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COncord, (which rules all the Harmony of Musicke) cannot be without a Voyce, nor a Voyce without a Sound, saith Boêtius, lib. 1. cap. 3. Wherefore in seeking out the description of a Voyce, we thought fit to search out this point, what Sounds are properly called Voyces. Note therefore, that the sound
of a sensible creature is properly called a Voyce, for things without sence haue no Voyce, as Coelius writes, antiquar. lect. lib. 10. cap. 53. When we call pipes Vocal, it is a translated word, and a Catachresis. Neither haue alsensible cretures a Voice: for those which want blood, vtter no Voice. Neither do fishes vtter any Voyce, because a Voyce is the motion of the ayre, but they receiue no ayre. Wherefore onely a sensible creature doth vtter a Voyce, yet not all sensible creatures, nor with euery part of their bodies (for the hands being stroken together make a clapping, not a Voyce.) A Voyce therefore is a sound vttered from the mouth of a perfect creature, either by aduise, or signifi∣cation. By aduise, (I say) because of the coffe, which is no Voyce: By signi∣fication, because of the grinding of the teeth. But because this description of a Voyce, doth agree onely to a liuely Voyce, and not to a deafe musicall Voyce, which especially, being a sole syllable is deafe, vnlesse it be actually expressed, we must find out another description more agreeable to it. There∣fore a musicall Voyce, is a certaine syllable expressing a tenor of the Notes. Now Notes is that by which the highnes, or lownes of a Song is expressed.
BEing that al Harmony is perfected by Voyces, and Voyces cannot be writ∣ten, but remembred: (as Gafforus lib. 5. Theor. cap. 6. and 1. Pract. cap. 2. saith; that they might therefore be kept the better in memory, Guido Are∣tinus a Monke, led by a diuine inspiration, deuoutly examining the Hymne of Saint Iohn Baptist, marked, that the sixe capitall syllables of the Verses, viz, Vt, Re, Mi, Fa, Sol, La, did agree with musicall Concords. Where∣fore he applyed them in the chords of his introductory: which deuise Io∣annes the 22. Bishop of Rome allowed.
IN the Fourth part of this Worke, I will handle that Diuision, by which Voyces are diuided into Vnisones, aequisones, Consones, Eumeles, &c. Here I will onely touch that which will serue our turne; Therefore of Voyces,
| Some are called | b Mols | Viz. | Vt Fa | because they make a | Flat | sound. |
| Naturals | Re Sol | Meane | ||||
| ♮ Sharps | Mi La | Sharpe |
Besides of Voyces some be Superiours: viz. Fa, Sol, La. Others be Inferi∣ours: as Vt, Re, Mi.
FIrst, Vt, (in Harmonicall Songs) is the head and beginning of the other Voyces.
The second, The Superiour Voyces are fitly pronounced in Descending, and the Inferiour in Ascending. Yet to this Rule there be Foure places contrary.
The first is this. In F faut you neuer sing vt, vnlesse you must sing fa, in b fa ♮ mi.
The second, In b fa ♮ mi, you must alwayes sing that Voice which the Scale requires.
The third, The same Voyce may not be repeated in seconds, though in fourths, fifths, and eights it may very fitly.
The fourth, Neither must the superiour Notes be sung in the descending, nor the inferiour Notes in the ascending, because they make a needlesse change. 〈♫〉〈♫〉 A Progression of the Six Musicall Voyces, according to the Rule of Arsim and Thesim.