The Psalms of David in metre Newly translated With amendments. By William Barton, M.A. And sett to the best Psalm-tunes, in two parts, viz treble and bass; with brief instructions for the understanding of the same; together with a table of the Psalms, and names of the tunes to each Psalm. By Thomas Smith. The basses, with the table, are placed at the latter end of the book.

The Third Example in the Bass, or F-faut Cliff.

〈♫〉〈♫〉 fa, sol, la, mi, fa, sol, la, fa, sol, la, mi 〈♫〉〈♫〉 fa, sol, la, fa, sol, la, mi, fa, sol, la, fa, 〈♫〉〈♫〉 sol, la, mi, fa, sol, la, fa, sol, la, mi, fa▪

Thirdly, You may here observe by these Ex∣amples that Mi is the principal or Master-Note, which leads you to know all the rest; for ha∣ving found out that, the other follows in course. And this Mi, as I have already shown, has its being in Three several places. The first of them you see is in Bmi, but if a Flat, which is known by this Mark (♭) be set in that place, then it is removed into its second place, which you see is Elami; and if a Flat be also set in that place, then it is removed into its Third place, which you see is Are or Alamire: so that in which of these places you find it, the next Notes a∣bove it Ascending (as you may see in the fore∣going Examples) are called Fa, sol, la, Fa, sol, la; and then you see the next Note is called Mi again: In like manner the next Notes below it Descending are called La, sol, fa, La, sol▪ fa, and then you see the next Note is called Mi again, for it is found but once in eight Notes Ascend∣ing or Desecending.

Now I proceed to the first Example of Tu∣ning the Voice, or a Lesson of Plain Song upon Five Lines in the Treble, or Gsolreut Cliff, con∣sisting of eight Notes gradually Ascending and Desending.

〈♫〉〈♫〉 Sol, la, mi, fa, sol, la, fa, sol, sol, fa, la, sol, fa, mi, la, sol,

Now you are to observe when a Sound is given to the first Note, which is called Sol, you are then to rise to La (as the next in order a∣bove it) one whole Tone or Sound, and another whole Tone to Mi: From Mi to Fa is but half a Tone; From Fa to Sol, and Sol to La, are whole Tones; From La to Fa, but half a Tone; From Fa to Sol a whole Tone; And you might Ascend, if your Voice would permit you, Ten Thousand Octaves in the same Order as this one. The difference between whole Tones and half Tones either rising or falling, are easily distin∣guish'd; for all whole Tones are chearful to the Ear, but half Tones are melancholly; and you'l always meet with two half Tones (either rising or falling) within the compass of Eight Notes, and those two are called Fa: For to rise from Bmi to Csolfa, and from Ela to F-faut, are me∣lancholly Sounds; Also to fall from F-faut to Ela, and from Csolfa to Bmi are melancholly sounds.

Now for fear you should not Sing these Notes in Tune at the first, you ought to get the Assistance of a Person, either skill'd in the Voice or Instrument, and let him Sing or Play your Eight Notes over with you, till you can retain the sound in your Memory so well, as you may be able to do it without him: And when you are perfect in this first Example, here is a second

Example a little harder which is called Thirds▪ because of the skipping from the first Note to the Third, and so missing a Note upon every Key as you rise and fall.

〈♫〉〈♫〉 sol, mi, la, fa, mi, sol, fa, la, la, fa, sol, mi, fa, la, mi, sol,

But for fear you should not rightly understand what I mean by skipping a Note, I have set you a third Example, thus: 〈♫〉〈♫〉 Sol, la, mi, sol, mi, la, mi, fa, la, fa, mi, fa, sol, mi, sol, 〈♫〉〈♫〉 fa, sol, la, fa, la, la, sol, fa, la, fa, sol, fa, mi, sol, mi▪ 〈♫〉〈♫〉 fa, mi, la, fa, la, mi, la, sol, mi, sol.

You see now from the first Note of this Ex∣ample you Ascend three Notes gradually, as you were Taught before in your Eight Notes, and then you fall to your first again, then leaving out the second Note which should be Alamire, you skip from the first to the third, or from Gsolreut to Bfabemi, which will be the same thing with the Second Example, called Thirds: And the same Method you must observe in the rest of this Example: Also the like must be done with Fourths, Fifths, Sixths, Sevenths, and Eighths, As you may see in this Fourth Ex∣ample, wherein these several Leaps, or Skip∣pings in general are proved.

〈♫〉〈♫〉 Sol, la, mi, sol, mi, sol, la, mi, fa, sol, fa, sol, la, mi, fa, sol, sol, sol 〈♫〉〈♫〉 Sol, la, mi, fa, sol, la, sol, la, sol, la, mi, fa, sol, la, fa, sol, fa 〈♫〉〈♫〉 Sol, la, mi, fa, sol, la, fa, sol, sol, sol, 〈♫〉〈♫〉 sol, fa, la, sol, la, sol, fa, la, sol, sol, sol, sol, fa, la, sol, fa, sol, fa, 〈♫〉〈♫〉 Sol, fa, la, sol, fa, mi, sol, mi, sol, fa, la, sol, fa, mi, la, sol, la, 〈♫〉〈♫〉 Sol, fa, la, sol, fa, mi, la, sol, sol, sol,

I shall now proceed to give you some Instructi∣on in the Flats and Sharps, which are two Cha∣racters of a different Quality, and much used in Musick.

A Flat is known upon a Line or Space by this mark (♭) and a Sharp by this (♯) and the use of them are to Flat and Sharp any Note they are placed before.

As for Example.

Suppose you were singing your Eight Notes, and when you come to Csolfa, or the first Fa above your Mi you should find a Sharp in that Space, you must not Sing it as I directed you in your first Example of Tuning the Voice, where I told you it was but half a Note or Tone above your Mi, but you must sing it a whole Tone above your Mi, for the Quality of a Sharp is to raise any Note it is Placed before half a Note or Tone higher, (or to speak like a Musician) sharper than it was before. Also when you descend to a Sharp, as from Ela, to Dlasol, or from Alamire to Gsolreut, and a Sharp, should be in Dlasol or Gsolreut, then you are to fall but half a Note, which is a Melancholly sound, as I before told you all half Notes were, either rising or falling, and consequently you may easily distinguish whether you sound it right or not, for it is like falling from Ffaut to Ela, or from Csolfa to Bfabemi.

A Flat, when it is placed before any Note which you should sound a whole Tone or Note higher than the Note immediately before it, obliges you to sound it but half so high, in the same manner as from Bfabemi to Csolfa, or from Ela to Ffaut.

Observe also, that when these Flats or Sharps are placed at the beginning of your five Lines immediately after your Cliff, they serve to all the Notes that shall happen in that Line or Space where you see them placed, unless it is contradicted by a Flat or Sharp placed before that Note which the Composer has a mind should be so: And when they are not placed at

the beginning, they serve only to those Notes they are placed before. To conclude: I have made it my Endeavour so to perfect and finish this Work, that nothing should be wanting to render it useful to the End it is designed.