another higher. Of not Vnisons, some are aequisons; some Consones; some Emmeles; some Dissonant. Aequisons are those, which being stroke toge∣ther, make one sound of 2. as Diapason and Disdiapason. Consones are those, which yeeld a compound or mingled Sound, Diapente and Diapason diapente. Emmeles are they, which being not Consones, yet are next to Consones: as those which sound thirds, sixts, or other imperfect Concords. Discords are they whose Sounds mingled together, doe strike the sence vnpleasingly.

What Concord is.

BY that which hath been said appeares, that Consonance (which other∣wise we call Concordance) is the agreeing of two vnlike Voyces placed together. Or is (as Tinctor writeth) the mixture of diuers Sounds, sweetly pleasing the eares. Or according to Stapulensis lib. 3. It is the mixture of an high, and lowe sound, comming to the eares sweetly, and vniformely. Of which (among the Practickes) there are two vsed, although some by repea∣ting the former, haue more.

Viz.	Vnison,	8	15	Vnisonum & eundem causant sonum, quia fiunt in octauis.
Third,	10	17
Fift,	12	19
Sixt,	13	20

Of Discords.

A Discord (as saith Boêtius) is the hard and rough thwarting of two sounds, not mingled with themselues. Or, (as Tinctor saith) it is the mixture of diuers sounds, naturally offending the eares, whereof there be Nine:

Viz.	Second,	9	16	Vnum & eundem causant sonum, quia fiunt in octauis.
Fourth,	11	18
Seuenth,	14	21

THE THIRD CHAPTER.

Of the Diuision of Concords.

OF Concordances some be simple or primarie, as an Vnison, a third a fift, and a sixt. Others are repeated or secundary; which are also aequisons to them that goe before, proceeding of a duple di∣mension. For an eight doth agree in sound with an vnison; a tenth with a third; a twelfth with a fift; and a thirteenth with a sixt. Others are tri∣pled, to wit, a fifteenth; which is equall to the sound of an Vnison, and an Eight. A seuenteenth, which is equall to a third, and a tenth; a nineteenth which is equal to a fift, & a twelfth; a twentieth, which is equall to a sixt and a thirteenth, and so forth. Of Concords also some be perfect; some imperfect. The perfect are those, which being grounded vpon certaine Proportions, are to be proued by the helpe of numbers. The imperfect, as not being pro∣bable,

yet placed among the perfects, make an Vnison sound; whose names are these:

The Perfects are	Vnison,	and	12	Imperfects are	13
Fift,	15	17
Eight,	19	20

Each whereof simply carryed, doth receiue onely two Voyces, although by corruption it receiue more.

Rules of Concords.

FIrst, Two perfect Concords of the same kinde, are not suffered to follow themselues, but Cords of diuers kindes may well. Yet an Eight, so that they proceed by different and contrary Motions, saith Franchinus lib. 3. cap. 3. thus: 〈♫〉〈♫〉 Discantus. Tenor.

2 Two imperfect Concords or more, are allowed to follow themselues together, ascending or descending.

3 Let alwaies the next perfect follow the imperfect Concords, as an Vni∣son after an imperfect third; a fift after a perfect; a fift after an imperfect sixt; an eight after a perfect, as Gafforus lib. 3. cap. 3. declareth.

4 Many perfect concords of the same kinde immouable are allowed to follow one another, but the moueable not.

5 A Minime, or his pause is not sufficient to come betwixt perfect Con∣cords of the same kinde, because of the little, and as it were insensible sound it hath, although by most the contrary be obserued.

6 It may fall out so, that a Minime or a Crochet, may be a concord in parts contrarily proceeding, for such a discord is hidden, nothing at all offending the eares. Yet must you take heede, least two or more be ioyned together.

7 A Breefe or a Semibreefe discording, is banished from the Counter-point. Yet be there, that admit a Breefe discordant diminished in a Quadru∣ple, and a Semibreefe diminished in a Duple.

THE FOVRTH CHAPTER.

Of the generall Rules of the Counter-point.

FIrst, If you desire to compose any thing, first make the Tenor, or some other Voyce; according as the Tone by which it is ruled doth require.

2 The vnusuall Moodes are by all meanes to be auoyded: for they all are Discords, except the tenth.

3 In perfect Concordances neuer set a sharpe Voyce against a flat, nor

contrarily, but set a Sharpe against a Sharpe; a Flat against a Flat, or at least against a naturall. For the Naturals are doubtfull, and will agree with ♮ Dures, and b Mols, thus? 〈♫〉〈♫〉 Tenor. Base not good. Base is good.

4 If the Tenor in the plaine Song goe too deepe, transpose it to a fift, or to a fourth if need be, as you may see in the Hymne, Quem terra.

5 All the parts of the Song in the beginning and end were by the anci∣ents made of perfect Cords: which Rule with vs is arbitrarie.

6 When one Voyce goes vpward or downeward, you need not vary the rest: because to an immouable voyce, many mouable voices may be fitted.

7 In euery Song seeke for the neerest Concords: for they which are too farre distant, doe taste of Discord, say the Pythagoreans.

8 Let the Tenor together with the rest haue sweete Melodie, in wandring Collations.

9 If the Tenor touch the Meanes and Trebles, the Meane may descend to the place of the Tenor.

10 If the Tenor fall to touch the Base, let the Base goe vp into the place of the Tenor, according as the Concords shall require.

11 Euery Song, must be often adorned with formall Closes.

12 If the Tenor shall haue the Close of the Meane; the Meane on the other side shall haue the Close of the Tenor, by ending either from a tenth in an eight, or from a third in an Vnison, thus: 〈♫〉〈♫〉 Discantus. Tenor.

13 If the Base take the Close of the Tenor, the Tenor shall take the Close of the Meane; Or if the Base take the Close of the Meane, the Tenor shall take his Close, as in the Rule going before is shewed, thus: 〈♫〉〈♫〉 Tenor. Base.

14 The Meane doth seldome take a fift aboue the Tenor: but the im∣fect Concordance oft times.

15 The Base must seldome or neuer be placed in a sixt vnder the Tenor, vnlesse an Eight streight follow, but in the perfect Concords it may often.

16 If the Base haue a fift vnder the Tenor, let the Meane be set in a fift aboue the Tenor, by ending in a third, thus: 〈♫〉〈♫〉 Discantus. Tenor. Bassus.

17 Let the Meane seldome leape by a fift vpwards, but by a sixt and an eight it may oft: to which also an eight downeward is forbidden, though all the other Interuals be graunted.

18 A Base may not leape a sixt, it hath all the other Moodes common.

19 In Fourths Mi doth not agree with Fa, because it maketh a Tritone.

20 A Fourth though being simply taken it is a Discord; yet being ioyned to a Concord, and mingled therewith, it maketh a Concordant midling with the extreames, saith Franchinus.

21 A Fourth is admitted onely in two places in the Counter-point: first when being shut betwixt two Eights, it hath a fift below. Because if the fift be aboue, the Concord is of no force: by that reason of Aristotles (whom Plato calleth Anagnostes, that is an vnwearied Reader of Bookes) whereby in his Problemes he shewes, that the deeper Discordant sounds are more perceiued than the higher. Secondly, when the Tenor and Meane, doe goe by one or more sixts, then that Voyce which is midling, shall alwayes keepe a Fourth vnder the Cantus, and a third aboue the Tenor. 〈♫〉〈♫〉 The higher Voyce. 〈♫〉〈♫〉 The middle Voyce. 〈♫〉〈♫〉 The lowest Voyce.

21 The most famous manner of the Counter-point, as (saith Franchinus) is, if the Base goe together with the Meane, or any other Voyce, being also distant by a tenth, whilst the Tenor doth goe in Concord to both, thus: 〈♫〉〈♫〉 Tenor huius. 〈♫〉〈♫〉 The Treble out of the Base in the Tenth.

23 If you ioyne not the same Concord, you shall make two parts Con∣cords in Tenths.

24 It is necessary for yong beginners to make a Scale of ten lines, then to distinguish it by bounds, so that they may write each time within each bound, by keyes truly marked, least the confused mingling together of the Notes hinder them; yet is it better to compose without a Scale, but because it is hard, let yong men begin with a Scale, thus:

[illustration]

Neither must young learners thinke it a matter of no weight, how the signes are set together, for by the vnorderly referring of them, so many er∣rours haue sprung in Musicke, that it is hard to be knowne, in what path a man may goe safe. Wherefore if a man will compare one signe with ano∣ther, let him carefully marke the nature of the Diminution and Proporti∣ons, least referring this to that, the measure of the one be too great, or too little.

THE FIFT CHAPTFR.

Of the Parts and Closes of a Song.

THe Ancient simplenesse of Musicke, knew not the diuers parts of a Song, which the subtilenesse of our age requires. For the whole being encreased, al the parts are increased. Now the parts which Musitians at this time vse, are many, to wit; the Treble, Tenor, high Tenor, Melodie, Concordant, Vagrant, Contratenor, Base; yea, and more than these. But because they be not all commonly vsed, we will speak some∣what of those which are most commonly vsed; of the rest nothing.

Of the Discantus.

THe Discantus (as Tinctor saith) is a Song made of diuers voyces. For it is called Discantus, Quasi diuersus Cantus, that is, as it were another Song. By which name the ancients did call euery Mensurall Song. But we, be∣cause Discantus is a part of a song seuered from the rest, will describe it thus. Discantus is the vppermost part of each Song. Or it is an Harmony to be song with a Childs Voyce.

Of the Tenor.

A Tenor is the middle voyce of each Song, or (as Gafforus writes lib. 3. cap. 5.) it is the foundation to the Relation of euery Song: so called a Tenendo, of holding, because it doth hold the Consonance of all the parts in it selfe, in some respect.

Of the Baritone.

THe Bassus, (or rather Basis) is the lowest part of each Song. Or it is an Harmony to be sung with a deepe voyce, which is called Baritonus, a Vari, which is low, by changing V into B, because it holdeth the lower part of the Song.

Of the higher Tenor.

THe high Tenor, is the vppermost part, saue one of a Song: or it is the grace of the Base: for most commonly it graceth the Base, making a double Concord with it. The other parts euery Student may describe by himselfe.

Of the formall Closes.

BEing that euery Song is graced with formall Closes, we will tell what a Close is. Wherfore a Close is (as Tinctor writes) a little part of a Song, in whose end is found either rest or perfection. Or it is the coniunction of voi∣ces (going diuersly) in perfect Concords.

Rules for Closes.

FIrst, Euery Close consists of three Notes, the last, the last saue one, and the last saue two.

2 The Close of the Discantus made with three Notes, shall alwayes haue the last vpward.

3 The Close of the Tenor, doth also consist of three Notes, the last al∣wayes descending.

4 The Close of the base requires the last Note sometime aboue, and sometime beneath the Tenor. Yet commonly it thrusts it an eight below, and sometimes raiseth it a fift aboue.

5 The Close of a high Tenor, doth sometime rise, sometime fall with the last Note; sometime makes it an Vnison with others. Which being it pro∣ceeds by diuers motions, the sorting of it is at the pleasure of the Com∣posers.

6 The Close of the Discantus, doth require the last Note saue one aboue the Tenor in a sixt: or in a fift, if the Base hold a sixt below.

7 The last Note saue one of a Tenor, is flatly placed a fift aboue the Base and a sixt also, if the Base take the Close of the Tenor, and the Tenor the Close of the Discantus.

8 If the Close of the Tenor end in Mi, as it is in the Deutero, or otherwise the last Note but one of the base being placed not in the fift. But in the third

beneath the Tenor, may fall vpon the fift Finall without any hazard of Descant, as is declared in the vnder-written Concent. 〈♫〉〈♫〉 Tenor. Baritonus.

9 If the Close of the Tenor end in Re, as commonly it doth in the first Tone, the Base shall very finely end from a fift to a third vpward, not varying the Discantus, although it may also fall into an eight. 〈♫〉〈♫〉 Tenor. Bassus.

10 Euery Song is so much the sweeter, by how much the fuller it is of formall Closes. For such force there is in Closes, that it maketh Discords be∣come Concords for perfection sake. Therefore let Students labour to fill their Songs with formall Closes. Now that they may the more easily doe this, we thought fit here to set downe an Exercise or Store-house of Closes, that such as Students sing here, they may know they are in their owne Songs to make.

Here followeth the Exercise and forme of Closes.

〈♫〉〈♫〉 Discantus. 〈♫〉〈♫〉 Tenor. 〈♫〉〈♫〉 Bassus.

〈♫〉〈♫〉

THE SIXT CHAPTER.

Of the speciall precepts of the Counter-point.

HAuing deliuered those things which we thinke necessarie for the Art of setting, now will we in most short Rules open essentially the matter it selfe, as it is.

1 The Cantus being ordered with a Tenor in an Vnison, the Base requires a third below, and the Altus the same aboue. Or the Base a fift below, and the Altus a fourth aboue. But if the Base hold an eight below, the Altus shall agree most fitly in a third aboue, or in a fourth below. But if the Base hold a tenth below, the Altus requires a third aboue, or the same, or a sixt below, as you may see in the figure following.

[illustration]

2 As oft as the Discantus is placed 23. aboue the Tenor, let the Base be placed a third below, and the Altus a sixt aboue, or in an Vnison. But if the Base haue an eight below, for a fift it cannot haue, the Altus shall hold a fourth be∣low. But if the Base hold a tenth below, the Altus requires a third, or a sixt below. Which a Student may proue by such a Scale as goes before.

3 If the Discantus hold place in a fift aboue the Tenor, which it seldome doth, the Base shall be in a sixt below, and the Altus in a third aboue, or in a fourth below. But if the Base be in an eight below, the Altus requires a third aboue, or a fourth, or a sixt below.

4 If the Discantus be in a sixt aboue the Tenor, the Base shalbe in a fift below, and the Altus in a third below, or a fourth aboue. Or if the Base be in an eight below, the Altus shall onely agree in a third aboue; but when the

Base is in a tenth below, the Altus shalbe in a third aboue, or in the same be∣low. It might also be in an eight below, and sound a thirteenth with the Discantus.

5 If the Discantus be placed in an eight aboue the Tenor, the Base will agree well in a third below, & the Altus in a third or sixt aboue, or in a fift below. But when a Base be in the same below, the Altus shalbe in a fourth or sixt aboue, or in a third below. If the Base be in an eight below, the Altus shall sweetly agree in a fift or third aboue. But if the Base fall to a tenth below, the Altus shall hold a third or sixt aboue, or the same below.

6 As oft as the Discantus doth rest in a tenth aboue the Tenor: the Base shall be in a third below, and the Altus in a third, sixt, or eight aboue. But if the Base be found in a third aboue, the Altus shalbe in a third below, or in a fift or eight aboue. But if the Base be in a fift aboue the Tenor, (for below it cannot) the Altus shalbe in a third aboue, or an eight below. But if the Base fall to an eight below, the Altus may be in a fourth below, or in a third or fift aboue.

7 When the Discantus is in a twelfe aboue the Tenor, the Base must be in an eight below, & the Altus in a third, fift, or eight aboue. But when the Base is in a third aboue, the Altus shall be in a fift, eight, or tenth concordantly.

8 If the Discantus be in a fourth aboue the Tenor, the Base requires a a fift below, & the Altus a third or sixt aboue. Contrarily (if you make your Base first) you shall make it with the Discantus. But if a man will make more than 4. parts, let him take the Concords aboue or below, as other parts shall require, obseruing those things which are to be obserued, which we referre to the Setters iudgement.

THE SEVENTH CHAPTER.

Wherefore Rests are put in the Counter-point.

THe placing of Rests in a Counterpoint, is for many causes tollerated.

1 To auoide difficulty. For whilst two parts of a song or more are so fitted together that it is hard to fit the other parts, we set Rests for so long, till that difficultie cease.

2 To auoide Fict Voices, and the forbidden Interuals.

3 To distinguish two perfect Concords which cannot mutually follow one another, vnlesse a Note or pause come betwixt.

4 For the making of Signes. Now a signe is the successiue distribution of one and the same Close, in the beginning or any other place, by diuers parts of a Song. Or it is the repetition of the same Close in diuers parts of the song thus: 〈♫〉〈♫〉 Discantus Tenor. Bassus.

5 Rests are admitted for taking breath, least by the swiftnesse of the Song, either the Singer might be out of breath, or breed confusion by ta∣king his breath at vnfit times.

6 That the Intrinsecall signes and markes of Musicall degrees, consisting in their perfection, may be perceiued. For a perfect Mood is inwardly noted by a rest of 3. times. A perfect time by 2. Semibreefe Rests, placed with a Semi∣breefe, as before is said in the fift Chapter of the second booke.

7 Because of the many parts of a song. For when a song goes with more parts than foure, it is necessary that some Rest, whilst others sing: least the sweetnesse be dulled either by the too much prolonging of the Voices, or by the vnelegant commixtion of Concords, and so the Consort seeme rather to make a noyse, then a Concordant sound.

THE EIGHT CHAPTER.

Of the diuers fashions of singing, and of the Ten Precepts for Singing.

EVery man liues after his owne humour; neither are all men gouerned by the same lawes, and diuers Nations haue diuers fa∣shions, and differ in habite, diet, studies, speech, and song. Hence is it, that the English doe carroll; the French sing; the Spaniards weepe; the Italians, which dwell about the Coasts of Ianua caper with their Voyces; the other barke: but the Germanes (which I am ashamed to vtter) doe howle like Wolues. Now because it is better to breake friendship, than to determine any thing against truth, I am forced by truth to say that which the loue of my Countrey forbids me to publish. Germany nourisheth many Cantors, but few Musitians. For very few, excepting those which are or haue been in the Chappels of Princes, doe truely know the Art of Singing. For those Magistrates to whom this charge is giuen, doe appoint for the gouern∣ment of the Seruice youth Cantors, whom they choose by the shrilnesse of their Voyce, not for their cunning in the Art; thinking that God is plea∣sed with bellowing and braying, of whom we read in the Scripture, that he reioyceth more in sweetnes than in noyse, more in the affection, than in the Voice. For whē Salomon in the Canticles writeth, that the voice of the church doth sound in the eares of Christ, hee doth presently adioyne the cause, be∣cause it is sweet. Therefore well did Baptista Mantuan (that moderne Virgil) in∣ueigh euery puffed vp, ignorant, bellowing Cantor, saying;

Cur tantis delubra Boum mugitibus imples, Tu ne Deum tali credis placare tumultu.

Whom the Prophet ordained should be praised in Cymbals, not simply, but well sounding.

Of the Ten Precepts necessary for euery Singer.

BEing that diuers men doe diuersly abuse themselues in Gods praise; some by mouing their body vndecently; some by gaping vnseemely; some by changing the vowels, I thought good to teach all Cantors certaine Precepts, by which they may erre lesse.

1 When you desire to sing any thing, aboue all things marke the Tone, and his Repercussion. For he that sings a Song without knowing the Tone, doth like him that makes a syllogisme without Moode and Figure.

2 Let him diligently marke the Scale, vnder which the Song runneth, least he make a Flat of a Sharpe or a Sharpe of a Flat.

3 Let euery Singer conforme his voyce to the words, that as much as he can he make the Concent sad when the words are sad; & merry, when they are merry Wherein I cannot but wonder at the Saxons (the most galiant people of all Germany, by whose furtherance I was both brought vp, and drawne to write of Musicke) in that they vse in their funerals, an high, mer∣ry and ioconde Concent, for no other cause (I thinke) than that either they hold death to be the greatest good that can befall a man (as Valerius in his fift Booke writes of Cleabis and Biton two brothers) or in that they beleeue that the soules (as it is in Macrobius his second Booke De somnio Scip.) after this body doe returne to the original sweetnes of Musicke, that is to heauen. Which if it be the cause, we may iudge them to be valiant in contemning death, and worthy desirers of the glory to come.

4 Aboue all things keepe the equalitie of measure. For to sing without law and measure, is an offence to God himselfe, who hath made all things well, in number, weight, and measure. Wherefore I would haue the Fasterly Franci (my countrey-men) to follow the best manner, and not as before they haue done; sometime long; sometime to male short the Notes in Plain-song, but take example of the noble Church of Herbipolis, their head, wherin they sing excellently. Which would also much profit, and honour the Church of Prage, because in it also they make the Notes sometimes longer, sometime shorter, than they should Neither must this be omitted, which that loue which we owe to the dead, doth require. Whose Vigils (for so are they com∣monly called) are performed with such confusion, hast, and mockery, (I know not what fury possesseth the mindes of those, to whom this charge is put o∣uer) that neither one Voyce can be distinguished from another, nor one sil∣lable from another, nor one verse sometimes throughout a whole Psalme from another. An impious fashion to be punished with the seuerest correcti∣on. Think you that God is pleased with such howling such noise, such mum∣bling, in which is no deuotion, no expressing of words, no articulating of syllables?

5 The Songs of Authenticall Tones must be timed deepe, of the subiugall Tones high, of the neutrall, meanly. For these goe deep, those high, the other both high and low.

6 The changing of Vowels is a signe of an vnlearned Singer. Now, (though diuers people doe diuersly offend in this kinde) yet doth not the multitude of offenders take away the fault. Here I would haue the Francks to take heede they pronounce not u for o, as they are wont, saying nuster for noster. The countrey Church-men are also to be censured for pronoun∣cing, Aremus in stead of Oremus. In like sort, doe all the Renenses from Spyre

to Confluentia change the Vowel i into the dipthong ci, saying Mareia for Maria. The Westphalians for the vowel a pronounce a & e together, to wit, Aebs te for Abste. The lower Saxons, & al the Sueuians, for the Vowel e, read e & i, saying, Deius for Deus. They of lower Germany doe all expresse u & e, in stead of the Vowel u. Which errours, though the Germane speech doe often re∣quire, yet doth the Latine tongue, which hath the affinitie with ours, excee∣dingly abhorre them.

7 Let a Singer take heed, least he begin too loud braying like an Asse, or when he hath begun with an vneuen height, disgrace the Song. For God is not pleased with loude cryes, but with louely sounds: it is not (saith our Eras∣mus) the noyse of the lips, but the ardent desire of the Art, which like the lowdest voice doth pierce Gods eares. Moses spake not, yet heard these words, Why doest thou cry vnto me? But why the Saxons, and those that dwell vpon the Balticke coast, should so delight in such clamouring, there is no reason, but either because they haue a deafe God, or because they thinke he is gone to the South-side of heauen, and therefore cannot so easily heare both the Easterlings, and the Southerlings.

8 Let euery Singer discerne the difference of one holiday from another, least on a sleight Holiday, he either make too solemne seruice, or too sleight on a great.

9 The vncomely gaping of the mouth, and vngracefull motion of the body, is a signe of a mad Singer.

10 Aboue all things, let the Singer study to please God, and not men; (saith Guido) there are foolish Singers, who contemne the deuotion they should seeke after? and affect the wantonnesse which they should shun: be∣cause they intend their singing to men, not to God: seeking for a little world∣ly fame, that so they may loose the eternall glory: pleasing men that there∣by they may displease God: imparting to other that deuotion, which them∣selues want: seeking the fauour of the creature, contemning the loue of the Creatour: to whom is due all honour, and reuerence, and seruice. To whom I doe deuote myselfe, and all that is mine, to him will I sing as long as I haue being: for he hath raised me (poore Wretch) from the earth, and from the meanest basenesse. There∣fore blessed be his Name world without end, Amen.

The end of the Worke.