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 FIRST BOOKE OF ORNITHOPARCHUS HIS Musicke, declaring the Principals of plaine Song. (Book 1)

THE FIRST CHAPTER.

Of the Definition, Diuision, Profit, and Inuentors of Musicke.

BEing to deliuer the Art of singing, than which in the world there is nothing sweeter, lest out of a small errour a great may arise, let vs begin with the defi∣nition, by which the nature of all things is knowne: that is with the easiest things first, that so the Art may be more fitly deliuered. And then, hauing vnfolded the nature thereof in generall, wee will proceede to the perticulars, first making the generall diuision, and afterward handling each part seuerally.

The generall Description of Musicke.

MVsicke (as Franchinus Gafforus in the third Chapter of the first booke of Theorie writeth) is a knowledge of Tuning, which consists in sound and Song. In sound (I say) because of the musicke which the motion of the coelestiall Orbes doth make. In Song, least that melody which our selues pra∣ctise, should be secluded out of our definition.

The Diuision of Musicke.

BOétius (to whom among the Latine writers of Musicke, the praise is to be giuen) doth shew in the second Chapter of his first booke of Mu∣sicke, that Musicke is three-fold. The Worlds Musicke: Humane Musicke: and Instrumentall Musicke.

Of the Musicke of the World.

VVHen God (whom Plutarch prooues to haue made all things to a certaine harmonie) had deuised to make this world moueable, it

was necessary, that he should gouerne it by some actiue and moouing power; for no bodies but those which haue a soule, can moue themselues, as Fran∣chinus in the first Chapter of his first booke of Theoric saith. Now that mo∣tion (because it is the swiftest of all other, and most regular) is not without sound: for it must needs be that a sound be made of the very wheeling of the Orbes, as Macrobius in Somnium Scip. lib. 2. writeth. The like sayd Boêtius, how can this quick-mouing frame of the world whirle about with a dumb and silent motion? From this turning of the heauen, there cannot be remo∣ued a certaine order of Harmonie. And nature will (saith that prince of Romane eloquence Cicero, in his sixt booke de Reipub.) that extremities must needs sound deepe on the one side, & sharp on the other. So then, the worlds Musicke is an Harmonie, caused by the motion of the starres, and violence of the Spheares. Lodouicus Coelius Rodiginus; lectionum antiquarum lib. 5. cap. 25. writeth, That this Harmony hath been obserued out of the consent of the heauens, the knitting together of the elements, and the varietie of times. Wherefore well sayd Dorilaus the Philosopher, That the World is Gods Organe. Now the cause wee cannot heare this sound according to Pliny is, because the greatnesse of the sound doth exceede the sence of our eares. But whether wee admit this Harmonicall sound of the Heauens, or no, it skils not much; sith certaine it is, that the grand Work-maister of this Mundane Fabricke, made all things in number, weight, and measure, where∣in principally, Mundane Musicke doth consist.

Of Humane Musicke.

HVmane Musick, is the Concordance of diuers elements in one compound, by which the spirituall nature is ioyned with the body, and the reason∣able part is coupled in concord with the vnreasonable, which proceedes from the vniting of the body and the soule. For that amitie, by which the body is ioyned vnto the soule, is not tyed with bodily bands, but vertuall, caused by the proportion of humors. For what (saith Coelius) makes the pow∣ers of the soule so sundry and disagreeing to conspire oftentimes each with other? who reconciles the Elements of the body? what other power doth so∣der and glue that spirituall strength, which is indued with an intellect to a mortall and earthly frame, than that Musicke which euery man that des∣cends into himselfe finds in himselfe? For euery like is preserued by his like, and by his dislike is disturbed. Hence is it, that we loath and abhorre dis∣cords, and are delighted when we heare harmonicall concords, because we know there is in our selues the like concord.

Of Instrumentall Musicke.

INstrumentall Musicke, is an Harmony which is made by helpe of Instru∣ments. And because Instruments are either artificiall, or naturall, there is

one sort of Musicke, which is made with artificiall Instruments; another, which is made with naturall instruments. The Philosophers call the one Harmonicall; the other Organicall.

Of Organicall Musicke.

ORganicall Musicke (as Coelius writeth) is that which belongeth to artifici∣all Instruments: or it is a skill of making an Harmony with beating, with fingring, with blowing: with beating, as Drums, Tabors, and the like: with blowing, as Organs, Trumpets, Fluits, Cornets: with fingring, as those Instruments which are commanded, either with the touching of the fingers, or articulating of the Keyes. Yet such Instruments as are too voluptuous, are by Coelius Rodiginus rejected.

Of Harmonicall Musicke.

HArmonicall Musicke, is a faculty weighing the differences of high and low sounds by sence and reason, Boetius: Or, it is a cunning, bringing forth the sounds with Humane voyce, by the helpe of naturall Instruments, and iudging all the Sounds which are so brought forth. This as Placenti∣nus writeth in the third Chapter of the second booke of his Musicke: is two∣fold, Inspectiue and Actiue.

Of Inspectiue Musicke.

INspectiue Musicke, is a knowledge censuring and pondering the Sounds formed with naturall instruments, not by the eares, whose iudgement is dull, but by wit and reason.

Of Actiue Musicke.

ACtiue Musicke, which also they call Practick, is (as Saint Austine in the first booke of his Musicke writeth) the knowledge of singing well: or according to Guido in the beginning of his Doctrinall, it is a liberall Sci∣ence, dispensing the principles of singing truely. Franchinus (in the third Chapter of his first Booke of his Theorick) doth so define it: It is a know∣ledge of perfect singing, consisting of sounds, words, and numbers; which is in like sort two-fold, Mensurall, and Plaine.

Of Mensurall Musicke.

MEnsurall Musicke, is the diuers quantitie of Notes, and the inequalitie of figures. Because they are augmented or diminished according

as the moode, time, and prolation doth require: of this wee will speake at large in the second Booke.

Of Plaine Musicke.

PLaine Musicke, (as Saint Bernard an excellent searcher into regular and true Concinence) doth write in the beginning of his Musicke, saying: It is a rule determining the nature and forme of regular Songs. Their nature consists in the disposition, their forme in the progression and composition. Or plaine Musicke is a simple and vniforme prolation of Notes, which can neither be augmented nor diminished.

Of the Profitablenesse of this Art.

THe Profit of this Art is so great, (as writeth Pope Iohn the 22. of that name, in the second Chapter of his Musick) that whosoeuer giues him∣selfe to it, shall iudge of the qualitie of any Song, whether it be triuiall, or curious, or false: He knowes both how to correct that which is faulty, and how to compose a new one. It is therefore (saith he) no small praise, no lit∣tle profit, no such labour as to be esteemed of slightly, which makes the Artist both a Iudge of those Songs which be composed, and a Corrector of those which be false, and an Inuentor of new.

Of the difference betwixt a Musitian, and a Singer.

OF them that professe the Art of Harmony, there be three kindes; (saith Franchinus in the first Book the 4. chap. of his Theoric) one is that which dealeth with Instruments; the other maketh Verses; the third doth iudge the workes both of the instruments, and of the verses. Now the first, which dealeth with Instruments, doth herein spend all his worke; as Harpers, and Organists, & all others which approue their skil by Instruments. For they are remoued from the intellectuall part of Musicke, being but as seruants, and vsing no reason: voide of all speculation, and following their sence one∣ly. Now though they seeme to doe many things learnedly and skilfully, yet is it plaine that they haue not knowledge, because they comprehend not the thing they professe, in the purenesse of their vnderstanding; and therefore doe we deny them to haue Musicke, which is the Science of ma∣king melodie. Fot there is knowledge without practise, and most an end greater, than in them that are excellent Practitioners. For we attribute the nimblenesse of fingring not to Science, which is only residing in the soule, but to practise, for if it were otherwise, euery man the more skilfull he were in the Art, the more swift he would be in his fingring. Yet doe we not de∣ny the knowledge of Musicke to all that play on Instruments; for the Or∣ganist, and he that sings to the Harpe, may haue the knowledge of Musick,

which if it be, we account such the best Artists.

The second kind is of Poets, who are led to the making of a verse, rather by a naturall instinct, than by speculation. These Boêtius secludes from the speculation of Musicke, but Austin doth not.

The third kind of Musitians, be they which doe assume vnto them the cunning to iudge and discerne good Ayres from bad: which kind, (sith it is wholy placed in speculation and reason) it doth properly belong to the Art of Musicke.

Who is truely to be called a Musitian.

THerefore he is truely to be called a Musitian, who hath the faculty of speculation and reason, not he that hath only a practick fashion of sing∣ing: for so saith Boêtius lib. 1. cap. 35. He is called a Musitian, which taketh vpon him the knowledge of Singing by weighing it with reason, not with the seruile exercise of practise, but the commanding power of speculation, and wanteth neither speculation nor practise. Wherefore that practise is fit for a learned man: Plutarch in his Musicke sets downe (being forced vn∣to it by Homers authoritie) and proues it thus: Speculation breedeth onely knowledge, but practise bringeth the same to worke.

Who be called Singers.

THe Practitioner of this facultie is called a Cantor, who doth pronounce and sing those things, which the Musitian by a rule of reason doth set downe. So that the Harmony is nothing worth, if the Cantor seeke to vtter it without the Rules of reason, and vnlesse he comprehend that which he pronounceth in the puritie of his vnderstanding. Therefore well saith Ioan. Papa 22. cap. 2. To whom shall I compare a Cantor better than to a Drunkard (which indeed goeth home,) but by which path he cannot tell. A Musitian to a Cantor, is as a Praetor to a Cryer: which is proued by this sen∣tence of Guido:

Musicorum, ac Cantorum, magna est distantia, Isti sciunt, illi dicunt, quae componit Musica, Nam qui facit, quod non sapit, diffinitur bestia Verum si tonantis vocis laudent acumina, Superabit Philomela, vel vocalis Asina.

Twixt Musitians, and Practitians, oddes is great: They doe know, these but show, what Art doth treat. Who doeth ought, yet knoweth nought, is brute by kind: If voices shrill, voide of skill, may honour finde? Then Philomel, must beare the bell, And Balaams Asse, Musitian was.

Therefore a Speculatiue Musitian, excels the Practick: for it is much bet∣ter to know what a man doth, than to doe that which another man doth. Hence is it, that buildings and triumphs are attributed to them, who had the command and rule; not to them by whose worke and labour they were performed. Therefore there is great difference in calling one a Musitian, or a Cantor. For Quintilian saith, That Musitians were so honoured a∣mongst men famous for wisedome, that the same men were accounted Musitians and Prophets, and wise men. But Guido compareth those Cantors, (which haue made curtesie a farre off to Musicke) to brute Beasts.

Of the Inuentors of Musicke.

THe best writers witnesse, That Musicke is most ancient: For Orpheus and Linus (both borne of Gods) were famous in it. The inuention of it is attributed to diuers men, both because the great antiquitie of it, makes the Author incertaine; and also because the dignitie of the thing is such, and maketh so many great men in loue with it, that euery one (if it were possible) would be accounted the Authors of it. Wherefore some thinke Linus the Thebane; some, that Orpheus the Thracian; some, that Amphion the Dircean; some, that Pythagoras the Samian found out this Art. Euse∣bius attributes it to Dionysius, Diodorus, to Mercury, Polybius, to the Elders of Arcadia, with whom there was such estimation of Musicke, that it was the greatest disgrace that could be in that place to confesse the ignorance of Musicke. Neither did they this, saith Coelius lib. 5. antiquarum lection. for wantonnesse or delicatenesse, but that they might mollifie and temper their dayly labours, and besides their austeritie and seuere fashions; which befell them by a certaine sad temperature of the clyme with this sweetnesse and gentlenesse. Yet if we giue any credit to Iosephus, and the holy Writ, Tubal the Sonne of Lamech was the chiefe and most ancient Inuentor of it, and left it written in two tables, one of Slate; another of Marble before the flood for the posteritie. The Marble one (some say) is yet in Syria. But least some errour arise out of the multitude of these Inuentors, it is cleere that Tubal before the flood, that Moses among the Hebrewes, that Orpheus, Amphion, and such like among the Gentiles, that Pythagoras among the Graecians, that Boêtius among the Latines, was first famous for Musicke.

THE SECOND CHAPTER.

Of Voyces.

COncord, (which rules all the Harmony of Musicke) cannot be without a Voyce, nor a Voyce without a Sound, saith Boêtius, lib. 1. cap. 3. Wherefore in seeking out the description of a Voyce, we thought fit to search out this point, what Sounds are properly called Voyces. Note therefore, that the sound

of a sensible creature is properly called a Voyce, for things without sence haue no Voyce, as Coelius writes, antiquar. lect. lib. 10. cap. 53. When we call pipes Vocal, it is a translated word, and a Catachresis. Neither haue alsensible cretures a Voice: for those which want blood, vtter no Voice. Neither do fishes vtter any Voyce, because a Voyce is the motion of the ayre, but they receiue no ayre. Wherefore onely a sensible creature doth vtter a Voyce, yet not all sensible creatures, nor with euery part of their bodies (for the hands being stroken together make a clapping, not a Voyce.) A Voyce therefore is a sound vttered from the mouth of a perfect creature, either by aduise, or 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.

Who first found out the Musicall Voyces.

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.

Of the Diuision of Voyces.

IN the Fourth part of this Worke, I will handle that Diuision, by which Voyces are diuided into Vnisones, aequisones, Consones, Eumeles, &c. Here I will onely touch that which will serue our turne; Therefore of Voyces,

Some are called	b Mols	Viz.	Vt Fa	because they make a	Flat	sound.
Naturals	Re Sol	Meane
♮ Sharps	Mi La	Sharpe

Besides of Voyces some be Superiours: viz. Fa, Sol, La. Others be Inferi∣ours: as Vt, Re, Mi.

Rules for the Voyces.

FIrst, Vt, (in Harmonicall Songs) is the head and beginning of the other Voyces.

The second, The Superiour Voyces are fitly pronounced in Descending, and the Inferiour in Ascending. Yet to this Rule there be Foure places contrary.

The first is this. In F faut you neuer sing vt, vnlesse you must sing fa, in b fa ♮ mi.

The second, In b fa ♮ mi, you must alwayes sing that Voice which the Scale requires.

The third, The same Voyce may not be repeated in seconds, though in fourths, fifths, and eights it may very fitly.

The fourth, Neither must the superiour Notes be sung in the descending, nor the inferiour Notes in the ascending, because they make a needlesse change. 〈♫〉〈♫〉 A Progression of the Six Musicall Voyces, according to the Rule of Arsim and Thesim.

THE THIRD CHAPTER.

Of the Keyes.

THe Wisedome of the Latine Musitians, imitating the diligence of the Graecians (whereas before the Sing∣ers did mark their Chords with most hard signes) did first note a musicall Introduction with Letters. To this Guido Aretinus ioyned those Voices he found out, and did first order the Musicall Keyes by lines and spaces, as appeareth in his Introductory. Therefore a Key is a thing compacted of a Letter and a Voyce. For the beginning of euery Key is a Letter, and the end a Syllable: Of a Voice (I say) not of Voyces, both because all the Keyes haue not many Voyces, and al∣so because the names of Generalities, of Specialties▪ and of Differences, of which a definition doth consist, cannot be expressed in the plurall number. For Animal is the genus, not Animalia; a Man is the species, not men: rationale is the difference, not rationabilia: Or more formally▪ A Key is the opening of a Song, because like as a Key opens a dore, so does it the Song.

Of the Number and Difference of Keyes.

KEyes, (as Franchinus lib. 1. pract▪ cap▪ 1. doth write) are 22. in number. Though Pope Iohn, and Guido (whom hee in his Fift Chapter saith to haue been the most excellent Musitians after Boêtius) onely make 20. These

Two and Twentie Keyes are comprehended in a three-fold order. The first is of Capitall Letters; the Second of small; the Third of double Letters. And all these Keyes differ one from the other in sight, writing, and naming: because one is otherwise placed, written, or named than the other. Of the Capitall there be eight, viz. Γ. A. B. C. D. E. F. G. Of the small also Eight, a. b. c. d. e. f. g. for b fa ♮ mi. is not one Key onely, but two: which is proo∣ued by mutations, voyces, and instruments. The same you must account of the vpper bb fa♮ ♮ mi his Eight: of the double ones there be Six, viz. aa. bb. ♮ ♮ cc. dd. and ee. The order of all these is expressed in Ten lines and spaces in the Table following.

Here followes the Introductorie of Guido Aretinus a Benedictine Monke, a most wittie Musitian, who onely (after Boêtius did giue light to Musicke) found out the voyces, ordered the keyes, and by a certaine diuine indu∣stry, inuented a most easie way of practise, as here followeth to be seene.

[illustration]

[illustration]

Of the Keyes which are to be marked.

OF Keyes some are to be marked, or (as others call them) marked Keyes, others are called vnmarked Keyes. Of the marked, there are fiue prin∣cipall, viz. Γ vt, F faut, C solfaut, G solreut, and Dd la sol: which the Am∣brosians (as Franch. lib. 1. pract. cap. 3. reports) did mark with colours. F faut, with red, C solfaut with blew, double bb with skie-colour. But the Grego∣rians (whom the Church of Rome doth imitate) marking all the lines with one colour, to describe each of the marked Keyes by his first Letter, or some other signe, as in the Scale was mentioned.

Those Keyes which are lesse principall, are two, b round, and ♮ square: The firstshews that the Voyce is to be sung fa, the second that it is to be sung mi in the place wherein it is found. And vnlesse one doe heedily discerne b from ♮, he doth confound the Song (as Berno sayth) euen as wine and wa∣ter being mingled together, one can discerne neither.

To the Readers.

SEeing it is a fault to deliuer that in many words, which may be deliue∣red in few (gentle Readers) leauing the hand, by which the wits of yong beginners are hindered, dulled, and distracted, learne you this fore-written Scale by numbring it: for this being knowne, you shall most easily, and at first sight know the voyces, Keyes, and all the Mutations.

Rules for the Keyes.

FIrst, Of the marked Keyes one differs from the other a Fift, except Γ vt, which is remoued from F faut a Seuenth.

2. The Keyes of an odde number are contained in line, the Keyes of an euen number in space.

3. All the signed keyes, from which the Iudgement of other Keyes is fetched, are set in line.

4. The Greeke Letter is placed in the baser part of the Introductory, in honour of the Greekes, from whom Musicke came to vs: For Berno the Abbot (in his first Booke of Musicke) saith, The Latines chose rather to put the Greeke letters than the Latine, that the Greekes may be noted here∣by to be the Authors of this Art.

5. All Keyes beginning with one Letter, doe differ an Eight, saith Guido cap. 5. of his Microl.

6. Of Eights there is the same iudgement.

7. It is not lawfull for plaine-Song to goe vnder, Γ vt, nor aboue Eela. Hereupon it is, that the Three highest Keyes haue no inferiour Voyces, be∣cause beyond them there is no rising: Neither haue the three lowermost superiour voyces, because there is no descending vnder them.

8. As oft as in a broken Song, you goe beyond the extreame Keyes (as you doe often) take your voyces from Eights.

THE FOVRTH CHAPTER.

Of Tones in Generall.

A Tone (as Guido saith) is a rule iudging the Song in the end, or it is a knowledge of the beginning, middle, and end of euery Song, shewing the rising and falling of it.

Of the number of Tones.

BY the authoritie of the Graecians, we should only obserue 4. Tones, (saith Guido Microl. II. I. Proton. 2. Deuteton, 3. Triton, 4. Tetarton. But the La∣tines considering the rising & falling, and diuiding each of the Greeke Tones into authenticke & plagall: to conclude euery thing that is sung within Eight Tones, agreeable to the eight parts of Speech. For it is not amisse, (saith Ioan Pont. cap. 10.) that euery thing which is sung, may be comprehended within Eight Tones, as euery thing which is spoken, is confined within Eight parts of Speech.

Now these Eight Tones (as Franch. lib. 5. Theor. and last Chapter, and

lib. 1. pract. 7. cap. saith) are by the Authors thus named, The first Dorian; the second, Hypodorion; the third, Phrygian; (which Porphyrio cals barba∣rous; the fourth, Hypophrygian; the fift, Lydian; the sixt, Hypolydian; the seuenth, Myxolydian; the eight, some call Hypermyxolydian; others say it hath no proper name.

Of the Finals belonging to the Tones.

FInals, (as Saint Bernard in his Musicke saith, both truely and briefely) are the Letters which end the Songs. For in these must be ended euery Song which is regular, and not transposed, and are in number Foure, as Guido writeth in the Dialogue of his Doctrinall:

To wit,	D solre	In which euery Song ends	First	and	Second	regular Tones
E lami	Third	Fourth
F faut	Fift	Sixth
G solrevt	Seuenth	Eight

Of the Compasses of the Tones.

THe Compasse is nothing else, but a circuite or space allowed by the authoritie of the Musitians to the Tones for their rising and falling.

Now to euery Tone there are granted but Ten Notes or Voices, wherein he may haue his course, (as Saint Bernard saith in the Prologue of his Mu∣sicke. Hereof hee assignes Three reasons: to wit, The authoritie of the De∣cachorde of the Psalter: the worthinesse of equalitie: and the necessity of setting the Notes downe. Although at this time the licentious ranging of our modern Musitians, doth adde an Eleuenth to each, as in the figure fol∣lowing appeares.

[illustration]

Of the Repercussions of Tones.

WHerupon the Repercussion, which by Guido is also called a Trope, and the proper and fit melodie of each Tone. Or it is the proper inter∣uall of each Tone, as in the Examples following appeareth. 〈♫〉〈♫〉 Re la giues the first, Re fa giues the second, 〈♫〉〈♫〉 Mi mi giues the Third, Mi la giues the Fourth, Vt sol giues the Fift, 〈♫〉〈♫〉 The Sixt giues Fa la, Vt sol vneuen Tetartos, vt fa doth giue the last.

Rules for the Tones.

FIrst, All the odde Tones are Authenticall, all the euen Plagall: these are so called because they descend more vnder the final Key: these, because they doe more ascend aboue the finall Key.

The second, Euery Song in the beginning, rising straight beyond the fi∣nall Note to a Fift, is Authenticall: but that which fals straight way to a Third, or a Fourth, vnder the finall Key, is Plagall.

The third, A Song not rising in the middle beyond the finall Note to an Eight, although it haue a Fift in the beginning, is Plagall: vnlesse the Re∣percussion of an Authenticall being there found, preserue it: as an Antiphone is newly found, which is iudged to be of the Eight Tone, because it hath not the rising of an Authent in the middle. But the Repercussion of a seuenth, appearing straight in the beginning, doth preserue it, and make it remaine Authenticall. See Pontifex cap. 12.

By how many wayes we may know the Tones.

WE may know the Tones by three meanes: by the beginning: the mid∣dle: and the end. By the beginning; for a Song rising in the begin∣ning straight wayes aboue the finall Key to a Fift, is Authenticall, as before was sayd in the second Rule. By the middle, and first, by the rising; For the Song which toucheth an Eight in the middle, is Authenticall: that Song which doth not, is Plagall: secondly by the Repercussion, which is proper to euery Tone, as before was sayd; by which at first hearing you may iudge of what kinde a Song is. By the end, as before we spake of the finall Notes.

Besides there be certain Songs, which do ascend as an Authentical, & des∣cend as a Plagall, and those are called Neutrall, or mixt Songs, though in∣deede Saint Bernard doeth not allow of them: for he saith, what execra∣ble licentiousnesse is this, to ioyne together those things, which are contrary one to the other, transgressing the bonds of Nature? surely as it doth make a discontinuance in conioyning, so doth it open wrong to Nature. Therfore they are starke mad, which presume so farre as to rise a Plagall, and des∣cend an Authenticall.

Yet are these Songs (in my iudgement) to be very diligently marked in the end, to which Tone they encline most. For whilest they discend from a Fift to the finall Note, they are Authentickes; but whilest they rise from a Third or a Fourth to a finall, they are Plagals: See Pontifex in his 12. and 16. chap.

THE FIFT CHAPTER.

Of Solfaing.

WHerevpon, Solfaing is the orderly singing of euery Song by Mu∣sicall Voyces, according as Mi and Fa shall require. For to Sol fa (as Gafforus witnesseth) is to expresse the Syllables, and the names of the Voyces.

Of three manners of Singing.

EVery Song may be sung three manner of wayes: that is, by Solfaing, which is for Nouices, that learne to sing: By sounding the soundsonly, which belongs to Instrumentists, that they may affect the mindes of them that heare or conceiue them with care or solace: Thirdly, by applying, which is the worke of the Cantor, that so he may expresse Gods praise.

Of Scales.

BEcause the diuersitie of Tones causeth a diuersitie in the Solfaing, especi∣ally about mi and fa, in b fa ♮ mi, which before wee concluded was not one onely Key, but two: therefore the industrious Musitians haue deuised Two Scales, in which euery Song doth runne, and is gouerned: and hath ordayned, that the first should be called ♮ durall of the ♮; the second, b moll of b Flat.

The generall description of the Scale.

THerefore generally a Scale is nothing else, but the knowledge of mi and fa, in b fa ♮ mi, and in his Eights.

What the Scale ♮ Durall is.

THe Scale ♮ Durall is a Progression of Musicall Voyces, rising from A to ♮ sharpely, that is, by the Voyce Mi.

What the Scale b Moll is.

BVt the Scale b Moll is a Progression of Musicall Voyces, rising from A to b flatly, that is by the Voyce fa: therefore a b Moll Scale doth alwayes require fa in b fa ♮ mi, and a ♮ sharpe Scale, mi: as in the draft following you may see.

[illustration]

Rules of Solfaing.

THe First, He that will Solfa any Song, must aboue all things haue an eye to the Tone. For the knowledge of the Tone is the inuention of the Scale, vnder which it runnes.

The Second, All the Tones runne vnder the Scale of ♮ Dure, excepting the fift and the sixt.

The Third, To haue a Song runne vnder ♮ Dure, is nothing else, but to sing Mi in b fa ♮ mi, and fa in a flat Scale.

The Fourth, When a Song runnes vnder a Scale ♮ Dure, the lowermost Notes of that kinde are to be sung; but vnder a Scale b Moll, the vpper∣most Notes.

The Fift, Euery Solfaer must needs looke, whether the Song be regular, or no; for the transposition of a Song is oft times an occasion of chan∣ging the Scale.

The Sixt, Euery Song ending in the Finals, is regular, and not transpo∣sed, saith Saint Bernard in his Dialogue.

The Seuenth, Whensoeuer a Song ascends from D sol re to A la mi re by a fift, mediately or immediately, and further onely to a second, you must sing fa in b fa ♮ mi in euery Tone, till the song do againe touch D sol re, whe∣ther it be marked or no. But this Rule failes, when a song doth not straight∣wayes fall to F faut, as in the Hymne, Aue maris stella, you may see.

The Eight, In b fa ♮ mi, and his eights, you may not sing mi for fa, nor

contrariwise; because they are discording and repugnant voyces, saith Fran∣chinus lib. 1. pract. cap. 4.

The Ninth, b in places, where he is marked contrary to his nature, doth note Mutation.

The Tenth, The Scale being varied, the Mutations are also with it varied, both in the whole and in part. In the whole, as in transposed Songs; in part, as in conioyned Songs.

The eleuenth, As often as fa or mi is marked contrary to their nature, the Solfaer must follow the marke so long as it lasts.

The twelfe, Seeing there is one and the selfesame iudgement of eights, the same Solfaing of Voyces must be.

THE SIXT CHAPTER.

Of Mutations.

WHereupon Mutation (as Georg. Valla lib. 3. cap. 4. of his Musicke proueth) is the putting of one Voyce for another. But this defi∣nition, because it is generall, doth not properly agree to a Mu∣sitian: therfore Mutation is (to apply it to our purpose) the putting of one concord for another in the same Key. And because all-Voyces are not concords, al do not receiue Mutation. Therefore it is necessary to consider, to which Voyces Mutation doth agree, and to which not; for ♮ dures are not changed into b mols, nor cōtrarily: as you may see in the example following.

[illustration]

Rules for Mutations.

FIrst, As often as the Progression of sixe Musicall Voyces wants, there must necessarily be Mutation.

2 No Mutation can be in a Key which hath but one Voyce, because there one Voyce is not changed into it selfe, although it may well be repeated.

3 In Keyes which haue two Voyces, there be two Mutations, the first is from the lower to the vpper; the second contrarily. From this Rule are excepted Keyes which haue Voyces of one kinde, as cc solfa, and dd la sol.

4 A Key hauing three Voyces, admitteth sixe Mutations, although there∣in you must needs varie the Scale.

5 Let there be no Mutation, vnlesse necessitie force you to it.

6 The b moll Voyces cannot be changed into ♮ square, nor contrarily: because they are discords.

7 Naturall Voyces are changed both into ♮ Dures, and into b mols, be∣cause they are doubtfull: excepting mi and sol, re and fa, which are not changed one into another; because they are neuer found dwelling in one Key.

8 In the falling of a Song, let the lower be changed into the higher, in the rising contrarily.

9 In a Key which hath one Voyce, there may be so many Mutations, as there may be in his eight, because of them there is the same iudgement.

10 You must make a mentall, not a vocall Mutation, vnlesse two or three Notes be put in the same place that receiues Mutation.

THE SEVENTH CHAPTER.

Of Moodes, or Interuals.

AN Interuall (as Boëtius, whose conceit for Musicke, no man euer attained lib. 1. cap. 8. writeth) is the distance of a base and high sound. Or (as Placentinus lib. 2. cap. 8. saith) it is the way from lownesse to height, and contrarily. Or it is the distance of one Voyce from another, considered by rising and falling. Whence it is manifest, that an Vnison is not a Moode, although it be the beginning of Moodes, as vnitie is of numbers. For Boêtius saith, As vnitie is the beginning of pluralitie, and number, so is aequalitie of proportions. Now an Vnison is, (according to George Valla lib. 2. cap. 2.) a Voyce so quali∣fied, that it neither tendeth to depth nor to height. Or it is a conioyning of two or three Notes in the same place, as appeareth in exercise.

Of the number of the Moodes.

NOw the vsuall Interuals are in number 9, viz. a Semitone, and that is a rising from one Voyce to another, (by an imperfect second) sounding

flatly: and it is onely betwixt the Voyces Mi, fa. It is called a Semitone, not because it is halfe a Tone, (for a Tone cannot be diuided into two equall parts) but because it is an imperfect Tone, for Semum is called that which is imperfect, as saith Boêtius lib. 1. cap. 16. Of how many sorts a Semitone is, I shall hereafter in my Theoricks discusse.

A Tone (as Faber Stapulensis writeth) is the beginning of Consonances: or it is a Consonance caused by the number of eight. For Macrobius saith, that the eight, is an number, by which Symphonie is bred; which Sympho∣nie the Graecians call a Tone. Or it is the distance of one Voyce from ano∣ther by a perfect second, sounding strongly, so called a Tonando, that is, Thundring. For Tonare, (as Ioannes Pontifex 12. cap. 8. saith) signifieth to thunder powerfully. Now a Tone is made betwixt all Voyces excepting mi and fa, consisting of two smaller Semitones, and one Comma.

A Semiditone.

WHich Faber Stapulensis calleth Sesquitonium, is an Interuall of one Voyce from another by an imperfect third: consisting of a Tone, and a semitone according to Placentinus. It hath two kindes, as Pontifex in the eight Chapter saith; the first is from re to fa; the second from mi to sol, as in exercise will appeare.

A Ditone.

IS a perfect third: so called, because it containes in it two Tones, as Placen∣tine and Pontifex witnesse. It hath likewise two kindes, the first is from vt to mi; the second from fa to la.

Diatessaron.

IN Boêtius lib. 1. cap. 17. It is a Consonance of 4. Voyces, and 3. Interuals. Or it is the leaping from one Voyce to another by a Fourth, consisting of two Tones, and a lesser semitone. It hath three kinds in Boêtius lib. 4. cap. 13. and in Pontifex cap. 8. the first is from vt to fa, the second from re to sol, the third from mi to fa.

Diapente.

IS a Consonance of fiue Voyces, and 4. Interuals, as saith Boêtius lib. 1. cap. 18. Or it is the leaping of one Voyce to another by a fift, consisting of three Tones, and a semitone. It hath foure kinds in Boêtius lib. 4. cap. 13. Therefore Pontifex cals it the Quadri-moode Interuall. The first, is from vt to sol; the second, from re to la; the third, from mi to mi; the fourth, from fa to fa.

Semitone Diapente.

IS an Interuall of one Voyce from another by an imperfect sixt, according to Georgius Valla lib. 3. cap. 21. consisting of three Tones, and two Se∣mitones.

Tonus Diapente.

IS the distance of one Voyce from another by a perfect sixt. Which Sta∣pulensis affirmes to consist of foure Tones, and a lesser semitone.

Diapason.

WHich onely is called a perfect Consonance by Guido in the 9. Chap∣ter of his Microl. according to the same Author in the 5. Chapter is an Interuall: wherein a Diatessaron and Diapente are conioyned. Or (as Franchinus lib. 1. pract. c. 7. writeth) is a Consonance of eight sounds, and seuen Interuals. Or (as Plutarch saith, it is a Consonance weighed by a duple rea∣son. Now for example sake 6. and 12. will make a duple reason. But they to whom these descriptions, shall seeme obscure, let them take this. It is a distance of one Voyce from another by an eight, consisting of fiue Tones, and two lesser semitones. It hath seuen kindes, according to Boêtius and Guido the most famous Musitians. For from euery Letter to his like is a Dia∣pason. Besides euery Moode hath so many kindes excepting one, as it hath Voyces.

Here followeth a Direction for the Moodes.

〈♫〉〈♫〉 Ter tri ni sunt mo di qui bus omnis cantile na contexitur, scilicet, Unisonus, Se mi∣tonium, 〈♫〉〈♫〉 To nus, Semidito nus, Di to nus, Di a tes se ron, Di a pen∣te, 〈♫〉〈♫〉 Semitoniū cū diapente, To nus cum diapente, adhuc modus di a pason, Si quē de∣lectat

〈♫〉〈♫〉 eius hūc modū eē cognoscat cū{que} tā paucus mo dulis to ta harmonia formetur, 〈♫〉〈♫〉 vtilissimum est eam altae memoriae cōmendare, nec ab homini studio re quiesce re, Do∣nec 〈♫〉〈♫〉 vocū interuallum cog ni tū Harmōtae totius facilime queat cōprehēdere noticiam.

Of the forbidden Interuals.

THere be some other Interuals, very rare, and forbidden to yong begin∣ners. For as the learned licence of Orators & Poets, doth grant certaine things to those which are as it were passed the age of warfare, but doth de∣ny the same to fresh-water souldiers; so is it amongst Musitians. The names of those are these.

Tritonus.

ANd it is a leaping from one Voyce to another by a sharp Fourth, com∣prehending three whole Tones without the semitone. Wherefore it is greater than Diatessaron; Stapulensis saith thus, A Tritone doth exceed the Consonance of a Diatessaron. And this Moode is vsed in the answere, Isti sunt dies, Dominica Iudica: and in the answere, Vox Tonitrui, in the saying, Euan∣gelista, as thus: 〈♫〉〈♫〉 Io an nes est Euange li sta.

Semidiapente.

IS an Interuall by an imperfect fift, comprehending two Tones, with two semitones, which though it be not found in plaine-song, yet doth the knowledge thereof much profit composers, who are held to auoide it.

Semiditonus Diapente.

IS an Interuall by an imperfect seuenth. This according to Placentinus lib. 3. cap. 24. comprehends foure Tones, and two semitones. the example of this is in an Antiphone called, Dum inducerent puerum Ihesum, in the speech, Accepit 〈♫〉〈♫〉 Parentes e ius ac ce pit.

Ditonus Diapente.

IS the distance of one Voyce from another by a perfect seuenth: consi∣sting of fiue Tones, and one semitone, according to Georg. Valla lib. 3. cap. 26. It is found in the Responsorie, sancta legio de sancto Mauritio, in the word, Aganensium. 〈♫〉〈♫〉 sancta le gio Aganensium

Semidiapason.

IS an imperfect eight, consisting of foure Tones, and three Semitones, not to be vsed in any plaine Song, yet worthy to be knowne by componists.

Semitonium Diapason.

IS a leaping by an imperfect Ninth, consisting of fiue Tones, and three se∣mitones. Now a Tone with a Diapason is a perfect Ninth, consisting of sixe Tones, and two semitones.

Semiditonus Diapason.

IS an Interuall by an imperfect Tenth, as witnesseth Valla the 31. Chapter, consisting of sixe Tones, and three semitones. A Ditone with a true Diapason is a perfect Tenth, consisting of seuen Tones, and two semitones.

Diapason Diapente.

IS a consonance of twelue sounds, and eleuen Interuals, consisting of eight Tones, and three semitones. The examples of these Moodes are verie rarely seene in plaine Song; in mensurall often.

Disdiapason.

IS an Interuall by a Fifteenth, occasioned (as saith Macrobius) by a qua∣druple proportion. Wherein antiquitie sayd we should rest, and goe no

further, as Ambrosius Nolanus doth proue in the prouerb Disdiapason, which is in Erasmus that other light of Germany. Both because this is the naturall compasse of mans voice, which going aboue this, is rather a squeaking; and going vnder, is rather a humming than a Voyce: And also because Aristotle doth deny Musick to be meerely Mathematicall. For Musick must be so tem∣pered, that neither sence be against reason, nor reason against sence.

THE EIGHT CHAPTER.

Of the Dimension of the Monochord.

A Monochord, that is, an Instrument of one string, is thus truely made. Take a peece of wood of a yard long, or what length you please, of two fingers bredth, and so thicke, make it hol∣low in the middle, leauing the ends of it vnhollowed. Let it be couered with a belly peece well smoothed, that hath holes in it, like the belly of a Lute: through the middle of this, let there be secretly drawne one line, and in the beginning of it, let one pricke be marked with the letter F. for that shalbe the first Magade of the Instrument: then diuide the whole line from the pricke F. into nine equall parts, and in the first pricke of the diuisions place vt, in the second nothing, in the third Cfaut, in the fourth nothing, in the fift Gsolreut, in the sixt Csolfaut, in the seuenth Gsolreut small, in the eight nothing, in the last o Cifer, which shall possesse the place of the second Magade. This done, againe diuide the space; which is from vt to the second Magade, into nine parts.

In the first part set A Base; in the third Dsolre; in the fift Alamire; in the sixt D lasolre; in the seuenth aalamire. Then from Are to the second Magade againe make nine parts; in the first set ♮ mi Base; in the third Elami; in the fift ♮ mi in the small letters; in the sixt Elami; in the seuenth ♮ ♮ mi double.

This done, diuide all this space from the first to the second Magade into foure parts: in the first put Bfa Base; in the second Ffaut finall; in the third Ffaut sharpe. Then begin in Bfa Base, and diuide the whole line towards the Cone into 4. parts; in the first, b the Semitone betwixt D & E capitals; in the second, bfa; in the third, bbfa. This done, begin in the semitone, which is betwixt D & E, and diuide the whole line into 4. equall parts. In the first, place b the Semitone, betwixt G capitall and small; in the second, b Semi∣tone, betwixt D and E; in the third, bfa, betwixt dd and ee: and if you fur∣ther diuide the third into two equall parts, you shall haue a semitone betwixt g and aa. Then place the foot of your compasse in Csolfaut, and diuide the space towards the second Magade into two parts; in the middle whereof place cc solfa. In like manner diuide the space from dlasolre towards the Cone into two equall parts; and in the middle place ddlasol. Lastly, diuide the space from e towards the second Magade; and in the middle you shall haue ee la, with the true Dimension of the Monochord. This done, in the extreame

points of the Magades, set little props to hold the string, least the sound of the string be dulled with touching the wood. This readied, set to one string of wyre, strong, big & stretched inough, that it may giue a sound which may be easily heard, and you shall haue your Monochord perfect. The forme of it is this.

[illustration]

THE NINTH CHAPTER.

Of the Definition, Profit, and vse of the Monochord.

A Monochord (as Guido proues in the beginning of his Doctri∣nall) is a long square peece of wood hollow within, with a string drawne ouer it; by the sound whereof, we apprehend the varieties of sounds. Or it is a rude and vnskilfull Maister, which makes learned Schollers. For it shewes to others that which it selfe conceiues not, it tels truth, it cannot tell how to lye, it instru∣cteth diligently, and reprehendeth no mans slow conceit. Now it is called a Monochord, because it hath but one string, as a Tetrachord is called that which hath foure. And a Decachord which hath tenne, saith Ioan. Pont. 22. cap. 7. of his Musicke.

Of the profit of the Monochord.

THe Monochord was chiefly inuented for this purpose, to be iudge of Mu∣sical voices and interuals: as also to try whether the song be true or false furthermore, to shew haire-braind false Musitians their errors, and the way of attaining the truth. Lastly, that children which desire to learne Musicke, may haue an easie meanes to it, that it may intice beginners, direct those that be forward, and so make of vnlearned learned.

Of the vse of the Monochord.

THe vse of the Monochord (saith Berno Cluniacensis lib. 2. of his Musicke) is, that we may know how much each voyce is higher or lower than o∣ther. When therefore thou wilt learne a Song, euen the deepest, of thy selfe by the helpe of thy Monochord, set thy Monochord before thee on the table, and marke in what Key the first Note of that Song is, which thou desirest to know. This being found, touch the same in the Monochord with a quill, and the sound it giues, is that thou desirest. Thus runne ouer each Note of the

Song, and so mayest thou by thy selfe learne any Song though neuer so weighty.

THE TENTH CHAPTER.

Of Musica Ficta.

FAined Musicke is that, which the Greekes call Synemenon, a Song made beyond the regular compasse of the Scales. Or it is a Song, which is full of Coniunctions.

Of Coniunctions.

THe Coniunct sounds were called by the ancients Dijuncts because it is added to songs besides their nature, either to make them more sweet, or to make the Moodes more perfect: for thus saith Saint Bernard: In euery kinde, where it is meet a flatter sound should be, let there be put a flat in stead of a sharpe; yet couertly, least the Song seeme to take vpon it the likenesse of another Tone. Now a Coniunct is this, to sing a Voyce in a Key which is not in it. Or it is the sodaine changing of a Tone into a Semitone, or a semi∣tone into a Tone.

Of the Diuision and number of Coniuncts.

COniuncts are two-fold: that is, Tolerable ones, when a Voyce is sung in a Key, wherein it is not, yet is found in his eight: as to sing Mi in A re, La in Dsolre. Intolerable ones, when a Voyce is sung in a Key which is not in it, nor in his eight, as to sing Fa in Elami, Mi in Ffaut. Of these Con∣iuncts there be two signes, viz. b round and ♮. The first sheweth that the Coniunct is in ♮ dure places; the second, that it is in b flat places.

There be 8. Coniuncts most vsuall: although there may be more. The first in a Base, is marked with round b. The second in E finall, is marked with the same signe. The third is in Ffaut, and is marked with ♮. The fourth in a small, is knowne by b flat. The fift, in c affinall by ♮ dure. The sixt, in e by b round. The seuenth, in f by ♮. The eight in aa by b. There be examples enough to to be found of these both in plaine and mensurall Songs.

Here followes the fayned Scale.

THe fained Scale exceedes the others both in height and depth. For it addeth a Ditone vnder Vt base, because it sings fa in A, and it riseth a∣boue eela by two degrees, for in it it sounds fa. Wherfore for the expressing of it, there are necessarily required twelue lines, as appeareth in the figure following.

[illustration]

The Scale of ficts or Synemenon, and how the Mutations are made.

Rules for Fict a Musicke.

FIrst, It is better, and sweeter to sing by tolerable Coniuncts, than by the proper Voyces of Keyes.

2 The tolerable Coniuncts doe not spoyle the Song, but the intolera∣ble ones.

3 Musicke may Fict in any Voyce and Key, for Consonance sake.

4 Marking fa in b fa ♮ mi, or in any other place, if the Song from that shall make an immediate rising to a Fourth, a Fift, or an Eight, euen there fa must necessarily be marked, to eschew a Tritone, a Semidiapente, or a Se∣midiapason, and inusuall, and forbidden Moodes: as appeareth in the example vnder-written.

An Exercise of Ficta Musicke.

〈♫〉〈♫〉

THE ELEVENTH CHAPTER.

Of Song and Transposition.

WHerfore a Song is a melody formed of a Sound, Mood, & Tone, by a liuely Voice. I say by a sound, because of the writing of the Notes, which improperly we call a Song: By the moode, I vnderstand rising and falling, because of the prayers which are read in an Vnison. By the Tone, because of the chirping of birds, which is comprehen∣ded within no Tone. For within a Syllogisme is moode and figure, that in a Song is the Tone and Scale. I say a liuely Voyce, because of Musicall Instruments. Or otherwise: A Song is the fitting of a liuely Voyce according to rising, and falling, Or (as Gafforus writeth in his Theoricks lib. 5. cap. 6.) it is the de∣duction of many Voyces from the same beginning. And this description doth properly agree to this progression of syllables, because it is not a Song.

Of the number of Deductions.

THere are therefore three Deductions of this kinde: the first is called ♮ durall, to be sung sharpely, because it requires mi in b fa ♮ mi, and in his Eights.

The second is b flat, which runneth with a sweet and flattering Harmo∣nie, and requires fa in b fa ♮ mi.

The third is neutrall, and is called naturall. For it receiueth in b fa ♮ mi, neither mi, nor fa: because it comes not to such places.

Rules for Deductions.

FIrst, Wheresoeuer Vt is put in the Scale, there is the beginning of some Deduction: where fa is put, there the middle: where la, there the end: as appeareth in the figure following.

In	C	Naturall,	F	b Moll	b	and ♮ dure	the beginning,
F	b	c	middle,
d	d	e	end.

The second Rule. Of which Deductions this or that rule is, you shall thus easily know. Consider the voice that is there to be sung, with which it descends to his foundation, I say to Vt: and where you find any such, see what Deduction begins so: for it will be of that Note which you seeke.

Of Transposition.

WHereupon Transposition is the remouing of a Song, or a Key from his proper place. For to transpose is to remoue a song, or a Key from the proper place. And Transposition is two-fold, viz. Of the Song and of the Key.

Of Transposition of a Song.

IT is the avoiding of Coniuncts, for whilst we striue to avoide Coniuncts, (because they marre the Song) we doe eleuate the Song from the proper place of his end, aboue to a Fift, as directly appeareth in the Responsorie, Ite in Orbem. 〈♫〉〈♫〉 I te in Orbem I te in or bem

Of the Affinall Keyes of Tones.

THe Keyes (which we call Affinall) be the Letters, which end irregular Songs: whereof according to Guido, Berno, and Saint Gregory, there be three: Although the Ambrosians make more.

Viz.	alamire	wherein ends	First	and	Second	transposed Tone.
b fa ♮ mi	euery Song	Third	Fourth
c solfaut	of the	Fift	Sixt

Now this irregularnesse of Songs (as writeth Pontifex 14. chapter of his Musicke) comes sometime by licence, sometime by the negligence of the Cantors, sometimes by reason of ancientnesse, which cannot be gainesaid, sometimes because of the Counterpoint, that the Base may haue place to descend.

Of the Transposition of a Rule.

FIrst, A Song of the seuenth and eight Tones is not transposed. Not vp∣ward to Dlasolre, as the Ambrosians are of opinion, because an Authen∣tick Tone hath no place of rising to the tenth, neither down to Cfaut, because a Plagall hath no place of falling to a fift: neither must you clime aboue eela, nor descend vnder Γ vt, as before hath been declared. Wherfore (saith Ioan. Pontif.) It is fit, that he which cannot haue a Vicar, doe administer his busi∣nesse himselfe.

2 A Song ending in Dlasolre, or in Cfaut, is either an Ambrosian Song, or corrupted with the ignorance of Cantors, as Pontifex saith; Whensoeuer in a Song of the fourth Tone, there fals any missing, let vs say, that it proceeds from the vnskilfulnesse of the Cantors, and is to be corrected with the cun∣ning of the Musitians. But the authoritie of the Gregorians admits no such Song.

3 The placing of one strange Voice in any Key, is a cause, why the whole Song is transposed.

4 Transposition is an helpe and excuse of the Coniuncts.

5 Let euery transposition be from a Finall, to a fift the proper Affinall:

vnlesse necessitie compell, that it be to be made to a fourth. For then are we forced to transpose it to a fourth, when after the Transposition to a fift more Coniuncts rise than were before: as in the answere, Quae est ista, vnder the third Tone may appeare. 〈♫〉〈♫〉 Quae est ista regu∣lariter. Transpositio quin∣taria non valens. Transpositio quar∣tariae bene valens.

6 The same Voices after Transposition are to be sung, which were sung before.

7 In irregular Songs transposed to a fift, you must sing Mi in b fa Γ mi in euery Tone, vnlesse it bespecially marked with fa.

8 In Songs transposed to a fourth, fa is alwaies sounded in b fa Γ mi: vn∣lesse Mi bespecially noted.

9 Transposition to a fourth is knowne, when a Song is ended by a voice which agrees not to his Scale. Or when in the beginning of a transposed Song, fa is found. To which transposition Saint Bernard seemes to be oppo∣site, in saying this: It is fit that they which propound to themselues an or∣derly course of life, haue also the Art of Singing; and restraine from the li∣berty * 1.1 of those men, which regarding rather likenesse than nature in Songs, disioyne those things which are ioyned together, and ioyne together those things which are disioyned, begin and end, make low and high, order and compose a Song, not as they should, but as they list: for by the foolish trans∣position that such men vse, there is growne such confusion in Songs, that most are thought to be of a contrary fashion.

10 A Song ending in Gsolreut, marking fa in b fa Γ mi is of the first or second Tone transposed to the fourth. And that which is in alamire, is of the third or fourth, as Quae est ista, and so of others.

Of the Transposition of Keyes.

THe Transposition of a Key is the raising or low carying of a marked Key for want of lines, of which there are these Rules giuen.

1 The transposition of Keyes doth not make the Song irregular, because it varies not the regular end.

2 By how much a transposed Key doth descend from the former going before; so much doth the following Note ascend aboue that transposed Key: and contrarily; as in the examples following is manifest. 〈♫〉〈♫〉 Haec sunt cōuiuia quātibi placēt ô patris sa pi en tia

THE TVVELFTH CHAPTER.

Of the Tones in speciall.

BEing that to proceed from generaltie to specialty is more natu∣rall to vs, as Aristotle the Prince of all Philosophers, and light of naturall knowledge, in the first Booke of his Phisickes sheweth. Therefore in a fit order after the generall deliuery of the Tones, let vs goe to the speciall, discussing more largely and plainely of the nature of each. And first, of the first.

Of the first Tone.

THe first Tone (as S. Bernard saith) is a Rule determining the authentick of the first kinde. Or it is the authenticall progression of the first. Now an authenticall progression, is the ascending beyond the Finall Key to an eight, & a tenth. And the progression of the first is formed by that kind of Diapente, which is from d to a: and of that kind of Diatessaron, which is from a to d, saith Franchinus lib. 1. pract. cap. 8. It hath his Finall regular place in Dsolre, or his vnregular in alamire. The beginnings of it according to Guido are C. D. E. F. G. and a, whose capitall forme is this: 〈♫〉〈♫〉 Capita. primi toni. Sacerdos in aeternum. Gaudeamus omnes in do.

Of the differences of Tones.

DIfferences of the Essences of Tones there be none, but for the vnlear∣ned there are some framed, that they may the easilier begin in the di∣uers beginnings of Tones: saith Pontif. 23. chapter of his Musicke. Therefore I find no cause of this, but onely vse: neither haue I found it written by any Musitian. Neither doth Saint Bernard much like it. For the differences giue occasion of many confusions and errours. Wherefore seeing our obsequi∣ousnesse, which we performe to God, must be reasonable, leauing the diffe∣rences, which are by no reason approued, let the Readers onely be carefull of the Capitall tenours of Tones, least they wind themselues in vnprofitable and superfluous precepts, put on the darkenesse of the night, and make an easie thing most hard and difficult. For God delights not in vnreasonable turnings, but in Songs well fashioned and regular, being he himselfe hath made all things in a most regular and orderly fashion. Wherefore the Psal∣mist saith, Praise the Lord in well-sounding Cymbals: for he would not haue said well sounding, if he would haue had God praised with euery bellowing, screaming, or noyse.

Of the Diuisions of the Psalmes.

I Find there are two sorts of Psalmes, which we vse in praising God, the greater and the lesser: all Psalmes are called lesser, except those two, viz. Of the blessed Virgin, and of Zacharias. Also the Song of Symeon, in some Diocesse is accounted for a greater Psalme, in some for a lesser; as I in going ouer the world haue found.

Of the true manner of Singing Psalmes.

THe authoritie both of Coelius Rhodiginus, and of al the Diuines doth te∣stifie, That the Prophet had a great mysterie in the Harmony of the Psalmes: wherefore I thought good to interlace some within this booke of the true manner of singing. Whence to sing psalmes, is to sing the praises of almighty God with a certaine ioy. In which matter there is such diuersitie, (the more is the griefe) that euery one seems to haue a seuerall fashion of Singing. Neither doe they obserue the Statutes, and precepts of their fore∣fathers, but euery one sings Psalmes, and other things euen as they list. Wherevpon there is such discention growne in the Church, such discord, such confusion, that scarce two sing after one manner. This doth Pontifex in the 22. chapter of his Musicke, very much reprehend, and surely with good reason, saying: Seeing that one God is delighted with one baptisme, one faith, and the vnity of manners, who may think but that he is grieuously of∣fended with this multiplicity of Songs? Wherfore I had deliuered certaine Rules of the true order of singing, vnlesse I had found them both copiously and learnedly written by maister Michael Galliculo de Muris, a most learned man. Wherefore I send all that are desirous to be instructed in this point to him, onely medling with those things which belong to the tuning of psalmes.

Rules for the tuning of Psalmes.

FIrst, All the greater Psalmes are to be tuned with a rising, the lesser without a rising.

2 The indeclinable words, the Hebrew, and Barbarous, are to be pro∣nounced in the middle accent high.

3 The tuning of the lesser Psalmes of the first Tone is thus out of alamire, and out of Ffaut, the tuning of the greater thus: 〈♫〉〈♫〉 Laudate pueri do laudate nomen domini: memento do. Da. Magnificat anima mea dominum.

The melodie of verses in Responsories, is framed by later Musitians at their pleasure: but of entrances the manner is as yet inuiolably kept, accor∣ding to the decrees of the Ancients, in this manner.

〈♫〉〈♫〉 The Melodie of the Verses in the answeres of the first Tone. 〈♫〉〈♫〉 The Melody in the beginnings of the Verses of the first Tone.

Of the second Tone.

THe second Tone, (as Saint Bernard saith) is a Rule determining the Pla∣gall of the first fashion. Or it is a plagall Progression of the first. Now a plagall Progression is a descending beyond the Finall to a Fift, or at least a fourth. His beginnings (according to Guido) are A. C. D. F. & G. & doth right∣ly possesse the extreames of the eight Authenticke, because the souldier by law of Armes, doth dwell in the Tents of his captaine. The manner of the se∣cond Tone, is thus: 〈♫〉〈♫〉 Cap. fecūdi toni. Miserator do mi nus. Hunc mundū spernes.

The tuning of the smaller Psalmes is thus out of Ffaut; the tuning of the greater out of Cfaut, thus: 〈♫〉〈♫〉 Laudate pueri do. laudate nomē do. Memento do. da. Magnificat anima mea dominum. 〈♫〉〈♫〉 The Melodie of the Uerses in the answeres of the second Tone. 〈♫〉〈♫〉 The Melodie in the beginnings of the Verses of the second Tone.

Of the third Tone.

THe third tone, is a Rule determining the Authenticall of the second ma∣ner. Or it is the authentical progressiō of the secōd, hauing the final place

〈♫〉〈♫〉 regular in Elami: His beginnings (according to Guido) are E. F. G. &c. The chiefe forme whereof, is this: 〈♫〉〈♫〉 Capitale tertij. O gloriosum. Fauus distillans.

The tuning of the lesser Psalmes out of Csolfaut, and of the greater out of Gsolreut, is this: 〈♫〉〈♫〉 Laudate pueri do laudate nomen do. Memento do Da. Magnificat anima mea. 〈♫〉〈♫〉 The Melodie of the Uerses in the answeres of the third Tone. 〈♫〉〈♫〉 The Melodie in the beginnings of the Verses of the third Tone.

Of the Fourth Tone.

THe Fourth Tone (as witnesseth Bernard) is a Rule determining the pla∣gall of the second manner. Or it is a Progression of the second plagall, holding the same end that his Authenticke doth. It hath sixe beginnings, C. D. E. F. G. and a, whose principall tenour is this, as it followeth: 〈♫〉〈♫〉 Capitale quarti Tota pulchra es Haec est dies.

The tuning of the smaller Psalmes out of alamire, and the greater out of Elami, is thus: 〈♫〉〈♫〉 Laudate pueri dominū, laudate nomē domini. Memento do. Da Magnificat anima mea dominū. 〈♫〉〈♫〉 The Melodie of the Verses in the answeres of the fourth Tone.

〈♫〉〈♫〉 The Melodie in the Diuine Offices of the Verses of the Fourth Tone.

Of the fift Tone.

THe fift Tone is a Rule, determining the Authenticke of the third manner, or it is an Authenticall Progression of the third. Whose regular end is in Ffaut; and irregular end in Csolfaut. The beginnings of it (as Franchinus witnesseth) are Foure, F. G. a, and c. whose chiefe forme is this: 〈♫〉〈♫〉 Capitale quinti. Gaude Dei genitrix. Gau di a.

The tuning of the smaller Psalmes out of Csolfaut, and of the greater out of Ffaut, is in this sort. 〈♫〉〈♫〉 Laudate pueri dominum. Memento do. Da. Mag. anima mea dominum. 〈♫〉〈♫〉 The Melody of the Verses in the answeres of the Fift Tone. 〈♫〉〈♫〉 The manner in the beginnings of the Verses of the Fift Tone.

Of the Sixt Tone.

THe Sixt Tone is a Rule, determining a plagall of the third sort. Or it is the plagall Progression of the third, participating iustly with his Authen∣ticall in the finall Notes. To whom there befall foure beginnings, viz. C. D. F. and a, saith Franchinus in the 13. chapter of his Practick; and Guido in his doctrinall Dialogue. The chiefe forme of it is this: 〈♫〉〈♫〉 Capitale Sexti. Veni electa▪ mea. Diligebat. eam.

The tuning of the lesser Psalmes out of alamire, and greater out of Ffaut, is this:

〈♫〉〈♫〉 Laudate pueri dom. laudate nomen do. Me. dom. Da. Magnificat anima mea dom. 〈♫〉〈♫〉 The Melodie of the Verses in the answeres of the Sixt Tone. 〈♫〉〈♫〉 The Melody in the beginnings of the Verses of the Sixt Tone.

Of the Seuenth Tone.

THe Seuenth Tone is a Rule determining the Authenticke of the fourth sort. Or it is the authenticall Progression of the Fourth. It hath his end in Gsolreut regular only. To this belongs fiue beginnings, viz. G. a. ♮. c. & d. The chiefe forme of it, is this: 〈♫〉〈♫〉 Capitale septimi. Exortum est. Clamauerunt.

The tuning of the lesser Psalmes out of Dlasolre, and of the greater out of b fa ♮ mi, is thus: 〈♫〉〈♫〉 Laudate pueri dom. laudate nomen dom. Memento do. Da. Magnificat anima mea dom. 〈♫〉〈♫〉 The Melodie of the Verses in the answeres of the Seuenth Tone. 〈♫〉〈♫〉 The Melodie in the beginnings of the Verses of the Seuenth Tone.

Of the Eight Tone.

THe Eight Tone is a Rule determining the plagall of the fourth sort. Or it is the plagall Progression of the fourth, possessing the same end that his Authenticke doth. The beginnings of it are D. F. G. a. and c. The chiefe forme of it, is this following: 〈♫〉〈♫〉 Capitale octaui. Dum ortus. Iusti confitebuntur.

The tuning of the lesser Psalmes out of Csolfaut, and of the greater out of Gsolreut, is thus: 〈♫〉〈♫〉 Laudate pueri dominū, laudate nomé do. Memento do. Da. Magnificat anima mea dom. 〈♫〉〈♫〉 The Melodie of the verses in the answeres of the Eight Tone. 〈♫〉〈♫〉 The Melodie in the beginnings of the verses of the Eight Tone.

Of the strange Tone.

THere is another Tone, which many call the Peregrine, or strange Tone, not that it is of strange Notes, but that it is very seldome vsed in our Harmony. For his Tenor is not sung to any but to one Antiphone, Nos qui viuimus, &c. and to two Psalmes, In exitu &c. and Benedicite. His end is in the finall Note of the Seuenth Tone, as Franchinus demonstrates it. The Tenour of it followeth: 〈♫〉〈♫〉 Peregrinus tonus. In exitu Israel de Aegy. domus Iacob de pop. barbaro.

THE THIRTEENTH CHAPTER.

That diuers men are delighted with diuers Moodes.

EVery mans palate is not delighted with the same meate (as Pon. writes in the 16. ch. of his Musick.) but some delight in sharp, some in sweet meates: neither are all mens eares delighted with the same sounds: for some are delighted with the crabbed & courtly wandring of the first Tone. Others do affect the hoarse grauitie of the second: others take pleasure in the seuere, & as it were disdainful stalking of the third: others are drawn with the flatring sound of the fourth: others are moued with the modest wantonnes of the fift: others are led with the lamenting voyce of the sixt: others do willingly heare the warlike leapings of the seuenth: others do loue the decent, & as it were, matronall carriage of the eight. Neither is it maruell (saith Guido in the 13. cha. of his Mic.) if the hearing be delighted with the variety of sounds, seeing that the sight, is pleased with the variety of co∣lours, the smelling power, with the variety of odours; & the taste, with diuersity of meats. Wherfore let a Musitian diligently obserue that he dispose his song in that Tone, wherein he knows his auditors are most delighted. As if he will compose a song at the request of yong men, let it be youthfull and frolicke; If at the request of old men, let it be testy, and full of seuerenes. For as a writer of Comedies, if he giue the part of a yong man vnto an old man, or the part of of a wanton fellow to a couetous person, is laughed to scorne: so is a singer if he bring in a dauncing merry moode, when occasion requires sadnes, or a sad one, when it requires mirth. Now by what means that may be performed, the property of the Moodes declareth. Because (as Cassiodorus writes in an Epistle to Boêtius, & Coelius repeats it in antiq. lect. lib. 5. cap. 22.) The Darian Moode is the bestower of wisedome, and causer of chastity. The Phrygian causeth wars, and enflameth fury. The Eolian doth appease the tempests of the minde, and when it hath appeased them, luls them asleepe. The Lydian doth sharpen the wit of the dull, & doth make them that are burdened with earthly desires, to desire heauēly things, an excellēt worker of good things. Yet doth Plato lib. 3. de Rep. much reprehend the Lydian, both because it is mournful, and also be∣cause it is womanish. But he alloweth of the Dorian, both because it is manly, & also doth delight valiant men, & is a discouerer of warlike matters. But our men of a more refined time do vse somtime the Dorian; somtime the Phrygi∣an; sometime the Lydian; sometime other Moodes. because they iudge, that ac∣cording to diuers occasions they are to choose diuers Moodes. And that not without cause: for euery habit of the mind is gouerned by songs, (as Macrob. writeth) for songs make men sleepy, and wakefull, carefull, & merrie, angry, & merciful, songs do heale diseases, & produce diuers wonderful effects (as saith Fran. Petrac.) mouing some to vain mirth, some to a deuout & holy ioy, yea ofttimes to godly teares. Of al which I had rather be silent, than to determine any thing rashly: least I do burthen the wits of children with vnprofitable & vnnecessary precepts. Because who so in expounding any thing doth poure on more than is needful, increaseth the darknesse, and maketh not the mist thin∣ner, as Macrobius saith in the second booke vpon the dreame of Scipio. Ther∣fore let learners study those few precepts, because they are necessary for the vnderstanding of that which followes.

Here endeth the first Booke.

Notes

• * 1.1

  Note.