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DIminution (as the Ancients thought) is the taking away of the third part from the measure. But the opinion of the Modernes, is more true and laudable, which make no difference betwixt Diminution and Semiditie, as Ioan: Tinctoris, of all that euer excelled in Musicke the most excellent
writer, and Franchinus Gafforus lib. 2. cap. 14, haue positiuely set downe.
Therefore Diminution is the cutting off of the halfe part in the measure, nothing differing from semiditie, but that it is found in perfect Signes, and in figures which are to be measured by the number of 3. Wherefore I can∣not but scorne certaine Componists (for so they will be called) though in∣deed they be the Monsters of Musicke) who though they know not so much as the first Elements of the Art, yet proclaime themselues, The Musitians or Musitians, being ignorant in all things, yet bragging of all things, and doe (by their foolish toyes which contrarie to the maiestie of the Art, they haue gotten an habite of, rather by vse, than wit) disgrace, corrupt, and debase this Art, which was in many ages before honoured, and vsed by many most lear∣ned, (and to vse Quintitians words) most wise men: vsing any Signes at their pleasure, neither reckoning of value, nor measure, seeking rather to please the eares of the foolish with the sweetnesse of the Ditty, than to satisfie the iudgement of the learned with the maiestie of the Art. Such a one know I, that is now hired to be Organist in the Castle at Prage, who though he know not (that I may conceale his greater faults) how to distinguish a perfect time from an imperfect, yet giues out publikely, that he is writing the very depth of Musick: and is not ashamed to say, that Franchinus (a most famous writer, one whom he neuer so much as tasted of) is not worth the reading, but fit to bescoffed at, & scorned by him. Foolish bragging, ridiculous rashnes, grosse madnes, which therfore only doth snarle at the learned, because it knows not the means how to emulate it. I pray God, the Wolfe may fal into the Toiles, and hereafter commit no more such outrage; nor like the Crow brag of bor∣rowed feathers. For he must needs be counted a Dotard, that prescribes that to others, the Elements whereof himselfe neuer yet saw. As Phormio the Greeke Orator (in Tullies second Booke de Orat.) who hauing before Antio∣chus the King of Asia, (in the presence of Haniball) made a long Oration of the dutie of a Generall, when as hee himselfe had neuer seene Campe, not armes, and had made all the rest to admire him, in the end Haniball being as∣ked, what his iudgement was of this Philosopher, his answere was, That hee had seene many doting old men, but neuer any man that doted more, than Phormio. Now come I to the matter, and leaue these vnlearned ridiculous Phormio's, many whereof (the more is the shame) haue violently inuaded the art of Musick, as those which are not compounders of Harmonies, but rather corruptors, children of the furies, rather than of the Muses, not worthy of the least grace I may doe them. For their Songs are ridiculous, not grounded on the Principles of the Art, though perhaps true inough. For the Artist doth not grace the Art, but the Art graceth the Artist. Therefore a Componist doth not grace Musicke, but contrarily: for there be that can make true Songs not by Art, but by Custome, as hauing happily liued amongst singers all their life-time: yet do they not vnderstand what they haue made, know∣ing that such a thing is, but not what it is. To whom the word our Sauiour vsed on the Crosse, may be well vsed; Father pardon them, they know not what
they doe. Wherfore allow of no Componists, but those, who are by Art wor∣thy to be allowed of: now such are Ioan. Okeken, Ioan: Tinctoris, Loyset, Verbo∣net, Alex: Agricola, Iacobus Obrecht, Iosquin, Petrus de Larue, Hen: Isaack, Hen: Finck, Ant: Brummel, Mat: Pipilare, Geor: Brack, Erasmus Lapicida, Caspar Czeys, Conradus Reyn, and the like: whose Compositions one may see doe flow from the very fountaine of Art. But least by laughing at these fellowes we grow angry, and by being angry grow to hate them, let vs euen let them alone, and returne to Diminution.
Whereof we will resolue with Franchinus and Tinctor, that it taketh not away a third part, as the Ancients thought, (for it is hard finding out that) but one part: for as this signe 〈☐〉〈☐〉. is the Duple of this signe C. so is this 〈☐〉〈☐〉 of this O. Wherfore euen approued Componists doe erre, because they mark not that there is a double Progression of measure in a perfect Circle diuided with a dash, besides the Ternarie number of the figures, because they are of a perfect time: singing one Semibreefe to a Tact, when they should sing 2. For in that signe the Song is so to be placed, that keeping the perfection of the Ternarie, it may receiue the Closes, and end in a Binarie measure. For in this Signe 〈☐〉〈☐〉. the Notes keepe the same value, which they haue in this O, but the measure onely, is to be measured by the Binarie number, thus: