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Concerning this Instrument Reade Pag: 203.
You speak some Comfort.
THat the LVTE was a Hard or very Difficult Instrument to Play well upon, is confessed; And the Reasons why, shall here be given: But that it is Now Easie, and very Familiar, is as Certainly True; And the Reasons shall likewise be given.
The First and Chief Reason that it was Hard in former Times,* 1.10 was, Because they had to their Lutes but Few Strings; viz. to some 10, some 12, and some 14 Strings, which in the beginning of my Time were almost altogether in Vse; (and is this present Year 1675. Fifty four years since I first began to undertake That Instrument.)
But soon after, they began to adde more Strings unto Their Lutes, so that we had Lutes of 16, 18, and 20 Strings; which they finding to be so Great a Convenience, stayed not long till they added more, to the Number of 24, where we now rest satisfied; only upon my Theorboes I put 26 Strings, for some Good Reasons I shall be able to give in due Time and Place.
Now (having but yet said so) I will Prove it very manifestly:* 1.11 Thus therefore;
To be expected to Perform much, and to be Confin'd and Limi∣ted to Straitness, or Narrow Bounds, certainly must needs be concluded more Difficult, than where there is Liberty, Scope, and Freedom.
This is the very Case between the Lutes of Former Times, and the Lutes of This present Age.
Yet a little more fully, especially to Those who are Vnexpe∣rienc'd in the Art or Instrument.
You must know, that he who undertakes the Lute, will meet with things becoming the Lute, viz. Composures of Parts, with much variety of Trebles, Basses, and Inner Parts.
All which upon the Old Lutes, by reason of the Fewness of Strings, was (really) extreme Hard to perform.
And from Thence chiefly did it derive the name of Hardness,* 1.12 or a Hard Instrument; which ever since (through the Ignorance of People) hath continued upon It.
Whereas Now, (on the contrary) as Really as it was Then Hard, so Truly is it become Easie, and very Familiarly Pleasant to the Learner, by reason of the Increase of Strings.
* 1.13Secondly, The Work-men of Those Times did not Lay their Lutes so well, fine, and easie for the Fingers, as now by experience our late Work-men have been inform'd to Rectifie; which is a very great, yea a main matter in the Vse of the Lute. (A more parti∣cular explanation of This, shall be when I come to shew the whole Order of the Instrument.)
* 1.14A Third and very Considerable Reason is, From the Closeness of Masters in the Art, who (all along) have been extreme Shie in revealing the Occult and Hidden Secrets of the Lute.
The French (who were generally accounted Great Masters) seldom or never would prick their Lessons as They Play'd them, much less Reveal any thing (further than of necessity they must) to the thorough understanding of the Art, or Instrument, which I shall make manifest and very plain.
Nor was there, nor yet is there Any Thing more constantly to be observed among Masters, than to be Very Sparing in their Com∣munications concerning Openness, Plainness, and Freeness; either with Parting with their Lessons, or Imparting much of Their Skill to their Scholars; more than to shew them the Ordinary way how to play such and such Lessons.
This hath been, and still is the Common Humour, ever since my Time.
So that it is no marvel, that it continues Dark and Hidden to All, excepting some Few, who make it their Chief Work to Practise, and Search into its Secrets.
Which when they have done, and with Long Pains, and much Labour obtained, THEY DYE, AND ALL THEIR SKILL AND EXPERIENCE DYES WITH THEM.* 1.15
So that the next Generation is still to seek, and begin again a-New, for such Attainments.
* 1.16And it may be noted, That seldome in an Age appears above One or Two who are Excellent or Rare Artists in This kind.
So that (to Magnifie, and make Themselves more Illustrious) they keep All close to Themselves, communicating Nothing but upon a Pecuniary Account.
This must needs make Easie Things Hard, and Long before they be known in a General way, so as they may become Easie.
Whereas, if such knowing Masters, would be so kind to their Fellow-Creatures, as to Reveal and Discover their Knowledge and Experience (whilst They Liv'd) more freely, or at least leave it be∣hind them to be published to the world for a Common Good after their Decease, it would much redound to the facilitating of the Art, and Gratifying of Posterity.
Which by the Grace of God I will make my Business to do, ac∣cording to my Best Abilities, and Vnderstanding in the Art.
And if to th' Purpose it I shall not doe, Say, Good-will was not wanting thereunto.
Thus much I think may be sufficient to gain Belief, that the Lute must needs have had such Impediments, by reason of which, it might well be accounted a Hard Instrument.
The which being taken away, I doubt not but it will appear both Easie, and very Delightfull.
Now I will give you some Reasons why it is become Easie;* 1.17 and is, by the Increase of Strings; which (although it may seem a Riddle to some) is most True.
And here you must take notice, that when we say a Lute of 12 Strings, there are but 6; and likewise a Lute of 24 Strings, there are but 12▪ (as to substantial Vse.)
For we always Tune and strike two Strings together as one.
So that in the Old Time upon their Lutes of 12 Strings (as to use) they had but 6: Therefore were they constrain'd to ex∣treme hard, cross, and wringing Stops, both above and below upon the Finger-board.
Yea, such Stops have I seen, that I do still wonder how a Mans Hand could stretch to perform some of them, and with such swift∣ness of Time as has been set down.
Whereas Now, by the Addition of six Ranks of Strings, All those hard cross-grain'd Stops are undone, and brought to a Natural Form, and Aptitude for the Hand; And are so very Easie,* 1.18 that an Ingenious Child in half an hours time, may readily Form its Hand to the whole Number of Hard Stops, ordinarily in use, and generally Requirable for the necessary scope of Lute-play.
The which I shall most plainly Demonstrate, when I come to in∣form the Learner and set down the Rudiments thereof.
Again,* 1.19 There is found by Experience a Better manner of Laying our Lutes, (as we term it) which is done, by causing the Finger-board, 1. to lye a little Round, or Vp in the middle; as also that the Bridge (answerably) rise a little Round to it.
Then 2dly. to lay the Strings so close to the Finger-board, that the Strings may almost seem to touch the first Fret. This is call'd Laying of a Lute Fine, when all the Strings lye near the Frets.
3dly. Laying the Ranks of Strings so carefully, that the Pairs may be conveniently Near, and the Ranks pritty wide.
By which means we have a more ready and certain Command over them, for neat and clean Play.
These things were not in the Old Lutes so regarded, as may still appear by many of Them, yet to be met withall.
The Instrument-makers were not Then acquainted with That Secret, which assuredly is such an extraordinary Great Advan∣tage to the Hand; That if Two Equal Players of a years standing,* 1.20 should either of them take up a several Lute, the one well Lay'd, and order'd as I have described; and the other Ill Lay'd, (as were generally the Old Lutes) it would be judg'd by their difference in Play, that the One having learn'd a Year, the Other had not learn'd above a Quarter.
This I do assure you is a most Certain Truth.
Therefore you may very well conclude from these Reasons
only, there must needs be a Great Facility in Playing upon These Lutes of Our Time,* 1.21 more than upon Those of the Old Time: From whence hath come, and still remains most Falsly, the name of Hardness.
Now besides all These Reasons for Advantage and Easiness, (which I doubt not but do seem apparent to the Reader) being only in the Instrument, which Time and Experience hath reformed; It will not be unreasonable to conclude,* 1.22 but that there are, or may be likewise several other Advantages from the Artist, whereby the Work may be made more Easie.
Otherwise we have laboured many years in Vain, which would be too great a Disparagement unto us of This present Age to be Guilty of; since it is generally seen and known, that in All Arts, Time and Experience finds out more Compendious and Ready ways to perfect and accomplish their Works in, than was known in the Beginning and Infancy of Arts.
* 1.23I will nominate some Particulars here in reference to the Great Benefit of the Scholar, and towards the facilitating of the Work.
The First shall be, I would (by all means) that the Scholar be taught to String his Instrument, with Good and True Strings; also to Fret it, and to know when the Frets stand Right or Wrong, which may be easily and quickly done.
Secondly, That the Scholar be taught (so soon as possibly may be) to Tune the Lute, which likewise may in a reasonable Time be done.
* 1.24For, the want of such Skill, is not only a great Discouragement to the Learners, and also a great Hindrance to their Proficiency; but is a Grand Cause of much Corruption of the True Distinguishing-Musical-Faculty of their Ear.
For, long and much use of Playing with an Instrument out of Tune, does habituate and wont them so to False Sounds, that at last they grow Careless,* 1.25 and scarcely ever after become Good and Accurate Tuners.
This I have prov'd by Experience.
The Helps to All This I shall set down in its proper place, when I come to Instruct my Scholar in the Documents of Lute-play.
NOw after all this that hath been said, I cannot but hope that Those many False and Ignorant Out-cries against the Lute will be laid aside, and deem'd (as indeed they are) False.
I will here Name some of Them;
First, That it is the Hardest Instrument in the World.* 1.26
Secondly, That it will take up the Time of an Apprenticeship to play well upon It.
Thirdly, That it makes Young People grow awry.
Fourthly, That it is a very Chargeable Instrument to keep; so that one had as good keep a Horse as a Lute, for Cost.
Fifthly, That it is a Womans Instrument.
Sixthly, and Lastly, (which is the most Childish of all the rest) It is out of Fashion.
I will here give a short (but True) Answer to each of These Aspersions.
And as to the First, viz. that it is the Hardest Instrument, &c.* 1.27 I suppose my former Reasons may sufficiently convince any Reason∣able Person of the contrary; However (in that This is the main Ob∣jection) I will spend a little more labour against it, than against any of the Rest; And doubt not but so clearly to Rectifie that Errour, that whosoever will rightly consider what I shall here write con∣cerning it, will never more give Credit to that Flim-Flam-Ignorant saying of the Vulgar.
To which purpose I will make a Comparison betwixt the Lute and the Viol.
The Viol is confess'd to be a Plausible Instrument;* 1.28 and no Affrightment to any Person to undertake it; and in a short time they do much upon it.
Now that the Lute must needs be so Easie as the Viol, examine them Both after This Right manner, by way of Comparison; not comparing the Musick of the one with the Musick of the other, for that is confess'd by All in General, that the LUTE IS THE RAREST AND MOST EXCELLENT PORTABLE INSTRU∣MENT IN THE WORLD, but barely as they are Instruments, and as to the performance upon either.
And in such a Comparison we must consider,* 1.29 what it is that makes an Instrument of Strings Hard or Easie.
The Answer to which must be, The Number of Strings, and the Grasping, or Stopping of That Number. Well then;
The Viol hath six Strings,* 1.30 which are all used in Grasping or Stopping.
The Lute likewise hath but six Strings, which are used in Gras∣ping or Stopping; For although it have 12 Strings, all the other Ranks of Basses are not used at all in Stopping: But only struck open with the Thumb, which serve both to Amplifie the Harmony, as also very much to facilitate the Stops or Grasps of those other six Strings.
Now if This be True, (as I appeal to All the Experienc'd Men in our Quality, whether This be not Truly declared;) How then must it not needs be, but that the Lute is as Easie as the Viol?
But to This I know it will be presently objected, That Those Basses are very Hard to be Hit, so that the Lute must needs be Harder thereby.
To which I answer, No. But on the contrary, the Lute-play is made far more Easie (in its general scope) thereby, as I shall make appear.
Now therefore that you may perceive what an Easie matter it is, (viz.) to Hit those six Basses, (which Thing in all my whole Progress of Teaching (Young or Old) seldom or never was above One quarter of an Hours work;)
And to make you understand the Easiness of it, consider it thus, in a plain and homely Comparison, viz.
* 1.31Suppose you had Fix'd before you upon a Table, six or seven Ranks of Strings, in that nature as Country-People (many of them) have at the end of some Cupboards, fastned on with Nails at each end; And so, lifted up a little from the Table or Cupboard with small Stones or Sticks, to cause them to rise and sound from the Wood.
How easily, I say, could not any Ingenuous Child strike Those six or seven Ranks in Order; First as resembling the Bells, and then with as little trouble strike them out of Order into Changes; And so presently be able (looking off) to do the same? I say, He or She who could not do such a thing pritty perfectly in less than a quarter of an hour, either would have a very Ill opinion of Themselves for Blockishness or Doltishness, or had cause enough so to have.
Now the Truth is, those six Ranks of the Lute Basses (which are never stopt) have no other manner of use than those upon the Country-Peoples Cupboards.
Nay it shall appear, they must needs be Easier to Hit certain than such like of the Cupboard; because the Country-People do it without a Rule (and yet by Habit) well enough; whereas we have an Infallible Rule by which we can scarcely miss, except on pur∣pose; which is, the setting down of the Little Finger in a certain place by the Bridge, so that with opening the Hand by way of Span, we ascertain our selves (after a little use) with the Thumb to reach to what Bass we please, without the least impediment to any our other Performances.
And now methinks I hear some say, you will make the Lute too Easie, if you go on in this manner.
* 1.32Why, truly I cannot tell how to speak otherwise than True: It is even so, and no otherwise; And which to do, is Half the performance of the Right Hand; And the other Half, which is to be performed with the Two Fore-fingers, is (upon the matter) as Easie,* 1.33 if not Easier: So that there you have Half Lute-play already set forth.
But I shall begin my Work out of Order; therefore I will break
off This Discourse, and desire your Patience till I come orderly un∣to it; And then if you will but give me the Attentive Reading, as also laying what you read to your Reason and Considera∣tion, I do not doubt but I shall be the occasion of many Good Lutenists.
Now by what has been here declared,* 1.34 how can any Rational man think the Lute the Hardest Instrument in the World? or that it is not, as I have explain'd it to be, Full as Easie as the Viol?
I wish I were to try it out with any man for a Considerable Wa∣ger, to see what we could bring a couple of Scholars unto (one upon the Lute, and the other upon the Viol) in the space but of one Quar∣ter of a Year.
But here I desire that none will make a Bad Construction of This my seeming Challenge; For I Challenge None: neither will any, I hope, take it as an Affront, for truly I mean no such thing; But only for the Lutes sake, I say, If I were Challeng'd in such a way, to try if I would make Good what I have thus set down here concerning the Lute; I should very gladly imbrace the Challenge, (as I said) for the Lutes sake, and the Lovers thereof, that it should be seen I do affirm nothing, but what I would make Good by such an Adventure.
Thus much against the First Aspersion, viz. That the Lute is a Hard Instrument.
That the Lute will take up the Time of an Apprenticeship,* 1.35 before one can Play well upon it, is a very False Aspersion, and a manifest Injury done both unto It, and to all the Lovers of It: As by ma∣ny years Experience I can Justifie, and by eminent Performances upon that Instrument by divers very Worthy Persons; several such at this present remaining in our University of Cambridge, who have not been at It from their first undertaking yet a full Year; and in one Quarter of a Year could play extremely well, even to Admiration.
I shall forbear here to Name Them, lest I may (in so doing with∣out their consent) give an occasion of Offence.
However in that This may be taken as an Excuse, and in that I have undertaken to prove the Falsity of the Lutes Aspersions, I will take the liberty of naming One Person as a sufficient proof to this purpose, who is my Youngest Son, (named John Mace;* 1.36) And has very lately undertaken both the Lute and Viol, contrary to my expectation or knowledge, till of late; nor have I Assisted Him much in either, since I knew His drift.
But as to His Performance upon the Lute, I do here most so∣lemnly and really affirm, I have not taught him, nor spent so much time with him in the way of teaching, as in the whole (since his first beginning with it) will make up the quantity of one Day; (if I should say half a Day, I am assured I Lye not.)
The Chief Advantage he has had towards it,* 1.37 has been the Perusal of This my Work since I made it: And at Christmass last was a Twelve-month, viz. 1671. there was not one word of it writ; but since that time wholly Compos'd thus as you see.
This Young man (my Son) has been indeed very Inquisitive con∣cerning the Nature of my Work, and has so far Div'd into It, as (to speak modestly, yet truly of him) I believe he understands it so sufficiently, and has gain'd a Hand upon the Lute so Notably, for his short time of Inspection, that let whomsoever please (to inform Themselves of the Truth of what I have here writ) Call him out for My Witness; who I hope (and doubt not but in a short time) will make as Able a Master-Teacher both upon the Lute and Viol, as need to Vndertake Them.
I must be Pardon'd for This my so strange, and seeming-Boasting way in His Commendations; yet I neither Boast, nor purposely speak in His Commendations; only for the Lutes, and Truths sake, (having, amongst many, none I may make so bold with as I may with Him) I do in this manner attest (by This Proof) the ex∣treme Falsity of This second Aspersion upon It, viz. That One must be an Apprenticeship at It before they can Play well: which is so ab∣solutely False, That I do still affirm, that an Ingenuous Child may be made to Play very well in one Quarter of a Year.
Let thus much suffice to Contradict so Gross a Mistake.
* 1.38The Third Aspersion upon the Lute is, That it causeth Young Folks to grow awry.
To This I can only say, That in my whole Time I yet never knew one Person, Young or Old, that grew Awry by That Vndertaking.
Yet do believe it is possible, if (through their own Negligence, and their Teachers Disregard, and Vnskilfulness) they be suffer'd to Practise in an Ill and wrong Posture.
So may they do by several other Exercises and Imployments, (which is often seen.)
But let Them be first set Right to the Lute, according to such Di∣rections as hereafter I shall set down, it shall be impossible for any Per∣son to grow Awry by Lute-play.
This Aspersion I doubt not but will appear False, like All the Rest, when you shall (with your Reason) consider of the Exactness of my Rules and Order.
* 1.39That one had as good keep a Horse (for Cost) as a Lute, is the Fourth Objection.
This likewise is so Gross an Errour, that I have disprov'd it all my Life long; and which All my Scholars will affirm, if need were; of whom I never took more than five shillings the Quarter to main∣tain each Lute with Strings; only for the first Stringing I ever took ten shillings.
I do confess Those who will be Prodigal, and Extraordinary Cu∣rious, may spend as much as may maintain two or three Horses, and Men to Ride upon them too, if they please.
But 20 s. per Ann. is an Ordinary Charge; and much more they need not spend, to practise very hard.
* 1.40The Fifth Aspersion is, That it is a Womans Instrument.
If This were True, I cannot understand why It should suffer any Disparagement for That; but rather that It should have the more Reputation and Honour.
I suppose I need not make any Arguments to prove That.
But according to Their Sence of Aspersion, I deny it to be a Wo∣mans Instrument so, as by That means It shall become less Fit for the Vse of a Man.
For if by That Saying They would insinuate, That it is a Weak, Feeble, Soft Instrument, as to the sound; what can that signifie whereby to make it a Womans Instrument more than a Mans?
But whereas first they say, It is the Hardest Instrument in the World; That shews They Contradict Themselves in This particular; and conclude by That Saying, It cannot so properly be called a Womans Instrument, in regard They are the Weaker Vessels; and therefore not so Fit to set upon and attempt the Mastery of Things of such Difficulty.
Therefore if still They will needs put it upon the Woman, I say, the more shame for Them; And so much for That.
Now Lastly, whereas They most Sillily say, It is out of Fashion.* 1.41
I say, the Greater Pity, and still the Greater shame for a Man to Refuse the Vse of the most Excellent Thing in Its kind; and especially, Because it is out of Fashion! which, although it be Thus Aspers'd, (as I have here mentioned) by the Ignorant and In∣considerate, yet notwithstanding It has This General Applause and Praise, viz. THAT IT IS THE BEST MUSICK IN THE WORLD.
This is acknowledg'd by All who are men of Knowledge and Experience in the Art, (unprejudic'd;) and if together with This so High, so True, so Deserved and most Vncontroulable Commenda∣tions, it shall also appear (by This my Faithfull and Well-intended Work) Easie, yea Very-very Easie; there is no doubt but It will come into Fashion again with All wise Folks.
Thus having (I hope) to full satisfaction explained the Matter, I doubt not but the Lute henceforward will be more look'd after and esteemed than of late years it has been.
I will now draw nearer to The Work it self, and provide my Scholar with a Fit and Good Instrument.
* 1.42THe first thing to be thought upon before you begin to Learn, must be to get a Good Lute, and of a Fit Size for your Hand: In reference to which I shall give this Advice, by These Directions following.
* 1.43It is very usual with many, at the first to make shift with al∣most any Instrument for a Tryal, (as they say) be it never so Bad or Vnfit.
Now I must assure Them, who do so, do themselves much Wrong, and to their great prejudice; as by Experience I have proved.
For I have known some Young Persons so Discouraged, under the Sence and Inconvenience of a Bad and Ill-contriv'd Instrument, that in short time they have grown Out of Love with their Vnder∣taking, and have indeed been so quite Discouraged Thereby, that they have wholly left it off, and never Return'd again; whereas others on the contrary, who have had Apt and Good Instruments, have come on exceeding Delightfully to Themselves, their Teachers, and Others.
I shall therefore advise All Learners, At First to provide them with Good Instruments; and then they will proceed Chearfully.
* 1.44Now to know a Good Instrument, is something Hard for a Young Scholar; therefore he must take the Advice of some Friend who hath Skill. Yet for his better Information, I shall give him some General Hints and Signs how he shall know a Good one.
First, know that an Old Lute is better than a New one: Then, The Venice Lutes are commonly Good; which you shall know by the writing within, right against the Knot, with the Au∣thor's Name.
There are diversities of Mens Names in Lutes; but the Chief Name we most esteem,* 1.45 is Laux Maller, ever written with Text Letters: Two of which Lutes I have seen (pittifull Old, Batter'd, Crack'd Things) valued at 100 l. a piece.
Mr. Gootiere, the Famous Lutenist in His Time, shew'd me One of Them, which the King paid 100 l. for.
And Mr. Edw. Jones (one of Mr. Gootiere's Scholars) had the other,* 1.46 which He so valued; And made a Bargain with a Mer∣chant, who desired to have It with him in His Travels, (for his Experience;) And if He lik'd It when he returned, was to give Mr. Jones 100 l. for It; But if he Refus'd it at the Price set, he was to return the Lute safe, and to pay 20 l. for His Experience and Vse of It, for that Journey.
I have often seen Lutes of three or four pounds price, far more Illustrious and Taking, to a common Eye.
Therefore I say, it is a Difficult Thing for an unexperienc'd Per∣son to Chuse a Good Lute.
The next thing to be observed is, the Shape of the Lute.
The Shape generally esteemed, is the Pearl-Mould;* 1.47 yet I have known very excellent Good Ones of several Shapes or Moulds: But I do acknowledge for constancy, the Pearl-Mould is Best, both for Sound, and Comliness, as also for the more conveniency in holding or using.
Then again observe the Number of Ribbs.
The Compleat Number (most esteemed) is Nine;* 1.48 yet there are very Good Ones of several Numbers.
Next, what Wood is Best for the Ribbs.
The Air-wood is absolutely the Best.* 1.49
And next to that, Our English Maple.
But there are very Good Lutes of several Woods; as Plum-Tree, Pear-Tree, Yew, Rosemary-Air, Ash, Ebony, and Ivory, &c. The two last (though most Costly, and Taking to a common Eye) are the worst.
Next, observe the Colour;* 1.50 which is the Dark-black-reddish-Colour; though I believe it contributes nothing at all to the sound; only the Best Authors did use to lay on That Colour, espe∣cially Laux Maller.
Thus much for the Choice of your Lutes by the Back-sides.
Then for the Bellies,* 1.51 make choice of the finest-grain'd Wood you can, free from Knots or Obstructions, which you may easily perceive to hinder the Grain of the Belly for Running smooth to your Eye, as it were by small Strings or Threads of Wood from the Bridge upward, &c.
The Best Wood is call'd Cullin-cliff; and is no other than the finest sort of Firr, and the choicest part of That Firr.
I have seen some of Cyprus very Good, but none like the Cullin-cliff.
The Knot or Rose in the Lute Belly, would be little,* 1.52 and smooth∣ly cut.
If there be any Cracks in Back or Belly, let not them trouble you, except They be Cross-wayes; Those are to be disliked: But if Long-wayes with the Grain of the Wood, it makes no great matter, so as they be neatly and well glewed together again.
And before you part from the Belly,* 1.53 try whether the Barrs (which are within to strengthen and keep It straite and tite) be all fast; which you may do, by gently knocking the Belly all along, round about, and then in the midst, with one of your Knuckels; and if any thing be either loose in It, or about It, you may easily perceive It, by a little Fuzzing or Hizzing; but if all be sound, you shall hear nothing but a Tight-plump and Twank∣ing-knock.
Then lastly about the Belly, see that the Bridge be close,* 1.54 Trimly and firmly Glew'd to the Belly, without any the least sign of part∣ing: For if it begin never so little to part, you shall be sure (the next moist season, if you leave it abroad, especially in a damp room) to have It come off, and so endanger the Belly, in bringing some part of It along with it, which is a common decay in many a Good Lute.
After you have thus survey'd the Back and Belly, cast your Eye up towards the Neck and Heads;
* 1.55And in the Neck observe the Length thereof, which you shall know to be Good or Bad, according to the Number of Frets It car∣ries: If it carry less then Nine, it is too short; and if more, it is too long: Therefore Nine is esteemed the Best Number of a True-siz'd Neck.
Yet I had rather have a Neck too long, than too short:
For if it be too long, (in which are two Inconveniences, viz. the one will cause Strings to break too fast, the other makes the di∣stances of the Frets too wide) I can cut that Neck shorter, without any Inconvenience at all to the Instrument; But if it be too short, there is no Handsome Remedy but to have a New Neck.
Again, the Neck would not be over Thick or Gouty, to cause too great an Extention in the opening of the Hand, in the Grasp or Vse of It; which will be unpleasant to the Practitioner.
About an Inch Thick at the first Fret, is a good scantling for an ordinary siz'd Lute, and so increasing in Thickness almost insensi∣bly down to the last Fret.
But for my own part, I did not care how Thin it were, provi∣ded it were so strong, as (by the strength of the Strings pulling) it did not come forwards, by which means many a Lute is caused to Lye too Course.
* 1.56The Finger-board is the next thing to be minded; which would be made of Hard Wood, of which Ebony is both Handsomest and the Best.
See that it be not Joynted or Pieced upon the very Edges, which if they be, (as sometimes they are) will hinder the Frets from running smoothly, when you have occasion to put them on, or move them.
Again, observe how It lyes, whether Flat, or a little Round un∣der the Frets, from the Treble to the 5th. or 6th. Strings.
If it lye Flat, it lyes Not well; which was the General Fault of the Old Work-men a hundred years ago, and since; till of later Times we find that a Round-laid Finger-board, is a Great Advan∣tage to the easie stopping of a String, especially in Cross-stops.
* 1.57The next things you are to view are the Two Heads, the one Turned back, which must carry 16 Strings, (accounting the Treble Peg double) and the Vpright Head must carry 8; all which make a 24-Strung-Lute.
The more neat Those Heads are wrought, the more Commenda∣ble; Yet they adde nothing to the Sound, but it is the Back and Belly, which Principally give the Sound; and we use to say, the Belly is the Chief producer thereof.
* 1.58Then look well unto the Pegs, that They be Truly Fitted; for if They be not, you will find more Trouble by reason of Them, than by any other Thing about the Lute.
The first thing you must observe is, whether They be exactly Fitted at both ends, that is, that they Bite equally stiff at both Holes; for if they be slack at one Hole, and stiff at the other, they
will constantly be slipping, and so the Tuner loseth much Labour and Time.
And you must know, that From the Badness of the Pegs, arise several Inconveniences;
The first I have named, viz. the Loss of Labour.* 1.59
The 2d. is, the Loss of Time; for I have known some so ex∣treme long in Tuning their Lutes and Viols, by reason only of Bad Pegs, that They have wearied out their Auditors before they began to Play.
A 3d. Inconvenience is, that oftentimes, if a High-stretch'd small String happen to slip down, it is in great danger to break at the next winding up, especially in wet moist weather, and that It have been long slack.
The 4th. is, that when a String hath been slipt slack, it will not stand in Tune, under many Amendments; for it is continually in stretching it self, till it come to Its highest stretch.
A 5th. is, that in the midst of a Consort, All the Company must leave off, because of some Eminent String slipping.
A 6th. is, that sometimes ye shall have such a Rap upon the Knuckels, by a sharp-edg'd Peg, and a stiff strong String, that the very Skin will be taken off.
And 7thly. It is oftentimes an occasion of the Thrusting off the Treble-Peg-Nut, and sometime of the Vpper long Head;
And I have seen the Neck of an Old Viol, thrust off into two pieces, by reason of the Badness of the Pegs, meerly with the Anger and hasty Choller of Him that has been Tuning.
Now I say that These are very Great Inconveniences, and do adde much to the Trouble and Hardness of the Instrument.
I shall therefore inform you how ye may Help All These with Ease; viz. Thus.
When you perceive any Peg to be troubled with the slippery Disease, assure your self he will never grow better of Himself, without some of Your Care; therefore take Him out, and examine the Cause.
For there are Three Causes of a Pegs slipping;* 1.60
The One is, the not equal Fitting or Biting at both the Holes; therefore you must observe at which Hole it bites least; for if it bite hard at the wide Hole, which is the thickest part of your Peg,* 1.61 and slack at the other, then your String will constantly slip down, so soon as the Peg or Hole is worn smooth.
But if it bite hard at the small end, and slack at the great, it will not so often slip, but many times cause your Peg to twist in pieces.
Now the Remedy for all this, is only to scrape the Peg a little smaller at the end which is too Thick, so long, till upon Tryal you find that It bite at both ends a-like.
Another cause of a Pegs slipping is, when both ends are equal,* 1.62 yet both the Peg and the Holes are worn smooth, (being made of soft Wood;) wherefore so near as you can have all your Pegs of Hard Wood, (and without Sap) as of Plum-Tree, Box, or Ebony, &c.
The Remedy for This Inconvenience, is only to scrape the Peg at both ends a little, and then rub it at the two biting places with a piece of Chalk, and then▪ It will stick fast.
* 1.63A third and very Common Cause, is from the putting on of the String, which although the Pegs be never so well Fitted and Good; yet if the String be put on so, that in the twisting about the Peg at either end, the String lye too near the Cheeks of the Pin-holes, it hinders the Peg from biting.
And I have often seen some Fumblers, Fret and Vex Themselves a quarter of an hour or more, to fasten such a Peg, and when 'twas done, by and by slip again; And so Ignorant have They been of the Cause, that they have not so much as try'd to see if it might be mended, but Cry out, Oh here's a base Peg, or something like it.
Now the Remedy for This is the Easiest of all, and lies only in the Care of the Putter on of the String, to see that it lye wholly Clear from both the sides.
And take This Rule along with you, never to twist too much String upon the Peg.
* 1.64This fault of the Putter on is very often the Destruction of a Good String, than which, a man had better sometimes lose a Shilling: For the Trebles, and Seconds, (which are the most Chargeable and Breaking Strings) come where you will, you shall find Them most commonly close and hard wound up to the Cheek of the Peg-holes, by which means the String is so pinch'd and squeez'd, that it is not Long-liv'd after; And then they Cry out, Oh these are base rotten Strings, &c.
I have insisted the longer upon These Inconveniences of the Pegs, because I know they are so generally Common: And indeed if regarded, they will contribute much ease and pleasure to All, but especially to Learners.
I have now run through all the particular parts of the Out-side of the Lute, excepting the Five Nutts, which the Strings lye upon; And on purpose I have let them alone till Now in the last place, be∣cause they so necessarily relate to the Stringing of the Lute, which is the next thing to be done.
* 1.65And as to Those Nutts, there is not much to be said concerning Them; yet so much, as cannot be left unsaid without a Great De∣fect to the Business.
First then, they are most generally made of Ivory, (which is Best) and do require a Curious Care in the accurate Laying, and Notching of Them, according to the right Distances between Ranks and Ranks, Pairs and Pairs; A Rule for which take Thus.
First you must lay your Long Nutt (which must carry seven Ranks of Strings, besides the Treble String) in a Notch cut out of the Plate of the Finger-board, fit for Its proportion, and so neatly, that the Top of the Neck of the Lute, and the Top of the Nutt, may joyn equally-even in all that same length, to the end that the Strings which must be twisted upon the Pegs, may lye smooth upon that part of the Flatness of the Neck, immediately joyning to the Nutt;
which will secure the Strings from being Cut with the sharpness of the Edge of the Nutt.
Then after it is thus Truly Layd, you must cast for the True Lay∣ing and Dividing the Ranks of the Strings.
To the doing of which, you must first of all take a Treble String,* 1.66 and fasten it in the first Hole of the Bridge, (which is for the Tre∣ble String;) then bring that String up to the Treble Nutt or Peg, and there hold It in your Left hand in such a place, as It may lye all along within a little less than a quarter of an Inch of the out-side of the Finger-board; and when it so lyes, take a Knife and make a little impression upon the Nutt, just under the String, which must serve for your Mark, and must afterwards be Filed down deep enough for the String to lye in: But let that alone till you have first marked the Places, for all the Strings to lye in; which may be done with a Pencill, or a Pen and Ink.
After your Treble Notch is thus marked, then put on your eighth String (next) upon the Bridge, and draw it up to the other end of the Nutt, as you did the Treble, and so make Its mark.
Thus then having the Two Extremes of your Nutt, it will be easie to mark out the Places for all the rest proportionably.
Yet observing, that the Pairs of the 2ds, 3ds, 4ths, and 5ths, would be a very little closer together, than those of the 6ths, 7ths, and 8ths. The reason I give is, because they are always in the use of stopping, and so may the more easily be stopp'd close, clean, and sure, than if they lay wider.
But here you must Note of what Length the Nutt should be.
The Length of the Nutt of a Full-siz'd Consort Lute,* 1.67 fit for a Mans Hand, or a Womans, would be just Two Inches, quarter and half quarter long; and in a Nutt of This proportion, you will have full scope and freedom to lay your Strings so conveniently wide, that they shall all speak Clear, and your stopping will be very Roomey and Large; which is a mighty matter for Clear and Good Play: Yet too much Room is an Inconvenience.
But upon Little-siz'd-Lutes, for Children, or the like, the Nutts must be shorter, according to Discretion and Proportion.
Thus when you have Mark'd, and Rank'd all your Strings, and that you see the Distances please you well, then take off your Nutt, and with a fine smooth File, cut the Notches to a convenient depth, so that all your Strings may lye at an even and equal height, from the Finger-board, which would be about the thickness of a Half-Crown, or a little more; and will be a convenient Height to let the Strings have scope enough to whirle about with clearness of Sound, and not to touch the First Fret.
There is one thing more concerning the Shape of the Nutt,* 1.68 very considerable, for easie and neat Performance in Lute-play; viz. that Care be taken to File the Nutt thinner a little towards the 3ds, 2ds, and Treble, than it is in the farther part: The Player will find much advantage in his Play by this very Observation.
Then, when your Long Nutt is thus far in Order, you must take It and Pollish It very well, (but especially the Notches;) the
which to do is Thus;* 1.69 viz. take a piece of New Neats-Leather, and a little scrap'd Chalk wet in Spittle, which with good Pains must be Rubb'd so long, till you be assur'd that the Notches at the Bot∣tom be very Smooth and Glib, so that the String in the winding up may have no Impediment either in Gauling, or in Sticking fast in the Nutt, which are very Common Inconveniences, to the Loss of many a Good String.
Clear it with a Dry Linen Cloath.
This being done, you may proceed to the Stringing your Lute, which must have a Peculiar Direction.
Let your Four little Nutts alone, till you have Strung so far.
All These Things which I have set down, (although I say you must do Thus,* 1.70 and So) are not properly a Work for You to do, (except you will be Ingenuous and Mechanical) but for the In∣strument-Maker; And when ever you Buy a Lute, it ought to be Thus Fitted: Yet because I know that sometimes Work-men are Careless, and suffer Instruments to go out of their hands Defective in many such respects; and also that I would have you able to Judge of These so necessary Concernments, Therefore I have Thus given you Information, that thereby You may have any thing amended, before it comes out of their Hands.
As also, that many times you living in the Country, far from Work-men, may either Your self be able to mend any such Fault, or give Directions to some Ingenuous Country Work-man to assist You Therein.
ANd now I talk of living in the Country, it puts me in mind of One very needfull Thing, which whosoever lives far from Work-men, and keeps a Lute, cannot be without the knowledge of, without extraordinary Inconvenience; which is, How to take off a Lute Belly, and set it on again Compleatly, and is a Great Curio∣sity to perform well and neatly.
* 1.71And you must know, that once in a Year or two, if you have not very Good luck, you will be constrained to have It taken off.
Because the Belly being so very Thin, and only supported with six or seven small weak Barrs, and by the constant stretch of the Strings, (which is a Great strength) the Belly will commonly Sink upon the First Barr next above the Bridge, but sometimes upon any other, and so cause It to let go Its hold at the ends of the Barr, and then your Lute will Jarr, and Grow unpleasant.
And if it be not timely amended, worse Inconveniences will fol∣low, which may endanger the spoiling of the Belly.
Therefore when ever a Barr is loose, let it be quickly amended, or presently set your Lute down to a Lower Pitch, or untwist your Strings, and Lay it by, till you can get It mended.
Now therefore that you may know how to Help your self, by your self, or by your own Directions to any Country Work-man, as need shall be; I will shew you; and give you a Reason why.
For I have known a Lute sent 50 or 60 miles to be mended of a very small mischance,* 1.72 (scarce worth 12 d. for the mending) which besides the Trouble, and cost of Carriage, has been Broke all to pieces in the Return: So, farewell Lute, and all the Cost.
This Thing therefore which I am about here to set down, is of such absolute Necessity, that 'tis fit for all Persons who keep Lutes, to be acquainted with it.
The way unto it is Thus:
First,* 1.73 you must be provided of some certain little necessary In∣struments or Tools, fit for such an Vndertaking.
The first may be a Glew-Pot, of about a Pint, made of Lead.
2dly. Have ever in readiness some of the Clearest and Best made Glew, together with Izing-glass, (both which mixt together make the Best Glew.)
3dly. Let your Smith make you a Four-square Iron,* 1.74 about the length of your Middle Finger, and about three quarters of an Inch square, Filed flat and smooth at one end, and at the other let there be a long Shank (much like to a Steel-stick, but Thicker) with a sharp end to run into some Handle of Wood, to hold it by; but if you had two of These, the other about a quarter so thick, it were better for some small uses.
4thly. You must have a Curious sharp Chizzel,* 1.75 about an Inch broad; but if you had two or three, you would find conveniency by them, some broader and narrower.
5thly. A little Working-Knife; such,* 1.76 are most commonly made of pieces of Broken-Good-Blades: One of them fastned into a pritty Thick Haft of Wood or Bone, leaving the Blade out about two or three Inches, and then Grind it down upon the Back to a very sharp Point, and set to a Good Edge, it will serve you for many Good Vses, either in Cutting, Carving, making Pens, &c. which is called a Working-Knife.
The 6th. is, a little Three-square File,* 1.77 which must serve to make Notches in the Nutts, or Ruff and fit the Pegs, as need shall require.
The 7th. and last is an Aul, a pritty strong and straight one,* 1.78 which you will find a necessary use of.
These seven Implements will take up no great matter of Room in the Corner of any Gentlemans Study, being all put up in one little Box, so that at any time they may be in readiness, and not to seek.
I would have added unto them a Whetstone, of a fine and smart Gritt; for your Chizzel and Knife must always be kept very sharp.
And being Thus Accommodated, you may (when occasion is) fall to work on This manner; viz.
* 1.79First, untwist your Strings, only so much, as you may have Li∣berty to take them from the Bridge; which when you have done, draw those of the first Head all together through your Hand, and twist them about that Head and Pegs: Then take the other four Ranks of Basses, and do the like with them, amongst the Peg's of the Long Head.
This being done, your Strings will be safe, and well out of your way, and ready to find their Places in the putting on again.
If any of your Nutts fall off, you must be carefull they be not Lost.
* 1.80Proceed next to the taking off the Lace, and if it be a Parch∣ment, you may be the bolder with it, and never fear the spoiling it, for you must have a New one put on.
But if it be Silk or Silver, and that it shall serve again, take This Course with it:
First, have a Dish of Water, and set it close by you upon a Table, and with a Linen rag, (wet in the water) anoint (as it were, or bedabble) the Lace all over, about half a quarter of an hour toge∣ther; and then warm all your Lace over with your Iron, being red hot, drawing your Hand slowly and closely, from place to place, till you think the Lace is hot quite through, (but take heed of Burn∣ing) and when you have so done, you may take the Lace at one end, and draw it off, so easily as if It had never been Glewed, with∣out the least damage to your Lace at all.
* 1.81This being done, Attempt the Belly after the same manner, but yet with more Caution: And as you used the Lace with your wet rag, so use the Edge of the Belly all over where the Lace was, (but with more Time, at least a quarter of an hour) and especially That uppermost flat-narrowest-part of the Belly next the lowest Fret, (at least an Inch and a half) for that part lyes Glewed upon so much of the Finger-board, and will ask good Suppleing with Water and Heat, before it will yield.
Thus when you have well Suppled It, take your Red hot Iron, and heat it very well all over, till you think the Glew within is dissolved.
Then take your Little Working-Knife, and begin to try to get it between the Belly and the Back,* 1.82 at the Bottom first; at which place take notice that the Belly lies upon a Flat, about a quarter of an Inch, the whole square of the Bottom; so that you must put in your Knife accordingly.
And if you have Wetted, and Heated enough, your Knife shall find an easie Entrance; which if you find not, Wet and Heat that part still again where you are at work, till you perceive it will willingly yield to the gentle force of your Hand and Knife: So when that Flat bottom is opened; Wet and Warm again a little further up∣wards (an Inch or two) well, and then put in your Knife again, and when you feel a Barr, then get your Knife under that Barr, and so gently force it, till you perceive It loose. And so from Barr to Barr, till you come to the Top-broad-flat-place; The which place you must again Wet and Heat very well and thorowly, and then
taking the bottom of the Belly (which is loose) in one hand, and the Neck of the Lute in the other, you will find (with a little for∣cing) that it will come off very readily; but if need be, you may take a broad Meat-knife, and getting it underneath within, help it to part by degrees.
And now your Lute is quite undone,* 1.83 you must get it mended again as well as you can.
A Carefull Messenger to London will do very well; a convenient Box, and an Easie-going Horse, or a Coach, will be very needfull; for 'tis in a wofull Pickle; a man would scarcely think it would ever come to good again: Well, fear it not.
And now because I have been an occasion why 'tis brought to This pass, and also that 'tis pitty a Good Instrument should be en∣danger'd in such a Long and Hazardous Journey, I will direct you how you shall Mend it, and put it together again, without the least prejudice, and to very Good advantage.
Therefore begin where you left off, that is, with the Belly, and before you lay it by, take your Hot Iron, (viz. not red hot, but only so hot as it may lye upon the Belly and not discolour or scorch it;) I say, take such an Iron, and laying that end of the Belly (which you last took off) upon a Table, with the Inside outwards, and holding it at the bottom with one hand, and the Iron in the other, and all to be-heat It, by which means you will straighten It again after that bending, which was caus'd by the taking off; (for Heat will set any thing straight, or awry.)
And in that manner may you likewise straighten any part of a Belly, which oftentimes will be risen or swell'd to an unevenness.
This being done, lay your Iron away,* 1.84 and begin to view the Belly all over on the Inside, and find out what Barrs are loose, and what Cracks there are, which by your Eye (oftentimes) you will hardly find, especially in the Knot: Therefore to make All sure, take the Belly in one hand, and with the other, Knock it gently all over with your Knuckle upon the outside, by which means you may discover the least Crack or Looseness of any Barr, by the shattering or Fuzzing it will make, (if you be not Deaf.)
Then, when you have found out what Faults you can, The work is half done; Therefore to Work; and first mend all the Cracks,* 1.85 before you meddle with fastning any Barr; which to do well and neatly, you must first cleanse all the Belly within, from any Old Glew, or such Patches as may hinder, (if any such be) which (with a scorching hot Iron) will presently come off.
Then with your broad Chizzel scrape and make all clean.
And for the mending a Crack, it is only taking a little Thin Glew upon the tip of a Thin-cut-stick or Chip, (for you need no Brush, as Joyners do) which you may with the assistance of your Finger, (opening the Joynt or Crack with a small force) let in, and rub a little Glew, only enough to wet every part of the Crack; which when you have done, then take your Hot Iron, and hold it so close, as may thorowly heat both the Glew and the Belly, which will cause the Glew to incorporate, and take fast hold of the Wood.
Then laying the Belly flat upon some smooth place, Press the Joynt close and even with your Fingers, and then lay all along upon the Crack a little slip of Paper, about a quarter of an Inch broad, or less, wet with Glew very thinly, and with your hot Iron fasten on the Paper, which will immediately cause that Crack to be as Firm as any part of the Belly.
* 1.86And here you must note, that your Iron must be so hot, as to scorch the Paper, and the out-edges of the Glew only, and not at all to scorch the Belly; for by that little scorching the Crack is more quickly and strongly mended: Thus much for mending a Crack ei∣ther in Back or Belly, &c.
Only Note, that if you find the Belly or Back in any such part to be Infirm or weak, with Worm-holes or the like, you may either let such Paper remain on still, or adde a larger Paper or Parchment, as you see cause, either upon That, or instead of It: Yet I do not allow of too much Lining,* 1.87 either in Back or Belly, the which do Clog an Instrument, and dull the Sound of It; But upon Necessity (in some cases) it must be done.
Note further as to the General use of Glew, whensoever you have occasion to Vse it, be sure to cleanse away all the Old Glew first very well; because that New Glew will not take any fast hold upon Old; and that must be done by a Scorching Iron, as aforesaid.
* 1.88Thus having mended all the Cracks, fall to work upon those Barrs you find Loose, which most commonly be at the Ends about an Inch or two, and are likewise easily mended, first by heating and cleansing off the Old Glew, and then, with your thin Glew-stick, put a little Glew between the Belly and Barr; then laying your Belly upon a smooth Table, heat again the Barr and Belly with your Iron as it lyes, and so hold it down close to the Table till it be cold, which will be in less than half a quarter of an hour.
But because you may (if you will) be eased of so much trouble of Holding, it will be convenient that you have in readiness two or three pair of little slips of Trenchers, such as Boys make for Snap∣pers, about an Inch broad, and 4, 5, or 6 Inches long.
Tye these, two and two together, at one end with a strong Pack-thread, and they will serve to slip over the Barr end, and so hold It and the Belly very close: These you may let stay on so long as you please, which will save you so much Labour and Time, the which you may spend in doing another, or any thing else needfull.
These are very necessary Implements, fit to put up with the rest of your Tools, to be in readiness when need requires.
Then when all your Barrs are thus well mended, lay by your Belly Carefully, lest any body Tamper with It, before It be well dry and hardned, which in 5 or 6 Hours will be sufficiently fit to be han∣dled again, if it be a dry-warm-season; but if not, then set it in some Chimney-Corner, (only within the Ayr of the Fire;) for too much Heat will warpe and prejudice the Belly.
Thus you must do if you be in Hast; but if not, it were better to stay till next day, before you handle It any more.
Then you may confidently prepare for a Conjunction Copula∣tive; first by cleansing all the superfluous roughness, of Glew and Pa∣per, remaining about Those mended Places; the which to do is a Cu∣riosity: But Thus must you do it.
If you have a less Iron, heat it and use it; if not,* 1.89 your other may do well enough: I say, Heat It to such a height, that you may nimbly and lightly touch, and scorch all those Rough Places, either of Glew or Paper; But take heed of scorching the Belly, or over∣heating the Joynts lately Glewed, lest your work come in Pieces again.
When you have thus scorched all, and would have them come off, then take your Chizzel, (your Belly being laid Flat upon a Table) and scrape gently all Those Places, and all will come off very cleanly, as you would desire, to the very Wood: But if at the first time all comes not off, as you would desire, Then, lightly, and with a quick touch of a Hot Iron, scorch it again, and so time after time, by little and little, you must work, till you see All clear and smooth.
Take notice, that in cleansing off Glew, and Paper by scorching,* 1.90 it is only to be done in the Inside of Instruments; for it will spoil the Gloss or Varnish of the Outside of any.
The Outsides therefore must ever be cleansed by moisture only.
There is but One thing more to do, before you joyn Back and Belly again, which is, to cleanse carefully every Barr end, and the whole Round-side-edge, of the Back and Belly, with the Two Flats, at Tops and bottoms; All which must be done as aforesaid, with a Scorching Iron first, and then with your Working-knife, or Chiz∣zel, take off the Scorchings, to the clean Wood, that the New Glew may take fast hold; which being done, proceed in This manner.
First bring your Back and Belly together, and see if they will fit; by which doing, you will perceive (it may be) some little Impediment, or Fault, fit to be amended, before you come to Glew∣ing, and so do and try till you are fully satisfied that all is clear and fit; Then fear nothing, but boldly proceed to the Vniting, which must be done after This manner.
Take your Aul,* 1.91 and after you have laid the Belly True in the uppermost Flat, (which you cannot well miss of, because the Points of the Neck will give you infallible directions) I say, when you are fully satisfied, that your Neck lieth close, direct, and right to the Top, then (with your Aul) prick a Hole quite through the Belly, in the midst of that upper Flat, and joyn Belly and Back together;* 1.92 then when you have thus Fitted them, pluck out your Aul again; for This doing is but as a Mark or Direction for you, against you have occasion to come There again, (which shall be very soon.)
Now to your Glew-Pot, with Back and Belly, and begin with which you please, and anoint all the Edges Carefully round, where
you know they must Joyn, and every Barr-end be sure you touch well, and when Both are thus Carefully done, (for here lies the strength of the Work) then (having a Good Fire ready) bring Both to the Fire, and warm them a little, and clap them quickly to∣gether, and with your Aul prick and fasten them together at the Top in the same Hole which before you Joyned them at.
* 1.93But here in This Work you must be exactly Carefull, that you Clog neither the Back nor Belly, with the least drop of Glew more than is needfull; for all superfluity of Glew, is hurtfull to the Sound of an Instrument.
Now having in readiness your Great Iron, red hot, heat the Edges thorowly all over, and then especially the upper Flat where your Aul sticks, till you perceive the Glew is become warm and thin.
Then begin with your upper Flat, and with your Fingers you may Force it close to its old and true place, and then with little pieces of Paper, (so big as pence, or two-pences, wet with Glew) cover all the upper Flat in the Joynts, yet leaving about a Straw∣bredth or two betwixt Paper and Paper, so that you may see how the Joynt joyns, and presently scorch on those Papers, one after another, leaning pritty hard upon each one, with the squared end of your broad Iron, which must not be too Hot, for fear of burning the Belly, yet hot enough to scorch the Papers, and the superfluous Glew, into a Crustiness.
This being done, it will be a good Guidance to make It fall right all along; Then after this manner proceed Inch by Inch, first on one side, and then on the other, (for if you Glew all one side first, you may chance find it fall uneven at last:) Therefore have a Care often to be viewing how it fadges on both sides, and be sure at every Barr, you thrust it so close as possibly you can, with your Thumb and Fingers; and Paper it well all the way with Scorching, as above∣said, and when you have rounded It Thus, lay it by till next day before you cleanse off Those Papers, &c.
But if you be in hast, you may cleanse It within 6 or 7 hours after, provided you handle it gently, otherwise you may loosen something within.
And to cleanse It, only do Thus;
* 1.94Take a dish of Water, and with a Rag bemoisten all those scorch'd Papers and Glew, often renewing the moisture, (yet but a little at a time) and once in Half an Hour, they will be so soft, that only with your Nails lightly running them backwards upon It, it will all come off as you will have it.
* 1.95And here I would have you Note, and Remember, that you use no other Toole saving your Nails, for any such work; because you may Gaul and blemish the Instrument with any hard Toole; but your Nails will not Hurt it, if you take Care.
When This is done, proceed to the putting on of your Lace, or Parchment, which if it be the Old Lace, you shall first lay it in wa∣ter a while to steep, both to dissolve the Old Glew, and also to make it Gentle and plyable, and when it is steep'd enough, you may with the Edge of a Knife run off all the Old Slime and Glew, which with
twice or thrice drawing over, betwixt your Thumb and Finger gently, will be done, and then 'tis fit to be put on.
Then (sitting down and taking the Lute into your Lap,* 1.96 having your Glew warm and close by, and your Great Iron very Hot) Anoint about a Fingers length or more of the Lace lightly with Glew, then with your Iron, warm so much of the Edge of the Lute, (where you intend That shall lye) together with the Lace and Glew, and be∣gin your work at which side you please, and holding It hard and close with your Thumb and Finger at the Top, draw it hard down with your other hand, only so far as it is anointed, and so pinch it close on both sides, smoothing it gently backwards and forwards with your Thumb and Finger, till you perceive It has fastned, which will not be long till you may proceed to the doing of such another length; then (cunningly taking up the Lace so, as you may not undoe the former) anoint so much more of the Lace, and do as you did before, and so proceed till all be Finish'd.
All this will not be one quarter of an hours work.
But yet Note,* 1.97 that when you have wrought it down so far as the turning (about the Bridge,) you will find those turnings more trou∣blesome than the rest; Therefore you must (after anointing and heating that place) pluck the Lace very hard there, and smooth it well between your Thumb and Finger often, till you at last find It ply and lye smooth and close.
You may for the more Curiosity in keeping the Lace clean, take a clean Linen rag, and hold between your Thumb and Finger whilst you are in smoothing, and so it will be neat.
There is nothing else to be said as to This doing, but be Carefull to lay it on straight, that you may have Credit of your Work, and that it be not too much upon the Belly, which will clog the Sound.
The Narrower your Lace is, the Better it is, provided it will but just appear with a little Edge upon Back and Belly.
But supposing you are to put on a Parchment,* 1.98 (which is every way as Good for use, if not Better) then cut a Convenient breadth, and if it be in one, two, or three Lengths, it makes no matter.
Then lay it in Water a little while to soften it, and make it take Glew and ply, and after it has soak'd, take it out and draw it over your Knife Edge gently, between your Thumb and Finger, to take out the Water and the Slime, and by so doing it will be fit enough to take Glew, and to be dealt with as abovesaid concerning the Lace; only take heed of letting your Hot Iron come too near it, be∣cause it will be subject to run up into wrinkles, (with too great a Heat.)
This being done, lay by your Lute for a Day or Two, that the Glew may harden, and then you may proceed to the Stringing of it.
NOw your Lute is pritty well come to It self again; and with∣out all question (if you have rightly followed the Order of Those Directions prescribed) you will find it in all respects so Good as it was, if not Better; Therefore doubt it not in the least, but so soon as It is Dry enough, put on the Strings: Yet before you pro∣ceed to That, take These necessary Directions concerning the keep∣ing your Lute.
* 1.99And that you may know how to shelter your Lute, in the worst of Ill weathers, (which is moist) you shall do well, ever when you Lay it by in the day-time, to put It into a Bed, that is con∣stantly used, between the Rug and Blanket; but never between the Sheets, because they may be moist with Sweat, &c.
This is the most absolute and best place to keep It in always, by which doing, you will find many Great Conveniences, which I shall here set down.
* 1.100As, First, for the saving of your Strings from Breaking; for you shall not spend half so many Strings as another, who lays their Lute open in a Damp Room, or near a Window, &c.
[ 2] 2dly. It will keep your Lute constantly in a Good Order, so that you shall have but small Trouble in the Tuning of It.
[ 3] 3dly. You will find that it will Sound more Lively and Briskly, and give you pleasure in the very Handling of It.
[ 4] 4thly. If you have any Occasion Extraordinary to set up your Lute at a Higher Pitch, you may do It safely; which otherwise you cannot so well do, without Danger to your Instrument and Strings.
[ 5] 5thly. It will be a great Safety to your Instrument, in keeping It from Decay.
[ 6] 6thly. It will prevent much Trouble, as in keeping the Barrs from flying Loose, and the Belly from sinking.
Now these six considered all together, must needs create a seventh, [ 7] which is, That Lute-play must certainly be very much Faci∣litated, and made more Delightfull Thereby.
And because you shall not be wanting, in being able to give a Reason for any of These seven Conveniences, I will here in Order set you down the Reasons why.
* 1.101As first, That it will save your Strings from breaking very much; Your small Experience will find That apparent; because a String ex∣posed to the Air, (especially if it be a moist Air) will not last Long: For the moisture causeth it to Swell; Therefore it cannot hold stretching like That String which is kept Dry, and in a Good Temper.
* 1.102Secondly, That it will keep your Lute in a Good Order and Temper, you will likewise find by as small Experience.
For That String which suffers the Inconvenience of the moist Air, as it will certainly Swell, so as certainly will it go out of Tune.
Therefore it must necessarily follow, that That String which is constantly kept in a Dry Temper, (as in a Bed it will be) must needs stand more constantly at, or near the Pitch it was set at, than the other, expos'd to moisture. Therefore your Trouble will be less in the Tuning: This is plain. Yet know,* 1.103 that the Bed doth alter It a little; but still for the Best.
For when you put it into the Bed, it is supposed to have been out, and in the Air, which if it have been moist, never so little, will have Rais'd the Strings a little; which you must grant an Inconve∣nience, (although it should be but small;) But by putting It into a Bed, Remedied.
And always observe, when a Lute is taken out of a Bed, the Strings are more Lank than they were before; which may more easily be perceived by the bigger Strings of the Basses: for They will ever (at the coming out of the Bed) be Flatter than any of the smaller Octaves, which Pairs with Them: The Thicker there∣fore a String is, the more doth it partake of the moistness of the Air, and so must needs Swell proportionably, and be the more sharp.
Thirdly,* 1.104 Whereas I said the Lute would sound more Lively and Briskly; There is very good Reason for That: Because all the Misty Vapours and Dampness (which is the cause of the Dulness of Sound) will be expelled; so that all the Natural Briskness which is in a Lute, will shew it self, having no Interruption.
Besides, it helps to Mellow a Lute; For Experience tells us, that an Old Lute is Better than a New One.
And the Reason must needs be, because that in a New Lute there is more of moistness in the Pores of the Wood, than when it is Old, Seasoned, and well Mellowed.
And truly I have found as much Difference at Times, in One and the same Lute, as if I had play'd upon Two several Lutes; which is very easie to be perceived, by any one who will observe a Lute at one Time left Carelesly▪ and expos'd to damp Air, and at ano∣ther Time, laid up in a warm Bed, and ordered as I have given Directions.
And as I also said, It will give you Pleasure in the very Hand∣ling of It; you will as easily perceive the Reason of that: For the Bed will dry up all the Moisture and Clamminess, which moist wea∣ther constantly occasions to any thing made of Wood, &c.
Fourthly, If you have occasion to set your Lute at a Higher Pitch,* 1.105 you may then the better do it; because the Strings being Dry, and free from Swelling, they will both hold better, and also the Lute is in no danger thereby; because the Glew is hard and strong, so that both the Bridge and Barrs are Tite, and all things well able to en∣dure the stretch; which if you should do to a Lute lying abroad, expos'd to the moist Air, in a Damp Room, or the like; first, Snap goes your Strings, and it may be by and by off comes your Bridge; and your Barrs cannot hold long fast.
All which Mischiefs I have often known; the which are assu∣redly prevented by a Warm Bed.
* 1.106Fifthly, It will keep the Instrument from Decay.
It is a usual saying, That an Oak is 100 years in Growing, 100 years Standing, and 100 years in Decaying; which is suppos'd to stand in all Weathers, wet and dry.
Now if This Thick-strong-lusty-sturdy-Oak will (in 100 years) Decay, by such usage; How much more easily then, must a Lute (made of so gentle soft Wood, and so very Thin) with such like Ill usage) Decay?
Yet we see, that many Lutes there are, of a Great Age; and I my self have at this present, a Lute made of Ayre, that is above 100 years old, a very strong and Tite Lute, and may yet last 100 or 200 years more, provided it can be kept according to This Carefull Or∣der prescribed.
* 1.107Sixthly, It will save the Barrs from sinking, except you now or then give it a knock; for nothing sooner than Moisture (except It) gives liberty, or occasions the Barrs to sink, for the Reasons aforesaid.
Therefore, a Bed will secure from all These Inconveniences, and keep your Glew so Hard as Glass, and All safe and sure; only to be excepted, That no Person be so inconsiderate, as to Tumble down upon the Bed whilst the Lute is There;* 1.108 For I have known several Good Lutes spoil'd with such a Trick.
* 1.109Seventhly, and Lastly, That Lute-play thereby must needs be much Facilitated, will appear very Plain; when as it will be con∣sidered, That all Those foresaid six Inconveniences will be taken away, by This Order and Care.
Therefore it must needs follow, that the Young Scholar will be eased of much Trouble, and consequently take a greater Delight and Pleasure both in the Lute, and in his Practice.
I have now done with Those Reasons, why I would have a Lute kept most constantly in a Bed, when it is in daily use; But at other times, when it is not used, a good warm Case, lined with Bayes with∣in, and covered with Leather without, with Lock and Key, and Hasps, will be very necessary.
Yet All These are not a sufficient security for It, if it should stand in a Damp Room, for then both Lute and Case will be all mouldy, and Come in pieces.
Therefore care must be taken that It always stand in some warm Room, where a Fire is constantly used, or (next to that) upon your Bed-Testor.
Let This suffice for keeping your Lute safe.
I have now (except Stringing) spoken of All Things I can at pre∣sent think upon that I judge fit, or may conduce to the Benefit of every One, who is a Lover and Keeper of a Lute, that they may know how to be able either to doe, or give Directions to have Them done, according to This most Compleat and necessary Order: and it is no Hard Work, nor Troublesome, but very Delightfull to any Active and Ingenuous Person, and a Commendable Recreation, besides all the aforesaid Benefits and Conveniences▪
I will next proceed to the Stringing of the Lute.
AS to the Stringing of the Lute, take This General Direction.* 1.110
The first thing you are to consider, is the Size of your Lute; 2ly. The Substance and Strength of it.
And as to the Size, if it be a Large Lute, it must have the Rounder Strings; and a Small Lute, the Smaller.
Then again (as to the Substance) if it be a Strong firm-made Lute, it may bear the Thicker Strings; but if Weak and Crazy, then the Smaller Strings.
Yet I rather advise to String it, according to the Size, than the Strength, &c.
First, Because in so doing, a Lute has more Natural Right done it, and will return you, more Acceptable Content, in token of Its Gratefulness.
2ly. Because a Lute that is Crazy and Weak, may have Ease done it, in setting it at a Lower Pitch, (if you see cause) some∣times.
But if you be to use your Lute in Consort, then you must String it, with such siz'd Strings, so as it may be Plump, and Full Sounded, that it may bear up, and be heard, equal with the other Instru∣ments, or else you do Little to the purpose.
Another General Observation must be This, which indeed is the Chiefest; viz. that what siz'd Lute soever, you are to String,* 1.111 you must so suit your Strings, as (in the Tuning you intend to set it at) the Strings may all stand, at a Proportionable, and even Stiffness, otherwise, there will arise Two Great Inconveniences; the one to the Performer, the other to the Auditor.
And here Note, that when we say, a Lute is not equally Strung, it is, when some Strings are stiff, and some slack.
Nor can any man play so Evenly, or Equally well, upon such a Strung Instrument, as upon one well Strung; especially when he is to Run Division: For it will be, as if a man were to shew Nimble Footmanship, and were confined to Run over a piece of uneven Ground, with hard, and soft Places mix'd together.
Sure, he must needs Run unequally, in Those places, or slack his Pace, or else stumble and fall. Even so is it with such an unequal Strung Instrument.
Then again, it must needs be perceivable by the Auditor; for whensoever such unequal performance is made, the Life and Spirit of the Musick is lost.
Thus having given you These General Observations, in Stringing your Lute, I shall now more Nicely, give you some other, more Particular.
The first and Chief Thing is, to be carefull to get Good Strings,* 1.112 which would be of three sorts, viz. Minikins, Venice-Catlins, and Lyons, (for Basses:) There is another sort of Strings, which they call Pistoy Basses, which I conceive are none other than
Thick Venice-Catlins, which are commonly Dyed, with a deep dark red colour.
* 1.113They are indeed the very Best, for the Basses, being smooth and well-twisted Strings, but are hard to come by; However out of a Good parcel of Lyon Strings, you may (with care) pick those which will serve very well.
And out of these three sorts, First, chuse for your Trebles, 2ds, 3ds, and some of your small Octaves, (especially the sixth) out of your Minikins.
Then out of your Venice-Catlins, for your 4ths, 5ths, and most of your other Octaves.
Your Pistoys, or Lyons, only for the Great Basses.
There is a small sort of Lyons, which many use, for the Octaves; But I care not for Them, they being constantly Rotten, and good for little, but to make Frets of.
* 1.114Now that you may know, all these Strings, and also how to know Good, from Bad, take these following Observations.
* 1.115First know, that Minikins are made up always, in long-thin-small Knots, and 60 are to be in a Bundle.
* 1.116Venice-Catlins are made up, in short double Knots, and 30 doubles in a Bundle.
Both which, are (generally) at the same Price, and the signs of Goodness, both the same; which are, first the Clearness of the String to the Eye, the Smoothness, and Stiffness to the Finger, and if they have Those two qualities, dispute their Goodness no further.
* 1.117The Lyon String, is made up in a double Knot; but as Long as the Minikin.
They are sold (commonly) by the Dozens, and not made up in∣to Bundles. Their Goodness may be perceiv'd, as were the other: But they are much more Inferiour Strings than the other.
* 1.118I have sometimes seen Strings of a Yellowish Colour, very Good; yet, but seldom; for that Colour is a general sign of Rottenness, or of the decay of the String.
There are several Sorts of Coloured Strings, very Good; But the Best (to my observation) was always the clear Blue; the Red, commonly Rotten; sometimes Green, very Good.
* 1.119As concerning the keeping of your Strings, you must know, there ought to be a Choice Care taken; for they may be very Good when you buy them, but spoiled in a quarter of an hours time, if they take any wet, or moist Air. Therefore your best way is, to wrap them up close, either in an Oyl'd Paper, a Bladder, or a piece of Sear-cloath, such as often comes over with Them, which you may (haply) procure, of them who sell your Strings: Yet they are not very willing to part with it, except they sell a Good quantity of Strings together.
Which, when you have thus done, keep them in some close Box, or Cupboard; but not amongst Linen, (for that gives moisture;) and let them be in a Room where there is, or useth to be, a Fire often: And when at any time you open them for your Vse, take
heed, they lye not too long open, nor in a dark Window, or moist place: For moisture is the worst Enemy to your Strings.
Forget not, to Tye, or bind them close, or hard together.
I will now begin to help you to String your Lute,* 1.120 and the first thing I would have you take notice of, is to know how to pull out a String well; For I have seen many a Good String spoil'd for want of the best way, and Care in this particular: And Thus it is;
Your Minikins and Venice-Catlins, will generally Run quite out, after you begin to pull them at the right end.
In your Minikin, observe to find the running end.
Then take it either with your Fingers, or your Teeth, (hold∣ing the contrary end fast with your Finger and Thumb, to keep it from Ruffling, or Running upon cross Twists) so may you draw it quite out, to the twisted place; the which you must be Carefull to untwist, otherwise you will draw it into a Knot, and so lose a good, (or it may be the best) part of your String.
Thus will most Strings run out easily; yet sometimes they will run a-cross, and not come out well, without your farther Care; which must be, to find out the other Twisted end, and so with a Pin, or some such Thing, open that Twist, by which means you will save your String, otherwise (if you force it) you spoil, or break it.
Secondly, when your String is well open, and you find it smooth,* 1.121 and free from Knots, Try its strength, by taking it at one end in both hands, pulling it so hard, till you perceive it Strong, or Rotten; And if it be a right good strong String, it will many times endanger the Cutting into your Flesh, rather than it will break, yea, although it be a small Treble-Minikin String: But your Venice-Catlins will scarcely be broken, by a Mans (reasonable) strength.
Thirdly,* 1.122 when you are thus far satisfied concerning the Fit∣ness of your choice, both for strength and Size, then endeavour to find, a True length of that String, for your purpose, (the which is both a pritty Curiosity to do, and also Necessary;) And thus 'tis done.
First, draw out a Length, or more, then take the End,* 1.123 and mea∣sure the length it must be of, within an Inch or two, (for it will stretch so much at least, in the winding up) and hold That length in both hands, extended to a reasonable stiffness; Then with one of your Fingers strike it, giving it so much liberty, in slackness, as you may see it Vibrate, or open it self; which if it be True, it will appear to the Eye, just as if there were Two Strings; but if it shews more than Two, it is false, and will sound unpleasantly, upon your Instrument; nor will it ever be well in Tune, either stopt or open, but snarle.
But then again, if you find it to be True, at the whole length, you must further examine it, how it will shew it self upon the Frets, (viz. stopt;) For you must know, that most Strings that are True Open, (that is, the whole Length unstopt) when you come to make use of Them amongst the Frets (stopt,) they will be False; There∣fore This must be your constant way, to Try Them, viz. when you
have found a String True the whole Length, hold it still as you did; but with that hand which holds the End you intend for the Frets, (or uppermost) take up about an Inch shorter, and then strike it, and see how you like it, according to your former Directions: Then again another Inch, and so try it again, and in conclusion again and again, so far as you have use of that String amongst your Frets.
* 1.124And here Note, some Strings (generally) are not stopt be∣yond the Letter d, as the 4th. String, upon the French Lute, Flat Tuning.
The 5th. String, not usually beyond the Letter f.
The 6th. not beyond the Letter d, &c. according as you may perceive, by the Reason of Tuning; in regard every smaller String takes off the Greater, at the Tuning Place.
* 1.125So that in the General and Ordinary use of the Lute, Lessons are not set (nor should be, except upon some Extraordinary Occasion) with stopt Strings, when you may have Open Strings, which will do the Business; and for two very good Reasons.
First, because an Open String is more sweet, and Freer of Sound, than a stopt String.
2ly. Because the fewer stopt Strings you have, the easier must your Lesson needs be.
* 1.126But your Treble String, would always be examin'd and found True, to h, y, or k, because there is no other String, to take it off.
Your 2d. String likewise to h, or y; because it is often us'd so far.
Your Third would be found True to e, or f, at least, for the same Reason.
But all your Diapasons, if you find them only True open, (viz. at their Length) it will be sufficient, because They are never stopt.
Thus much may suffice for direction of finding a True String.
Yet you must know, that although you put on All your Strings True to day, to morrow some or other of Them will many times stretch Themselves false or uneven: Therefore you must be the more carefull to give It a Review the next day, if you intend to be very Curious.
* 1.127The next Thing (after your Lute is Thus Carefully Strung) is to Fret It; which if your Lute lye well, and your Strings be put on True, is no hard matter to do: Yet there is a Curiosity in doing it; Therefore Note,
First, to chuse your B Fret, so Thick as well you may, (accor∣ding to the Lying of your Nutt, and Strings;) For the Thicker That Fret is, the more easily may you fit all the Rest: because that in Fretting, every next Lower Fret, would be some small matter Smaller, than the next above, (quite through:) Yet This Rule is not observ'd by most, who are Careless; so that oftentimes, their Instrument Jarrs, and Sounds unpleasantly.
Now therefore observe first, to Tye on, or fasten a Fret well,
so that it may be stiff, and not to be mov'd (easily) out of Its Place.
And you will find, that the first Fret, will be ever the hardest, to Tye well on, for two Reasons.
First, because it is the Thickest, therefore not so ready to ply, and stretch.
2dly. Because there is but a little narrower room above It, by reason it is so near the Nutt: Therefore you must be the more carefull, to stretch It very well, before you settle It.
The way to Tye on a Fret the best way, is Thus; viz.* 1.128 Your Lute standing (as it were) before you upon a Table, upon Its Back, take your Fret, and put It double, under all the Strings, beginning from the Basses, towards the Trebles; then (putting your Left Hand under the Neck) take That Middle Double, and draw it un∣der the Neck towards the Basses, (holding fast the two Ends in your Right Hand) till you have brought them together, (viz. the Middle Nooze, and the Two Ends.)
Then take that End next you, which you held in your Right Hand, and put it through That Nooze, so, that you make another Nooze of That End, and then let the first Nooze go.
Then again, take but the other End, which still remains in your Right Hand, unused, and put It through your last Nooze, taking the Ends, (in each hand one) and let All else go, and (only drawing them straight) your business of Tying is over.
This being done, (now comes the Curiosity, to Stiffen, Fasten,* 1.129 and Fix This Fret) I say, take the Fret (thus far fastned) and draw It so close (by both ends) as you can well, to stiffen It to the Neck; then, (holding both Ends fast, in your Left Hand) with your Right Hand and Left, force It down so low (towards C. D. E. F. &c.) as you can; then put It up again to the Nutt, where you'l find it much too wide or slack; therefore take the Ends, (in each hand One) and draw It stiff, and close again; then (as before) down with it, so low as you can, and up again: Thus do it three or four times, till at last you find it stiff, and so fast, that it will scarce be stirr'd, to Its place of B. (which is but a very little space.)
But here Note, that at last, before you force it down, to Its place at B. you are (after all stretching) to Tye it, of another hard Knot, and then it is firmly fast.
And except you serve This first Fret Thus, you will always be Troubled with It in your Play.
And if you take notice of most Lutes and Viols, wheresoever you come, you will find Them defective in This first Fret, for want of such a Care, as here I have directed unto, which is a great Inconve∣nience to the Instrument, and the Musick Thereof.
I have been the longer about This, because I know it so very Needfull; and also have taught you to Tye on All the other by This; but they will all be easier to stiffen than This, because they all have more Room upwards, in the Narrow of the Neck, than That has; And besides, they being all smaller siz'd Strings, will the more easily stretch, and ply, to their stiffness and closeness.
* 1.130There is a way which I have lately try'd, and I find it much Better, which is, to Fret a Lute with single Strings.
My Reason is, because it is not only sooner done, and with a shorter String; but chiefly, it does (assuredly) cause a Clearer Sound from the String stopt; which must needs be granted, if it be considered, that the String lying upon This only Round single Fret, cannot but speak Clear, when as (on the contrary) it lying upon Two, (as in the Double Fret it does) it cannot be thought to speak so Clear, because, that although it Lye hard and close, upon the uppermost of the Two, next the Finger, yet it cannot lye so very close and hard, upon the undermost; so that it must needs Fuzz a little, though not easily discern'd, and thereby, takes off something of Its Clearness, especially if the Fret be a Thick-broad-Double-Fret.
This I confess is a Curiosity, yet I think it worth Examination, because the Business it self is a Curious Thing.
This is sufficient for Stringing and Fretting.
The next thing is to Tune your Lute, and place your Frets Right.
* 1.131NOw to Tune your Lute, (which is a principal piece of Curiosity) you must begin where you left, viz. at the Frets, for your Frets are not to be drawn quite down, to their proper Places, till you have some Assurance, of those proper Places; the which must be, by your Ears, in Tuning.
I confess there is a Mathematical Rule, and way, to place the Frets, and is used in Bandores, Auferions, Citterns, and Instruments Strung with Wyar Strings; by which any Person, having neither Ear, nor Skill in Musick, may set them perfectly right, by That Rule: Yet That way will not hold exactly (always) with our Gutt-Strings, except they were exactly True, as generally Wyar Strings are; but in regard of their so often being False, the Best way is to place your Frets as you Tune up your Lute, by your Ear, according to Vnisons, 3ds, 5ths, and 8ths.
Therefore I say, first, Tune It so well as you can Open, (without Frets) making All agreeing Strings accord, in their several Con∣cords; And when you are so satisfied, then attempt the fixing of your Frets to their Certain Places, and not before.
The which must be, by fixing your Frets exactly, according to the Vnisons of your Tuning, set, (the which shall be set you in Its proper place:) And the more Exact your Lute is Strung, the more readily will your Frets find their Places, and consequently your Business of Tuning the easier.
This being done, your Lute is ready for a Good Hand; which, because I would have you to have, I will proceed by such In∣fallible
Rules and Directions, as you shall not fail in the obtain∣ing Thereof.
The Rule for Tuning, is set down in the 12th. Chapter.
I Will suppose you to be a Very New Beginner,* 1.132 and that you know Nothing at all towards the Business; for such an One I had rather Chuse for my Scholar, than One already Enter'd; except by a Skilfull and Carefull Master, who has not suffer'd them to run into Ill-Habits: My Reasons for this shall be shewed in their due place.
The First Thing I would have you regard, is your Posture, viz.* 1.133 How to sit, and hold your Lute: For the Good Posture has two Com∣modities depending upon it.
The first is, it is Comely, Credible, and Praise-worthy.
The 2d. is, it is Advantageous, as to Good Performance, which upon your Tryal, you will soon perceive, although very many do not mind it.
Now as to This Order, first set your self down against a Table,* 1.134 in as Becoming a Posture, as you would chuse to do for your Best Reputation.
Sit Vpright and Straight; then take up your Lute, and lay the Body of it in your Lap a-Cross; Let the Lower part of It lye upon your Right Thigh; the Head erected against your Left Shoulder and Ear; lay your Left hand down upon the Table, and your Right Arm over the Lute, so, that you may set your Little Finger down upon the Belly of the Lute, just under the Bridge, against the Treble or Second String; And then keep your Lute stiff, and strongly set with its lower Edge against the Table-Edge, and so (leaning your Breast something Hard against Its Ribbs) cause it to stand steady and strong, so, that a By-stander, cannot easily draw it from your Breast, Table and Arm.
'This is the most Becoming, Steady, and Beneficial Posture.
The reason why I order your Left Hand to lye upon the Table, is for an especial Great Benefit;* 1.135 For if first you be thus able to manage the holding of your Lute with One Hand, the work will come easily on, because the work of the Left Hand is the most Dif∣ficult, and therefore must have no hindrance, or impediment, but must be Free.
And the holding of the Lute Neck up with It, (as very many do) takes away the Chief Strength, Liberty and Activity of That Hand; therefore gain but this One Ability at the very first, and it will give you Ease, and Content ever after, and enable you to do that which others shall never be able to do, who hold their Lutes by the Labour of the Left Hand.
This at first will easily be gain'd, but afterwards not.
* 1.136The 2d. thing to be gain'd is, setting down your Little Finger upon the Belly, as aforesaid, close under the Bridge, about the first, 2d, 3d, or 4th. Strings; for thereabout, is its constant station.
It steadies the Hand, and gives a Certainty to the Grasp.
* 1.137The 3d. thing is, (keeping all hitherto in This Posture) span out your Thumb, amongst the Basses, and lay the end of It down, up∣on which you please, but rather upon the Last, Twelfth, or Greatest Bass; and when you have thus made your Span or Grasp, view your Posture in all respects.* 1.138
And First, mind if you sit Comlily, Vpright and Straight. 2dly. If your Lute be not sunk down,* 1.139 from its Exaltation, with the Heads. 3dly. That you continue It stiff, and steadily-strong, against the Table. 4thly. That your Left Hand, remain still upon the Table. 5thly. That your Little Finger, be still fixt under the Bridge. 6thly. That your Thumb End, lye upon the last Bass; I mean, the End of your Thumb, about half an Inch over the last Bass, and about three or four Inches above the Bridge. Lastly, That in This Posture of your Right-Hand, your Right-Hand Wrist, rise up, to a Convenient Roundness; yet not too much, but only to an Indifferency, and to keep it from Flatness, or Lying a long, &c.
Now, by that time, which you can Examine well, all These Per∣formances, 'tis two to one, but you find your self to fail, in some one, or other of Them; therefore, before you proceed any further, Rectifie your Fault or Faults, and enable your self, to sit in This Po∣sture, for some time, till you find an Aptitude thereunto, which will be, in one quarter of an hour, or less.
This, although it seem but little, will be Greatly to the Purpose.
And now, supposing you are perfect in your Postures, proceed to the striking of a String, the which first, shall be the Twelfth, (the String on which your Thumb lyeth.)
* 1.140And as to that Work, it is only (first) keeping your Thumb straight, and stiff, and gently pressing down that String, (with an easie strength) so, as your Thumb may only slip Over it, viz. That Pair, (for you must know, that always the Pairs, are struck toge∣ther) and rest it self upon the next (or Eleventh) String, your Thumb then standing ready, to do the like to That String; and so from String to String, till you have serv'd all the row of Basses after the same manner.
And when you are able thus, to strike them Forwards, try to practise them Backwards, which will presently be done, and the whole duty (or work) of the Thumb, quite finished.
But This you must remember, viz. when ever you strike a Bass, be sure, you let your Thumb rest it self, upon the next String, and There let it remain, till you have Vse of It elsewhere.
And this is the only way, to draw from a Lute (as we term it) the sweetest Sound, that a Lute is able to yield; which being per∣fected, you may conclude, half the work of your Right Hand accomplished.
The 4th. thing is, to teach you the Vse of your Fingers,* 1.141 and is Thus done.
First, observing still, all your former Postures carefully, with your Thumb ever resting upon some one of the Basses, (where you please) put the End of your second Finger, a very little under the Treble String, (about three Inches above the Bridge) as if you did intend only to feel your String, having your Fore-finger (at the same time) close adjoyning in readiness, (yet not touching your second Finger, or the String;) then draw up your second Finger, from under the String, forcing the String with a pritty smart Twitch, (yet gently too) to cause it to speak strong and Loud; the which, try to do several times, so long, till at last you perceive, (by several ways of Tryal) you can draw a sweet, smart, and pleasant Sound from That String; and when that is done, strive to do the like with your Fore-finger▪ (your second Finger keep∣ing the same Posture of closeness and readiness, as your Fore-finger kept.)
Then, try to divide your strokes equally, betwixt your Fingers; beginning first, with your second Finger, and then with your first: And so endeavour to strike the Number of four strokes, equally and evenly; ever observing to begin with the second Finger: at which stroke, you shall count one, then, with your Fore-finger, count two, your second Finger again, count three, and the last, with your Fore-finger, count four.
And Thus practise to count 1, 2, 3, 4, often; and so long, till you find you can do them readily, equally, and evenly; and never to strike twice together with the same Finger.
Now what I mean by Equally, and Evenly, will be well worth your ••oting, and has a double signification or meaning.* 1.142
First, I mean by Equally and Evenly, that all the number of strokes which you make, be for Loudness alike.
Secondly, for proportion of Time alike, neither one louder or softer than another, nor one quicker or slower than another; the which to do, is a very Curious piece of Performance, and will lay a substan∣tial Ground, or Foundation, for Excellent Good Play; Both which may well be attain'd unto, in half an hours time, with diligent ob∣servation.
But in the doing of This, take notice, that you strike not your Strings with your Nails, as some do, who maintain it the Best way of Play, but I do not; and for This Reason;* 1.143 because the Nail cannot draw so sweet a Sound from a Lute, as the nibble end of the Flesh can do.
I confess in a Consort, it might do well enough, where the Mel∣lowness (which is the most Excellent satisfaction from a Lute) is lost in the Crowd; but Alone, I could never receive so good Content from the Nail, as from the Flesh: However (This being my Opinion) let Others do, as seems Best to Themselves.
And that you may learn to strike a String Clear, and Clean, take notice, that in your stroke,* 1.144 you strive to draw your Finger a little Vpwards, and not Slanting, for that will endanger the hitting of
another String, together with That String, you intend to Strike Single. This is called Clean Striking.
And Thus, when you find your self able to strike, and Count the Number of 4, or 8, or 16, (or what even Number you please) Equally, and Evenly, upon the First String; Then try to do the like upon the Second, Third, Fourth, or Fifth, &c. All which, I would have you Practice, to do Smoothly, and Neatly, ac∣cording to all my former Directions.
And here suffer me to Tautologize a little, viz. Your Left-Hand upon the Table; your Lute Firmly Fix'd; your self and It, in your True Postures; and when (but) This is done, suppose your self, half a Lute-Player; For now you have little, or nothing to do more, be∣sides the bringing up, and ordering of your Left-Hand, and so to joyn their Forces both together; which you shall presently, and ve∣ry readily know how to do; as Thus, viz.
* 1.145First, (keeping your self still in all your Exact Postures, before mentioned) bring up your Left-Hand from the Table, bended, just like the Talents of a Hawk; All, excepting your Thumb, which must stand Strait, and Span'd out; your Fingers also, all divided one from the other, in an Equal, and Handsome Order; and in This Posture, place your Thumb under the Neck of the Lute, a lit∣tle above (β) Frett, just in the midst of the Breadth of the Neck; all your Four Fingers, in this Posture, being held close over the Strings on the other side, so that each Finger, may be in a readiness to stop down upon any Frett.
And now in This Lively, And Exact Posture, I would have your Picture drawn, which is the most becoming Posture, I can Direct unto, for a Lutenist; and is all I can think upon Necessary, as to Preparation for Good Play.
* 1.146The next thing therefore shall be, to proceed to It: To which End, take notice of This Musick Line, (which although there be Six Lines, yet we call them, a Musick Line, and the meaning of It is This.
Those Six Lines, bear a reference to the First Six Ranks of your Lute-Strings: As for Example.
〈♫〉〈♫〉 α β Γ δ ε f θ h y k
THe First, or Vppermost Line, you must suppose to refer, to your First, or Treble-String, the 2d Line, to your 2d String, the 3d Line, to your 3d String, the 4th, to your 4th, the 5th, to your 5th, and the lowest, or last, to your 6th String.
And whereas you see several Letters placed upon all those seve∣ral Lines; know, That those Letters do refer to the several Fretts, upon the Neck of the Lute: As for Example.
The Letter α, is ever to be Struck Open (viz. unstopt) upon that String, on which It stands; or plainer, Thus; viz. That String is ever to be Struck Open, when the Letter α standeth on That Line, which refers to That String. Explain'd Thus, viz. The First Letter α standeth upon the First, or Vppermost Line; There∣fore the First, or Treble String, is then to be Struck Open,: Like∣wise, the 2d Letter 〈♫〉〈♫〉, standing upon the 2d Line, shews, That the 2d String of your Lute, is then to be Struck open; and so of all the rest, as aforesaid.
Now, for the Letter β, upon any Line, it shews, That the same String of your Lute must be stop'd close, to the uppermost Frett, with the very Tipp of One of your Fingers; And, so of all the rest.
The Letter Γ, close to the 2d Frett, 〈♫〉〈♫〉, to the Third, &c. and so of all the rest, till you come to y and k. (The Letter y being put instead of i. And the Letter k, is the Last, and Lowest Frett.
And here Note, That the Number of 9 Fretts, is the Best Num∣ber for a Lute-Neck to carry; for if it bear fewer,* 1.147 It will be too short, both as to the Proportion, and Comeliness of the Instrument, and Deficient as to the proper good use required in a Lute; and if it bear more than 9, It will be Inconvenient, both as to the Pro∣portion of the Lute, and also, as to the Breaking of Strings.
Now, supposing you can find out (readily) every String, and Frett, according to those Six Lines, as also, stop every Letter by the same Rule, your Work will be very Easie; for you have only, Six other Ranks of Strings to take Notice of, which have no other Trouble, or Vse, than to be constantly Struck Open with your Thumb only.
And you shall Know, and Distinguish them Thus; viz. They ever standing un∣der those Lines, and so Marked; as you see by This Explanation.
The First α, being called the 7th String; the Second, with a Dash before It, the 8th; the Third, with Two Dashes, the 9th; the Fourth, with Three Dashes, the 10th; the Figure of 4 the 11th; and the Figure of 5 the 12th.
And, but that Custom has prevailed, to make Those Six Ranks of Strings Thus, I conceive, It might be much Better, and more Proper, to Mark Them, with Six Figures, Thus, viz. 1.2.3.4.5.6. How∣ever, there is no great matter in It; yet the Figures are both sooner Set, and something more Reasonable.
By this time, I suppose, you are sufficiently informed in All these most Necessary Rudiments; so that me thinks I hear you say, Pray Set, and Teach me a Lesson; And indeed you are not far from It: And for the Preparation of which, take Notice once more of your Musick Line, where you may see the full order of all your 12 Strings together, according as we constantly use Them.
〈♫〉〈♫〉
And before you attempt any thing farther, view them well; and taking your Lute into your Hand, enter into All your former Exact Postures, viz. First sitting in an Vpright-Comely-Posture of your Body, with your Lute well set, and firmly fixt between your Breast, and the Table-Edge, your Right Hand plac'd over the Bridge, your Little-Finger set down in Its proper place, about the Treble Part of It, and your Thumb Spann'd from It, to the Last, or Twelfth String, (viz. The Figure of 5.) from which place (by the advantage of the cer∣tainty of the Little-Finger's Place, being surely kept) you shall first Practice to hit all your Basses, backwards, and forwards, in Order, and out of Order, all manner of Cross-ways, so long, till you are assured of a ready Knowledge of each one, both by your Eye from your Book, and by the performance of your Thumb; which, (as I said before) if you do it not all well, in One Quarter of an Hour, you will have cause to Suspect your self of Doltish∣ness.
But I (suspecting no such matter from you) believe by this time, you are able to Hit every String readily.
Therefore I will now proceed, to shew you the use of your Two First Fingers, the which will be about such a quantity of Time, in which you will have Them likewise Perfect and Ready; to which purpose, see here your Musick Line again, which is an Explanati∣on, by Letters and Line, of what I formerly told you, viz. Counting One, Two, Three, Four, &c. yet (with all) there is an Addition of Time, or Proportion, by certain Notes, or Characters, set over the Heads of the Letters, viz. Thus.
* 1.148〈♫〉〈♫〉
In This Line there are 4 Things, which you are to take notice of.
First, The Letters, and what Lines they stand upon.
Secondly, The Characters of Time, standing over the Heads of those Letters.
Thirdly, The Fingering, express'd by those Pricks, underneath each Letter.
Fourthly, The Dividing or Barring of Four, or Eight Letters, by those down-right Lines or Stroaks. Explain'd Thus, viz.
The 1st. 4 α's, stand upon the Treble String.
The Character of Time, over the 1st. α, shews, that the other 3. α's are to be performed (every of them) as the 1st. α is, for matter of Time, or Proportion; and so of the rest.
The Pricks underneath, stand, to shew, with what Finger you are to Strike each Letter, viz. Two Pricks, signifie the Second Finger, and One Prick the Fore-finger.
Lastly, The down-right Stroak, (or Bar, as we call It) shews the Evenness, Sufficiency, or Observation, of a Full Time, (as I shall here-after declare.)
And now (as to your practice from This Line, I would have you (sitting, as I said, in all your comely and convenient Postures) with your Thumb Span'd out, and Resting, or Lying, with the End of It, upon some of your Basses) strive to hit the 1st. 4, α's, as they are there set.
The 1st. α with your 2d. Finger; and the 2d. with your Fore-finger. (The which, is All you have to do:) For you may per∣ceive, the other Two, are but the same repeated.
Then strive to put 4 Together, as you see in the 1st. Barr; and when you can put 4 Together, pritty readily, then strive to put 8, as Evenly as you can.
But before I proceed any farther, I must acquaint you with Those Characters standing over the Heads of those Letters, which are of 2 several sorts, as you may perceive, by their various forms; and They (with some few more, which I shall here set you down in This next Musick Line) are of such Eminent Vse, and Ne∣cessity, in all manner of Musick, both Vocal, and Instrumental, that Nothing can be performed well, without the knowledge of them. Therefore, see Them All Here set down together.
THese are the Chief Notes and Characters, of Musick's Proportions,* 1.149 by which, (as they are placed, or set over any Letters, in a Les∣son, (as you see in the foregoing Musick Line they are) you may know of what Quantity, any Note or Letter is, in your whole Lesson. As for Example.
If a Crochet stands over any Letter, (as there stands one over the first α, in that Line aforesaid;) you must say, that That α is a Crochet; and because there stands nothing over the next ααα's, they are also of the same Quantity with the first α, viz. all Crochets.
So likewise there stands a Quaver over the Fifth α. Therefore That α must be called a Quaver: And the next 7 ααααααα's are therefore all Quavers, by the same Rule: And so likewise of all others. This is sufficient to let you know the meaning, or use of Them.
Now I will more particularly let you know their Differences, in their Exact Proportions, and Quantities.
Know therefore, (1st. in general) that the first Character, (viz. the Semibreve) is the Character of the Longest Proportion, generally needful in Lute-Play: And the last, (viz. the Demi∣quaver) is the Shortest.
And they are in Order, from the first (every one) but half so much as the foregoing Note. As for Example.
I will Compare them to Money, (and most People will be rea∣dy enough to count them the better (I suppose) for That.
Suppose therefore, that the 1st. Note (viz. the Semibreve) be a Groat, (which is your Chief Note, of Note.)
* 1.150And because you must still divide by Halfes, you'l say, That the Minim must be but a Two-Pence, The Crochet a Penny, The Quaver a Half-Penny, and the Semiquaver (which is the Last, and Shortest, generally in use) a Farthing.
Trouble not your self, for the Demiquaver, till you have a quick Hand; It being half a Semiquaver.
This is an Easie, and Plain way; and in regard you have but Five only to Trouble you, I suppose you will the more intently strive to be able to understand Them, and be Exact in performing Them; the which to do, I shall put you in such a way, that you cannot possibly but be able to do Them in a very short time Per∣fectly.
* 1.151I will begin first with the Semibreve, and give you Its Defini∣tion according to Its General Vse, by which you will understand all the rest.
To the right understanding of which, you must know, That in All Musical Performances whatever, if they be done according to Art, they are done according to the Rule of Time-keeping, (as we call It) which is ever observed, and done by the Motion, ei∣ther of Hand or Foot, during the whole time we either Sing or Play.
Now, because upon an Instrument, both our Hands are imployed, we must therefore keep Time, with a Foot: Which is to be done with an Exact Observation, in putting the Foot down and up, E∣qually; that is, to be Constant to a True, and Even Motion, with the Foot, down and up; like unto the Ballance of a good Clock.
And the Best way to do it, is first to be able to Count the Num∣ber of 4, Evenly, viz. as if you were suppos'd to Measure every Count, with a pair of Compasses; Thus, .1 .2 .3 .4, and not Thus, .1 .2.3 .4,* 1.152 nor any way unequally; by which Explanation, I sup∣pose you may understand my Meaning, and is Thus (more plain∣ly) viz.* 1.153
Just at your saying One, your Foot must knock, and re∣main down, till you have counted the Word Two; then, just as you say the Word Three, your Foot must rise, and continue up, till
you have said the Word Four, and then down again at the Word One. And thus must your Foot constantly be in Motion, during your Play, and Equally dividing your Down from your Vp, so Exactly, that not the least Difference may be perceiv'd; which, if you Carefully practice at the first, you will ever continue It; but, if you be remiss in the beginning, you will always after, be uncertain, not only, to your own hindrance, but also, to all others, who shall Play in Consort with you: Therefore you cannot be too Careful, till you have gain'd your Habit, which will quickly be got.
And here you must take notice, That Those 4 Counts,* 1.154 perform'd with your Foot, down, and up, is the Time, which we call a Semibreve, (viz. your Groat;) so that, if you observe, you will perceive, in the performance of It, that you have perform'd both the Minim, (viz. the Two Pence) and the Crochet, (the Penny) only with This Difference; That whereas you have made but One Semibreve, you have made Two Minims; and also 4 Crochets; for the Minim, is only the Down, or the Vp; and the Crochets are any Two of Those Counts, down, or up.
Now here must needs arise a Question, viz. How long must you be, in Counting Those 4 Counts? For you may be an Hour, or Two, (more or less) in doing of Them.
And as to This, I shall direct you unto, Two manner of Ways, (and both Good) the first is This.
Let Those 4 Counts be spoken Deliberately, viz. as a Man would speak Gravely, or Soberly, and not Hastily, or Huddlingly; yet not Drawlingly, or Dreamingly; but in an Orderly Familiar way of Speaking.
And This is one very Good Way, of laying a Notion into your Head, of some kind of Certainty, in Measuring your Time; and with a little Practice, you will gain a Readiness, and Familiarity unto It: Yet There is a Better, and more Certain Way, than This, which I will shew you, after First, I have given you a View of your Musick Characters, as Here they are set down, with Their Expla∣nation.
Observe Here, in the Lowest Place, stands the Semibreve, (or Groat) marked Thus ({semibreve note})
In the next place above It, stands Two Minims, (or Two Twopences) mark'd Thus ({minim note}{minim note})
Over Them, stand 4 Crochets (or 4 Pence) mark'd Thus ({crotchet note}{crotchet note}{crotchet note}{crotchet note})
Over Them, Eight Quavers, (or 8 Half Pence) mark'd Thus ({quaver note}{quaver note}{quaver note}{quaver note}{quaver note}{quaver note}{quaver note}{quaver note})
And next above Them, at the Top of all, stand 16 Semiquavers, (or 16 Farthings) mark'd Thus ({semiquaver note}{semiquaver note}{semiquaver note}{semiquaver note}{semiquaver note}{semiquaver note}{semiquaver note}{semiquaver note}{semiquaver note}{semiquaver note}{semiquaver note}{semiquaver note}{semiquaver note}{semiquaver note}{semiquaver note}{semiquaver note})
These Five Characters, are All you need to trouble your self to take notice of; only sometimes you will meet with a Prick'd Note, Thus, ({semibreve note}·) or Thus, ({minim note}·) Thus, ({crotchet note}·) or Thus, ({quaver note}·) which, whensoever It happens, You must know, That That Note, is Augmented in Quantity, half so much as it was before; viz. a Prick'd Semibreve, is made Three Minims; a Prick'd Mi∣nim, Three Crochets; and so of the rest. The which I shall Ex∣plain here following, in the next Chapter, more particularly.
* 1.155NOw I will proceed to the enabling of you to perform your Time, and by a most Exact, Easie, and Infallible Way; which shall be as a Touch-stone, to try whomsoever shall pretend to keep Time, the most Exactly; and it is Thus.
Take a Bullet, or any Round Piece, of what weighty thing you please, to the weight of half a Pound, or a Pound, (more or less) and fasten It, to the End of a Pack-thread, or any other String, long enough to reach the Top of the Seiling of the Room, in which you intend to Practice.
Then fasten the End of the String upon some Hook, or Nail, to the Top of the Seiling, so, as the Weight may well-nigh touch the bottom of the Floor; and when this is done, set It to work, after this manner, viz.
Take the Weight in your Hand, and carry It to one side of the Room, lifting It so high as you can reach; then let it fall out of your Hand; and you shall observe,
That This Weight, will keep an Exact True Motion of Time, forwards, and backwards, for an Hour or Two together.
* 1.156And that although, at every Return, It strikes a shorter Com∣pass, than It did the Time before; yet it keeps the former Exact Proportion, (for Length, or Quantity of Time) Infallibly: Yea, when It makes so little a Motion, as you can scarcely perceive It move, It Then gives the self-same Measure, (for Quantity) as It did at first: The which is a pritty strange thing, yet most Certain; And Easily prov'd, by any.
Now I say, having found out, such an Assur'd Time-keeper, as This is, Let it be your Director, in all your Curious Private Pra∣ctices.
* 1.157And thus, I would have you make use of It, viz. when you have set it to Work; First, Sit, and Observe It in Its Motion, Well; and take good Notice, of the Proportion of Time It strikes: And here you must know, That according to the Length, or
Shortness of the String, It will have a Slower, or Quicker Motion. Therefore a Long String is Best to Practice with, at first,* 1.158 and such a Length, as will allow you to Count the Number of 4, with Deliberation, (as before I hinted you to) in Its whole Course, viz. Beginning to Count, One, just with the Turn, and meet It with the Count Three, at the next Return; and so Counting, (with Its Motion) One, Two, Three, Four, Exactly, in the time of Its coming, and going; and to be able, Punctually, still to meet the next Return, with the like Count, is the Work I would advise you to Practice well, along with It; and, so long, till you perceive you have gain'd an Indifferent good Habit, in this man∣ner of Time-keeping, with your Tongue, and Foot. Which, after you can confidently do, by the Order of 4, (in which is inclu∣ded, Crochets, Minims, and Semibreves) and perceive your self Perfect; Then adventure to Count 8, viz. Quavers; by Num∣bring 4 to the Down, and 4 to the Vp; Always remembring to be Extreamly Careful, to begin your First Count, just with the Be∣ginning of the Swing's Turn, or else you will faile much, and do your self no good.
And in This undertaking, you will find a necessity to Count,* 1.159 and to Play, just so fast again, as you did before; the which will be Nimble, and pritty difficult to perform, at the first; yet soon over∣come, with good Care; and so well, that by This Practice, you will be brought to have an Exact Motion, of True Time-keeping; which is one of the most Necessary, and Main Things, in Musick; especially for a Beginner to know, and Endeavour after.
And indeed, there is a General Fault, in This Particular, in most Performers; yea, in Masters Themselves: When in Play∣ing of Divisions, they come to Sub-divide, (upon a Plain Song, or a Ground) They (Generally) are subject to Break Time, and (most what) to Play too Fast.
And Here, a Man might venture to lay a Good Wager, That there is scarcely One Artist, (of the Highest Form) among Ten,* 1.160 (I mean, a Very Master) that shall be able to keep an Exact True Time, (by This Infallible Rule) for 20 Semibreves together, (His Back being Turned towards the Pendent, for That Time.)
I speak not This, to disparage any Master, or other; But only, because I know, It is so very Critically-Nice, and Hard to be Per∣formed.
But now again, you must know, That, although in our First Vndertakings, we ought to strive, for the most Exact Habit, of Time-keeping, that possibly we can attain unto, (and for seve∣ral good Reasons) yet, when we come to be Masters, so that we can command all manner of Time, at our own Pleasures; we Then take Liberty, (and very often, for Humour, and good Adornment-sake, in certain Places) to Break Time; sometimes Faster, and sometimes Slower, as we perceive, the Nature of the Thing Re∣quires, which often adds, much Grace, and Luster, to the Per∣formance.
But, This ought not to give the least Liberty, (to Young Be∣ginners)
to neglect their Chiefest Endeavour, after the most Ex∣act way, of True Time-keeping.
Thus, having prompted you, to the very Best way of learning, to keep Time, Truly; and as but yet, only with your Tongue, and Foot, I now would have you try, to perform some such Counts, (with your Practice) in some Lesson, upon your Instrument.
And at first, your Best Way will be, to take your last Musick Line, which I set you, (and is Here again renewed to your view;) and enable your self, to strike all those Letters, along with your Swing, according as I have Directed.
But 1st. you must take notice of the Pricks, standing under each Letter; which are to signifie, with what Finger each Letter is to be struck; viz. 2 Pricks, shew the 2d. Finger, and one Prick, the First, as was shewed before.
〈♫〉〈♫〉
Now therefore, go back to your Practice, of Time-keeping again, and try with your Swing, Hand, and Foot together; and enable your self, to strike These Letters, with True Fingering, (so set) in a Just, and Even Proportion of Time; and so long Pra∣ctice Them, till you perceive, you can Readily, and Familiarly do Them, with your Swing; The which will be one of your Greatest Difficulties in Lute-Play,* 1.161 and the Chiefest Work of your Right Hand.
This being done, I shall proceed to shew you, how to Tune your Lute; And as to That, you must take notice, There are di∣vers sorts of Lute-Tunings, (as there are also Viol-Tunings.) All which, when you have gain'd an Ability, of Good Play in This One, (which I shall here set you,) you may very Easily (of your self) be able to Tune, and Play, in any of the Rest, at your Pleasure.
Therefore, for your Best Profit, and Advantage, I shall set you down, in This Musick Line, That Tuning, which I Esteem The ve∣ry Best, among the French Tunings, (as they call Them) or the late New Tunings; and is the Last, and Newest, Excepting on∣ly One. And because I Esteem It, and say it is the very Best of Them All; I shall most Plainly Demonstrate It, so to be, to the Reasons, and Judgments of All Men, before I End This Work.
〈♫〉〈♫〉* 1.162
THis is called, (Erroniously) the Flat-French-Tuning;* 1.163 but might more properly go under the Name of Sharp; both in Reference to the Tuning of the Three 1st. Ranks of the Diapasons, (beginning at the 12th. String;) as also the Three 1st. Ranks of Trebles; By which Observation, we may (more Reasonably) Term a Tuning, Flat, or Sharp.
But This is not so fit Discourse in This Place, for my Young Scholar; Therefore I will break it off, at present, and inform him, how to Tune his Lute; This way: As for Example.
If you would learn, well, to Tune your Lute, It is to be sup∣pos'd, that you know an Vnison, 3d, 5th, and 8th: Or else you must learn, so to do; and then take notice, of Those Letters, set in the last Musick Line; which show, That every String, must be an Vnison to the next, under, or above It, as I have there set them down; only the Basses, and their Octaves, must be an Eight, to each other; and all the rest of the Double Strings, (which are Equal in their Sizes) must be Vnisons, one to the other.
This will be sufficient, for you to know, as concerning Tuning your Lute; and a little Vse, will make you Ready at It.
I will now shew you, the further use of your Right Hand.
〈♫〉〈♫〉* 1.164
You see Here, still, the same Line you had, before; only I have added (under every first of a Down, and first of an Vp) a Bass, which must be struck, together, with the very same Letter, at the very same time; with the Thumb; (which at the first, will seem a little troublesome, yet soon gain'd, or overcome.)
Your 1st. Rule holds good, in both Thumb, and Finger; for your Thumb must rest upon the next String, but your Finger not, but pick up. And your General Rule is, always, to strike a Single Bass, and Treble, with your Thumb, and 2d. Finger Re∣member, to stop the (β) with your Fore-finger, and hold It so stopt all the Time, till you have Play'd the whole Line; and when you can do It pritty readily, Then Practice it with Time, by your
Swing, Hand, and Foot, as you did, with the Single Line, last before set you; The which, in half an hours time, will be your own, tollerably well: But, at 2, or 3 such half hours, Ex∣actly; and Then you are in a Higher Form, and with Good De∣sert.
Next, Learn the Order, and Fingering of your Left Hand, Thus.
〈♫〉〈♫〉
But before you touch the First Letter (α,) upon the 2d String, Remember to lay your Thumb upon the Last Bass, (which is to be struck, the last Note of the 2d. Barr) that it may be both in Readiness, and Resting some where, (as always it must be.)
* 1.165Then, (having prepar'd your Right Hand) bring up your Left, (your Fingers standing Hollow, and Round; and of an E∣qual Distance (as the Tallents of an Hawk;) which is the most Comely, and Vseful Posture, for that Hand to be in.
Yet Noting, That your Left Thumb, stand not Bending, but Strait out; Then, placing That Thumb a little above the (β) Frett, underneath the Neck of the Lute, so that your Fore-finger, may stand just over the Letter (β,) upon the 2d. String, Pick up the Letter (α,) with the 2d. Finger of your Right Hand, and then be ready to stop down (β,) with the Fore-finger of your Left Hand, and so strike It, or Pick It up, with your 2d. Finger, (as It is Marked) of your Right Hand.
Then (holding it still stopt) stop the Letter (δ) with the Tip of your Little Finger, and so strike it, or pick It up, with your 2d. Finger, (as it is marked.)
These 4 Letters only, Practice so long as you please, (20, 30, or 40 Times over) till you have gained an Exact Habit in doing Them;* 1.166 And in which doing, you will have gained, an Exceeding Great-way into Lute-Play: Yet taking Notice, That when you come to the 3d. Barr, (which shews the work of the 3d. String) you are not to keep your Thumb above the (〈♫〉〈♫〉) Frett, (as I formerly gave Direction) but plant it (according to the Reasonableness of the Work) a Frett lower.
And so you must ever move It, (as occasion requires.)
Then, when you perceive, you can put Those 4 Notes together, Truly, and Readily; proceed to the rest, as you find Them prick'd down; and Endeavour to Play Them, as you did the first Four, (for all the Rest, must be stop'd, as Those 4 were, (viz. with the First, and Little Finger.)
And Here take notice, of One very Great Piece of Care, which by all means, you must now (at First) Observe: For fear of an Ill Habit, which is;
That after your Stopt Note, (whatever it may be) you are not to take up That Finger, which you last Stopt, until necessity re∣quire, or that you find some Reasonable Cause; as either to give way, for some other Letter, (as your (β) here must give way, for (δ) to sound, (in your coming back) or else, for that you are to use, That last Stop'd Finger, in some other Necessary Place; There∣fore▪ take notice of This, for a General Rule, (both in Lute, and Viol-Play) That you never take up any Stopt Finger,* 1.167 (after you have struck it) till you have some necessary Vse of It, or that your holding of it so Stopt, may be inconvenient for some other perfor∣mance; And when you do remove, (or unstop It) let it be so very little from the String, as One can scarce perceive your Finger, to have unstopt It; which Custom, will teach you to Play Close, and Quick, Neat, and Fine: But if (on the contrary) at the First, you use your self, to Lift, or Toss your Fingers High, (as too many use to do) you shall never Play Handsomly, Quick, or Well.
I us'd to compare such Tossing-Finger'd-Players,* 1.168 to Blind-Horses, which always lift up their Feet, Higher than need is; and so by that means, can never Run Fast, or with a Smooth Swiftness: It is therefore, both Commendable, and Profitable, to Play Close; so that in doing much, you seem to take little, or no pains; and in so doing, you cannot but do Neatly, Nimbly, and Well: But if in your Beginning, you get an Ill,* 1.169 or False-Habit, you will scarcely ever be Reclaimed; which is (in∣deed) One main Cause, of so many Bad Performers, and the Lute's Discredit; either, in that Masters have not an Especial Care, in the 1st. Entring of their Scholars, or that Scholars are not Ingeniously Observant, to Practice, as they are Directed.
Thus have I been Long, in shewing you a Little, viz. to Per∣form the Last Line; yet think you it not Long, but be Patient to overcome It, and you will (by That Time) be able to do a Great-Deal, with Ease.
Here follows the Natural Formation of all the Stopt Strings, in these 5 following Musick-Lines; which if you can once do, No∣thing can be Hard for you, and 'tis but One Half-hour's Work.
〈♫〉〈♫〉
* 1.170And here take notice of those Figures, which stand under each Letter; and are to direct you, with what Finger you must stop each Letter; viz. the 1st. 2d. 3d. or 4th. Finger, according to the Figures.
Now, you must endeavour, To make This Line Exactly Per∣fect upon your Fingers, just as you see It set.
And the Quickest, and Best way to do it is; First only to Pra∣ctice the 1st. 4 Letters, 20, 30, or 40 times; or so long, till you find a ready aptitude, to perform Them Equally, and Evenly, at your Command.
Then do the like to your next Four; and so from 4 to 4, till you have gain'd Them All. And in This one Line doing, you have more than gain'd the doing of All the other stop'd Strings; as you may plainly perceive by their standing,* 1.171 (there being no necessity of stopping, so much, any String, as the Treble String.
〈♫〉〈♫〉
The 2d. String, is very seldom, so much stop'd, (nor is it needful;) because (α) upon the Treble, takes the 2d. String off, at the Letter (δ,) from any Necessity of Use; only sometimes, for Conveniency of Fingering, &c. we Play, or Prick the same Tones, upon the 2d. which otherwise belong, properly, to the Tre∣ble: Or sometimes, when the Treble String is Broke, you may make a good shift, to Play many Lessons, (without It) upon the 2d. String, by the same Rule.
〈♫〉〈♫〉
This is the whole order of the 3d. String: And as the Tre∣ble took the 2d. off, at the Letter (δ;) so doth the 2d. take This off, at the Letter (δ;) so that there is no necessity of stop∣ping
This String, any further than (ε,) except for the same Rea∣sons aforesaid.
〈♫〉〈♫〉
This is the whole order of the 4th. String, and more than needs, by much, because The 3d String, generally takes the use of This off, at the Letter (δ)
〈♫〉〈♫〉
This is the whole order of the 5th. String; the 4th. taking It off, at the Letter (f.)
The 6th. String, needs no Explanation, in that It is seldom stopt, beyond the Letter (δ.)
This I think fully sufficient, to give you the Exact Information, concerning the whole Fingering of the Lute, as to Single Stopping.
It only remains for you, to acquaint your self, with the Ready Vse of every String, as It is Thus ordered; (the which will soon be done) and Then, you will proceed, with much Cheerfulness, and Delight, to the Full-Stops, which are not many, nor at All Hard, but very Familiarly Easie, and Natural, for the Hand.
But before I proceed to Them, I will make Perfect, all your Work, Thus far, as we have gone.
Therefore, take notice, of This next Musick Line; which is the very same I set you a little before, only I have added to It, some Basses, or Diapasons; and if you forget not my former Di∣rections, I doubt not, but you will Play It, at the first sight.
〈♫〉〈♫〉
There being no difficulty, in the Playing of This, the Treble, or upper part, being (as I said) the same you had a little before; only strike the Basses, with Those Trebles, you see set under Them.
* 1.172HItherto, I have given Sufficient Directions, as to the whole Order of the Lute, in Reference to Single-Play; I should there∣fore proceed, to inform you the way towards a Full-Play: But, because you shall be more Perfect in This, (by which means, the next, will be much more Easie) I will, here following, set you down 7 Praeludes, (in each Key One) which shall serve you, as so many handsome Lessons, upon any after occasion, in any One of the 7 Keys. The 1st. shall begin here, in C-fa-ut-Key.
The 1st. Lesson, being a Praeludium for the Hand in C-fa-ut-Key.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
This I'l call a Lesson; All the other were only Rudiments, and of no further use, than to give you Insight, Thus far: Therefore, when you have made your intended use of Them, leave them, and adhere to your Lessons only.
This may serve you, as a Praelude, at any time, upon This Key;* 2.1 being call'd C-fa-ut-Key.
Now, before I proceed any farther, It will be very needful, that I, and you, make sure of the True, and Exact Performance, of This Lesson, in every Punctilio; For it will profit you Extreamly
much, so to do; and if you do not This well, you will be Deficient, in many Things: Therefore take Patience unto you, and Ex∣amine, every Barr, in the whole Lesson.
The Number of Barrs, are 16, and every Barr, has just one Se∣mibreve, in It.
First then, take notice, that in the 1st. Barr, are 8 Quavers, (which, you know, makes a Semibreve:) In the Playing of which, (before you attempt the striking of the first Stroak) you must be sure to provide, or make preparation for the 3 Notes fol∣lowing (at least.)
The first Stroak, is (β) upon the Sixth, and the Figure 5, (be∣ing the last Bass;) both which, must be struck, at the same time, with the Thumb, and 2d. Finger.
But your Preparation, must be Thus, viz. Having stopt the (β) with the End of your Fore-finger, and made ready your Right Hand,* 2.2 you must take the 3 following Letters, into your Consideration, (be∣fore you strike the first stop) and so make ready your Little Fin∣ger, by setting it close over the Letter (δ;) by which means, you may readily stop It down, so quick, as you please; And being in this ready Posture, strike the 1st. stop, but take not up the (β,) till you come to the last Note of that Barr; nor (δ,) till you come to the last (β;) by which means, the stops will be All ready; and the Thus holding of your Letters stopt, all the while, will give a very Fine Sound, or Gingle, beyond any other way of Play.
Thus,* 2.3 (having Explained the 1st. Barr) when you perceive you can put them together Readily, and Truly; Practice them over, 20, 30, or 40 times, before you attempt a Note farther; and then, undertake the 2d. Barr; Remembring, to observe all the same Directions, as you did in the 1st. Barr, viz. Always prepare for the ensuing Notes, before you strike the First Note of any Barr; then take up no stopt Finger, till need so require; for any stopt Finger, remaining still upon Its stop, gives you a better ad∣vantage, than if it were taken off, as being a sure Guide, to any other stop following; and by This Habit, or Custom, your Hand will have a kind of assured Knowledge, and Aptitude, to reach from place to place, Certainly.
Whereas, on the contrary, when the Hand is loose, and off,* 2.4 from the stops, It is uncertain, and cannot be assur'd to stop, so perfectly well, as by that other Habit, without taking your Eye off your Book, which often proves very prejudicial; but by This way of Practice, you shall suddenly gain the way, to Play without any Trouble of looking upon your Fingers, or otherwise; the which, is both Commendable, and very Beneficial; for It will quickly make a Ready-Hand, and most Neat, and Curious Play; And, (besides All which) sometimes It is of Absolute Necessity,* 2.5 (in reference to the strict Rules, and Laws of Composition) that such a Note, ought to be held stopt, and sounding, so long, till such a Number of Notes, (following) are all performed; as upon occasion, in your farther Proceedings, I shall explain, by some Examples.
This Punctillio, I stand very much upon, and so would I have All my Scholars, because I know, It is of most Excellent Vse, both in Lute, and Viol-Play.
In your last Barr, save one, the 5th. Letter of that Barr, is a (Γ.) upon the 4th. String, and has before it a little Crook, or Comma, Thus (,) which is the Mark of a Grace, in Play, which we call a Back-fall; and if you can do It, in This place, you will do It, (upon occasion) in any other place, upon the Lute.
Now, how to perform It, is Thus, viz.
If you remember, (according to my General Rule) that the precedent Letter (δ,) is to remain stopt, till you come to strike This Letter (Γ,) you will find, that the Back-fall, will be very easie to perform; for, (you are to know that) to make a Back-fall Right,* 2.6 you are always to strike the Precedent Letter, (which stands upon the same String) instead of That Letter, which is to be Back-fall'd) with your Right Hand, and not at all to strike the Letter It self; yet you must make It sound, by your Left-Hand Finger, (so soon as you have struck the Precedent Note) by shaking It from That (δ,) (so struck) into the (Γ.)
This is the Nature of all Back-falls, viz. They ever partake first, of that Tone, either of a half Note, or a whole Note, next ascending, (according to the Aire of the Lesson, or Key.
This last Saying, viz. according to the Aire of the Key) will be a Mystery to you, at present; but I shall take a fitter time, and place, to Explain It in; In the Interim, let It not trouble you.
I will now make an End, of shewing you This Lesson; and there is only the last Barr of it to speak to, in which is a Full Stop; the first part of it, is to be struck with a Raking, or Brushing-stroak, downwards, by the Thumb, immediately after you have struck the (β) upon the Sixth; and the last 4 Letters in one Stop, Raked over, with your Fore-finger, upwards, all at once; but strive to Rake Them smoothly, and neatly; or (to say better) only stroak them all over Gently, or Lovingly, from the uppermost, to the undermost, and Then the work is done; but be sure to stop Clean, (as we use to Term It) so that one Finger hinder not another.
* 2.7By this plain Direction, I suppose, This Lesson is your own; and likewise, (together with It) All other such Single Lessons; I mean Single, because there is only Express'd a Bass, and a Treble.
Now, because it is a great Trouble for the Master, always to set down Figures for Fingering,* 2.8 as also, a Greater Injury to the Scholar to Expect It, (for the Custom of It keeps Him in Ignorance) so that He learns without any Reason, Rule, or Skill; only, be∣cause It is so Mark'd, or Figur'd for Him,) I will therefore (to cut off all such inconveniencies on both sides) give an As∣sur'd-General-Rule for Fingering, with Examples to confirm the same▪
First therefore, Let the foregoing Memento, be ever had in Mind, when you are to Play a Lesson, at first-sight, (viz.) be∣fore
you attempt to stop, or strike the first Note of any Barr,* 2.9 be sure to view the whole Barr, and observe how the Notes stand, one differing from another, Then order the first Stop, with such a Finger, or Fingers, as may be held stop'd, (if you can) till the first Barr be performed, or further (if without inconvenience) you may.
This Rule alone, will almost do the whole Business; as by Exam∣ple, you may perceive very much, in This next Lesson, which is a Praelude in D-sol-re-Key.
〈♫〉〈♫〉 〈♫〉〈♫〉
THe 1st. stop is a double Note;* 2.10 and both the Letters may be held stop'd, very conveniently, till the whole Barr be perfor∣med; in the holding of which, you have an absolute certainty of Fingering, for all the rest of That Barr, without the least doubt; For by holding the first stop stop'd, your Fore-finger, and Little-finger, will naturally ply, or take β and δ. So that if you were blind-fold, you could not tell well how to miss Them; especially, after you have wonted your Hand a little to that order by Habit, (which is soon gain'd.
In the 2d. Barr, (β) may very conveniently be held, till the whole Barr be performed.
In the 3d. Barr, you can but perform the 1st. 4 Letters, before you remove. But, in the Playing of those 4 Letters,* 2.11 observe a New Rule, (which yet I have not given) both for the Right, and Left Hand, Thus.
Stop the β, and the Γ, both together, at the same time, as if you did intend to Play them at the same time, both together.
Then, (before you strike the (β) lay on your Thumb, Fore-finger, and 2d. Finger, all together, upon the β, α, and Γ, as if you did intend to strike Them all together; Then, when both
your Hands are in This Readiness,* 2.12 you will find it, not only very Easie to pick them up, one after another, (as they must be) in their due proportion; but also they will yield a far more Curious Sound, than if you should (as most do) stab upon Them, at a Venture, (the which I call Knocking, or Druming upon the Strings;) But This way I call, Feeling your Strings, before you sound Them, and Drawing a Sweet Sound from the Lute; which is so very Con∣siderable, as any performance you can make upon your Instru∣ment.
There is yet one little Punctilio, which I must acquaint you with, before I leave these 4 Notes, viz. The first Letter (β) is a Bass, and therefore to be struck with your Thumb; yet in this place It must not be struck, as other Basses, (viz. Resting your Thumb upon the next String) according to the General Rule;) because, if you should do so here, the Resting of your Thumb, would hinder the next following (α) (upon the 4th. String) from Sounding Readily;* 2.13 so that you must give that (β) a little Lift up, and cast your Thumb, beyond the End of your Fore-finger, without Resting; and so it will do very well.
This I call Close-Play; And in All such Cases, when you have Close-Play (with your Thumb, and Fingers, so very High toge∣ther, (as Here you have) you must do so; otherwise, ever Rest your Thumb.
The next 4 Letters of This Barr, likewise prepare for, together, with both Hands, before you strike the first Note, and then Play Them Evenly, and Equally, as you did the other; only Here you must Rest your Thumb, This not being accounted Close-Play, be∣cause you have a String, or Two, between the Thumb, and the Treble.
And In This Order, perform the whole Lesson through, and all such like Lessons in the world,* 2.14 as you meet with.
This Rule, carefully observ'd, will undoubtedly teach you, True Fingering, Good, Sweet, Neat, and Curious Play, in any Lesson.
You have in the End of the Last Barr, save One, a Back-fall to the uppermost (α,) on the 2d. String; which must be Back-fall'd from (β,) upon the same String, as in the former Example, you had your (Γ) Back-fall'd from (δ,)
* 2.15The last Note of this Lesson is a Full Stop, (which yet you have not met with before) therefore take this General Rule for It, and all Full Stops; viz. when you have made it ready, by stop∣ping it True, and Clear, strike it altogether with your Thumb, and Fore-finger; The Bass only with your Thumb, and Rake all the rest, (beginning with the Treble String) with your Fore-finger, which is enough for This Lesson.
I call That, the Treble of a Full Stop, which is the uppermost of any Stop, though not the Treble String.
I Will still farther Explain (by Example) the General way,* 2.16 of Good, and True Fingering, by setting you a short Praelude, up∣on each Key, and by that means, you will also gain, so many Lessons.
I have told you, There are but Seven Distinct Keys, (Natu∣rally) in the whole Scope, and Nature, of Musick; and You have had Two, already, viz. C-fa-ut, and D-sol-re; This next shall be in E-la-mi.
The Third Praelude, in E-la-mi.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
The 1st. thing needful, in this Lesson, for you to Remember, is to hold the last (δ), in the 1st. Barr, stopt, till you have struck the 2d. (δ,) in the 2d. Barr; then hold that (ε) still, that whole Barr.
At the 3d. Note, of the 4th, Barr, plant your Fore-finger In that (ε) by which you are Enabled to Play all that Barr, and the 2 1st. Notes of the next Barr, without any trouble, or other form, (you perceiving, how aptly f h, and f ε will fall to be stopt, ac∣cording as I have marked them.
The 5th. Note of the next Barr, is (ε,) which you must (ac∣cording to their General Rule) hold, till the (δ) following be struck upon the Sixth String.
The next Γ Γ's, must be both stop'd with your Fore-finger,* 2.17 by laying it a-cross, close and hard, which is contrary to the General Rule of stopping, as aforesaid, yet sometimes you will find it needful, as here in this place It is; and though It be more troublesome than with the End of your Finger, yet it will soon
be Eas'd; for It is but for them 2 Letters. I have nothing more to say of This Lesson, than still to put you in mind, constantly to hold every 1st. Letter, till your 2d. be struck, when you have them come by 2, and 2, as in the next Barr they be, and so forwards.
The Back-fall, at the 9th. Note, in the last Barr, but One, must there be taken from the (Γ,) which stands before it, (which in that place is from a whole Note, or 2 Fretts; but your other, which you learnt before, was only from a half Note; and One Frett, is always a half Note.
Your 2 last Full Stops must be struck, the 1st. wholly with the Thumb, in the way of a Rake, beginning at the Bassest String; and the Last wholly with the Fore-finger, beginning at the Treble String. So This Lesson is finished, I hope to your perfect Vnder∣standing of It.
The next, is a Praelude, in F-fa-ut-Key, as you may here see.
The 4th. Praelude for Fingering, in F-fa-ut-Key.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
HEre is nothing in This Lesson, that you can doubt of, but is according to your General Rules, till you come at the 5th. Barr; where you shall see the 2d. and 3d. Notes, both mark'd with the Fore-finger, which is contrary to the General Rule; yet oftentimes we do Play, (as there you see) twice with the Fore-finger,
the Notes standing as there you see them, (one under a¦nother:) But then we strike, Them Two Notes, after another man∣ner, viz. not picking up the 1st. Note, but Slipping-wise, (as it were) and resting the Finger, upon the 2d. Note a little, and then strike the 2d. Note, as you do others.* 2.18
I call this a Slip-Stroak; you have it again in the 5th. and 6th. Notes, in the same Barr, and twice more in the 8th. Barr: There∣fore, if you can do it in One, you may do it in All.* 2.19
There is another kind of Exception, from your General Rule, by hitting twice, with your 2d Finger, as in the last Barr: But that is always upon the Close; or after a Long, or Shaked Note; and the Reason is, chiefly in regard that your next Note is so very short; and also, because that the Full Stop, in the next Barr, must be struck with the Fore-finger; so that it would be far more inconvenient to strike both Them, with the Fore-finger, than the 2 former with the Long Finger: which indeed is no Inconvenience at all, in regard there is time enough, to turn the 2d. Finger again, whilst the Shake, or Back-fall, is in agitation,
There is no need of Direction, for This Lesson, only remem∣ber, that the last Full Stop, must be struck, with the Thumb, and the Fore-finger.
The 5th. Praelude for Fingering, in Gam-ut-Key.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
THe Directions for This Lesson, will be very short; there be∣ing nothing in it, that (I think) you can doubt of; yet, because in the Sixth Barr, those 2 (〈♫〉〈♫〉's) are mark'd for several Fingers.
* 2.20And you might think, that because your Rule bids hold the one, till you come at the other; therefore the other might best be still kept stopt with the same Finger; I shall here, give you a Reason (both why) it is altered in this place; and in all such Cases, you may alter your Fingering, for a better advantage, in performing the Ensuing Notes.
You see that 〈♫〉〈♫〉, and 〈♫〉〈♫〉, follow the 2d. 〈♫〉〈♫〉; therefore, because of that Convenience, (which you see you gain, by altering your 2d. 〈♫〉〈♫〉) you do much better, than if you should hold it still stop'd, with your 4th. Finger; besides, you have time enough, to shift Fingers, by reason of the Eighth String, coming be∣tween; in which time, you may do it, without the least Incon∣venience.
There is another the like shifting of Fingering, in the 2 last Notes of the next Barr, viz. 〈♫〉〈♫〉; your 〈♫〉〈♫〉 being held still stopt, from the last Barr, might, (you may say) very well be still kept, with the Fore-finger; I say so too, If it were not so short a Note, as you see It is, which will be troublesome, to skip back to the next Letter (〈♫〉〈♫〉,) in the next Barr; therefore, in that respect, as also the precedent Note 〈♫〉〈♫〉, being a Long Note, viz. a Prick'd Qua∣ver, you may better make your shifting, in that place, than in the next.
You will find many such occasions, reasonable to contradict your General Rule; for which Cause, I thus Explain, upon These 2 Places; that thereby, you may make your own Observations in the like Cases, Hereafter.
This is all that is needful, for This Lesson. Here's another in Are-Key, being the Sixth Praeludium, for Fingering.
The Sixth Praelude in A-re-Key, for the Fingering.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
IN the Ninth, and Tenth Barr of This Lesson, observe only to lay the End of your Fore-finger, flat▪ over both Those 2 (〈♫〉〈♫〉's) which you see Marked with the same Finger, and I question not, but you will Play the whole, without any further Direction.
Now we come to the 7th, and Last Key, being B-mi; and is a Key, which seldom any Master Setts, or Plays any Lessons, in; except He alter the proper Nature of It, by making it Flat; and Then (indeed) It is a very Noble, Brave, and Brisk-Lively Key, as Any Key in the whole Scale: But as It is here Natural, It is Sel∣dom, or very Rarely Compos'd In; However, in that you shall see, It is a Thing, that may be done; And also, that This Tuning is capable of Bearing It Sufficiently, and Well: I will Here set you a Praelude in It also, as It now follows in the next Page.
And likewise, among the Number of Setts of Lessons, (fol∣lowing) you shall have a whole Suite, or Sett, in the same Key: and I doubt not, but They will Please you, as well, as Any, or Most, in the whole Book.
The 7th. Praelude, for Fingering;
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
I Believe, there is nothing in This Lesson, which you will make any doubt of;* 2.21 yet, because it is the last of the 7, which I intend for Rudiments, in Single Play for Fingering; I will not think my pains ill spent, to renew unto you a short Repetition, of the Substance, of what I have already been about, in all these 7 Prae∣ludes or Rudiments, if you will not think your pains ill spent, in Read∣ing, and Observing.
I say, (in the 1st. place) for Single Fingering; Hereafter put away all Marks, and Figures, and commit your self, wholly to your
Reason, and let that Guide you; yet upon any difficulty, or doubt (through forgetfulness) you may have recourse hither, to these Rudiments; for they carry in them, the whole natural Formation of every String, for ordinary Play.
In the 1st. place therefore, you are to remember,* 2.22 that in the Playing of every Barr, in a Lesson, you are to view the whole Barr, (or more) before you attempt to stop, or strike any one Letter.
Then 2dly, when you stop the 1st. Letter,* 2.23 you must have re∣grrd to stop it, with such a Finger, as you may (with ease, and conveniency) stop, and provide for the following Notes, in that (or the next) Barr.
But 3dly, and chiefly, in Plain Time, that is,* 2.24 when your Barrs consist of 4 Crochets, or 8 Quavers) you must ever con∣trive, to put 4, or 8, Equally together. As for Example.
In the 1st. Barr of this last Lesson, I have Mark'd the 1st. 2 (〈♫〉〈♫〉's) with the 2d. and 3d. Finger, which I might have done several Other ways; but in respect of the subsequent Notes, of the same Barr, I count it better to stop them all, as you see.
Then 4thly,* 2.25 you must (above all) not forget to keep your Holds; that is, (as before) ever hold fast-stop'd, the 1st. Letter, (at least) till you have struck the 2d. But if you can, (and that there be no inconvenience, either for hindring of some other Notes, or performance of some Curious Grace, or that your Hand may be too much bound, &c.) hold it, till you have performed all, that conveniently you can.
This last Rule alone, will be almost sufficient, to teach any one, Good, and True Fingering, for the Left Hand.
Fifthly, you must be Very Careful (now,* 2.26 in your first begin∣ning) to get a Good Habit; so that you stop close to your Fretts, and never upon any Frett; and ever, with the very End of your Fin∣ger; except, when a Cross, or Full Stop is to be performed.
And Sixthly, take heed of Tossing your Fingers,* 2.27 high from the Strings, when you have occasion to take them off. But let your Play be Glose, and scarcely seem to move your Fingers, which is a great Commendation, but a far greater Advantage to your self; For, whoso gets That Ill Habit of Tossing, shall never Play quick, nor well, but very uncertainly, and most unhandsomly.
I will here repeat; because I know there is one thing more,* 2.28 E••••••eamly well worth your Remembrance; which is,
That al∣ways in playing of 2, 3, or 4 Single (or Divided) Notes, (which begin a Barr, or begin at any Bass, or the like:) I say, be sure you provide both your Hands to perform, so far, as convenient∣ly you can, before you hit the first Note: My meaning is, prepare for the stopping of 2, or more; and striking of them also, as if they were to be struck, altogether,* 2.29 by setting your Left Hand up∣on the Stops, and your Right Hand upon the String, ready to strike; yet strike them in their due time, and at your leasure, ac∣cording to their true Quantities.
Thus I have (perchance) seemed too Teadious, in Repeating un∣to you; but I know it so needful a thing, for a Learner to be told more than once, of such Considerable Rules, without the which observing,* 2.30 he shall never Play well; So that still, I do perswade you to Read them over, very often; but especially to put them Carefully into Practice.
I will now trouble you with no more Repetitions of this matter; only refer you to those Particulars, which Explain the manner of performing those 7 Praeludes; I shall only desire, that you Perfect them upon your Fingers, before you attempt any thing else; for in so doing, you will advantage your self very much.
I Will now proceed to shew you, what belongs to Full-Play; (for all these have been Single, except your Closes.
* 2.31Your General Rules for that, will be short, and very easie. As for Example.
Here is an Example, for all Notes of 3 Parts, viz. a Bass, and 2 Trebles; and if you can do This, you will do All in This Kind.
〈♫〉〈♫〉 Explained in the next Line, Thus.
〈♫〉〈♫〉
Those 4 First Barrs, in the uppermost short Musick Line, are sufficient for the General Knowledge of the like.
Their Explanation, is in Those Notes, in your last undermost Line, and show, that the Letter 〈♫〉〈♫〉, must be hit with the Thumb, and the 2 (〈♫〉〈♫〉's) with your 1st. and 2d. Finger; yet, though I have so divided them, (for your sight) they must be struck alltogether, or but a very little dividing, (which may be allowed, in many Cases;) However practice them both ways.
Here is another Example for Nearer, and Closer Play, with your Thumb, and Finger.
〈♫〉〈♫〉 Explained in the next Line, Thus.
〈♫〉〈♫〉
Here follows an Example for 4 Parts, viz. Three Trebles, and a Bass.
〈♫〉〈♫〉 Explained in the next Line, Thus.
〈♫〉〈♫〉
You must know, That the Explanation of This last Example,* 2.32 as I have Explained It, is not the way, which is much used, in these days, (although I use It often, as you may do, upon oc∣casion;) but the Fashionable way of Playing them, (now us'd) is much more easie; namely, only to hit the Bass with your Thumb, and Rake down all the other 3 Letters, with your Fore-finger, at the same time; and is the General way of Playing all other Full, or Fuller Stops.
An Example of some, you may see in this following Musick Line.
〈♫〉〈♫〉* 2.33
Begin to Rake (or Smoothly Stroak) all those 1st. Six Strings, at the Treble String, laying on your 1st. Finger,* 2.34 at the same time
you lay on your Bass; Then, just as you hit the Bass with your Thumb, draw all over your Fore-finger, very gently, till you have hit the Sixth String, and you will hear a very Full Consort, of 7 Parts, (provided you stop Hard, and Clean;) and thus must you do, by all the rest of the Full Stops, till you come to the 2 last Notes of the 3d. Barr, which 〈♫〉〈♫〉 and 〈♫〉〈♫〉 are to be struck, with your 2 Fore-fingers, with the Bass; as in your former Examples of Dividing Play; Then make your Back-fall to the 〈♫〉〈♫〉, in the last Barr, from 〈♫〉〈♫〉; and after you have well Shaked it, stop the last Full Stop, before you hit the Single 〈♫〉〈♫〉, between them, because it is a short Note, and will not admit of any delay, after it is struck; but requires the last Note, quick upon it: So that in the time of your foregoing Prick'd- Crochet, (which we count a long Note, especially at a Close) you may have liberty to stop the last Full Stop, (which will take you up a little time;* 2.35) Then (you being thus ready) strike that 〈♫〉〈♫〉, and so bring in the last Stop, with the more Compleatness, and thus of all such Close Notes.
BY this time, I will conceive you sufficiently ready, at all these foregoing Rudiments, which (although but very few) yet are as the main Foundation, of your whole Business, which I count well over with you, because I suppose you Ingenious.
I will now, in these 2 Chapters following, lay down, all the o∣ther Curiosities, and Nicities, in reference to the Adorning of your Play: (for your Foundations being surely Laid, and your Building well Rear'd, you may proceed to the Beautifying, and Paint∣ing of your Fabrick) And those, we call the Graces in our Play.
The Names of such, which we must commonly use upon the Lute, be These.
* 2.36The 1st. and Chiefest, is the Shake, Marked Thus, with a Prick before it, as here you may see, (〈♫〉〈♫〉) The 2d. the Beate, Thus, (〈♫〉〈♫〉) The 3d. the Back-fall, Thus, (〈♫〉〈♫〉) The 4th. the Half-fall, Thus, (〈♫〉〈♫〉) The 5th. the Whole-fall, Thus, (〈♫〉〈♫〉) The Sixth, the Elevation, Thus, (〈♫〉〈♫〉) The 7th. the Single Relish, Thus, (〈♫〉〈♫〉) The 8th. the Double Relish, Thus, (〈♫〉〈♫〉) The 9th. the Slur, Thus, (〈♫〉〈♫〉) the 10th. the Slide, (the same) Thus, (〈♫〉〈♫〉) the 11th. the Spinger, Thus, (〈♫〉〈♫〉) The 12th. the Sting, Thus, (〈♫〉〈♫〉) The 13th. the Futt, Thus, (〈♫〉〈♫〉) The 14th. the Pause, Thus, (〈♫〉〈♫〉) or Thus, (〈♫〉〈♫〉) The 15th. and last, Soft and Loud Play, Thus, (so: lo:) which is as Great, and Good a Grace, as any other, whatever. These are the 15 Gra∣ces, which may be used upon the Lute; yet Few, or None use them All. Their Explanation followeth; And first of the Shake.
The Shake, is 2 ways to be performed, either Hard, or Soft, the Hard, (or Tearing-Shake) is thus done, viz. If you Shake any String Open, you must first strike it with some Right Hand Finger, and then be ready with the Fore-finger,* 2.37 of the Left Hand to pick it up, with the very Tip (near the Nail) of your Finger; and so, by often, and quick picking it up in that manner, or (more plainly) Scratching It, in a Smooth, Nimble, and Strong Agitation, you will have performed It.
The Soft-Shake, is done, in all respects, like the former,* 2.38 except the Tearing, and Scratching; and only by Beating the String Strongly, and with a Quick Motion, in the same place, as you did the other; which always must be either in 〈♫〉〈♫〉, or 〈♫〉〈♫〉-Frett; and if it be done Evenly, and Strongly, it gives a very Pleasant Grace unto your Play.
Some there are, (and many I have met with) who have such a Natural Agility (in their Nerves) and Aptitude, to That Per∣formance, that before they could do any thing else to purpose, they would make a Shake, Rarely Well. And some again, can scarcely ever Gain a Good Shake, by reason of the unaptness of their Nerves, to that Action; but yet otherwise come to Play very well.
I, for my own part, have had occasion to break, both my Arms;* 2.39 by reason of which, I cannot make the Nerve-Shake well, nor Strong; yet, by a certain Motion of my Arm, I have gain'd such a Contentive Shake, that sometimes, my Scholars will ask me, How they shall do to get the like? I have then no better Answer for Them, than to tell Them, They must first Break their Arm, as I have done; and so possibly, after that,* 2.40 (by Practice) they may get My manner of Shake.
The Stopt-Shake, is (only) differing from the Open-Shake,* 2.41 in that you are always to use some One of your Vnder-fingers, in your Shaking, and to Stop, one of your Vpper-fingers, upon some Letter, and then Shake with an Vnder-Finger. As for Ex∣ample, Suppose you stop the Letter 〈♫〉〈♫〉 upon the 2d. String, with your Fore-finger: Then must you make your Shake, from the Letter 〈♫〉〈♫〉, (because It is the Aire) upon the same String, with your Little Finger▪ Remembring to Stop the 〈♫〉〈♫〉, Hard and Close, all the time of your Shaking; and if you will have a Soft, and Smooth Shake, then only Beat the Letter 〈♫〉〈♫〉 Hard, and Quick, directly down, and up, with the very Tip of your Little Finger; but if you would have a Hard, or Tearing Shake, then Nibble the 〈♫〉〈♫〉 strongly, and very quick, and it will give you Full Content; and so for all Stopt Strings, which require Shaking.
You must likewise know, That a Shake is not always to be made 2 Fretts off, (which is a Full Note Distance,) but as often from One Frett, (which is but Half a Notes Distance.)
And to know certainly, when to do One,* 2.42 and the Other pro∣perly; Take This General, and Certain Rule; (never to be alter∣ed) which is, That All Shakes, must be made, either from the Half, or Whole Note; according to the Aire, and Humour of your
Tuning, and Lesson. As for Example. In this next Musick Line, I have set the Aire of the Tuning down, upon every One of the Six Strings, which only are to be Shaked; the Bass, never.
* 2.43〈♫〉〈♫〉
Observe the Order of the Treble String first, and see which are Whole Notes, and which are Half Notes, from each other.
First, from 〈♫〉〈♫〉, to 〈♫〉〈♫〉, is a Whole Note, (because 2 Fretts.)
From 〈♫〉〈♫〉, to 〈♫〉〈♫〉, is likewise a Whole Note, for the same Reason.
From 〈♫〉〈♫〉, to 〈♫〉〈♫〉, is but Half a Note, (because but One Frett.)
From 〈♫〉〈♫〉, to 〈♫〉〈♫〉, is a Whole Note; and from 〈♫〉〈♫〉, to 〈♫〉〈♫〉, a Whole Note.
* 2.44Thus, by This Rule, Examine all the rest, and you cannot fail, to know Whole Notes, and Half Notes; which is a certain Rule, both for Shakes, Relishes, Elevations and Back-falls, ne∣ver to be contradicted; That is, Every Shake, is to be made in the Aire, viz.
If I would Shake 〈♫〉〈♫〉, upon the Treble String, I must first stop 〈♫〉〈♫〉, and then Shake It, in 〈♫〉〈♫〉-Frett.
Likewise, If I would Shake 〈♫〉〈♫〉, upon the 2d. or 4th. String, I must stop 〈♫〉〈♫〉, and then Shake it in 〈♫〉〈♫〉-Frett, (because that is the Aire, and but Half a Note.)
This I suppose enough, to make you know the Certain Place of Shaking any Note.
I will, from hence, proceed to the Back-fall, because the same General Rule, is proper for them both.
* 2.45A Back-fall, is only Thus; viz. Let your Note be what it will; It must 1st. partake of the Tone of another Note, or Half Note above it, before it Sound, As for Example.
Suppose I would Back-fall 〈♫〉〈♫〉, upon the Treble String, then I must 1st. stop 〈♫〉〈♫〉, upon the same String, and strike it, as if I did absolutely intend 〈♫〉〈♫〉 (only) should Sound; yet so soon as I have so struck 〈♫〉〈♫〉, I must, with the Stopping Finger (only) cause the 〈♫〉〈♫〉, to sound, by taking it off, in a kind of a Twitch, so that the Letter 〈♫〉〈♫〉, may Sound, (by reason of that Twitch, or Falling back) pre∣sently after the Letter 〈♫〉〈♫〉, is struck, &c.
This is called a Back-fall, and there needs no more to be said of it, (It being so Easie to be understood.)
Now you must know, That the Back-fall may be either Plain, or Shaked; if Plain, you have done it already, by the last Di∣rection.
If Shaked, then Thus, viz.
When you have given it that Twitch, (I have not a fitter word to give it) you must Shake it, either with the Loud, or Soft Shake, (in the proper Letter) afterward, as if it had not been Back-fall'd; and This, is likewise sufficient for It.
The Beate, is your Letter struck;* 2.46 (be it what it will) and so soon as it is struck, that Sound must be Falsifyed, always into a Half Note beneath, by taking up your Finger, (as if you would Back-fall the False Note, from that stop'd Letter) and strongly, so shaked, to and again; yet, at last, the same Finger, must rest down, in the 1st. True Note. As for Example.
If I would make a Beate upon 〈♫〉〈♫〉, on the 4th. String, I must, at the same time, (together with that 〈♫〉〈♫〉) stop 〈♫〉〈♫〉, on the same String;; and, so soon as I have struck the 〈♫〉〈♫〉, I must Twith it up, and by the Twitch, cause the 〈♫〉〈♫〉 to Sound, and so continue in that Quick Motion, as if I did only intend to Shake the 〈♫〉〈♫〉; yet, so strongly knocking down my Finger into 〈♫〉〈♫〉, that at every Knock, or Motion, 〈♫〉〈♫〉 may be Equally heard with 〈♫〉〈♫〉; and when I have thus continued Beating, so long as my Time will allow me, I must then give the last Knock into 〈♫〉〈♫〉, with all the strength I can; so that 〈♫〉〈♫〉 must be Eminently heard at that very last:* 2.47 For you must know This, That whatever your Grace be, you must, in your Fare-well, express the True Note perfectly, or else your pretended Grace, will prove a Disgrace.
The Half-fall, is ever from a Half Note beneath,* 2.48 (as is the Beate) and is performed, by striking that Half Note first; but so soon, as that is so struck, you must readily Clap down the True Note, (with the proper Finger, standing ready) without any fur∣ther striking. Explained Thus.
Suppose I would make a Half-fall to 〈♫〉〈♫〉, upon the Treble, (or any other String) I must place a Finger in 〈♫〉〈♫〉 upon the same String, and absolutely strike 〈♫〉〈♫〉, as if nothing else were intended▪ but so soon as 〈♫〉〈♫〉 has given its perfect Sound, my next Finger, must fall smartly into 〈♫〉〈♫〉; so that 〈♫〉〈♫〉 may Sound strongly, only by That Fall; which will cause a Pritty, Neat, and Soft Sound, without any other striking, and this is the Half-fall.
The Whole-fall, is a Grace, much out of use, in These our Days;* 2.49 yet because, in some Cases it is very Good, and Handsome, and may give Delight, and Content to many, who think fit to use It; know, it is Thus Performed; viz. It gives Two False Letters, be∣fore the True intended Letter comes in. Explained thus.
Suppose I would give a Whole-fall, to the Letter 〈♫〉〈♫〉, upon the 5th. String: Then I must first strike 〈♫〉〈♫〉, upon that String; and then fall my Fore-finger hard, upon 〈♫〉〈♫〉, on the same String, and so closely after, (holding 〈♫〉〈♫〉 still stopt) fall my 3d. or Little Fin∣ger, as hard into the True intended Letter 〈♫〉〈♫〉; and thus the Per∣formance is Finished; yet always observing, (that for an Equality, and Evenness, in these 3 Sounds) which is a thing Chiefly to be Regarded) you must take Care,* 2.50 that you strike not the first so Loud, as that the strength of the Finger, is not sufficient to cause the other 2 following Letters to Sound as Loud, as the first, which was struck. Therefore, ever at a Whole-fall, strike the first Note of the 3, Softly; so may you with the more Ease, and Certainty, make the next 2, as Loud; for a Man cannot fall a String so Loud, as he can strike it.
This is sufficient to Explain the Whole-fall; Only Note, That you always fall it, through the proper Ayre-Notes of the Key, (which to a Musical Ear, is Naturally known.)
Sometimes, it will be 2 Full Notes; as, suppose you should Fall 〈♫〉〈♫〉, on the 3d, String; Then must you Fall it from 〈♫〉〈♫〉, into 〈♫〉〈♫〉, and so into your True Note 〈♫〉〈♫〉, which is the Ayre of that 3d. String, for Those Notes in this Tuning.
* 2.51THe Elevation, the Single Relish, and the Double Relish, will take up too much Trouble to Explain Them, by Words only; and will better be done, by Notes, or Letters, because they are to be performed, by many, and various Notes. Therefore, in Their Explanation, I will use a Musick Line▪ and Letters, for your more Easie understanding of Them.
The Elevation, is generally to be made in the Ascension, or Descension of a 3d. and always upon the Middle Note; (But in saying a 3d. or 3 Notes, I do not mean al∣ways 〈♫〉〈♫〉 3 Full Notes; for there is a 3d. Major, and a 3d. Minor, as are Here Explained. As for Example.
Those 3 1st. are a 3d. or 3 Full Notes Ascending, which we 〈♫〉〈♫〉 call 3d. Major, or Sharp 3d. and the 2d. 3, are a 3d. or 3 Full Notes Descending.
The 1st. 3 of these, are a 3d. Ascending,, with the Half Note in the midst, which we call a Flat 3d. or a 3d. Minor; the last 3, are the same Descending.
Now, from any of These Notes, you shall know, how the Ele∣vation is to be made, and that is always upon the midst of the 3; Thus, 1st. according to the 3 Full, or Whole Notes, as in the 1st. Six Letters upon the 3d. String. Explained Thus.
The 2d. 3 Thus.
* 2.52〈♫〉〈♫〉
Thus the Elevation is express'd, both Ascending, and Descend∣ing, as you may see (by this Line) upon the Letter 〈♫〉〈♫〉, which takes up 5 Letters; (as you see link'd together by a Hoop'd Stroak) None of which, are to be struck, but only the 1st. 〈♫〉〈♫〉, and all the rest are to be performed by the Activity of the Left Hand, in the manner of Falling, or Sliding.
The Falling, you have had express'd before; and the Sliding, shall by and by be Explained.
Let this suffice to express the Elevation; only you must Re∣member, that as in your Falling of the Whole-Fall, I gave you a Note, not to Hit your 1st. of the Number, Harder than you were able, to cause All the rest following, to give the same strength of Sound; so must you do in This: For they must always be Equal in Loudness; which will require a pritty Careful Practice: For 'tis a Hard Grace.
The 3d. Minor, or Flat 3d. is done after the same manner; yet observing the Ayre of your Lesson.
The Single Relish, (after This,* 2.53 is understood) will be very Easie, as being but a piece, or part of the Elevation; and is likewise generally done upon the Ascension, or Descension of a 3d. Thus.
Ascending a 3d. Thus. Descending a 3d. Thus.
〈♫〉〈♫〉
Explained Thus, 1st. Ascending.
〈♫〉〈♫〉
2d. Descending.
〈♫〉〈♫〉
Note, That the 2d. Note, upon which you perform the Relish, has a Back-fall, which would always be performed very strongly, and smartly, before you attempt the other 2 Notes; which is All that is needful to be express'd, concerning the Single Relish.
The Double Relish, is a Grace, very profitable to practice,* 2.54 for the making the Hand Nimble, Quick, and Even; But upon the Lute is not us'd to be performed, by any Sliding, or Falling of Notes, as Others are; because It consists of too many Notes, to be performed, without some other Help, than by the Left Hand; But is done in This following manner, Thus.
〈♫〉〈♫〉
All This, is but called the Double Relish, expressing Those 3 Plain Notes.
In Encient Times, the Well, and True Performance of It, upon the several Keys, throughout the Instrument, (either Lute, or Viol) was accounted an Eminent piece of Excellency, though now, we use it not at all in our Compositions upon the Lute.
However, I shall commend the Private use, and Practice of It, to All Practitioners, as a very Beneficial piece of Practice, for the Command of the Hand. And although the very Shape, and Fashi∣on of It, be not at This Day in General use; yet I will set down such Allusions to It, or such Kind of Dependences upon It, (when I come to give Further Directions for the Hand) as shall pass, with very much Grace, and Modish-Good-Applause.
But I must 1st. make an end of Explaining the rest of These Graces, which I will hasten to do.
* 2.55The next therefore, is the Slur, and is no more than the Falling of so many Letters, (Ascending) as you can, upon Any one String; only by hitting the 1st. as you did the Whole-fall. As for Example. All Those, which are Hooped in, go under the Name of Slurr'd-Notes; only hitting the 1st. and Falling the rest, as in the Elevation before.
Explained Thus. 〈♫〉〈♫〉
The Slide, is near of Kin to the Slur, and differs only Thus; your Notes are always Descending,* 2.56 and Mark'd with a Hoop, or Slide, as your Slur. As for Example.
* 2.57〈♫〉〈♫〉
We seldom Slide above 2, or 3 at a time, 〈♫〉〈♫〉 as you may see marked in the 1st. 2d. and 3d. Barrs, with the Slide.
Sometimes we Slide Four, as in the Little Short Line.
The doing of This, is no more, than 1st. to make all the Stopt Letters Ready, (that is, have Them all Stopt together;) Then hit the 1st. and Twitch the rest, with your Stopt Fingers, one from another, as you take Them off, and Remember to do them All Equally, for Distance, and Loudness, according to former Directions.
The Spinger, is a Grace, very Neat, and Curious,* 2.58 for some sort of Notes; and is done Thus, viz.
After you have Hit your Note, which you intend to make the Grace upon, you must (just as you intend to part with your Note) Dab one of your next Fingers lightly upon the same String▪ a Fret, or 2 Fretts below, (according to the Ayre) as if you did intend to stop the String, in that Place; yet so Gently, that you do not cause the String to Sound, in That stop, (so dab'd;) but only so, that it may suddenly take away That Sound, which you last struck; yet give some small Tincture of a New Note; but not Distinctly to be heard, as a Note; which Grace (if Well done, and Properly) is very Taking▪ and Pleasant.
The Sting, is another very Neat, and Pritty Grace;* 2.59 (But not Modish in These Days) yet, for some sorts of Humours, very Ex∣cellent; And is Thus done, (upon a Long Note, and a Single String) first strike your Note, and so soon as It is struck, hold your Finger (but not too Hard) stopt upon the Place, (letting your Thumb loose) and wave your Hand (Exactly) downwards, and upwards, several Times, from the Nut, to the Bridge; by which Motion, your Finger will draw, or stretch the String a little upwards, and down∣wards, so, as to make the Sound seem to Swell with pritty unex∣pected Humour, and gives much Contentment, upon Cases.
The Tut, is a Grace, always performed with the Right Hand,* 2.60 and is a sudden taking away the Sound of any Note, and in such a manner, as it will seem to cry Tut; and is very Pritty, and Easily done, Thus.
When you would perform This Grace, it is but to strike your Letter, (which you intend shall be so Grac'd) with one of your Fingers, and immediately clap on your next striking Finger, upon the String which you struck; in which doing, you suddenly take away the Sound of the Letter, which is that, we call the Tut;* 2.61 and if you do it clearly, it will seem to speak the word Tut, so plain∣ly, as if it were a Living Creature, Speakable.
The next, (which I (my self) only call a Grace;* 2.62 because no Master ever yet (as I can find) directed it, as a Grace, but my self) is to Play some part of the Lesson Loud, and some part Soft; which gives much more Grace, and Lustre to Play, than any other Grace, whatsoever: Therefore I commend It, as a Principal, and Chief-Ornamental-Grace (in its Proper Place)
The last of All, is the Pause;* 2.63 which although it be not a Grace, of any performance, nor likewise Mumbered amongst the Graces, by others, yet the performance of It, (in proper Places) adds much Grace: And the thing to be done, is but only to make a kind of Cessation, or standing still, sometimes Longer,
and sometimes Shorter, according to the Nature, or Requiring of the Humour of the Musick; which if in Its due Place be made, is a very Excellent Grace.
I have now done, with the Declaration, and Explanation of the Graces.
I will therefore proceed, to (what I suppose you long for) viz. the further Explaining of Lute-Play.
I Can Remember but One Thing more; which I count Needful, that you be informed in, before you shall find your self suffi∣ciently Able to give a True Account of every performance in Any Lesson, that you shall meet with.
And it is the knowledge of the Right-Hand-Fingering, in a General way:* 2.64 Which Thing, in this Chapter, I will endeavour to Explain; and the rather, because it is too Great a Trouble, in the Pricking, or Printing of Many Lessons, to set down the Fin∣gering, to every Note.
Besides, for your future satisfaction, and that you may Play by a Certain Rule, and not upon Trust, at a Venture, with much Vn∣certainty, not knowing a Reason for what you do: Wherefore, attend This General Rule; which shall never fail you, for True Fingering.
You must know, all Lessons you shall meet with, either will, or should be Barr'd;* 2.65 so that when you see the Barr, you will easily perceive, what sort of Notes it consists of, viz. of Even, or Odd Notes.
If They be all Even Notes, either of One Kind, or Mixt, (provided they be mixt Even; as 2 Crochets, and 4 Quavers to∣gether, or any such;) Then, ever begin the first, with your 2d. Finger, and then the 2d. with your 1st. Finger, &c. as you will see in most of Those 7 Praeludes, I set you down before, with their Fingering Mark'd.
But in Case your Thumb shall begin any Barr, with a Single Letter,* 2.66 (as in the 7th Praelude, in B-mi, It did) you must know, that In such a Case, your Thumb supplies the Place, and Office of your 2d. Finger, as in that Praelude you may see, in most of the Barrs, quite through.
But when the 2d. Finger, shall begin a Barr Single, and the 2d. Note of the Barr shall be struck with the Thumb,* 2.67 (as in the 5th. Praelude in Gam-ut, you may see;) Then the Thumb sup∣plies the Place, and Office of the Fore-finger, your 2d. Finger still keeping Its Course, in taking the 3d. or next Note. Thus, (let your Lesson be so long as it will) if your Barr consist of Even Notes, or Evenly Mixt; make no Scruple, but perform it always in This Even manner; which is the Sure, and Best way of Play∣ing All Divisions, so falling out.
But if you meet a Barr, not Evenly Mixt, as one Crochet, and 2 Quavers, for the 1st. 3 Notes; and then the like again, for the 2d. Three Notes, (or the like;) In such a Case, you must only have Respect to Those Even Notes, of a Kind, (in that Barr) viz. which are the 1st. 2 Quavers, and which the last 2 Quavers; and begin Them, with your 2d. Finger, although you struck the Former Note, with the same Finger; as Thus, for Example, you may see in These 2 Barrs.
〈♫〉〈♫〉* 2.68
I suppose, you remember, that a Single Treble, and a Bass, is always to be struck with the 2d. Finger, and the Thumb.
Let This suffice, for Even Notes in a Barr.
But when you meet with Odd Notes in a Barr, Thus.
Odd Notes in a Barr, how.
〈♫〉〈♫〉
Then Play Those Three 1st. Notes of the Barr, as you see them Mark'd, (which is Natural, and proper Fingering;) but then, at the 4th. Note, you will perceive, that Those remaining 4 Notes, will prove to be Even Notes, and of a Kind, (as to the Rule of Fingering) though Two of Them be Semiquavers, and Two of Them Quavers; That is, they are 2 and 2 of a Kind; which is all the Concern of your Observation in Fingering: Therefore, you must Turn your 2d. Finger, although you struck the stop be∣fore, with the same Finger.
The 2d. and 3d. Barrs▪ are both of the same Nature, as you see I have Mark'd Them.
This may serve for a Sufficient Direction,* 2.69 for your General Observation, in your Right Hand Fingering, viz. That whensoe∣ver you meet with Even Notes of a Kind, in a Barr, you are to begin the 1st. of that Even Number, with your 2d. Finger; al∣though the Barr, in the whole, consists of Even, or Odd.
In Triple Time, you will often meet with Three Odd Quavers,* 2.70 Thus, as in this Example following on the other side.
* 2.71Example Thus. 〈♫〉〈♫〉
The Rule will still hold Good; For you must hit the 1st. odd Quaver, with your Fore-finger; and then the 2 last, (which are Even Notes of a Kind) begin, as you see, with the 2d. Finger.
I think I need say no more, concerning this General Rule, for Fingering: Yet sometimes, there will happen such kind of Notes, and Passages, which we find, will be more Handsomly Convenient, to be Play'd, Contrary to This General Rule; some of which I will here set you down.
* 2.72〈♫〉〈♫〉
Observe the 3d. Note of This Rudiment, and you will perceive, that It is a Semiquaver; and they are all so, till you come to the Fifth Note of the last Barr: They are likewise Notes of a Kind; so, that according to your General Rule, All Those Notes should be Played with contrary Fingering, to what you see them here set; viz. Whereas you see them Mark'd, to begin with the First, and Second Finger, they should begin with the Second, and First Finger.
* 2.73Now, my Reason is This; because, that in This Place, It is more Natural, according to the Formation of the Hand; and so It will be more familiarly easie, and ready for the Hand, to perform Those Notes (as they so stand) than according to the General Rule: Which if you attentively observe, you may easily perceive.
As for Example; Take notice, how that the Fore-finger, of your Striking Hand, (stands in Its Posture of Play) more conveni∣ently ready over the 2d. String, than over the 1st. So also doth the 2d. Finger, (at the same Instant) stand more ready, over the Treble String, than over the 2d. So that, if you will make your Preparation, as formerly I have directed, viz. To make your 2d. Note ready, (with both Hands) before you strike your First; I say, (Thus Preparing) you cannot chuse but perceive, how that the Natural Formation of the Right Hand, doth Invite you to This manner of Play, in This Place; And so would be in all other, hapning in the same Kind. As for Example.
Here is another such.
〈♫〉〈♫〉* 2.74
The 1st. Barr, is according to the General Rule; But the 2d. you see, is just in the Nature of the other above, Contradictory; and therefore, would be so performed.
Now, It will be very good, (for your Experience,* 2.75 and Con∣firmation) to try to Play These 2 last Examples, according to the General Rule; by which means, you will more apparently per∣ceive the Difference, and Reasonableness of This Exception; For you will find, by such Tryal, that you cannot perform Those Notes, so smoothly, and easily by the Rule-Play, as by the Exception-Play.
I will still proceed in This Kind of Explanation; because, that in the doing of It, I shall do you Two Great Advantages.
The One shall be, I will Explain All (or the most part of) such Passages, as usually are so performed upon This Tu∣ning, or the Lute in General; by which doing, you shall ever after be put out of doubt, as to the right order of all such Perfor∣mances.
Then 2dly. I shall give you such an Advantage, as to the Gene∣ral way, of Curious coming to the several Closes of Those several Keys; in which I shall Express Them, as will be a great means, to enable you to Command a Kind of Voluntary Play upon the Lute; which Thing indeed I do aim▪ at; And it shall be the very next adjoyn∣ing Work to This, which I do intend (God Willing) to Endeavour: The which, (to be able to do) is the Most Ab∣solute, and Most Satisfactory Piece of Performance,* 2.76 that any Person can Attain unto, upon This, or upon any other Instru∣ment.
But First, I will make an end of This kind of Play.
Here therefore, are Five other such Examples; which, (with the former Two) runs through All the Keys; and I sup∣pose will be sufficient, to enable you, both to know when, and how to Break the General Rule-Play, upon All such Cases, at any time. And also, (if you often Practice These following Exam∣ples; which you may do at any time, upon Tuning your Lute, &c.) and which will seem very Handsom, upon That, or any other Occa∣sion, and add Lustre to your Play also, and make your Hand Neat Agile, and Fine; For you must know, That such kind of Come-offs, as These, are accounted Quaintnesses, or Elegancies; and in Play, Esteemed very Credible, in the Performer, if he Perform Them Accurately, and Curiously Well. And here, in this next Page following, you shall have Them set you.
Example in D-sol-re-Key.
〈♫〉〈♫〉 〈♫〉〈♫〉
Example in E-la-mi-Key.
〈♫〉〈♫〉 〈♫〉〈♫〉
Example in F-fa-ut-Key.
〈♫〉〈♫〉
Example in Gam-ut-Key.
〈♫〉〈♫〉
Example in B-mi-Key.
〈♫〉〈♫〉
In this last Example, Tune F-fa-ut, (or the Ninth String) Sharp.
Now, I will (according to my promise) proceed, and en∣deavour, both to advantage you farther in your Experience, and Abilities, in Reference to your more Exact Performances; As also, (if you take good notice of what you shall meet withall) to enable you, to Manage the Lute, (not only like a Good Scho∣lar in Playing of Lessons, (set you) well, but) as a Master: That is, To be able, (upon the Touch of any String, or Key) so to follow such a Touch, or such a Humour, as on the sudden, you either accidentally Hit upon; or else shall Design unto your self, to follow like a Master; the which shall be done, by the Expressions of sundry and various Humours, and Conceits, in the Nature of Ex tempore, or Voluntary Play,* 2.77 proceeding from One Key to Ano∣ther, Orderly, and Naturally; which is a Thing very few know how to do, and fewer put in Practice: But none at all, (that yet I could ever hear of) who have attempted, to give it in Ex∣ample, as hereafter, 〈…〉〈…〉 Work, you shall find done.
I will therefore proceed to Examples; and make my Discour∣ses upon several Cases, according as Need shall require.
To which end I must first inform you, of Two Principal Mat∣ters, in Reference to Voluntary Play.
The First is.* 2.78 You must have a special regard to That Particu∣lar Key you first Touch, or attempt to Play upon; and is common∣ly done, when your Lute is well in Tune: And in the doing of which, It is ordinary to seem to Dwell, or Abide upon some String, or Note, by which the Key will quickly be known.
Then 2dly, Express some little Humour, or other, presently after;* 2.79 by which the Auditor may discern some Shape, or Form of Mat∣ter▪ which you intend to follow: Both which, if you can do Well, and Maintain; you will pass for an Able Lutenist, or Master.
The Key may be known 4 several ways.* 2.80
First, By the Bass, or Diapason; which if you make for your Beginning Stroak, there is no doubt, but It must stand for your Key.
Secondly, by the Third, or Tenth, to your Bass (reckoning upwards.)
Thirdly, by the Fifth, or Twelfth, to the Bass.
And Lastly, by the Eighth.
I say, by these Four ways, your Key may be known.
As for Example: Suppose I intend to Play a Praelude in C-fa-ut-Key, and to manifest, what Key I do intend to Play in, I will begin Thus, with the last Great String, which is the Diapason of C-fa-ut.
The First Praelude beginning in that Key C-fa-ut.
〈♫〉〈♫〉
〈♫〉〈♫〉
Here you may apparently discern the Key, of This Praelude, by the First Note, which is C-fa-ut.
Now for the Fugue, Shape, or Form of This Lesson, you shall know It Thus.
The Fuge is seen in the first Barr, in which is exprest a deter∣minate Order, intimating Matter, and Form of Notes, which Matter, or Conceit; I do intend to pursue, quite through the Lesson.
This Term Fuge, is a Term used among Composers; by which They understand a certain intended Order,* 2.81 Shape, or Form of Notes; signifying, such a Matter, or such an Extention; and is used in Musick, as a Theam, or as a subject Matter in Oratory, on which the Orator intends to Discourse.
And this is the Nature, and Vse of a Fuge in Musick; and, as you may most plainly discern, in This last set Lesson.
Examine It therefore, and observe the 1st. Barr, which speaks the Intent, or Conceit of the whole Lesson; each Barr varying a lit∣tle; yet (as I may say) Tasting of the First, or Alluding There∣unto
* 2.82This is the very way, if well Vnderstood, and Imitated, which will occasion Invention, with much Ease, and Great Delight: But at the present, will (or may) seem a Mystery: However, I will pursue It so long, in what I shall hereafter set down, that I doubt not, but you will Grapple with the meaning of It, well, before I conclude, and to your great Satisfaction, and Advantage.
From this Place, quite through the Book, there is scarce a Lesson, but will Exemplifie This particular Matter of Invention.
I am Engaged next, to let you know, how to express your Key, by a 3d. or 10th. to your Diapason intended.
Now for Example, you still intend C-fa-ut-Key; and you begin to touch your 2d. String, which is a 3d. or 10th. to your intended Key.
Here is a Praelude, which will show you, how That may Hand∣somly be done; As also to Maintain a Fuge, or Humour.
The 2d. Praelude in the 10th. above the Key.
〈♫〉〈♫〉
〈♫〉〈♫〉 〈♫〉〈♫〉
Here the Key is obvious, and Plain, as beginning on the 2d, String, (the Letter 〈♫〉〈♫〉, on the same String being but the same Tone, yet augments the Sound, and makes it a little Fuller;) And that 1st, 〈♫〉〈♫〉 may properly have a Beate to It, for Its Grace, (the which is set;) Likewise the 1st. 〈♫〉〈♫〉, in the 2d. Barr; The 1st. 〈♫〉〈♫〉, in the 3d. Barr; The 〈♫〉〈♫〉, in the 4th. Barr; The 1st. 〈♫〉〈♫〉, in the 5th. Barr; And the 1st. 〈♫〉〈♫〉, in the 9th. Barr.
Note likewise, That All those Letters,* 2.83 which I have Noted for Beates, must be struck with the Thumb; and the Treble above each, with the 2d. Finger.
This may suffice, for the Fingering of the Lesson.
Now, as to the Humour of It, you may observe, That It All Tasts of, or Similizeth with the 1st. Barr, in some small kind; yet not too much of the same Humour; for that is Nautious, and Tire∣some, (which has been Anciently, by some, us'd too much; but too little now a days, by others.
Judgment, gain'd by Experience, must be the best Director in This Matter.
The last part, Is a little a Kin to the Fuge; yet peculiarly a Hu∣mour by It self.
For you may carry on, and maintain several Humours, and Conceits, in the same Lesson; provided they have some Affinity, or Agreement one to the other: But That does require some Ex∣perience▪ and Judgment also; and more than some of our Late Com∣posers of These Times shew, who make their Lessons, as I have known Boys to make their Jacks of Lent;* 2.84 Their Doublet-Sleeves of several Colours, and both differing from the Skirts, and the Body differ∣ing from All, (and yet all very Good Stuffs, Cloth, or Silks, had they been properly, and Judiciously plac'd;) which kind of Ridiculous Com∣posures, have no Good Order, or Compendious Artifice in Them; but are made up at Random, by Hab-Nab, without Care, Skill, or Judgment.* 2.85
Now here, it will not be Impertinent, to make a short Di∣gression, and to say something in This Respect, of Musick; which I believe, every one will not believe, or think possible; and es∣pecially, in the matter of Invention, in Composition.
But Thus much I do affirm, and shall be ready to Prove, by Demonstration, (to any Person Intelligible) That Musick is as a Language, and has Its Significations, as Words have, (if not more strongly) only most people do not understand that Language (perfectly.)
And as an Orator, (when he goes about to make a Speech, Sermon,* 2.86 or Oration) takes to Himself some Subject Matter, to Exercise Himself upon, as a Theam, Text, or the Like; and in That Exercise, can order His Discourse, or Form, various, and sundry ways, at his Pleasure, and yet not stray from, or loose His intended Matter. Even so may a Learned Master, in This Art, do the like; and with as much Ease, Scope, and Freedom (significantly.)
And as in Language, various Humours, Conceits, and Passions, (of All sorts) may be Exprest; so likewise in Musick, may any Humour, Conceit, or Passion (never so various) be Exprest; and so significantly, as any Rhetorical Words, or Expressions are able to do; only, (if I may not be thought too Extravagant in my Expressions) if any Difference be; It is, In that Musick speaks so transcendently, and Communicates Its Notions so In∣telligibly to the Internal, Intellectual, and Incomprehensible Faculties of the Soul;* 2.87 so far beyond all Language of Words, that I confess, and most solemnly affirm, I have been more Sen∣sibly, Fervently, and Zealously Captivated, and drawn into Di∣vine Raptures, and Contemplations, by Those Vnexpressible Rhe∣torical, Vncontroulable Perswasions, and Instructions of Musicks Divine Language, than ever yet I have been, by the best Verbal Rhetorick, that came from any Mans Mouth, either in Pulpit, or elsewhere.
Those Influences, which come along with It, may aptly be compar'd,* 2.88 to Emanations, Communications, or Distillations, of some Sweet, and Heavenly Genius, or Spirit; Mystically, and Vnapprehensibly (yet Effectually) Dispossessing the Soul, and Mind, of All Irregular Disturbing, and Vnquiet Motions; and Stills, and Fills It, with Quietness, Joy, and Peace; Absolute Tranquility, and Vnexpressible Satisfaction.
I speak not by Roat, but by Experience, and what I have of∣ten found, and felt.
This Relation will seem strange to many; which I shall not wonder at; because I know there are but few, which do arrive to that Height, and Degree of Experience, and Knowledge, both of the Art, Practice, or Effects of It, or (which is more) that do make use of Their Musick, in such a Solemn, and Di∣vine way.
But I must break off This Discourse, in This Place, and re∣turn to teach my Scholar, how to begin to Play a Praelude, from the Fifth, or Twelfth. The Example follows, in the next Page.
The Third Praelude in the Fifth.
〈♫〉〈♫〉 〈♫〉〈♫〉
Here is a short Praelude, which begins in the Fifth, or Twelfth, as appears by the First Letter (〈♫〉〈♫〉) upon the Treble String.
The Fuge, or Humour, you may observe lies in the First 4 Notes, and is maintained, quite through; One Strain Retorting upon the Other, in Vniformity; which is a very Great Loveli∣ness, in Musical Expressions; but is too much dis-regarded by many.
In the Playing of This Praelude, use your Fore-finger, and Thumb, almost quite through, according to the Rule of Close-play; which I conceive you may Remember.
The 4th. Praelude in the Eighth above.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
This Praelude begins in the Eighth, to the Diapason; but is properly enough said, to be the Key; yet because I told you of the Eighth, I have here done It.
You must know, that an Eighth, and a Vnison, (in Musick's Nature) is the self same Thing in Effect; as I shall here demon∣strate, by an Example.
* 2.89For, let a Man, and a Woman (or a Boy) sing any Song toge∣ther, (Note, for Note;) And the Woman, or Boy, will as Natu∣rally (and cannot but) sing an Eighth, above the Man, as if they were both the same; which will not do in any other Chorde whate∣ver besides.
* 2.90This Thing must needs be accounted a strange Mystery; and is a Fit Subject for the Greatest Phylosopher to study to give a Good Reason for.
Now, as you have observ'd the last 3 Praeludes, in respect of Their Fugues, Orders, and Forms; So I pray do This, and you will find▪ that the Humour of the 1st. 2 Barrs, is answered, and maintained in the 3d. and 4th. Barrs; Then, from thence, there is Another Humour or Fuge maintain'd to the End▪ yet various, but alluding partly to the 1st.
In the Playing of It▪ use your Thumb, and 2d. Finger for the First Note; and so with your Thumb, and Finger, all the way▪ as you see It Mark'd.
I will now set you a Sett, or a Suit of Lessons, (as we com∣monly call Them) which may be of any Number, as you please, yet commonly are about Half a Dozen.
The First always, should begin▪ in the Nature of a Voluntary Play, which we call a Praeludium, or Praelude.
Then, Allmaine, Ayre, Coranto, Seraband, Toy, or what you please, provided They be all in the same Key; yet (in my opi∣nion) in regard we call Them a Suit of Lessons) They ought to be something a Kin, (as we use to say) or to have some kind of Resemblance in their Conceits, Natures, or Humours.
I will begin This First Sett, with a Praeludium; and still, by It, Endeavour your further Information, concerning Voluntary Play, and maintaining a Fugue, Conceit, or Humour. Therefore Note This following Praelude.
Here begins the First Praelude of the 8 Suits of Lessons, next following.
〈♫〉〈♫〉 〈♫〉〈♫〉
〈♫〉〈♫〉 〈♫〉〈♫〉
Here is now a Longer Praelude, than any yet you have had before; and if you observe the Humour of the 1st. Two Barrs, you will perceive, That the whole Lesson alludes to the same Thing; and yet with pleasant variety: I suppose you will not fail in Playing it with True, and Proper Fingering, by reason, that your Rules are so Plain, and often Repeated before.
Therefore I'le say no more of This, but proceed to the rest of the Sett. And Here is the First.
The First Lesson of the First Sett, called the Authors Mistress.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
Soft Loud
* 2.91This Lesson I call my Mistress; And I shall not think It Im∣pertinent, to detain you here a little Longer than Ordinary, in speaking something of It; The Occasion of It; And why I give It That Name: And I doubt not, but the Relation, I shall give, may conduce to your Advantage, in several Respects; but chiefly, in respect of Invention.
You must first Know, That It is a Lesson, though Old; yet I never knew It Dis-relished by Any; nor is there any One Lesson, in This Book, of that Age, as It is; yet I do Esteem It (in Its Kind) with the Best Lesson in the Book, for several Good Rea∣sons, which I shall here set down.
It is (This very Winter) just 40 Years since I made It; (and yet It is New, because All like It) and Then, when I was past being a Suitor to my Best Beloved, Dearest, and Sweetest Living-Mistress; But not Married; yet Contriving the Best, and Readiest way towards It: And Thus It was,
* 2.92That very Night, in which I was Thus Agitated in my Mind, concerning Her, (My Living Mistress;) She being in York∣shire, and My Self at Cambridge,) Close shut up in My Chamber, Still, and Quiet, about 10, or 11 a Clock at Night, Musing, and Writing Letters to Her; Her Mother, and some other Friends, in Summing up, and Determining the whole Matter, concerning Our Marriage: (You may conceive, I might have very Intent Thoughts, all that Time, and might meet with some Difficulties. (For as yet, I had not gain'd Her Mothers Consent.) So that in My Writings, I was sometimes put to My Studyings. At which Times, (My Lute lying upon My Table) I sometimes took It up, and Walk'd about My Chamber;* 2.93 Letting my Fancy Drive, which way It would, (for I studied nothing, at that Time, as to Musick) yet my Secret Genius, or Fancy, prompted my Fingers, (do what I could) into This very Humour; So that every Time I walk'd, and took up My Lute, (in the Interim, betwixt Writing, and Studying) This Ayre would needs offer It self unto Me, Continually; In so much that at the last, (liking it Well, (and lest It should be Lost,) I took Paper, and set It down, taking no further Notice of It, at That Time; But afterwards, It pass'd abroad, for a very Pleasant, and Delightful Ayre, amongst All; yet I gave It no Name, till a long Time after, nor taking more Notice of It, (in any particular kind) than of any other My Composures, of That Nature.
But after I was Married, and had brought My Wife Home, to Cambridge; It so fell out, that one Rainy Morning I stay'd with∣in; and in My Chamber, My Wife, and I, were all alone; She In∣tent upon Her Needle-Works, and I Playing upon my Lute, at the Table by Her; She sat very Still, and Quiet, Listning to All I Play'd, without a Word a Long Time, till at last, I hapned to Play This Lesson; which, so soon as I had once Play'd, She Earnestly desired Me to Play It again;* 2.94 For, said She, That shall be Called, My Lesson.
From which Words, so spoken, with Emphasis, and Accent, It presently came into my Remembrance, the Time when, and the Oc∣casion
of Its being produced, and returned Her This Answer, viz. That It may very properly be call'd Your Lesson; For when I Com∣pos'd It, You were wholly in My Fancy, and the Chief Object, and Ruler of My Thoughts; telling Her how, and when It was made: And Therefore, ever after, I Thus Call'd It, My Mistress; (And most of My Scholars since, call It, Mrs. Mace, to This Day.)
Thus have I detain'd you, (I hope not too long) with This short Relation; Nor should I have been so seemingly Vain, as to have Inserted It; But that I have an intended purpose, by It, to give some Advantage to the Reader, and doubt not, but to do It, to Those, who will rightly consider, what here I shall further set down, concerning It.
Now in Reference to the Occasion of It, &c.* 2.95 It is worth taking Notice; That there are Times, and particular Seasons, in which the Ablest Master, in his Art, shall not be able to Command his Invention, or produce things, so to his Content, or Liking, as he shall at other Times; but he shall be (as it were) Stupid, Dull, and Shut up, as to any Neat, Spruce, or Curious Invention.
But again, at other Times, he will have Inventions come flowing in upon him, with so much Ease, and Freedom, that his greatest Trouble will be, to Retain, Remember, or Set Them down, in Good Order.
Yet more particularly, as to the Occasion of This Lesson; I would have you take notice, that as it was at such a Time, when I was Wholly, and Intimately possessed, with the True, and Perfect Idea of my Living Mistress, who was at That time Lovely, Fair, Comely, Sweet, Debonair, Vniformly-Neat, and every way Compleat: How could (possibly) my Fancy Run upon any Thing, at That Time, but upon the very Simile, Form, or Likeness, of the same Substantial Thing.
And that This Lesson doth Represent,* 2.96 and Shadow forth such a True Relation, as here I have made, I desire you to take notice of It, in every Particular; which I assure my self, may be of Be∣nefit to any, who shall observe It well.
First therefore, observe the Two First Barrs of It;* 2.97 which will give you the Fugue; which Fugue is maintained quite through the whole Lesson.
Secondly, observe the Form, and Shape of the Whole Lesson,* 2.98 which consists of Two Vniform, and Equal Strains; both Strains having the same Number of Barrs.
Thirdly, observe the Humour of It;* 2.99 which you may perceive (by the Marks, and Directions) is not Common.
These Three Terms, or Things, ought to be considered, in All Compositions, and Performances of This Nature; viz. Ayres, or the Like.
The Fugue, is Lively, Ayrey, Neat, Curious, and Sweet, like my Mistress.
The Form, is Vniform, Comely, Substantial, Grave, and Lovely, like my Mistress.
The Humour, is singularly Spruce, Amiable, Pleasant, Obliging, and Innocent, like my Mistress.
This Relation, to some may seem Odd, Strange, Humorous, and Impertinent; But to Others, (I presume) It may be Intelligible, and Vseful; in that I know, (by Good Experience) that in Mu∣sick All These Significations, (and vastly many more) may (by an Experienc'd; and Vnderstanding Artist) be Clearly, and most Significantly Express'd; yea, even as by Language It self, (If not much more Effectually.)
And also, in that I know, that as a Person is Affected, or Dis∣posed in his Temper, or Humour, by Reason of what Object (of his Mind) soever; He shall at That Time produce Matter, (if he be put to It) Answerable to That Temper, Disposition, or Humour, in which he is.
* 2.100Therefore I would give This as a Caviat, or Caution to any, who do attempt to Exercise Their Fancies, in such▪ Matters of Invention; That They observe Times, and Seasons, and never Force Themselves to any Thing, when they perceive an Indisposition; but wait for a Fitter, and more Hopeful Season; for what comes most Compleatly, comes most Familiarly, Naturally, and Easily, without Pumping for; (as we use to say.)
Strive therefore to be in a Good, Chearful, and Pleasant Hu∣mour always, when you would Compose, or Invent; and then, such will your Productions be: or to say better, Chuse for your Time of Study, and Invention, (if you may) That Time, wherein you are so Disposed, as I have Declared.
And doubtless, as It is in the Study, and Productions of Mu∣sick; so must It needs be, in all other Studies, where the use, and Ex∣ercise of Fancy is Requirable.
I will therefore take a little more pains than ordinary, to give such Directions,* 2.101 as you shall no ways wrong, or injure my Mi∣stress, but do Her all the Right you can, according to Her True Deserts.
First therefore, observe to Play, Soft, and Loud, as you see It Mark'd quite through the Lesson.
Secondly, use That Grace, which I call the Sting, where you see It set, and the Spinger after It.
And then in the last 4 Strains, observe the Slides, and Slurs, and you cannot fail to know my Mistress's Humour, provided you keep True Time, which you must be extreamly careful to do, in All Lessons: For Time is the One half of Musick.
And now I hope I shall not be very hard put to it, to obtain my Pardon, for all This Trouble I have Thus put you to, in the Ex∣ercise of your Patience; especially from Those, who are so Inge∣nious, and Good Natur'd, as to Prize, and Value, such Singular, and Choice Endowments, as I have here made mention of, in so Absolute, and Compleat a Subject; As also, in that they may seve∣ral ways gain Advantages Thereby; which is my Chief Aim, and Drift.
I will now set you, the 2d. Lesson of This Sett,* 2.102 which shall be as one of the same Kindred; and indeed It is so nearly Related unto the First, as I can give It no Name so proper, as the Off-spring; because It came (as I may say) out of the First, (as you shall hear;) For after some time, that My Mistress grew in Esteem, and to be so Generally well liked of (as I have declared) I was desired by some of My Scholars, to make another Part, to Play at the same time with That my Mistress, upon another Lute: Whereupon I Set This next Lesson; and It is so made, that It is both a Consort Lesson, (to the former, upon another Equal Lute) and does pass also for a Lone-Lesson; and call'd often the 2d. Part, or Part of My Mistress. And here It is.
* 2.103〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
In the use of This Lesson, you must Note Two Things especially.* 2.104
The First is, That if at any time you Play It in Consort, (with That other) Those Two last Notes of the Fourth Barr, and the Three First of the Fifth Barr, may be left unplayed, (which thing we call Resting;) because They are the very same Notes, in that place, of the fore∣going Lesson; so that although It will be no Discord, (if Played) yet It is not accounted Handsom to Play the same Thing upon 2 se∣veral Instruments, Consort-wise, at the same time.
But when It is Played as a Lone-Lesson, Those Notes are very Pro∣per, and Fit Aire, to come in, in That Place, in Reference to the Retort in the next Two Barrs following.
But when It is Played, as a Part-Lesson to the other Lute, It is more Ample and Modish to Rest Them 5 Notes, (The other Lute then Playing Them) for that the 2 Lutes will Retort, and Answer one the other much more compleatly, in the same Kind, or Humour.
The 2d. Thing observable is, That when you Play It for a Lone-Lesson, you must, (for the Humour sake) make Three Pauses, in the last Strain, at Those Three Places where you will find Them Thus 〈♫〉〈♫〉 Marked; and Those Three Notes also to have the Sting-Grace, (as you may see It set before Them.)
This is all I shall hint you unto, in This Lesson; for I believe you will find the Humour of It Easily, in regard It is so near of Kin to the former; only remember to Play It Soft, and Loud, as you see It Marked.
Take notice also of the Fugues which are in It, maintain'd to the end, yet various from the other.
The 3d. Lesson of the 1st. Sett, named the Cozen-German.
* 2.105〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
I have on Purpose, set you These Three Lessons together, in that you may the more (for your Experience, and Practice) be informed in That Main Thing, which I have driven at for you, viz. To be able to know, the manner of Managing a Fugne, and so to maintain It, as to bring It in, Properly, with your whole Discourse, into a True and Handsom Form, or Shape, in any Matter you intend to pursue, or have a Design for; and in way of Extemporary, or Vo∣luntary Play.
And as you see, These Three Lessons, are of such a Near Affinity, or Likeness of Humour▪ or Conceit, one to the other, you may the more plainly perceive by Them, after which manner, you may fol∣low, and vary a Fugue, &c.
In This last Lesson, you will see the Fugue follow'd, and main∣taind to the End; and without being Glutted; or Cloyed with It; because It is so variously perform'd, and upon Sundry, and Pleasant
Keys. As also the Exact Vniformity, or Likeness of each Strain, both within Themselves, and also of One Strain to another.
When I talk of Vniformity in a Lesson, I mean Thus.* 2.106
We are to consider of the Lesson, chiefly as to Form, or Shape; which Thing concerns the Composer, principally to be careful of; But as for Fugue, or Humour, you may let Them be what they will; yet They would be so contriv'd, as to have Neatness, and Spruceness in Them; and to be maintain'd Vniformly, and Evenly.
In which Thing we must ever have a Care,* 2.107 first to make our Barrs of every Strain, in Number, Even, (viz. 4, 6, 8, 10, 12, or &c.) and Rarely, or Never to make a Strain of Odd, (viz. 5, 7, 9, 11, or 13, &c.) Barrs in a Strain; for if at any time you chance to meet with a Strain, consisting of Odd Barrs,* 2.108 peruse That Strain well; Ponder It in Its Fugue, Matter and Form, and you will (in the End) perceive, that either some one of Those Barrs, might well have been spared, or else some other put in, or added, (here or there) which might much more have Amplified the Strain; But being as It is, with an Odd Barr, you will find it Incompleat, and Dis-satisfactory; that is, It will not throughly please you, (if you have a True, and Vniform Fancy.)
For It may very aptly be compared to an Oversight, in the ma∣king of Verses,* 2.109 where the Poet (inconsiderately) puts in a Foot too much, or a Foot too little; and in the True Scanning of such Verses, you may easily perceive them Hobble, and not run smooth, which is a great blemish to the Work.
There have been, and still are, very good Masters, and Compo∣sers; as also, Poets, which do not regard this one Thing; And I am very confident, if They were hinted to It, and did well consider It; Themselves would acknowledge Their Oversight, and for the Fu∣ture, always retain the Observance of It.
The 2d. Thing, which makes Vniformity more Lovely in a Strain, is, That Those Even Barrs, may bear some kind of Correspondency, (as I may say) Affinity, or Likeness in their Form, or Shape, one to another; as you may very plainly perceive there is in These 3 foregoing Lessons; (more Examples of which, I shall not need to set down, to cause you to understand my meaning.)
These Two Considerations are to be had, in Reference to one Strain of a Lesson.
But the 3d. Thing, which will make an Absolute, Compleat,* 2.110 and Perfect Vniformity in a Lesson, is, when both Strains, are so con∣triv'd, That They agree Equally, both for Number of Barrs, and for Shape and Form, in such a Retorting way, as is likewise plainly to be seen in Those 3 last mentioned Lessons.
I speak not This to Bind, or Restrain the unbounded, and un∣limited Braveries of Fancy, or Invention of any; For I know there are very Excellent Composures of all Forms, and Shapes, and of Even and Odd Barrs, according to the various Humours, and Pleasures of Men.
And sometimes for a Conceit sake, I have done the like; yet (for all that) upon a Review, and better Consideration, I could
see where, and how easily to Correct such a Defection, (for so still I must call It) in the Fancy, or Humour, by either Adding, or Diminishing; and so make my Lesson still the more Compleat, and Vniform.
Many things are Good, yea very Good; but yet upon After-Consideration, we have met with the Comparative, which is Better; yea, and after That, with the Superlative, (Best of All) by Adding to, or Altering a little, the same Good Thing.
This Thing which I thus hint unto, with what went before, (I dare avouch with confidence) will (by a due Observance of It) prove a most steady,* 2.111 and certain way (easily) to make Hand∣som, and Good Ayre; especially for Lessons of a short Cut, such as are Allmaines, Ayres, Corantoes, Serabands, and such like.
They would ever be made Vniform, and Even.
But as long Lessons, viz. Praeludes, Fancies, Pavines, &c. It is not a Matter of so great Concern; because, that in the Excee∣ding Length of Them, there cannot be such a Nice Notice, taken of their Cuts, or Shapes; besides, They have many times Humours of Pauses, and Flourishes, in a ••ild way, according to their Na∣ture, that it is not expected from Them, to appear in such an Ex∣act, and Punctual Form, as one of These short Ones, which is (more in use, and of a more easie Discern;) Commonly, like a Pair of Verses, of Six, Eight, Ten, or Twelve Feet, which if either be too long, or too short, a very Indifferent Observer, may soon espy the Defect.
These 3 last Lessons, although I have given them such Fansical, Humorous, or Conceited Names; yet (according to their Forms, and Shapes, and Order of their Time, or Proportion) may be call'd short Allmaines, or Ayres.
And that you may hereafter know how to give Right, and Proper Names to all Lessons you meet with, take notice of This General way, how you may know Them, and how you may Order Them.
There are first Praeludes, then 2dly. Fancies, and Voluntaries, 3dly. Pavines,* 2.112 4thly. Allmaines, 5thly. Ayres, 6thly. Galliards, 7thly. Corantoes, 8thly. Serabands, 9thly. Tattle de Moys, 10thly. Chichona's, 11thly. Toyes, or Jiggs, 12thly. Common Tunes; But lastly, Grounds, with Divisions upon them.
And of every of These, I will give you some kind of Knowledge, by way of Description.* 2.113
The Praelude is commonly a Piece of Confused-wild-shapeless-kind of Intricate-Play, (as most use It) in which no perfect Form, Shape, or Vniformity can be perceived; but a Random-Business, Pottering, and Grooping, up and down, from one Stop, or Key, to another; And generally, so performed, to make Tryal, whether the Instrument be well in Tune, or not; by which doing, after they have Compleated Their Tuning, They will (if They be Masters) fall into some kind of Voluntary,* 2.114 or Fansical Play, more Intelligi∣ble; which (if He be a Master, Able) is a way, whereby He may more Fully, and Plainly shew His Excellency, and Ability, than by
other kind of undertaking; and has an unlimited, and unboun∣ded Liberty; In which, he may make use of the Forms, and Shapes of all the rest.
Pavines, are Lessons of 2, 3, or 4 Strains, very Grave, and So∣ber; Full of Art, and Profundity, but seldom us'd,* 2.115 in These our Light Days.
Allmaines, are Lessons very Ayrey, and Lively;* 2.116 and Ge∣nerally of Two Strains, of the Common, or Plain-Time.
Ayres, are, or should be, of the same Time,* 2.117 (yet many make Tripla's, and call them so;) only they differ from Allmaines, by being commonly Shorter, and of a more Quick, and Nimble Performance.
Galliards, are Lessons of 2, or 3 Strains,* 2.118 but are perform'd in a Slow, and Large Triple-Time; and (commonly) Grave, and Sober.
Corantoes, are Lessons of a Shorter Cut,* 2.119 and of a Quicker Tri∣ple-Time; commonly of 2 Strains, and full of Sprightfulness, and Vigour, Lively, Brisk, and Cheerful.
Serabands, are of the Shortest Triple-Time;* 2.120 but are more Toyish, and Light, than Corantoes; and commonly of Two Strains.
A Tattle de Moy, is a New Fashion'd Thing,* 2.121 much like a Sera∣band; only It has more of Conceit in It, as (in a manner) speaking the word, (Tattle de Moy) and of Humour; (as you will find, quite through This Book, where they are set;) That Conceit being never before Published, but Broached together with This Work.
It may supply the Place of a Seraband, at the End of a Suit of Lessons, at any Time.
Chichona's, are only a few Conceited Humorous Notes,* 2.122 at the end of a Suit of Lessons, very Short, (viz.) not many in Num∣ber; yet sometimes▪ consists of Two Strains, although but of Two Semibreves in a Strain, and commonly, of a Grave kind of Humour.
Toys, or Jiggs, are Light-Squibbish Things,* 2.123 only fit for Fan∣tastical, and Easie-Light-Headed People; and are of any sort of Time.
Common Tunes,* 2.124 (so called) are Commonly known by the Boys, and Common People, Singing Them in the Streets; and are of either sort of Time, of which there are many, very Excellent, and well Contriv'd Pieces, Neat, and Spruce Ayre.
The Ground, is a set Number of Slow Notes, very Grave,* 2.125 and Stately; which, (after It is express'd Once, or Twice, very Plain∣ly) then He that hath Good Brains, and a Good Hand, under∣takes to Play several Divisions upon It, Time after Time, till he has shew'd his Bravery, both of Invention, and Hand.
Thus, I have given you to understand, the several sorts, and Shapes, of most Lessons in use.
I will now proceed in This Suit of Lessons, and here set you a short Coranto, as you shall see following in the next Page.
The 4th. Lesson of the 1st. Sett, being a Coranto.
* 2.126〈♫〉〈♫〉 〈♫〉〈♫〉
This Lesson I call a Coranto, and Properly, as you may see, both by the Time, and Shape of It; However, I would have It Play'd in a Slow, and Long Proportion: For the Nature of It, is far more Sober, than a Coranto, and will please you much better so.
The Fugue is seen, in the 3 First Notes, and perceptible all o∣ver the Lessons.
The Form is Even, Vniform, and Perfect.
The Humour, is a kind of Sorrowing, Pittying, and Bemoa∣ning.* 2.127
And as to the General Humour of any Lesson, take This as a Constant Observation; viz. observe It, in Its Form, or Shape; and if you find It Vniform, and Retortive, either in Its Barrs, or Strains, and that It expresseth Short Sentences, (as you may ob∣serve in All These last Four Lessons, that they have done;) Then you will find it very Easie, to Humour a Lesson, by Playing some Sentences Loud, and others again Soft, according as they best please your own Fancy, some very Briskly, and Cou∣ragiously, and some again Gently, Lovingly, Tenderly, and Smoothly.
* 2.128And forget not especially, in such Humours, to make your Pauses,* 2.129 at Proper Places, (which are commonly at the End of such Sentences, where there is a Long Note, as easily you will know how to do, if you give your mind to regard such Things, which give the Greatest Lustre in Play, as I have already told you.
The Playing of This Lesson, is so Familiarly Easie, that I need say no more to It. Therefore here is another.
The 5th. Lesson of the 1st. Sett, being a Coranto, but call'd, I like my Humour well.
* 2.130〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
This Lesson may rather be called a 〈♫〉〈♫〉 Humour, than a Coranto; and has Its Fugue, or Subject Matter (upon which It Treats) exprest in the 1st. Two Barrs, which is throughout maintained, with Handsom, and Various Intermixtures.
The Form is Vniform, (each Strain within It self) though not All of the same Number of Barrs; and yet the 1st. Two Strains are; which is no Errour, but sometimes, (for Humor-sake) more Pleasant, and Delightful, as in this 3d. Strain, which is Humorous, and Conceited, and seems to Mock, or Mowe, or Jest; to be Blyth, or Merry; as if it were telling some Jiggish Story, and Pointing at This, or That Body, all along, till it comes to the 4 last Barrs, where you see the Letter (〈♫〉〈♫〉) upon the 2d. String, with a Full Stop; and where you must Pause, and use the Stinging Grace a Pritty while; and then Softly whirl away, and Conclude.
And although it be Coranto-Time, yet (in regard of the Conceitedness of the Humour) I give It That Name.
And because, that Corantoes (Generally) are but of Two Strains; Therefore I will here following, set you a Perfect Co∣ranto, having said sufficiently concerning This.
The 5th. Lesson of the 1st. Sett, being a Coranto.
* 2.131〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
This Lesson is a Perfect Coranto, and has Its Fuge exprest 〈♫〉〈♫〉 in the 1st. Two Barrs, and is throughout maintained.
Its Form is Vniform, each Strain within It self; the Hu∣mour is Solid, Grave, and very Perswasive, by way of Ar∣gumentation; Expostulating (as it were) the Matter with much Ferventness; which you must Humour, by perform∣ing Soft, and Loud-Play, in Proper Places; where you may ea∣sily perceive such Humour to lye.
Such Observations, as These, will prove several ways Beneficial unto you; both as to your Delight, in your undertaking; and also, a Help to Increase your Knowledge, and Judgment; far beyond that Common way of Poaring, and Drudging at the Pra∣ctice of Lessons, only to Play them Readily, and Quick, which seldom, or never Produceth Judgment, but leaves This Knowledge ever behind It; which is much more than the one Half of the Work.
I will now Conclude This Suit of Lessons, with a Light Business, as commonly we use to do, (and most commonly call'd a Sera∣band;) But because I will be a little Modish, I have invented a New-Fashion'd-One, which I call a Tattle de Moy; Because
It Tattles, and seems to speak, Those very Words, or Syllables, as you may perceive by the Five First Letters of It.
The 7th. Lesson, and Conclusion of This 1st. Sett.
* 2.132〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
This Lesson is not without Its Fugue, Form, and Humour; All which I doubt not, but you will readily find out.
The Fugue, is in the 1st. 2 Barrs; the Form is absolutely Perfect, and Vniform, as you may perceive by the whole.
For you may (by your Eye) divide It into 4 Equal Parts, (viz. 4 Times Eight Barrs.)
Its Humour is Toyish, Joccond, Harmless, and Pleasant; and, as if it were, one Playing with, or Tossing a Ball, up and down; yet It seems to have a very Solemn Countenance, and like unto one of a Sober, and Innocent Condition, or Disposition; not An∣tick, Apish, or Wild, &c.
As to the Performance of It, you will do well to Remember,* 2.133 (as in all the rest, so in This) to Play Loud, and Soft, sometimes Briskly, and sometimes Gently, and Smoothly, here and there, as your Fancy will (no doubt) Prompt you unto, if you make a Right Observation of what I have already told you.
These ways of Discourse, will seem strange, to very many, at the first, because They are unusual; yet I am not out of Hope,* 2.134 but that after a Deliberate-Consideration, had upon the Matter, (toge∣ther with the Practice, of what they may here find; as also comparing This way, of Open, and Free Teaching, with That Gene∣ral Close, and Reserved way, all along us'd) I do not doubt, but they will find such Good Acceptance, as there will be a Right use made of Them; by which the Lute shall be Redeemed from
Those Ignorant,* 2.135 and Belying-Reproaches, and Slanders, which It has (hitherto) all along undergone: And also be so Illustrated, and brought into Deserved Esteem again, that for Ever after, It shall be accounted, and approved (according to Its True Worth) the Best of Portable Instruments: And also very Easily Attaina∣ble, both in the Practick, and Vnderstanding Part thereof; which is the Scope of my Endeavours.
I Suppose now, by what I have hitherto said, and done, you be∣lieve there is a Necessity of Observing These Rules, Thus set down; and that you perceive the great Benefit, that may attend the Ob∣serving Them.
However, lest you may not yet be fully satisfied in your Thorough-Apprehensions of Them, I will next, set you down, another Suit of Lessons; in another Key, and Treat upon Them, as I have done upon These, and by That Time, I shall not the least doubt of your sufficient understanding my Meaning.
Yet, before I set them down, I think it very requisite, to in∣form you in one most Necessary Piece of Mastership;* 2.136 which is ever performed, by Those of Good Skill, when They End a Suit of Lessons, in any one Key, and do intend presently to begin another, in a Differing Key; which is:
They do not Abruptly, and Suddenly Begin, such New Lessons, without some Neat, and Handsom Interluding-Voluntary-like-Play∣ing; which may, by Degrees, (as it were) Steal into That New, and Intended Key.
Now, that you may be able to do It Handsomly, and without Blemish, or Incompleatness, (for you must know, It is a Piece of Quaintness so to do) you must take Notice, that always, when you have made an End of Playing, upon any One Key, (if Dis∣course, or some other Occasion, do not cause a Cessation of Play, for some pritty Time, so as the Remembrance of That Former Key, may, (in a manner) be Forgotten) It will be very Needful, that some care be taken, that you leave That Key Handsomly, and come into that Other you intend Next to Play upon, without Impertinency.
For such Impertinencies, will seem to be very like such a Thing as This,* 2.137 which I shall name viz.
That, when Two, or more Persons have been Soberly, and very In∣tently Discoursing upon some Particular Solid Matter, Musing, and very Ponderously, considering thereof; All on the sudden, some One of Them, shall Abruptly (without any Pause) begin to talk of a Thing Quite of another Nature, nothing relating to the afore∣said Business.
Now, Those By-standers, (who have Judgment) will presently apprehend, That although His Matter might be Good; yet His Manner, and His Wit, might have been better Approv'd of, in
staying some certain, convenient Time, in which he might have found out some Pritty Interluding Discourse, and have taken a Handsom Occasion, to have brought in his New Matter.
Just so, is it in Musick, and more particularly, in this Last-Recited-Matter; as to Chop Different Things of Different Na∣tures, and of Different Keys, one upon the Neck of another, Imper∣tinently.
For I would have It taken Notice of, That Musick, is (at least) as a Language, if It will not be allowed a Perfect One; because It is not so well understood, as It might be, (as I have Declar'd in my little Piece of Poetry, which adjoyns to the Dialogue be∣twixt My Lute, and My Self.
Having thus far prepared you,* 2.138 with an Apprehension of the Needfulness of the Thing; I will now show you how It is to be done, without Abruption, and Absurdness.
First, (as abovesaid) it may be, that Discourse, may take off the Remembrance of the last Key, in which you Play'd, or some Oc∣casion of a Leaving-off, for some Pritty Time, by a String breaking, or the like; or if not, then (as commonly It happens) there may be a need of Examining the Tuning of your Lute, (for the Strings will Alter a little, in the Playing of One Lesson, although they have been well Stretch'd.
But if lately put on, or have been Slacked down by any Mis∣chance of Peggs Slipping, then they will Need Mending, most cer∣tainly.
I say, some such Occasson, may sometimes give you an Oppertu∣nity of coming Handsomly to your New Intended Key: But if none of These shall happen, then you ought, in a Judicious, and Masterly way, to work from your last Key, which you Play'd up∣on, in some Voluntary way, till you have brought your Matter so to pass, that your Auditors may be Captivated with a New Atten∣tion; yet so Insinuatingly, that they may have lost the Remem∣brance of the Foregoing Key, they know not how; nor are they at all concern'd for the Loss of It; but rather taken, with a New Content, and Delight, at your so Cunning, and Compleat Ar∣tifice.
Now, as to your better understanding of This Piece of Art, and Skill; you must first know, that there is a greater Dis-relish, or Offence to the Ear, in passing to some Keys, than to Others. As for Example.
If you end a Sett of Lessons, in C-fa-ut,* 2.139 (as in this last Sett you have done) then do not presently begin a Sett, either in a 2d. above, or below That Key, viz. either in D-sol-re, or in B-mi. For they are the 2 Great Vnsufferable Discords in Nature, (viz. a 2d. and a 7th.)
And although they are not so to be considered, as in Composi∣tion, in This Place; yet there is a secret Tincture of, or Alluding to such a Thing, which will Infuse It self into the Harmonical Part of a Man, whereby he will be a little Disturb'd, or Displeas'd, although he be unskilful, and know not for what Cause; but con∣trary-wise,
fall into any Other Key, and the Blemish will not be so Great, by far.
I will now set down some Examples, how to pass from one Key to another, Neatly.
The last Sett, was in C-fa-ut; your next shall be in F-fa-ut; so that It is Needful, you be able to Play some Little Handsom Thing, to bring you off orderly, from That Key to This.
* 2.146These Six Examples of Interludes, will do you more Credit, and Service, and give you more Satisfaction, and Vnderstanding, in managing of the Lute, in a Masterly way; if you Practice to Play Them Neatly, and make your Observations, how to Imitate, and Make the like, than if I had set you Twice so many Long, and very Good Lessons.
And that you may not doubt of Any Thing you see Prick'd in Them, know, That the first Barr in every one of Them, stands only to shew you the Common Ending of Lessons in C-fa-ut-Key; some being of Triple Time, and some of Plain, or Even Time. So that when you have ended any Lesson in that Key, then you have your Choice of any of These Six Come-offs, to pass Smooth∣ly, and Commendably to F-fa-ut-Key, which you next intend to Play in.
* 2.147Now for your better understanding of the Notion of Fugue, (or Matter;) Form, (or Shape;) Humour, (or Conceit;) I would have you to observe, that in every one of Those Six Interludes, though you see they be very short) may plainly be perceiv'd, All Those 3 Necessary Pertinencies,* 2.148 in reference to Invention, Vo∣luntary-Play, and a Good Composer, viz. Matter, Form, Humour; Life, or Conceit.
And without a due Observance of These, None shall Compose Mu∣sick with that Ease,* 2.149 Familiarity, and Certainty, Compleatness, and Pleasure, as Those who do observe Them.
I will not deny, but that it is possible, to Light, or Hit upon something that may be Good; and do believe, that through a Na∣tural Aptitude, (which is in many) Many do attempt to Compose, and often happen upon very Good Ayre; but know not how it came to pass: Nor do They observe These Things, (because, as I conceive, They might never be informed Thus, concerning Them) yet I say, such Productions must needs be, with Much More Labour, and Trouble, than if They did Thus go about Their Work, by a Certain Rule; which (together with a Good Fancy) would never fail, Quickly to do the Business; yea, and with much Ease, and Readiness.
* 2.150The Rules of Composition, are Few and Easie; and Attainable in a Months Time: And They are published so very well, and Sub∣stantially by divers, that I shall count it an Vnnecessary Trouble, to say any Thing of Them.
But as to the Great, and Principal Matter of a Composer, which is Invention;* 2.151 (and commonly the want of It, is the Greatest Dis∣couragement that a Young Composer meets with) I know no Better way, than what may be found by These Discourses, and Examples; which all along, quite Through the whole Number of Lessons, both for Lute, and Viol, in This Work, I have so contriv'd, That whosoever shall Diligently observe the Order of Them, cannot (possibly) but by Them, and the Discourse, find such Advantages, as I speak of; there being no better way for such a Thing, than Example; the which He shall find in every Lesson in This Book, (excepting One, which shall be Set in the next Sett) according to the above-laid-down-Prin∣cipals, viz. Fugue, Form, and Humour, &c.
I will not say neither, that every One, who makes the Rightest Vse, and Observation of the Best Rules in Art, shall by Those Rules attain to such Curiosity, Quaintness, or Excellency; as shall some Others, who have more Accute, Active, and Spruce Parts Na∣turally; But shall ever be out-done by Them: However, by These Rules, they shall have such Advantages as above-said; and so much for their Certain Assistance, that they shall scarce ever do Ill; although not so Eminently well, as others.
I will now break off This Discourse, and set you another Sett of Lessons; and in F-fa-ut-Key: The first is a Praelude.
The 2d. Sett of Lessons, in F-fa-ut-Key, being a Praelude.
* 2.152〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
The 6th. Lesson of the 2d. Sett, being a Tattle de Moy.
* 2.157〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
* 2.158Observe the Praelude of This last Sett, and you'l find the Fugue apparent, in the 31st. Odd Notes, and the Barr following; and is maintain'd quite through,; yet Pleasantly, and Variously.
And if you Note the Form, you'l find It Vniform, according to what I have before told you.
The Humour must be found out, by Playing Soft, and Loud, and making your Pauses, &c.
The 2d. Lesson, has also Fugue, Perfect Form, and Humour, as you cannot but easily perceive, and find out.
The 3d. has all in It, viz. Fugue, Form, and Humour; yet the Fugue, is not so easily perceiv'd from the beginning, as in the former Lessons. But the Form is Perfect, viz. Even Number of Barrs, in both Strains. The Humour Easie.
The 4th. has All very Perfect, and so visible, that I need only desire you, to Play It Neatly; for 'tis a Pritty Knack.
The 5th. begins not with a Visible Fugue, but has several Allu∣sions, and References, one thing to another, as you will perceive easily in the Playing of It.
Each Strain is Vniform, and even to It self, though not a Perfect Even Form, one to the other; as one Strain having 18 Barrs, and the other 20. You cannot miss of Its Humour.
The 6th. is apparent in Its Fugue; Its form as the last; Its Hu∣mour Familiar, Pleasant, and Innocent.
Your Great Benefit will be, by well Noting, and Studying upon These Discourses, and Lessons, as you Play Them;* 2.159 and be very Curious in That Performance, Playing Them all Smooth, and Clean, without Slubbering the least Letter: By which means one Suit of Lessons, Play'd, and Understood Right, and Well, will Enable you to Play Twenty, quickly.
I will now proceed, and set you another Sett in A-re-Key: Therefore you must first know, how to Pass Handsomly from This last F-fa-ut-Key, unto It; for which end, I have likewise set you Half a Dozen of Interludes, Here following.
* 2.165〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
These Six Interludes, do all partake of the Foregoing Rules, viz. Fugue, Form, and Humour; as you may see plainly; but you must Examine Them Well, and you will Loose no Labour in so doing.
I will now set the Praelude to This 3d. Sett; as you shall see following in the next Page.
The 3d. Sett of Lessons in A-re-Key; Praelude 1.
* 2.166〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
This is a Florish, or a Short Come-off at the End of a Lesson; which may be Imitated upon the like occasion, at any time.
The Praelude you see, has Matter, Form,* 2.167 and Humour in It. And ever when you meet with such Seeming-Single-Moving-Walking Things; and find Affinity between Parts and Parts, or Barrs and Barrs, (as in This you may) then Soft, and Loud Play is the Most Necessary, for to Humour It withall; The which▪ I would have you to observe in All such Lessons; which Thing alone will much Conduce to the Improvement of your Fancy, and Judgment.
Many Drudge,* 2.168 and take much Pains to Play their Lessons ve∣ry Perfectly, (as they call It (that is, Fast) which when they can do, you will perceive Little Life, or Spirit in Them, meerly for want of the Knowledge of This last Thing, I now mention, viz. They do not labour to find out the Humour, Life, or Spirit of their Lessons: Therefore I am more Earnest about It, than ma∣ny (It may be) think Needful: But Experience will confirm what I say.
The 2d. Lesson of the 3d. Sett, being an Allmaine.
* 2.169〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
This Allmaine has the Fugue maintained quite through.
The Form is Vniform, and Perfect; both Strains being of an Equal Number.
Its Humour I will leave to your Finding out; because I will ••xercise your Industry; and so proceed to the next.
The 3d. Lesson in the 3d. Sett being a Coranto.
* 2.170〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
This Coranto, is not without Its Fugue, Form, and Humour.
The Fugue, is not so Apparent, as most of the Former; yet if you seek for It, you will easily perceive It; which I do forbear to tell you; because now it is Time, that you look after It your self; which will be the Greater Improvement unto you.
As to the Form, you may observe an Vniformity in each Strain to It self; yet both Strains are not Equal.
The 1st. Strain, has 3 Times Four Barrs; which speak, (as it were) 3 several Sentences, (Equally.)
The 3d. Strain likewise speaks 3 Sentences, viz. the 2 first, are 4 Barrs a piece: But the last concludes the same Number of Them both, viz. 8 Barrs; the which Vniforms the whole Strain.
Now the Humour, I have assisted you withall, in writing Lo: and So: viz. Loud and Soft; which is enough for This Lesson.
Here is another, which I would have you Play, in a very Sober, and Grave Proportion; for It has a most Singular Humour, in the way of Expostulating Grief, and Sorrow, as much as possibly a Lesson can do; Therefore I call It the Penitent.
The 4th. Lesson of the 3d. Sett, being a Galliard-shape; yet for Its singular, and most Eminent Humour, I call It the Penitent.
* 2.171〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
I shall not need to say more of this Lesson, than that It is Ar∣tificial, with Fugue, Form, and of a very Singular Humour: Therfore Labour to find It out, and then you will be well pleased with It.
Now comes a Lesson, which has neither Fugue, nor very Good Forme, yet a Humour, although none of the Best, which I call Hab-Nab.
The 5th. Lesson of the 3d. Sett, called Hab-Nab.
* 2.172〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
This Last Lesson, (quite Differing from all the whole Num∣ber going before) I have set you here on Purpose; because by It, you may the more Plainly Perceive, what is meant by Fugue: Therefore view every Barr in It, and you will find not any one Barr like another, nor any Affinity in the least kind betwixt Strain, and Strain; yet the Ayre pleaseth some sort of People well enough: But for my own Part, I never was pleased with It; yet because some liked It, I retained It. Nor can I tell, how It came to pass, that I thus made It, only I ve∣ry well remember, the Time, Manner, and Occasion of Its Pro∣duction; (which was on a sudden) without the least Praeme∣ditation, or Study, and meerly Accidentally; and as we use to say,* 2.173 Ex tempore, in the Tuning of a Lute.
And the Occasion, I conceive, might possibly contribute something towards It, which was This.
I had, at that very Instant, (when I made It) an Agitation in Hand (viz. The Stringing up, and Tuning of a Lute, for a Person of an Vnuniform, and Inharmonical Disposition, (as to Musick;) yet in Her self well Proportion'd, Comely, and Hand∣some enough; and Ingenious for other Things; but to Musick very Vnapt; and Learned It, only to please Her Friends, who had a great Desire she should be brought to It, if possible; but never could, to the least Good purpose; so that at the last we both grew weary; (For there is no striving against such a Stream.)
I say, This Occasion, possibly might be the Cause of this so In∣artificial a Piece, in regard that That Person, at that Time, was the Chief Object of my Mind, and Thoughts. I call It Inartificial; be∣cause the Chief Observation, (as to good Performance) is wholly wanting: Yet It is True Musick and has such a Form, and Hu∣mour, as may pass, and give Content to Many; Yet I shall never ad∣vise any to make Things Thus by Hab-Nab, without any Design,* 2.174 as was This: And therefore I give It That Name.
There are Abundance of such Things to be met with, and from the Hands of some, who fain would pass for Good Compo∣sers; yet most of them may be Trac'd, and upon Examination, their Things found, only to be Snaps, and Catches; which they (having been long Conversant in Musick, and can command an Instrument, (through great, and long Practice, some of Them very well) have taken here and there (Hab-Nab) from several Ayres, and Things of other Mens Works, and put them Handsomly together, which then pass for their Own Composi∣tions.
Yet I say, it is no Affront, Offence, or Injury to any Master,* 2.175 for another to take His Fugue, or Point to work upon; nor Dis∣honour for any Artist so to do, provided He shew by His Work∣manship, a Different Discourse, Form, or Humour:* 2.176 But it is rather a Credit, and a Repute for him so to do; for by His Works He shall be known; It being observable.
That Great Master Composers may all along be as well known by Their Compositions; (or Their Own Compositions known to be of Them) as the Great, and Learned Writers may be known by Their Stiles, and Works; which is very Common, and Vsual to be so Distinguish'd, by Those of Judgment, and Experience, in such matters.
These last Ages have produc'd very many Able,* 2.177 and most Ex∣cellent Masters in Musick; Three only (of which) I will Instance in, in This Particular; because they were so Voluminous, and very Eminent in Their Works, viz. Mr. William Lawes, Mr. John Jen∣kins, and Mr. Christopher Simpson.
These Three Famous Men, although Two of Them be laid asleep, (or as we say, Dead;) yet by Their most Singular and Rare Works, They Live; and may so easily be Distinguished, the one from the other, and as Exactly known, which is which, as if they were present in person, and should speak Words.
This is known (to Observable-Able-Masters, and many Others, who are Conversant in such Observations) to be very True.
* 2.178I speak thus much for This End, and Purpose, That it may be more Generally Noted, That there is in Musick, even such a Sig∣nification to the Intelligible, and Vnderstanding Faculty of Man; and such a wonderful-various-way of Expression, even as is in Lan∣guage, Vnbounded, and Vnlimited; and we may as properly, and as Aptly take a Subject Matter to Discourse upon, (for so I will term It) and as Significantly Express to That same, or such a Purpose; and show as much Wit, and Variety, as can the Best Orator, in the way of Oratory: And I would, that this were Better known, and more put into Practice, than (by many) It is.
The 6th. Lesson of the 3d. Sett
* 2.179〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
Here is a Lesson will make a mends for the last, if you Play It Slow, make your Pauses, and observe the Humour of It; which is very Easie, and Familiar; so that I need say no more, but take care to perform It.
The 7th. Lesson of the 3d. Sett.
* 2.180〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
This Ends the 3d. Sett, being a Tattle de Moy.
Find out the Humour your self, by Soft, and Loud Play, in Proper Places; as you may most apparently perceive where.
Here follows Interludes, to carry you Handsomly off from A-re-Key, to the next Sett in D-sol-re; which if you Imitate, you may do the like your self; and so be able to pass from one Key to ano∣ther, in a Voluntary way; which is the most Commendable way of using any Instrument.
Here begins the 4th. Sett in D-sol-re-Key.
The 1st. is a Praeludium.
Praelude.
* 2.187〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
Tattle de Moy.
* 2.193〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
Here Ends the 4th. Sett, in D-sol-re. The next shall be in Gam-ut.
And Here follows Examples of Interludes, to pass from D-sol-re, to Gam-ut.
Allmaine.
* 2.201〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
The End of the 5th. Sett.
And now shall follow a Sett in B-mi-Key, Natural; which I never yet see set upon the Lute. It being a Key, (as some say) very Vnapt, and Improper to Compose any thing in: Yet because you shall see the Bravery, both of the Instrument; as also of This Flat Tuning, I will set down a Sett of Lessons in It; as I have done in the rest of the Keys: And first Vsher you into It with some Interludes, here following.
* 2.222〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 * 2.223〈♫〉〈♫〉 〈♫〉〈♫〉
To Crackle such 3 Part-Stops, (as abovesaid) is only to divide each Stop, with your Thumb, and 2 Fingers; so as not to loose Time; But give each Crochet Its due Quantity; And 〈◊〉〈◊〉 Prittiness; Cause Them to Sobb, by Slacking your Stopping Hand, so soon as They are Struck; yet not to unstop Them, but only so much as may Dead the Sound on a sudden. This gives Great Pleasure in such Cases.
Tune up the 9th. String Half a Note to all This Sett; and also to the Interludes.
And put down the 12th. Half a Note.
Here Ends the Interludes. The Sett follows in B-mi-Key.
Allmaine.
* 2.225〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
Tattle de Moy.
* 2.231〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
I have now made an end of These Seven Suits of Lessons, which I promis'd you, viz. In every Key upon the Scale (Natural) a Suit, with Praeludes, and Interludes; by which it may appear, how Easily, and very Familiarly, This Tuning affords convenien∣cy for Substantial Matter, in every Key; the which you will not find done upon That Other, call'd the New Tuning: Nor (indeed) is It capable of that Familiarity, Ease, and Fullness, so to do, as This Flat Tuning is. However, I love It very well; and will likewise set you (here following) a Suit of Lessons in That Tuning; because, I suppose, you may love to be in Fashion: Therefore first see the Tuning Sett, in this Vnder-Line.
Unisons Eights
〈♫〉〈♫〉
Coranto.
* 2.235〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
I have now Finish'd, and Furnish'd you, with 8 Suits of Lessons, with Praeludes, Interludes, and Florishes, besides all the Former Rudimental-Initiations; from which alone, you may attain to an Exact Order for the Best way of Lute-Play; if you carefully observe Those Directions given.
You have here likewise, seen both the last New Tunings; which (of divers others, now forsaken) are chiefly thought fit to be Retained, (Generally) both in England, France, Germany, Italy, &c. But of These 2 last Tunings, I do Prefer That First, which goes under the Name of the Flat Tuning, and Judge It to be the very-very-Best of Those, call'd the French Tunings; which I shall Endeavour to make Manifest, after I have first shewed you, how to Translate Lessons, from the One Tuning, to the Other; as by This following Table, you may most easily do.
The Flatt Tuning.
〈♫〉〈♫〉
The New Tuning.
〈♫〉〈♫〉
Flatt.
〈♫〉〈♫〉
New.
〈♫〉〈♫〉
This Table of Letters, Comprehends all the Strings, and Letters upon Each Tu∣ning; by which any Person, (who can but Write, and Read) may Readily Translate any Lesson, from the One Tu∣ning, to the Other, and must be done after This manner. As for Example.
First, (laying your Table before you) Thus.
What Letter soever you see upon such a String, in the one Tuning, you must set down (for your Translation) the same Letter, which you find in your Table, answering to That Letter on the Other, viz. More Plain∣ly, Thus.
I find an 〈♫〉〈♫〉, upon the Treble String of the New Tuning, in a
Lesson, which I would Translate to the Flat Tuning; I must then set down an 〈♫〉〈♫〉 likewise, upon the same String, for my Transla∣tion; because That Letter 〈♫〉〈♫〉 is in answer (to It) in my Table. So likewise of all the Rest, upon the Treble, 2d. 5th. and 6th. Strings. All the Difference will be only in the 3d. and 4th. Strings, excepting some little Matter in the Diapasons.
Further yet, supposing you find the Letter 〈♫〉〈♫〉, upon the New Tuning, on the 3d. String; then for your Translation, set down an 〈♫〉〈♫〉 upon the 3d. String; and so forwards, as you see set on that String.
Then again, you find the Letter 〈♫〉〈♫〉, upon the 4th. String, in the New Tuning; for which, you must set down the Letter 〈♫〉〈♫〉▪ for your Translation, upon the 4th. and so of all the Rest in that Line, or String.
Now, whereas the Diapasons do differ, (some of Them in Half Notes, Flatter, or Sharper, the One, from the Other) there is no way to Reconcile Them, but either to Tune Them up,* 2.238 or down, the One, to the Other, (as is very usual, in any Tuning, to alter a Bass, I latter, or Sharper, upon occasion) or else take such a Letter, as you may see in your Table, which answers to such Basses. As for Example.
The Ninth String, in the New Tuning, being Sharp, and the same String, in the Other Tuning, being Flat, you must (if you will not Sharpen your Bass) set down for It, the Letter 〈♫〉〈♫〉, upon the Fifth String; and so of all the Rest.
This I think sufficient, for your Directions, towards the Ge∣neral Translating of any Lessons, in These Two Tunings.
But whereas I said, any Person might do This Thing, by This Rule; yet know, That He who has Skill and Experience in the Instrument, shall do It more Compleatly; because there are certain Stops, in either Tuning, which will fall out a little Cross for the Hand, which by the Skilful may be contriv'd more aptly, and easier for the Hand;* 2.239 some times by changing one Letter, for another; as 〈♫〉〈♫〉 upon the Treble, 〈♫〉〈♫〉 upon the 2d. and h upon the 3d. are all the same Sound; and so you find the same Tones various, quite through the whole Instrument.
Then again, sometimes by Varying, or Transposing the Parts of several Full Stops; all which consists (most commonly) of Vni∣sons, 3d's, 5th's, and 8th's; so that if the Parts chance to lie (in one Tuning) 3d's, 5th's, and 8th's, from the Pass; It may be, they will fall out to lye Better, in the other Tuning, viz. 5th's, 3d's, and 8th's; or 8th's 5th's, and 3d's from the Bass; which is no Difference in the main, and may very well, at any time, be so Transpos'd, in most Full Stops.
So that I say, although the Injudicious may (by This Rule) Translate a Lesson, Well, and Truly; yet the Experienc'd, and Skillfull, shall do It more Compleatly.
And to make This Particular Business yet more Plain, and Satisfactory, take here a View of a Short Lesson, which I have Translated from the New, to the Flat Tuning; after which, I will give you another Exemplary Table, to Translate from the Theorboe, to These Tunings, or from These, to the Theorboe.
This is the Lesson of the New Tuning, to be Translated.
* 2.240〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
It will be very well worth your Exact▪ Noting, the whole Order of This Translated Lesson in both the Tunings; and what Diffe∣rence there will be found as to their Performance in the whole: And withall Take Notice, That I have chosen This Lesson in E-la-mi-Key; which is the very (and only) Glory of That whole Tuning, as may be seen by the First, and Last Stops of the Lesson, which give the Fullness of Harmony, (viz. 3d's, 5th's, and 8th's) all upon Open Strings, which in the Translation you see is a Full Stop, yet easie enough; And by Thus doing, you may see how very Fairly I have dealt by Those who oppose the Flat Tuning, &c. whereas, e contra, If I had taken a Lesson from the Flat Tuning, (in almost any other Key) and made such a like Translation, (as now by the Rule of Translation any Person may do, and which I shall Advise unto) you would have seen a Vast Difference.
This the Translation.
* 2.241〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
In this Translated Lesson, you may see, how that in the very first Full Stop, the Concords are Transpos'd; that is, they lye not in the self-same Order in one Tuning, as they lye in the other; yet both absolutely bear the same Sence, as to Allowance in Com∣position; and also will satisfie fully, in giving the same Ayre to the Ear; which may be sufficient to Hint you to the Observation of the like, in several such Places, when as the Parts cannot lie in the same Order, yet may do as well (so Transpos'd.)
I will now proceed, and set you another Example of Transla∣tion, from the Theorboe, to the French Lute; or from the French, Lute to the Theorboe; as followeth.
The 2d. Table of Translation from the Theorboe to the Lute:
The First Note of the Theorboe is Gam-ut.
* 2.242〈♫〉〈♫〉
Gam-ut.
* 2.243〈♫〉〈♫〉
The Theorboe Basses.
* 2.244〈♫〉〈♫〉
French Lute Basses.
* 2.245〈♫〉〈♫〉
Here you may Note, That although in This Table, I have made the 7th. String Gam-ut, upon the Theorboe; yet you may make such another Table, and make your 6th. String Gam-ut, (which indeed is most proper for a Large,* 2.246 and Full-Sciz'd Theorboe) or any other String you please; only take Notice, That These Two, viz. the 6th. and 7th. Strings, are most generally chosen in most Theorboe-Lutes, for the Gam-ut String.
* 2.247So likewise know, That the 8th. String, is the most Proper String for Gam-ut, upon most French Tunings, and Lutes of a Pritty Full-Scize; yet I say (for your Pleasure) you may make a Table, and set what String you please, for your Gam-ut String, there likewise.
Thus also may you make Tables, for all manner of Tunings, for the Viols, &c. and chuse what String, or Letter you please for your Gam-ut; yet with This Proviso, That you have Respect unto Lessons,* 2.248 and Tunings of Sharp, and Flat Keys; which if you neglect, you will find your Work very Crabbid, and Vnnatural in your Play. That is, your Parts, and Stops will not lie easie,
and familiar for the Hand; which is the Chief, and Main Thing Regardable, in any Composure in Tablature-Play.
Remember also to have Respect to the Scope of the Lessons; that is, to pitch It for such a Key, as you may have Liberty suf∣ficient, for the Compass both of the Treble, and Bass.
I will now make you a Short Treatise, Concerning the Difference between These Two Tunings, and then proceed to the Theorboe.
THere is a Dispute among some,* 2.249 concerning the several Tu∣nings upon the Lute: But the Generality Run after the Newest; which although It be (to my knowledge) at least 40 years old; yet It goes under the Name of the New Tuning still.
Now, because I have in This my Work preferred This Senior Tuning, (which is Generally known by the Name of the Flat Tuning) before That New One; and have also call'd This most Noble Tuning, the Best among the French Tunings: I shall endea∣vour to prove It so to be, by very Good Reason: And Thus I'le Argue, viz.
That Tuning upon any Instrument,* 2.250 which allows the Artist most Scope, Freedom, and Variety; with most Ease, and Familiarity; to Express his Conceptions most Fully, and Compleatly; without Limitation, or Restraint; throughout all the Keys; must needs be accounted the Best Tuning, Now I say, if This be granted, I desire no more: And Thus I proceed.
Tis well known to all Masters in This Art, That in Nature, Na∣turally there are but 7 Keys Distinct, and Proper; by which we Ex∣press All Things, in Musick; for when we come to the Eight from any one Key, we have but (as it were) Rounded the Circumfe∣rence, and come again to the same Point, where we first began; (as shall be Explain'd in This Book hereafter.) This cannot be denyed by any.
Now I say, if This Flat Tuning will give me the Freedom, Na∣turally, Familiarly, and with Ease and Advantage, to Work, in Fullness of Parts, &c. in all Those 7 Keys; And That Other, (call'd the New Tuning) will not so Naturally, Familiarly, and with the like Ease, and Advantages, allow me the like Freedom, to Work with the same Fullness of Parts upon all the 7 Keys: It must needs be granted, That This Flat Tuning, (so call'd) is the Best Tuning, which is the Thing I shall endeavour to prove; and I doubt not, but very Plainly to do It, to Satisfaction.
And because I will for ever cut off all Disputes, and Jangles about this Matter, I will take such a Course, that It shall be un∣deniably Plain to any Rational Knowing Person: And this shall be my way. As for Example.
I will set down, here following, (upon some Musick Lines) all the Full Stops, consisting of 3d's. 5th's, and 8th's, which can be performed upon every Key (Naturally) in both the Tunings; by which Device It will very obviously appear to the Eye of any Indifferent Performer, (much more to the Reason of a Ju∣dicious, and Shilful Artist) which of them affords (in the whole Scope, and Latitude of the Instrument) the most Variety, with most Ease, and Advantage to the Hand; and most Fullness of Parts; in Familiarity to each of the 7 Keys: And in Those Lines following take a view of the Differences betwixt the one, and the other. I will therefore begin with the Strings, as they lye in their Order, from the greatest String first, and so forwards to the Treble String.
And in your Observation, I pray take notice, that although I speake of setting down the Full Stops, consisting of 3d's, 5th's, and 8th's; yet you will meet with some, which have not above 2 Treble Strings joyn'd with the Bass, which in some places sound Vnisons to Themselves; However, They, and such like, in Lute-Play, pass for a Variety, and help to Fill up: There are not ma∣ny of Those; but I could not well avoid Them, because of giving all the Variety I could, in the Breaking of the Full Stops; the which you'l see I have done Equally for both the Tunings.
* 2.251And also I desire, It be Noted, That I do not positively affirm, That I have thus given All the Varieties, which can be gi∣ven, in either Tuning; (for indeed that would have been too Critical a Trouble to search for) yet I dare say, I have gone very near the matter; However, I am ascertain'd, that there can be no such Considerable Oversight in either Tuning; but that This Draught which I have Thus Drawn, may fully satisfie any Reaso∣nable Person, that there is a Vast difference betwixt These 2 Tunings, and that the Advantage lies wholly in This very Excellent Flat Tu∣ning, (so call'd.)
C-fa-ut-Key. Flat Tuning.
〈♫〉〈♫〉 〈♫〉〈♫〉
In all of This C-fa-ut-Key 110.
〈♫〉〈♫〉
C-fa-ut-Key, New way. In all Here but 38.
〈♫〉〈♫〉
D-sol-re-Key, Flat Tuning. In All of This 46.
〈♫〉〈♫〉
D-sol-re-Key, New Tuning. In All Here but 24.
〈♫〉〈♫〉
E-la-mi-Key, Flat Tuning. In All Here 102.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
Turn over for the New Tuning.
F-la-mi-Key, New Tuning. In All Here but 100.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
F-fa-ut-Key, Flat Tuning. In All of This 51.
〈♫〉〈♫〉 〈♫〉〈♫〉
F-fa-ut-Key, New Tuning. In All Here but 16.
〈♫〉〈♫〉
Gam-ut-Key, Flat Tuning. In All of This 61.
〈♫〉〈♫〉 〈♫〉〈♫〉
Gam-ut-Key, New Tuning. In All of This 67.
〈♫〉〈♫〉 〈♫〉〈♫〉
A-re-Key, Flat Tuning. In All of This 168.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
A-re-Key, New Tuning. In All Here but 51.
〈♫〉〈♫〉 〈♫〉〈♫〉
B-mi-Key, Flat Tuning. In All Here but 31.
〈♫〉〈♫〉
B-mi-Key, New way. In all Here 52.
〈♫〉〈♫〉 〈♫〉〈♫〉
The Number of Alltogether in the Flat Tuning, Thus appea∣ring, is 549.
'And of the New Tuning but 350.
So that It appears, in the Flat Tuning, there are very near 200 Stops of Variety, (in such like Chordes as These, viz. of 3d's, 5th's, and 8th's, according to their Natural Flat and Sharp 3'ds) more than are in That, They call the New Tuning; and without all Question, It must needs follow, That the Proportion will answer alike in Those other Stops of Contrary 3d's, 6th's, and all other Varieties, in passing Handsomly, and Conveniently through Dis∣cords, and in making up of Cadences, or Closes, &c. as in the whole Scope of Composition there is a Vast Variety.
And since I have thus far troubled my self, (and perchance some Readers in This Matter) I shall not think It Lost Labour, a little farther to Explain my self in This Particular Thing; because I have known very many to contend for the Credit of This New Tuning, with far Greater Zeal, (but much more Confidence) than True Skill, Examination, or Judgment; And indeed They do pass for very Skilful Men, and may be so, for ought I know; yet Overseen in This Particular; because They have not, (I dare say, in the least) Compar'd Them together, nor Observ'd the True Diffe∣rence between Them; but have been more Ready, and Glad to follow the Modes, and Fashions, than Minding, or Caring for the Substantial Vse of their Art.
Now I desire, for the better understanding of This Dispute, to have It consider'd upon, How many of the 7 Keys This New Tuning is straightned in; First, as to C-fa-ut-Key, (which is the most Noble, Heroick,* 2.253 and Majestical Key, in the whole Scale;) and, if there be any Preheminency to be given to any Key, certainly 'tis due to This, most Eminently; you may see, He is Extreamly Pent, and Strait∣ned. I have a 106, most of Them are very Free and Familiar Stops, easie for the Hand; and he has but 36, and Pittifully Crowded-Bom∣bast Things, in respect of the Flat Tuning, and most of Them Difficult.
See again for D-sol-re, which is likewise a very Stately, Noble,* 2.254 and Majestick useful Key; I have 46, and he but 24, and very much more Intricate, in the use of them, than are those in the Flat Tuning.
Come we now to Ela-mi-Key, (which is the only, and Prin∣cipal Key of the New Tuning) and there I do acknowledge, he has a very Handsom, Free, and Pleasant Scope; and I believe, If I would have troubled my self, to have found out a few more Va∣rieties in It, I might have done so; but when I came to see they were both capable of 100 a piece, I thought it sufficient; they both having Latitude enough.
But now we are to view F-fa-ut-Key, which is an exceeding Brisk, Lofty, and Sparkling Key; and see, how Miserably he is Pinion'd: I protest, I have been very solicitous, for to aug∣ment the Number of 16 Stops for him, but cannot do It any way; whereas the Flat Tuning has, as you may see, 51, Liberal, and Free.
Now as for Gam-ut-Key, I must Vail-Bonnet a little for Num∣ber, he having 67, and I but 51; yet if It be truly considered, according to the Compleatness of the Well and Formal Lying of the Parts, in Reference to Composition; It will be found, that my small Number, will advantage me more in my Performances, than will his Greater, for matter of Compleatness; and that small difference in Number, is not considerable, in respect of what he looseth in the others, especially this next Key to be look'd into, viz. A-re-Key; in which I have (as you may see) 168;* 2.255 he ha∣ving but 51; and observe what Brave ones they be, viz. most of them Clutter'd, Crampish Stops, which must be performed with laying Cross your Fore-finger, which is the Hardest Piece of Play (for clear Stopping) that can be: In this he is (as it were) quite shut out of doors, or so Pen'd up, that he has scarcely any Scop at all. A-re is a Most Excellent Key.
Now come we to the last, viz. B-mi-Key;* 2.256 which may very well be put Hindmost; for It is a Key seldom, or never made use of, (as to be call'd the Key (except It were B-mi-Flat:) I cannot say, that I ever saw a Lute-Lesson set in This Key natural, in all my Life; yet I have attempted the setting of some in This Work, (as you may find:) And in This Key I must again Vail-Bonnet, and give him the Greater Number; but what signifies It? as much as comes to nothing, in regard that Little use is made of It: But that (in the whole) I have Advantage enough, I am suffi∣ciently satisfied; and so I hope will all Vnbiassed Persons be, who will examine the Business aright; and not suffer themselves to be Abus'd, and led by the Swing of the Silly Modes and Fashions, who must needs forsake the Better for the Worse, and connot be therewith contented, except to cry down all besides what They like of; (which if It be New, no matter.)
And now I think I have Explain'd this Business, to the satisfa∣ction of all Rational Men; and as for others, who are only for Fashions; the Fashions go with Them, and They with the Fashions.
* 2.257And as for the compleatness of any Lute-Tuning, there is one thing mainly considerable, which I perceive is not much regarded, and is, viz. the Formation of the Diapasons of the Instrument, to this purpose, viz. That they may Tone in a Natural Order, the True Proportionable Tones of the Scale, as they lye Natu∣rally in their Ranks, or Orders; as you shall find in This Flat Tuning perfectly they do; and so likewise in the Theorboe-Tuning; Explained (for Example) Thus.
Or Thus.
〈♫〉〈♫〉
The Order of the Diapasons, in the Flat Tuning,
〈♫〉〈♫〉
This very thing adds so much Lustre, and Advantage, to the Tuning of an Instrument, and the Musick thereof, that I cannot but desire, it may be taken Notice of. Whereas upon the other, which they call the New Tuning, they want, and are forc'd at their last Diapason, (which should be the Chief Glory of their Lute, as to the Basses, in that kind) to make a Skip, or an Ill-favour'd kind of Halt,* 2.258 (as we use to say,) as if they were Lame; and indeed, what have they Halted unto, but to the most useless, and Improper Key, in the whole nature of Musick, to make a Period upon, (viz. B-mi; or a Half Note) as upon all Judicious Examinations, you will find to be very Silly: For who (in his Natural Recreation of Voice, when he would Please, or Refresh himself, in Toning, in a Pleasant way) will Sing Thus?
* 2.259〈♫〉〈♫〉 But rather Thus, which 〈♫〉〈♫〉 is most Natural.
But if you were pleas'd, or could thus Cross-grain'dly be so contented to Sing, or Toy with your self after this first Order: I say, Examine that Tuning, (upon the New French way) which I speak of; and you will find It take very unhandsome pains, (as I may so say) to get to the last Note, viz. the Octave, or Diapason; and for to get to It, It must (as I said) make a Hop, or a Skip; as for Example, Thus.
〈♫〉〈♫〉
* 2.260And if this be not a Grand Blemish to the Tuning, let any one of a Musical Genius, or of Experience, Judge; It being so very Vn∣natural, and (as to Signification) Nonsensical.
For in a Comparative way,* 2.261 (as I use to tell (and have so done in This Book) Musick, or Musical-Tones, Motions, Forms, or Shapes, are Significant, in reference to something in Language, viz. Conceits, Humours, Passions, or the like.
And here give me leave to be a little Merry, in the midst of Seriousness; (for I cannot chuse but Laugh, when I look upon, Sing, or Strike This Inharmonical Form, or Order of Notes, espe∣cially in the Period of Those Diapasons of That 40 Year-Old-New-Tuning, viz. Thus.
〈♫〉〈♫〉
For me think, I Fancy strongly, the Relish, or Resemblance, of a Person sitting upon a Close-stool; which doubtless you cannot but like∣wise do, especially, if in Singing of Them, you will add a lit∣tle Humour, and Conceit, in Nosing, and Toting out the 1st. Note, and Grooning, or Grunting at the last.
This Vncouth Form, or Order of Notes, is (I say) Thus Aptly, or Na∣turally Capable of such a kind of Ridiculous, or Humorous Conceit. Whereas That other Form of the Flat Tuning is such, that 'tis impos∣sible for Envy, or the Wit of Man, to put any the least Slur, or Affront upon It, and is so Perfectly Harmonical, so Naturally Sweet, Noble, Generous, Free, and Heroick; Expressing so much of Bravery, Gal∣lantry, Resolution, yea even Majesty 〈◊〉〈◊〉 self; that (Really) I cannot but wonder, How such a Dispu•••• as▪ This, should be thus long undetermined, by the Right 〈◊◊〉〈◊◊〉, viz. That the Flat Tuning, is Most Certainly the Best; 〈◊〉〈◊〉 Excelling in ma∣ny Respects.
But as an Old Master-Teacher upon the Lute▪ (and one who has been all along very Zealous for That New Tuning) coming lately to my Chamber, (whilst I was attending the Pre••••••▪) to see what Progress I had made in This My Work; After he had 〈◊〉〈◊〉 over so much as was Printed, and seeing most of my Lessons were in the Flat Tuning, seem'd not to be well pleas'd at It, whereupon I took an occasion to Discourse the Business with him a little, and to Vindicate It; but still he seem'd to persist in his Former Humour, (of Opinion only; for he could give no Reason but only 'twas the Fashion, and the New-Tuning) Then I turn'd him to That Device, which I have set Here in Page 192 &c. which after he had Read, and a while Consider'd upon, he was still and quiet; whereupon I desired Him to tell me seriously what he had to say to It: His Answer was Quick, and Short, (in These very Words) viz. These Things were never look'd into Thus before; which was as much as a Perfect acknowledgment of the Thing which I stand up for. And doubtless All must do the like, when once They Truly look into the Right Reason of It, or else Renounce their own Reason.
I have likewise wondred sometimes, how It came to pass, They have stuck so very long, (viz. 40 Years, or more, and still call It the New Tuning (for shame call It not so) and not yet Chang'd It for another.
But now I think on't, I verily believe I have Hit upon the Right and Perfect Reason, and I am confident, there can be no other possibly, which is This: for no doubt, but they (I mean the Modists) have been long enough Nibbling, Hammering, and Pumping at It, to find out some Other, and would rather than a Great deal they could hit upon One which should be cry'd up for New;* 2.262 but they are at a Non plus ultra; that is, they are Out∣witted; for except they should produce something that may car∣ry a Plausible kind of show with It, they do nothing. And tru∣ly I believe, that the Wit of Man shall never Invent Better Tu∣nings, either upon Lutes, or Viols, than are at this day in Being, and Use;* 2.263 for questionless, All Ways have been Tryed to do It, and the very Best is now in Being; so that let none expect more New Tunings, than now they have, except some Silly, and Inferiour Ones, (as several I have all along seen) but they dye quickly, and follow after their Inventors; but this of the Flat Tuning, and that of the Old-Lute-Tuning, viz. the Theorboe-Tuning, undoubtedly will remain so long as Lutes, and Musick remain upon Earth.
And I am very subject to believe, That there are some Lute-Masters,* 2.264 who do well enough know the True Difference be∣twixt These Two Tunings; yet because they have, (Inconsiderately) either undervalued This, or Cry'd up That so strongly, are now Asham'd to return again unto It, and God knows, the General Ignorance of the People, is too much, to find out the Truth, &c. But Here 'tis Plainly laid Open, if they can but Believe It, when they See It. But one Main Injury by This, is fall'n upon the Sim∣ple Learners, who are made to Believe, that which is not in Nature, viz. That 'tis the Manner of Tuning of an Instrument, that causeth the Excellency of Musick:* 2.265 Now There lies a Great Gul∣lery; for Musick is the same, (quasi Musick) upon all Instru∣ments alike; only some Instruments have a Better Twang, than others have; and also some Tunings, are Better, than others; that is, are more Proper, and Apt, (as I have Sufficiently De∣monstrated already) to perform some things upon, than are others: But this the Scholar understands not; but Thinks, That a New Tuning brings New Musick into the World.
Now, that they shall be undeceived, who are thus Captiva∣ted for want of Skill, and Right Information, I have, (you see) set them down a Rule in Page 186. how They Themselves shall Translate any Lesson, from one Tuning to the other, and the Musick (they shall find) will be the very Same in all Punctilioes, (only as I said) in some Particular Cases, Stops, and Places, there may be a more Easie, or Familiar Way of Expressing such and such things in one Tuning, than in ano∣ther, which alters not the Musick at all.
Now to Conclude This Business in Few Words; Let both These Tunings be Examined, according to a Judicious, and Rational Account; and It shall be found, That the Flat-Tuning, is a most Perfect, Full, Plump, Brisk, Noble, Heroick-Tuning; Free and
Copious; Fit, Aptly, and Liberally to Express any thing, in any of the 7 Keys. But That New Tuning is far short of These Ac∣commodations, and is obviously subject to several Inconveniences, as before I have manifested, and made plain. Yet I do acknow∣ledge, for some things, upon some Keys; it is very Fine, and Neat; but nothing so Substantial, as That Flat One; which most worthily ought to have the Preheminency, and which I doubt not, but It will again Re-assume, when These Things shall be once Examin'd, and Consider'd upon. Besides, view here but of a Common Toy, yet an Excellent Old Lesson, known by the Name of the Nightingal, which I have here set down on purpose, in That Incomperable Flat Tuning, for their Eternal Shame, who shall yet contend for the Preheminence between These 2 Tunings; and I only set It down Single, (without Its Translation) because I leave that to Themselves, or any other to do, (to the Best Advantage) lest I should be thought to do It Partially: And let them then tell me their Judgments, after they have made their Best Tryals to Translate It. It is (you see) in C-fa-ut-Key, and (which is yet more for the Credit of the Flat Tuning, it is Set to be Play'd without the Treble String, which is no Small Consideration.
* 2.266〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
And let Them do by This of Mine, as I have done by That (be∣fore) of Theirs, viz. Set It in the same Key: And Then Thus much I'le adventure to Say, and Promise, viz. That if they Equallize This Lesson, (Thus Set (by Their Translation) in Freeness, Fullness, Ease, Familiarity, and Compleatness; (and This Lesson is but (as I said) One of our English Toys, or Common Tunes.) I will be Bound to stand upon the Pillory, 3 Market Days, with my Book in my Hand, and make an open Recantation, and Beg Their Pardon; which will be but a Fit Punishment for Me, who have Thus Irreverent∣ly attempted, and Spoken against Their Great Idol, the Mode; and to Contradict the General-Swallow'd-down-Gobblet of the Inconsiderate Opinion, of the 40 Years-Old-New-Tuning.
* 2.267I must be pardon'd for This my Earnestness, (or rather Zeal) in This Particular Thing, viz. against the Humour of Invegling Learners to Hanker,* 2.268 and long after New or Various Tunings, &c. because I am most Assured, It is, and has been (all along) one Grand Cause of making the Lute-Play Hard, and Troublesome; to the Great Discouragement, and Hindrance of most Young Vnder∣takers upon It; Whereas, if Masters would rightly Consider Their own Ease, and Profit; Their Scholars Benefit, and Content; and the Promotion, and Facilitating of the Art: They would Certainly Reduce All, or most of Their Performances to That One Only Copious, Easie, and Best of Tunings; which is most Sufficient, and least Troublesome; the which They might (with much Ease) do: and I am Confident, that where there is One now Learns, (in a Short Time) there would be 20, (yea very many more;) and the Lute brought into Deserved Esteem, and Request again; for It has no manner of Op∣position,* 2.269 or Enemy, but only the Opinion of Hardness, or Difficul∣ty; and by This Means, It would Certainly be much more Easie, as I have made sufficiently appear all along, in This Work; So that I will say no more to This Particular; but Proceed to the Dyphone.
THE Figure of which Instrument, you may see in Page 32; which Figure doth so Perfectly Represent the Original, that if you mind It well, you may Fancy, you see the very Instrument It Self; and is (as yet) the One Only Instrument in Being of That Kind; and but Lately Invented, by My Self, and made with My own Hands, in the Year 1672.
The Occasion of Its Production, was My Necessity; viz.* 2.270 My Great Defect in Hearing; adjoined with My Vnsatiable Love, and Desire after the Lute; It being an Instrument so Soft, and Past my Reach of Hearing, I did Imagine, it was possible to Con∣trive a Louder Lute, than ever any yet had been; whereupon after divers Casts, and Contrivances, I pitch'd upon This Order; the which has (in a Great Degree) answered my Expectation; It being absolutely the Lustiest or Loudest Lute, that I ever yet heard; for although I cannot hear the least Twang of any other Lute, when I Play upon It; yet I can hear This, in a very Good Measure; yet not so Loud, as to Distinguish Every Thing I Play,* 2.271 without the Help of My Teeth; which when I lay Close to the Edge of It, (There, where the Lace is Fix'd) I hear All I Play Di∣stinctly; so that It is to Me (I Thank God) One of the Princi∣pal Refreshments, and Contentments I Enjoy in This World; what It may prove to Others, in Its Vse, and Service, (if any shall think fit to make the Like) I know not; but I conceive It may be very Vseful;* 2.272 because of the several Conveniences and Advanta∣ges It has of All Other Lutes; as I shall here declare. First,
You may well conceive, It may have a Fuller, Plumper, and Lustier Sound, than any Other; because the Concave is almost as
Long again, as most Ordinary Lutes; for 'tis clearly Hollow, from Neck to Neck, without any the Least Interruption; so that when you Play the One, you have the Advantage of the Other, at the same time, Turn which you will: This is One Augmentation of Sound; There is yet Another; which is from the Strange, and Wonderful Secret, which lies in the Nature of Sympathy, in Vni∣ties;* 2.273 or the Vniting of Harmonical Sounds; the One always Aug∣menting the Other: For let 2 Several Instruments lie asunder, (at any Reasonable Distance) when you Play upon One, the O∣ther shall Sound; provided They be both Exactly Tuned in Vnisons, to Each Other; otherwise not. This is known to All Curious Inspe∣ctors into Such Mysteries.
If This therefore be True, It must needs be Granted, That when the Strings of These Two Twynns (Acchordingly) put on, and Tun'd in Vnities, and set up to a Stiff Lusty Pich, They cannot but much more Augment, and Advantage One the Other.
These are the 2 Main Advantages, as to Augmentation of Sound; which no Rational, or Vnderstanding Man can doubt of.
There are several other Benefits by This Instrument; as First, you are provided of Both the Most Compleat,* 2.274 and Vseful Lutes in the World; and you have Them Closely Ready, upon any Contrary, and Sudden Occasion; The Majestick Theorboe, either for Voice, Organ, or Consort, &c. and The High Improved French Lute, for Airy, and Spruce, Single or Double Lessons; and is also a Most Admirable Consort-Instrument, where They know how to make the Right Vse of It, and not suffer It to be Over-Top'd with Squaling-Scoulding-Fiddles; but to be Equally Heard with the Rest, &c. These I say are always at Hand, to Pleasure Friends Entreaties, &c. But for any Ones Private Practice, It is of Most singular Ad∣vantage for Differing Practices; and will most certainly make a Man both an Able Master, and gain Him an Able Hand: But These Things must be only Believed; very Few having Try'd it out by Experience, as I my self have done, with both Lute, and Theorboe.
Another Benefit by This Double-Strung-Lute, is; whereas other Lute-Bellies constantly Sink between the Knot, and the Bridge, by reason of the Great Force of the Strings Drawing; so that They are often to be taken off; This Belly will not so soon Sink there; because the Strings draw contrary ways; so that They may be said to Counterbuff one another: By which means This Belly of Mine has been kept Straight, and Tight, ever since It was made, and not any one Barr Sunk, or Loosned. And It always stands at a very Stiff, and High Pitch, and Strung very Round.
Another Convenience is, It will Endure a Lusty Strong Play, without Jarring, or Snarling; All which other Weaker Lutes will not do.
* 2.275Now against all These Conveniences, and Advantages, there may be One very Plausable, and Probable Objection, (and there can be no more) viz. It must needs be Cumbersome, or Troublesome in the
Holding, and Vse. To which I Answer Thus. First, As to the Grasp of either Hand, I have taken such Care, that It is the very same, with All manner of True Sciz'd Lutes, both Theorboes, and French Lutes, nothing at all Differing.
Then as to the Holding of It betwixt the Arm, and Breast, the French Lute, (as I said) is the very Same; but the Theorboe much more Easie, than Most True-Consort-Pitch'd-Theorboes; because They are Commonly more Wide, or Broad in the Ribs, and Belly, than is This; For It is every way as Compendious, and Handy, as is the French Lute; there being scarcely any Difference in Their Scize, or Bulk; (as you may perceive by the Figure) the which I chose to do; because I did Consider, That what I might Loose, as to Fulness of Sound, (one way) in the Breadth, I knew I should gain much more in the Length (the Other.)
The Length of the 2 Necks, and Heads, is no Inconvenience at all, after you are a little us'd to the Holding of It; for neither of Them touch the Ground as you Play: So that for My own Part, I know no Inconvenience at all in It; but find many Great Conve∣niences by It.
Now as to Its other Dimensions,* 2.276 It is in Its Body of a Perfect Pear-Mould, both Ways, (which is Judg'd the Best Shape for any Lute;) And indeed the Very Best Sounding Lutes are Pear-Mould.
It Carries Compleatly 50 Strings, viz. 26 upon the Theorboe-Part, and 24 upon the French-Lute-Part.
The Length of the Strings of Both, from Bridge to Nut, are Exactly Consort-Pitch: The Treble Strings of Both, to be Pitch'd to G-sol-re-ut: The Heads of the French Lute, the very same with Others: But the Head of the Theorboe is much Shorter, than most Theorboes; the which (upon a Judicious Examination, is still the More Compleat; but much more Naturally Vniform, Proportio∣nable, and Even, (as to Sound;* 2.277) For Those very Extream long Heads, which usually are put upon Theorboes, are both Trouble∣some to Tune, and Inconsistent with the Punctilioes, and Criticisms in Art; They Rendring the Instrument Disproportionable within It self; for in the Vse of It, Those Extraordinary Long Basses com∣monly Over-Ring, and Drownd the Trebles, or if (to help the matter) you strike Them so much the Softer; yet They seem not to be of the same Kin-ship with the Shorter Strings, but as if They belong'd to another Instrument. Whereas This Instrument is so Proportionably made, that each Diapason Descends Gradually, Step by Step; by which means, the whole Number, both of Short, and Long, Strings, Speak Vniformly, and Evenly to Themselves; which is a very Considerable Matter, in any Instrument.
I have now done with the Description of This New Instrument; only I must needs Beg for It, and My Self, One, or Two Favours, in Reference to some Allowances, which It ought to be Consider'd in: As First, It is a New-made-Instrument; and therefore cannot yet Speak so Well, as It will do▪ when It comes to Age, and Ripeness; yet It gives forth a very Free, Brisk, Trouling, Plump, and Sweet Sound: But 'tis Generally known, That Age adds Goodness, and
Perfection to All Instruments made of Wood: Therefore Old Lutes, and Viols, are always of much more Value, than New Ones; So that if an Instrument be Good, when New, there is no doubt but It will be Excellent, when It is Old.
Secondly, It was made by a Hand, that Never (before) At∣tempted the Making of Any Instrument; Therefore It must needs want Those Perfections, which a Skilful Practical Operator in such Things, would doubtless have Given It.
Concerning the In-side of This Instrument, in Reference to the Taking off the Belly,* 2.278 at any Time, upon Necessity; Know, It is so Contriv'd, that either Part of the Belly may come off Single, and the other may still stay on; For between the 2 Bridges, there is a Dividing Joynt, which may easily be Parted, with a Hot Iron, and a little Moist Cloath, &c. (as by Direction, in the Mechanical Part, Page 56. you may see how to do;) and It is much more Ea∣sie to Take off This Belly, and set It on again, than the Belly of any Other Lute; for there is a Strong Barr, Glewed to the very Edge of each Divided Part, in That Place, which will come off with each Belly, and is of Substantial Vse for strengthning the whole.
Let Thus much suffice to be spoken by Me, Concerning This New Instrument; but whosoever pleaseth, may Hear It Speak much Better for It Self.
Yet only, because It is My Beloved Darling, I seem'd (like an Old Doting Body) to be Fond of It; so that when I had Finish'd It, I Be-dect It with These Fine Rhimes, following; Fairly Written up∣on each Belly; viz. First, Round the Theorboe Knot, Thus.
* 2.279I am of Old, and of Great Brittain's Fame, Theorboe was My Name.
(Then next, about the French Lute Knot, Thus.)
I'm not so Old; yet Grave, and much Accute, My Name was the French Lute.
(Then from thence along the Sides, from One Knot to the Other, Thus.)
But since we are Thus Joyned Both in One, Henceforth Our Name shall be The Lute Dyphone.
(Then again Cross-wise under the Theorboe-Knot, Thus.)
Loe Here a Perfect Emblem seen in Me, Of England, and of France, Their Unity: Likewise * 2.280 That Year They did each other Aid, I was Contriv'd, and Thus Compleatly made. Anno Dom. 1672.
(Then (Lastly) under the French-Lute-Knot, Thus.)
Long have we been Divided; now made One, We Sang in * 2.281 7th's,; Now in Full Unison. In This Firm Union, long may We Agree; No Unison's like That of Lute's Harmony. Thus in It's Body, 'tis Trim, Spruce, and Fine; But in It's Sp'rit, 'tis like a Thing Divine.
THE Theorboe, is no other,* 2.282 than That which we call'd the Old English Lute; and is an Instru∣ment of so much Excellency, and Worth, and of so Great Good Vse, That in dispite of all Fickleness, and Novelty, It is still made use of, in the Best Performances in Musick, (Namely, Vocal Musick.)
But because, I said It was the Old English Lute,* 2.283 It may be ask'd, Why is It not then still so Call'd; but by the Name of the Theorboe?
I Answer, That although It be the Old English Lute, yet as to the Vse of It Generally, there is This Difference, viz. The Old Lute was Chiefly us'd, as we now use our French Lutes, (so call'd;) that is, only to Play Lone-Lessons upon, &c. But the Theorboe-Lute is Principally us'd in Playing to the Voice, or in Consort; It being a Lute of the Largest Scize; and we make It much more Large in Sound, by contriving unto It a Long Head, to Augment and In∣crease that Sound, and Fulness of the Basses, or Diapasons, which are a great Ornament to the Voice, or Consort.
Now by this little that I have said, it may well be ask'd, (if It be an Instrument of such Worth) Why is it not then made use of, as a Lute to perform such Lessons upon,* 2.284 as are performed upon the Lute? To which I Answer, for several Good Reasons.
First, This Great Lute, is of too large a Scize for such Perfor∣mances; They being commonly of a Nimbler Agitation, than Those Things which are most usually performed in Consort, or to the Voice.
And admit that any the Most Nimble Things, which are us'd in Consort, come to be perform'd upon a Theorboe, you must know, that That Part has only the Ground, or Bass, Chiefly to Act in, which is (in All Consorts, or what Generally is made) the Slowest Part of Motion; yet if the Performer upon the Theorboe, has a Quaint, and Skilful Command, both of his Instrument, and the Theoretical Order of Musick, he will show you Agillity, and Nimbleness enough, for your Great Content.
But as It is Ordinarily used, It is not an Instrument of That A∣ctivity and Spirit, (appearing) as It is Really and Truly in It self, and Its Capacity, capable of.
Let This suffice for one Reason, why it is not Call'd a Lute, or not put to That use of a Lesser, or Well Sciz'd Lute, for such Nim∣ble, and Active Performances.
* 2.285The 2d. is This, that by Reason of the Largeness of It, we are constrain'd to make use of an▪ Octave Treble-String, that is, of a Thick String, which stands Eight Notes Lower, than the String of a Smaller Lute, (for no Strings can be made so Strong, that will stand to the Pitch of Consort, upon such Large Sciz'd Lutes) and for want of a Small Treble-String, the Life and Spruceness of such Ayrey Lessons, is quite lost, and the Ayre much altered. Nay, I have known, (and It cannot be otherwise) that upon some Theorboes, they have been forc'd to put an Octave String in the 2d. String's Place; by reason of the very long Scize of the The∣orboe, which would not bear a Small String to Its True Pitch; be∣cause of Its so great Length, and the Necessity of setting the Lute at such a High Pitch, which must Agree with the rest of the In∣struments.
Truly I cannot tell, why It was so called Theorboe; but for These Reasons; the Distinction of Names, between It, and the Smaller Lute, may well enough be maintained, seeing It has Now got the Name. (〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 in Greek, begins a very High Name.)
* 2.286Another Good Reason I shall give, (which is not considered of by many) Namely, That Those very Long, and Long-Sounding Diapasons, (before mentioned) are often Great Inconveniences to the Compositions of such Lessons, as are usually made for Lesser Lutes, which have their Diapasons in a Shorter, and more Propor∣tionable Agreement with Those other Treble, and Tenor Strings.
For if you meet with a Lesson which runs much with Quick-Proportion'd Time,* 2.287 upon Those Long Basses; you will find That Great Inconvenience before mentioned; which is, That the Former-Struck-Bass will Sound so Strong, and so Long, that the next imme∣diately following, will be so harsh, (they Two Snarling together, as I may so say) that it will be as Bad, as False Dischording-Com∣position, and very Confounding.
This Inconvenience (Here) is found upon French Lutes, when their Heads are made too long; as some desire to have them; be∣cause (indeed) Length of String, in any Instrument, causeth Bravery, and adds Lustre to the Sound of That String; but if They did advisedly consider This Inconvenience which I have men∣tioned, They would forbear such Contrivances; and choose to make Their Lutes Artificially Proportionable, betwixt Their Basses, and Trebles; which as to Compleat Performance, is Extream Need∣ful.
Now as to Directions for Playing This Instrument, you need none;* 2.288 because I have sufficiently directed the Way thereunto in all Particulars, in my Former Discourse concerning the Lute; which Way and Order, you are to observe in This Exactly, in all Pun∣ctilioes;
and you may Play Lessons upon It as Compleatly, as up∣on the French Lute; provided They be Lessons proper, and be∣coming the Gravity of This Instrument; (for it is very Improper to Play Light and Jiggish Things upon It) especially in regard of the Octave Treble, which will not give you the Liveliness of the Ayre, as your Smaller Lutes will do: Yet you may make very Ex∣cellent Things upon It, to Play alone, if you observe the Scope of the Instrument. And indeed I have taken so much Pleasure in This Instrument, in That Particular way, That I have made divers Things to It in That Nature; a Tast whereof I shall Hereafter set you down; the Playing of which will enable your Hand sufficiently for a better use of It, in Playing a Part in Consort off a Bass; which is no Ordinary Piece of Skill.
Directions unto which I shall likewise set down immediately af∣ter what here follows.
And Here is That One Only Lesson for your Hand; which although It seem long, may be Divided (as it were) into 13 Several Strains; which you may perceive by the Pauses, and Double Barrs, I have made; and also set Figures at the Beginning of eve∣ry Place: So that you may (if you please) leave off at any of Those Places; But I set It Thus, to show you the way and manner of Playing Voluntary, which you may Imitate,
This▪ Lesson alone will make your Hand Sufficiently for the whole Business of the Theorboe, be It what It will.
Therefore Practice It well; for I intend to set no more to That Purpose; for I Aim at Short Work: Therefore I'le proceed to the Directions of Playing a Part; your Hand being first made, there will be much Less Difficulty in That.
A Fancy-Praelude, or Voluntary; Sufficient Alone to make a Good Hand, Fit for All manner of Play, or Vse.
* 2.289〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
Turn over for the Next.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
Turn over for the next.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
Turn over for the next.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
I Remember, I promis'd some Directions for Playing a Part upon the Theorboe; which Here following are set down.
The first Thing therefore, (after the commanding of the In∣strument, in some Tollerable way of Readiness; (the which I shall Advise you unto, &c.) you are to know your Notes upon eve∣ry String, and Stop, according to the Scale of Musick, viz. the Gam-ut.
Therefore that you may know Them; Here (under) stand All the Notes of the Scale, (according to Song) in one Order; And beneath Them the same Notes, Letterwise; as we use Them upon the Theorboe.
〈♫〉〈♫〉 〈♫〉〈♫〉
These are the Natural Notes of the Scale, the Sixth String be∣ing Generally us'd for Gam-ut, upon a Full-Sciz'd Lute; but up∣on Lutes of a Smaller Scize, which will not bear up to Speak
Plumply, or Lustily, according to a Consort-Pitch; then we make the 7th. String Gam-ut, as here in This next Vnder-Line you may see.
〈♫〉〈♫〉
Gam-ut, &c. for a Less Lute.
But because the Sixth String is most Generally us'd for Gam-ut; and also it is best for your Practice, to use a Large, and Full-Sciz'd Lute. I will pursue the Business in that Proper, and most Rightful way, making the 6th. String Gam-ut.
Now you must know,* 2.290 That He who would be a Compleat The∣orboe-man, must be able to understand Composition; (at least) so much of It, as to be able to put True Chordes together; and also False, in Their proper Times, and Places; and likewise to know, how to make all manner of Closes Amply, and Properly.
And to Assist you in That Particular, I shall only refer you to Mr. Christopher Simpson's Late, and very Compleat Works; where you may inform your self sufficiently in That Matter, who hath sav'd me a Labour therein; (for had It not been already so Ex∣actly done by Him, I should have said something to It, though (it may be) not so much to the purpose;) But my Drift is not to Clog the World with any thing that is already done; especiall so Well.
My Business shall be, (to save you much labour in finding out all the Chords) and to give a Quick sight of Them, 1st. according to their Natural Agreement, in 3d's, 5th's 6th's, and 8th's, &c. And then to show you Examples of Closes, or Cadences for every Key; which when you can Readily perform, from off a Song-Note, you may be said to be a Tollerable Performer in a Consort, upon This Instrument. And some there are, who cannot Compose; yet by doing Thus, pass for very good Theorboe-Men.
But still you must further know,* 2.291 That the Greatest Excellency in This Kind of Performance, lies beyond whatever Directions can be given by Rule.
The Rule is an Easie, Certain, and Safe Way to walk by; but He that shall not Play beyond the Rule, had sometimes better be Silent; that is, He must be able (together with the Rule) to Lend His Ear, to the Ayre and Matter of the Composition so, as (upon very many Occasions) He must forsake His Rule; and in∣stead of Conchords, pass through all manner of Discords, according to the Humour of the Compositions He shall meet with.
This Thing will require a Quick Discerning Faculty of the Ear;* 2.292 an Able Hand; and a Good Judgment. The 1st. of which must be given in Nature; the 2 last will come with Practice, and Care.
I will now proceed, and 1st. let you see all the Chordes-Harmo∣nical, upon every Key, viz▪ 3d's, 5th's, 6th's, and 8th's; To which purpose, take a View of These following Lines.
All These Stops are proper to Gam-ut, consider'd in Its Sharp Third, Fifth, and Eighth; and you have Liberty to use which of Them you please, when Gam-ut requires no other Chordes;
Besides, to amplifie Gam-ut at any time; if It be a Long Note, you may put to It the Greatest Long Diapason; which we call Double-Gam-ut: Which String I have added to all my Theorboes; though very many, either want It, (as having but 24 Strings;) or else when they would have It, they are fain (to do as they do in the New Tuning of the French Lute) make an unhandsom Skip, or Halt unto It, by Tuning their last Bass a Note Lower; by which means they take away, and want Double Ayre▪ which is a very Brave Ornament to the Theorboe.
* 2.295Therefore I say, a Theorboe cannot be Compleat, if it have not 26 Strings; so, as that from the Gam-ut String, there may be a per∣fect Gradual Descent of a Compleat Eighth in Diapasons; which is very Ornamental, and Vseful in a Lute: Concerning which Thing, I have spoken more largely, in that Device I made, to Distinguish betwixt the Two French-Lute-Tunings, in p. 203.
Now see Gam-ut with Its Flat Thirds, with all Its Stops usual.
All These are proper to Gam-ut Flat: That is, when Gam-ut has the Third above It, (viz. B-mi) Flat; (as It is Sharp, by reason of Its Third-Place-Sharp above It:) Which may in Compositions be either Flat, or Sharp, according to the pleasure of the Com∣poser.
Therefore That is one of the Main Things you are to regard in your Play,* 2.298 viz. whether your Third (to any Key) be Flat, or Sharp; either according to the Nature of It, as It stands Fix'd in the Scale; or else according to the Liking, or Humour of the Compo∣ser, as he will Form It.
This next Line shall show you A-re, with all Its 3d's, 5th's, and 8th's, Natural.
〈♫〉〈♫〉* 2.299
Thus with Its Flat-Third. Thus with Its Sharp-Third.
〈♫〉〈♫〉
The next Key is B-mi; which is a Key seldom or never Play'd upon, (as the Proper Key of the Song or Lesson;) however you will have occasion to use It in Its 3d's, 5th's, and 8th's sometimes. Therefore Here It is set you.
〈♫〉〈♫〉* 2.300
Thus with Its Flat-Third. Thus with Its Sharp-Third.
〈♫〉〈♫〉
And because B-mi Flat is a Key, us••d for the Key of a Song, or Lesson, (and indeed is a very Brisk, and Sprightly Good Key to Perform in) I will here set It down, as I have done the others, with Its 3d's, 5th's, and 8ths.
B-mi Flat.
〈♫〉〈♫〉
Thus with Its Sharp-Third. Thus with Its Flat-Third.
〈♫〉〈♫〉
C-Fa-ut-Key is next, and is a Most Noble, Generous, and Heroical Key, fit to Express any thing of Magnanimity, and Bravery upon.
And therefore Turn over to It.
C-fa-ut Sharp and Flat.
〈♫〉〈♫〉
Thus with Its Sharp-Third. Thus with Its Flat-Third.
〈♫〉〈♫〉
D-sol-re Flat and Sharp.
〈♫〉〈♫〉
Thus with Its Flat-Third. Thus with Its Sharp-Third.
〈♫〉〈♫〉
E-la-mi Flat and Sharp.
〈♫〉〈♫〉
Thus with Its Flat-Third. Thus with Its Sharp-Third.
〈♫〉〈♫〉
F-fa-ut Sharp and Flat.
〈♫〉〈♫〉
Thus with Its Sharp-Third. Thus with Its Flat-Third.
〈♫〉〈♫〉
Thus I have given you a sight of the most Familiar Stops quite through the whole Instrument, proper for These 7 Chordes; which 7 Keys are all we have in the whole Nature of Musick Naturally; for as I said, in my Former Discourse, when you come to the Eighth, you are come but as to the 1st. Point, or Place where you began.
Now the adding a Diapason to any of All These, will both give a Greater Lustre, and also add more Variety; and be a Cause of
Greater Freedom, and Advantage for the Hand, in many Cases, which you will meet with. As for Example, See in This next Line, what Bravery, and Variety there is, only in This Key of F-fa-ut, being the Last Line I Set you; And that the Addition of One Diapason has given you above a Double Number of Stops; and divers more could I find, which I forbear.
This is no small Consideration to the Ease and Advantage of Lute-Play.
F-fa-ut Augmented by Its Diapason.
〈♫〉〈♫〉
Thus may you see,* 2.301 what an Exceeding Great Advantage It is to have These Diapasons added unto Our Lutes; which as I said in the Beginning of This Book; is one Cause that the Lute is be∣come far more Easie, than It was in Former Times, when they had but half so many Strings to Play upon.
Besides, the Instrument is made Thereby far more Illustrious, and Noble, than ever It was in the Old Time.
Now by the Example of This Last Line, you may your self Examine the whole Lute in all Its Varieties, with Ease; for it is too much trouble for me to go through the whole Number of Stops, through all the Keys in This manner: But I hope This Hint may suffice to set you to Work; which will be also much more Profitable for you; for what is Gain'd by your own Industry,* 2.302 and Experience, will be ten times more Advantagious to you, than Discourse, or seeing of a Business done to your Hand.
This last very Line may be a sufficient Argument, and Demon∣stration,* 2.303 to prove the Vast Difference between the Lutes of This Our Time, and Those of Former Times; and that we have Infinite Advantages of Them, both for Scope, Ease, and Freedom; and Principally above all; Our Lutes, must needs Sound more Livelily, Brisk, and Clear, in regard we are not Pester'd through Necessity, to Stop such Difficult Cross Full-Stops, which They were Com∣pelled unto, to produce Variety, by Reason of such a small Number of Strings.
The next Thing I'le set you down, shall be to show you the way of Amplifying your Play, by Breaking your Parts, or Stops, in way of Dividing-Play upon Cadences, or Closes;* 2.304 which is one of the most Compleat, and Commendable Performances upon a Theorboe in Playing of a Part.
And to make the whole Business Compendious, and Short, learn to do It upon This One Cadence well, and (by It) you may do the like your self (by Observation) upon all the other.
And Here It is in Gam-ut Close.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
Turn over for the 17th. Variety.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
A Right Observance of These 21 Varieties, will enable you to do the like upon all Closes, or Long Notes in any Key: Therefore I may save much labour in Exemplifying upon any other Key.
Now because I would have This Work Compleatly able to manage you to Play a Part upon the Theorboe, without the Vse,
or Knowledge of any other; Take only These Few Following Obser∣vations; which with what I have already said, and you connot miss of It.
In the first place therefore you are to Take Notice of your Key,* 2.307 which you must Examine for, and find from the Close-Note of the Bass▪ for that is (or ought certainly to be) the Key.
Secondly, Observe whether It be a Sharp, or a Flat Key;* 2.308 which you shall know by the Third above your Key. As for Example, If Gam-ut be the Key; and if no Flat be set in B-mi: then It is call'd a Sharp Key, in respect that the Third to the Key is Two Full Notes; but if the Third be but a Note and a Half; then 'tis call'd a Flat Key; and for That Cause is the General Custom of calling a Key Flat or Sharp.
3dly.* 2.309 Take notice what Chordes you are to put (Generally) to every Key; and bearing in your mind, that you have but 7 Keys to trouble you, your Work will be the more Easie, and Com∣fortable.
Those 7 Keys, or Distances, as they are us'd in Composition, go by the name of Chords, viz. a Vnison, 2d. 3d. 4th. 5th. 6th. and 7th. And whereas you have heard talk of an 8th. 9th. 10th. &c. They are but as the very same before Repeated, viz. an Eighth, is as an Vnison, the 9th. as a 2d. the 10th. as a 3d. So that your Business will be no more, than to understand the Right use of the 7 Chords.
Now you must know, that the same General Rules do not hold to all the Notes of every Bass for if Gam-ut be your Key, (or whatsoever be your Key) there will be Two of the Seven, at least, excepted from the General Rule; as Thus.
Your General Rule for Uniting of Parts, is This, That to e∣very Note of your Bass,* 2.310 (except what you shall have excepted against) you may put a 3d. 5th. and 8th. or to some, but One, or Two of Them; (which Number 3 are all that Nature affords us Single, at the same time.) And there are Generally, 5 of the 7, which are Thus to be observed; but the other 2, most commonly, are not to have the 5th. but a 6th.
Now that you may know which Those Two are certainly; you are to take notice, they are Those Two in the Scale-Natural,* 2.311 which are immediately under the 2 Half Notes, viz. B-mi is the one, and E-la-mi is the other. Yet also, if at any time, you meet with an Artificial, or Forc'd Half Note, (that is) which is only made so, by reason of a Sharp added unto It; as for Example, If Gam-ut be your Key, and F-fa-ut shall be made Sharp; then that Sharp Note is properly capable of a 6th. as well as those other 2 Naturals; and so of all other such Forg'd Sharp Notes of your Bass, at any Time.
Nor do I mean, that upon necessity you must always use the Fifth in all other Notes, excepting such as These; but sometimes you will have occasion to use the Sixth in any Key; but your Eye and Ear must be your Chief Guide: Yet you must never begin nor end a Strain with a Sixth, nor make any Full Close with It, in
the midst of any Strain; but ever in Passing-wise; yet I find▪ that it is many times very Pleasant to Pause upon a Sixth, in the Nature of a False Close; but all that while of the Pause, you may observe, there is still an Expectation of something to follow, as an Appendix to the foregoing Matter; which when it comes in, is the more wellcom, by reason of that Seeming Defraud, or Long Absence; and (to my Content) it is one of the most Handsom Cheats, (as I may so say) or Cozenings in Performances: That is, to Insinuate, or make you believe you shall hear a full Close; but with a Fall-off into a Six, or sometimes some other way, (as I shall show you by Example, when I come more Particularly to Ex∣planation) you deceive Their Expectations, (which is often very Taking, and Handsom.)
There is One Observation more, for the General use of the Sixth, viz. It is proper, and Vsual to put It to the 3d. Note above the Key, whether That Note be Flat or Sharp; yet with Reference to your Intended Ayr.
* 2.3124thly. You are to take Notice, That (if a thorow Bass be Rightly Ordered) you shall find in all Places of Exception, certain Figures set over the Heads of the Bass-Notes, viz. from 3 to 7; which are to inform you, That to such a Note there must be such a Chord or Chords put, as Those Figures Hint unto, viz. If the Figure 7, then a Seventh; if the Figure 6, then a Sixth; If 7 6, then a Seventh, and a Sixth; and so of all the Rest.
And sometimes Those Figures shall have a Flat or Sharp set with them; which show, that such Chords must be likewise Flat or Sharp.
These Observations being well Noted, you may go forwards to∣wards your Work.
* 2.313Note further, That a Single Flat or Sharp set above any Note of your Bass, without a Figure, signifie, that such a Third is re∣quired to That Note.
The Flat Third is only One Note and a Half, as is betwixt A-re, and C-fa-ut, D-sol-re, and F-fa-ut.
The Sharp Third is always 2 Full Notes, as is betwixt Gam-ut, and B-mi; C-fa-ut, and E-la-mi; and F-fa-ut, and A-la-mi-re; and you may use which of Those you please in your Composition.
But take Notice, That no Half Notes will agree together; so that although I said, you might use which of Those Thirds you pleas'd; you must know, that you are ever to observe the Natu∣ral Order of the Scale, both for Sharp and Flat Thirds; and you must never Clash, so as to put a Flat Third, and a Sharp Third together at the same time, or of any other Chord, in their Octaves.
* 2.314You will do well also to avoid the Consecution of Fifths and Eighths; which although they be very True Chords, (and indeed the most Lushious ones; for which cause They are called the Perfect Chords) yet we account it not compleat, to let 2 of the same Kind move together in any 2 Joyning Notes. The Reason is, They are too Lushious, or Cloying, like too much of any Sweet Thing.
* 2.315The next Thing shall be to inform you concerning the Cadence; which is always us'd at the Conclusion of a Song, or Strain, and
oftentimes in the Midst; and known certainly by the Falling of the Bass a Fifth, or Rising a Fourth; both which Signifie the same Thing: They both passing into the same Key, or Letter of the Scale.
Now This Cadence, is as it were the Summing up, Sweetning, or Compleating of the whole Story, or Matter foregoing;* 2.316 or Period of some Sentence Intended; and indeed is the very Choicest, and Most Satisfactory Delight in all Musick, (nothing so Sweet and Delight∣ful, as a Sweet Close or Cadence.
And that you may not be Deficient at That, take Notice Here, how It is to be Performed.
In which Performance, are always a Mixture of Conchords, and Dischords together; as you may perceive by That Example of Closes, a little before set you, where the 4th. is Bound In with the 3d. and 5th. Thus.
The 3d. coming in after the 4th. must always be Sharp, at a Close.
〈♫〉〈♫〉 〈♫〉〈♫〉
You may likewise make This Close or Cadence, by Joyning to the Fourth and 3d, a 7th. 6, and 5; or 6, and 5.
Thus for Example.
〈♫〉〈♫〉 〈♫〉〈♫〉
Remember always, when you use a Sharp Third,* 2.317 if you then make use of the Sixth following, let it be Sharp; so likewise a Flat Third, and a Flat Sixth.
These 7th's and 6th's, in a Binding way, as I do here set Them, are only proper, when you have Notes of Gravity, and Long Closes, viz. Semibreves, or Minims; but seldom upon Short Crochet-Closes.
See These Two last Examples. The Former I have given you with a great deal of Variety; your self do so by These.
Thus may you see what a Cadence is. And after This Manner may you perform It upon any of the Keys. But lest That Trick
should be too long in finding out, I'le give you These Two last Examples upon another Key; which when you see the manner of doing, all others will be the more Easie.
* 2.318〈♫〉〈♫〉
This last Line is the very same in Chords and Sence, as is that other above, only 'tis in C-fa-ut-Key; That being in Gam-ut.
So that you may perceive, It is an Easie Thing to find out the Chords, as well in one Key, as in another; and Good Order of Play.
Here follows the most usual manner of taking the Sixths to any Note, when Notes Ascend or Descend, in This Gradual Manner, as you see the Bass doth.
I will set you Two Several Ways of Breaking your Parts upon It; for your Better Experience; the 1st. is not so much Broken, as the 2d.
〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉
A Second Variety upon the same Notes.
〈♫〉〈♫〉 〈♫〉〈♫〉
〈♫〉〈♫〉 〈♫〉〈♫〉
There is likewise another way of using the Sixth, when your Notes fall after This Manner, as is set you in This next Example. But in all such, or other Various Cases, as shall happen, your Chief Director must be your Ear; for without a Diligent Regard to the Parts, That way, your Rules will often deceive you.
〈♫〉〈♫〉* 2.319 〈♫〉〈♫〉
However, These Rules which I have Thus Set, will stand you in very great stead; nor can you be without the Knowledge of Them, to be steady in your Performances.
I think I need not say much more to This Business, but leave you to Experience and Practice: And Truly I am Confident, by These Short Directions, you may be enabled to Play a Part, with Credit, and Applause enough, upon a Theorboe.
I might Trouble you with several other Observations; but They are all Couch'd in These which I have already set down: Only one Thing I think Necessary to let you know, That whensoe∣ver you meet with any Passages in your Bass, of a Nimble and Quick Motion, (as often you will do) viz. Quavers in a Continu∣ation for some Semibreves together; know, That you need not strive to put Parts to every Quaver; only let it suffice, that (ta∣king Notice of the order of Them) you put a Full Stop, or Part only, of a Full Stop, to the 1st. Quaver of every Four, or sometimes, of every Two, as your Judgment shall Direct you, and pass away with Striking the Rest Single; and if you find it convenient, you may here and there Easily Clap along with them, 3d's, 5th's, or 6th's, as the Descant requires; which will be Sufficient, and very Compleat.
Yet Note One Thing more, That (when we Talk of 3d's, 5th's, and 8th's) we are not Precisely Tyed to give just Those the very Notes to our Bass; but still according to our Best Conveniency, upon the Instrument; sometimes 10th's, 12th's, or 15th's; as you may perceive, I have done in some of Those Examples I Set you; which are as the same Thing in Composition: For sometimes you will be very much put to It, to find your Parts Conveniently; especially when the Bass moves in the Lower Sphear; nor will your Parts be so Pleasant to It, if taken Near; but far Better A∣bove, in Their Eights.
Some Pitifull thin Com∣posers of This Age.
The Lutes Language.
The various Capacities of Men.
The Lan∣guage of Birds and Beasts.
The Lan∣guage of Nature.
The Lan∣guage of Spirits.
The Conse∣quence.
The Compa∣rison made good from Divinity.
Infus'd, or Inspir'd.
The first and Chief Reason why the Lute was Hard, by fewness of Strings▪
Proved by Good Reason.
Vulgar Er∣rours conti∣nue long.
A Second Rea∣son is, from the Workmen in those days.
A Third Rea∣son, from the Closeness of Masters.
Note, that rarely not a∣bove one or two Eminent Lute-Masters in an Age.
The first Rea∣son why the Lute is be∣come Easie, yet a seeming Riddle.
A Child in half an hour able to per∣form the har∣dest stops up∣on the Lute.
A second Rea∣son why easier, in 3 Respects.
Note.
Whence the name of Hard∣ness is deriv'd.
Advantages from the Ar∣tist included.
Some of them named.
A wofull mis∣chief to Lear∣ners.
Common Aspersions upon the Lute.
The first Aspersion answered.
The Lute is prov'd as Ea∣sie, as is the Viol, by Rea∣son.
What makes an Instrument of Strings hard or easie.
The Compa∣rison between the Lute and the Viol.
An apt Com∣parison.
Half the Per∣formance of the Right Hand
The whole.
Several Asper∣sions against the Lute an∣swered.
The second Aspersion, and the Answer to it.
A most abso∣lute and suffi∣cient proof of the Lutes ea∣siness, &c.
This was writ in the year 1672.
The third Aspersion answered.
The fourth Aspersion answered.
The fifth Aspersion answered.
The sixth Aspersion answered.
First provide a good and fit siz'd Lute.
A common Errour in Learners.
How to know and chuse a good Lute.
Laux Maller Lutes the best.
A true Story of a Lute.
The best shape of a Lute.
How many Ribbs best.
What Wood best.
What Colour best.
The choice of the Belly of a Lute.
The Knot or Rose.
The Barrs.
The Bridge, and its dan∣gers.
The length and thickness of the Neck.
The Finger-board to lye Round.
The two Heads.
The Pegs the greatest trou∣ble about an Instrument.
7 Inconveni∣ences attend∣ing them.
Three Causes of a Pegs slip∣ping.
The first Cause.
The second Cause.
The third Cause.
The common Destruction of a good String.
The ordering of the Five Nutts.
The best way to Rank the Strings truly.
Of what length the Long Nutt should be.
Note a great Conveniency towards easie Play, by the Shape of the Nutt.
How to Pollish the Nutts.
The Reason of the necessity of knowing these Things.
A Lute Belly often in need to be taken off.
Danger in sending a Lute far to be mended.
Implements fit to be had always in rea∣diness.
1. A Glew-Pot. 2. Glew and Izing-glass.
3. An Iron.
4. A Chizzel.
5. A Knife.
6. A File.
7. An Aul.
Preparations towards ta∣king off the Belly.
How to take off the Lace.
How to take off the Belly.
Note.
The Lute un∣done.
How to find the Faults in a Belly.
How to mend a Crack.
Note how hot the Iron must be.
No lining of Cracks but up∣on Necessity.
The Barrs mending.
The cleansing of all Glewed places.
An especial Note concer∣ning cleansing off Old Glew or New.
The Uniting of Back and Belly.
A Choice piece of Cu∣riosity.
Take heed of clogging with too much Glew.
How to cleanse the Lute.
Note.
How to put on the Lace.
Note what part of the Lace will be most trouble∣some.
The way to put on a Parchment.
Choice Obser∣vations about keeping▪ a Lute.
The first Com∣modity by keeping a Lute well.
The first Rea∣son given for those •• Con∣veniences.
2d. Reason.
Note.
3d. Reason.
4th. Reason.
5th. Reason.
6th. Reason.
A Caveat needfull.
7th. Reason.
Some General Directions as to the well Stringing of a Lute.
The very prin∣cipal Observa∣tion in the Stringing of a Lute.
More particu∣lar Observa∣tions as to Strings.
And what sort of Strings are Best.
How to chuse your Strings.
Minikins.
Catlins.
Lyons.
Coloured Strings.
How to keep your Strings.
The first thing towards Stringing the Lute to be observ'd.
The second.
The third.
How to chuse and find a true String, the most curious piece of Skill in Stringing.
Note how far you must find your String True.
A Good Note for the setting of Lessons, ei∣ther upon Lute or Viol.
How far there is a Necessity of finding a String True.
To Fret the Lute.
The best way to Tye on a Fret after the old Fashion, viz. Double.
The Curiosity of Stiffning, or Fixing a Fret.
A single Fret the best.
How to place the Frets by Tuning the Lute.
Concerning Lute-play.
The first Do∣cument to∣wards Lute-play.
The Posture.
Note the Rea∣son of laying the Left Hand upon the Ta∣ble.
The 2d. work is the Little Finger.
The 3d. is your Thumb.
Review your Posture.
A most neces∣sary work to be gain'd.
Note how to strike the first stroke after your Posture is gain'd.
The 4th. Thing, is the use of the Fin∣gers.
Equally and Evenly, doub∣ly to be un∣derstood.
The Reason. why the Nails are not so good to draw Sounds with, as the Flesh.
How to strike a String Clear, and Clean.
How to order the Left-Hand
All the Prepa∣rations are Fi∣nished.
What Num∣ber of Fretts is best upon a Lute.
4 Things ob∣servable in This Musick Line, carefully to be Noted, and Practised.
The meaning of those Cha∣racters.
The Chara∣cters of Time Compared to Money.
The Definiti∣on of a Semi∣breve.
Note well This.
What is the Time Called s Semibreve.
An Infallible Rule, how to keep Time well.
A strange Se∣cret of the Pendent.
How to make use of This Perfect Time-keeper.
A Long Pen∣dent, best to Practice with.
Note well, all This Side.
How to be as∣sured, to win a Musick Wa∣ger of a Good Artist, if it were layed.
The Chiefest Work of the Right Hand.
The Tuning of the Lute, (Erroniously) called, the Flat-Tuning, &c. The Best of French-Tu∣nings.
Reasons, for the Calling of a Tuning, Flat, or Sharp.
The further use of the Right-Hand.
The most Comely Po∣sture of the Left Hand, Carefully to be Observed.
In This Little doing well, a Great-way is gain'd in Lute-Play.
One of the Best General Rules for Fin∣gering, either in a Lute, or Viol-Play.
Toss not your Fingers High.
Beware of an Ill-Habit, at First.
Gain the For∣mation of the Treble String, and you have Gain'd All.
No String needful to be so much stop∣ped, as the Tre∣ble String.
Seven Hand∣som Lessons, or Praeludi∣ums, follow.
Take good notice, in what Key you Play in, at any Time.
An Explana∣tion of All the Particu∣lars, in the foregoing Les∣son; and of Great good use to a Be∣ginner.
The first Barr Explained.
Several Bene∣fits of holding a stopt String stopt, till there be need of Its Release.
This Punctilio is Explained at large in the Viol Part. Pag.
Explanation of a Back-fall,
B•• the W••••••-Learning of This Lesson, all such Les∣sons are Lear∣ned.
What is inju∣rious to a Learner.
A General, and Certain Rule, for True Fingering, with the Left Hand.
This Lesson Explain'd, so, that by This means, One may Play Blind-fold.
Note well, This New Rule.
How to draw a sweet Sound, and not to Knock, or Drum upon the Lute, as too many do.
The General Rule of the Thumb, con∣tradicted, and why?
Close-Play, and Its Cer∣tain Rule,
This last Ex∣ample is a Ge∣neral Rule, so∣al Close Play, especially the 3d. Barr, of It.
A General Rule, to per∣form all Full-Stops.
A further Ex∣planation of the General Rule for Fin∣gering.
Here the Ge∣neral Rule of Stopping, is a∣gain excepted against.
The General Rule excepted against, by the Slip-stroak.
And again up∣on a Close.
Exceptions from your Ge∣neral Rule, in shifting of Fin∣gering, very needful to be known.
A short Repe∣tition of the whole Rudi∣ment for Fin∣gering, very profitably to be repeated; being a Gene∣ral Rule for True Finger∣ing.
The 1st. Re∣membrance.
2d.
3d.
4th.
5th.
6th.
7th.
The most ab∣solute, and best perfor∣mance, (or ob∣servance) to∣wards Good Play.
Note.
Full Play.
Either Rak∣ing, or Divi∣ding Play: Which is a very good old substantial way.
Raking Play
How to Rake a Full-Stop.
A way to bring in a Close, Neatly, without Ble∣mish.
The Names, and Marks of the Graces.
The Explana∣tion of the Hard, or Tear∣ing-Shake, open.
The Soft-Shake open.
The Authors Inability, to make the Nerve-Shake.
The Arm-Shake.
The Stopt-Shake, and its Explanation.
A General Rule, how to make All Shakes pro∣perly, and in their True places.
An Example of whole Notes, and half Notes, in refe∣rence to Shakes, and Back-falls, in their proper Aire.
A certain Ge∣neral Rule, for Graces; never to be Contra∣dicted.
The Back-fall Explained.
The Beate, Explained.
Observe, not to make a Grace, to prove a Dis∣grace.
The Half-fall, Explained.
The Whole-fall, Explain∣ed.
Choice Dire∣ctions, for It Exact Perfor∣mance.
The Elevati∣on, and its Explanation.
The Elevati∣on, Ascending, and Descend∣ing.
The Single Relish.
The Double Relish.
The Slur.
The Slide.
The Slide Ex∣plained.
The Spinger, Explained.
The Sting▪ Explained.
The Tut, Ex∣plained.
Which makes the Lute to speak.
Soft and Loud Play, a most Excellent Grace.
The Pause.
A General Rule for the Right Hand Fingering.
All Lessons should be Barr'd.
When your Thumb sin∣gle, begins any Barr, what Finger fol∣lows.
When the Thumb sup∣plies the place of the Fore-finger.
Even Notes of a Kind, in a Barr, how to be Play'd.
Even Notes of a Kind.
Triple Time.
An Exception for the Gene∣ral Rule, of Fingering, for the Right Hand.
The 1st. Example, contrary to the General Rule.
The Reason, why the Ge∣neral Rule, is contradicted Here.
The 2d. Ex∣ample, contra∣dicting the General Rule.
The best way to confirm you, in this particular Play.
What is the most Absolute satisfaction, upon the Lute▪
What is to be known, in Re∣ference to a Voluntary Play, very ne∣cessary.
Concerning the Key.
Concerning the Fuge, Form, or Shape.
How to know the Key, 4 se∣veral ways.
The meaning of a Fuge.
The very Best way, to pro∣cure Inven∣tion.
Note.
A Compari∣son, concern∣ing Ridiculous Composures.
A Necessary, and short Di∣gression, Com∣paring Musick to Language, or Oratory.
Further Ex∣plained.
The Divine Rhetorical Power of Mu∣sick.
How an Eighth, and a Unison, is sig∣nified to be the same Thing in Na∣ture.
And in a great Mystery.
A Story, (not Impertinent) concerning This Lesson; although ma∣ny may chance to smile at It.
The occasion of This Lesson.
There are Times of Bar∣renness, and Times of Plenty, in Matters of Invention.
The Story ap∣ply'd to use; And the Les∣son Explain∣ed.
The Fugue.
The Humour.
The Form.
A Good Cau∣tion for Com∣posers.
Directions, to Play the Mi∣stress well.
The 2d. Les∣son of the first Sett, Named the Off-spring.
〈♫〉〈♫〉
The Explana∣tion of the Off-spring.
〈♫〉〈♫〉
What is meant by the Uniformity of a Lesson.
The first Thing obser∣vable in Uni∣formity.
A Comparison betwixt Mu∣sick, and Poe∣try, as to Quan∣tities, &c.
The Third Thing is ab∣solute Unifor∣mity.
An assured way, to make Handsom, and Good Lessons.
How to know, and give right Names to all sorts of Les∣sons, &c.
The Descrip∣tion of Them. 1. The Prae∣lude.
2. The Fancy, or Voluntary.
3 Pavines.
4. Allmaines.
5. Ayres.
6 Galliards.
7. Corantoes.
8. Serabands.
9. Tattle de Moys.
10. Chicho∣na's.
11. Toys, or Jiggs.
12. Common Tunes.
13. Grounds.
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A General Observation▪ how to find out the Hu∣mour of a Lesson.
What gives the Chiefest Lustre to Play.
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Memento, that Soft, and Loud Play, is a Chief Grace.
This way of Teaching, dif∣fers from the Common way.
Its Benefit, and Advan∣tage.
A Compleat Piece of Ma∣stership.
A Compari∣son, betwixt Language, and Musick.
The way how to pass from one Key to a∣nother, with∣out Abrupti∣on, or Ab∣surdness.
A Caution, not to go from any Key im∣mediately in∣to a 2d. or 7th. from that Key.
1st 〈♫〉〈♫〉
2d 〈♫〉〈♫〉
3d 〈♫〉〈♫〉
4th 〈♫〉〈♫〉
5th 〈♫〉〈♫〉
6th 〈♫〉〈♫〉
The Benefit of these Six Interludes, will be much more than so many Lessons.
Fugue, Mat∣ter▪ Form, or Shape; Hu∣mour, Life, or Conceit.
The Chief Things Regar∣dable in Com∣posing.
The Readiest way to a Good Invention.
Why the Rules of Com∣position are not Treated upon, in This Book.
Want of In∣vention, the greatest Dis∣couragement to Young Composers.
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Observations▪ upon This last Sett of Les∣sons.
The Benefit of One Suit of Lessons, well Studied, and Practiced.
1st 〈♫〉〈♫〉
2d 〈♫〉〈♫〉
3d 〈♫〉〈♫〉
4th 〈♫〉〈♫〉
5th 〈♫〉〈♫〉
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When Soft, and Loud Play is most Neces∣sary.
Many Drudge and Practice Hard, to little purpose.
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A Story of the Manner, and Occasion of Hab-Nab's Production.
The Reason of that Name, Hab-Nab.
No Offence for one Master to take ano∣ther's Fugue.
But rather a Credit.
Mr. William Lawes, Mr. John Jenkins▪ and Mr. Chri∣stopher Simpson Quoted for their Eminent Works.
A Compari∣son betwixt Musick, and Language
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7th 〈♫〉〈♫〉
1st 〈♫〉〈♫〉
2d 〈♫〉〈♫〉
3d 〈♫〉〈♫〉
4th 〈♫〉〈♫〉
5th 〈♫〉〈♫〉
6th 〈♫〉〈♫〉
1st 〈♫〉〈♫〉
2d 〈♫〉〈♫〉
3d 〈♫〉〈♫〉
4•h 〈♫〉〈♫〉
5th 〈♫〉〈♫〉
6th 〈♫〉〈♫〉
7th 〈♫〉〈♫〉
1st 〈♫〉〈♫〉
2d 〈♫〉〈♫〉
3d 〈♫〉〈♫〉
4th 〈♫〉〈♫〉
5•h 〈♫〉〈♫〉
6th 〈♫〉〈♫〉
1st 〈♫〉〈♫〉
2d 〈♫〉〈♫〉
3d 〈♫〉〈♫〉
4th 〈♫〉〈♫〉
5th 〈♫〉〈♫〉
6th 〈♫〉〈♫〉
1st 〈♫〉〈♫〉
2d 〈♫〉〈♫〉
3d 〈♫〉〈♫〉
4th 〈♫〉〈♫〉
5th 〈♫〉〈♫〉
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1st 〈♫〉〈♫〉
2d 〈♫〉〈♫〉
3d 〈♫〉〈♫〉
4th 〈♫〉〈♫〉
5th 〈♫〉〈♫〉
6th 〈♫〉〈♫〉
1st 〈♫〉〈♫〉
2d 〈♫〉〈♫〉
3d 〈♫〉〈♫〉
4•h
5th 〈♫〉〈♫〉
6th 〈♫〉〈♫〉
1st 〈♫〉〈♫〉
2d 〈♫〉〈♫〉
3d 〈♫〉〈♫〉
4th 〈♫〉〈♫〉
5th 〈♫〉〈♫〉
6th 〈♫〉〈♫〉
7th 〈♫〉〈♫〉
8th 〈♫〉〈♫〉
1st 〈♫〉〈♫〉
2d 〈♫〉〈♫〉
3d 〈♫〉〈♫〉
4th 〈♫〉〈♫〉
5th 〈♫〉〈♫〉
6th 〈♫〉〈♫〉
Note, how to Reconcile the Difference in the Diapasons.
A Caution worth Noting, in Translating of Lessons.
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Theorboe.
Flat Tuning.
Theorboe.
Flat Tuning.
What String is most pro∣per for Gam-ut, upon the Theorboe.
What upon the French Lute.
Note well ☞
A Dispute, concerning the Difference betwixt the 2 last French Tunings, De∣termined.
A Sure Argu∣ment, to prove which is the Best Tuning upon any Instru∣ment, from the Foundati∣tion of the Art.
But 7 Keys Distinct in Na∣ture.
An undenia∣ble Device, to prove the Difference, and Best of Tunings.
Near 200 Stops Diffe∣rence betwixt These Two Tunings.
Note well the most Princi∣pally-Emi∣nent Key up∣on the Lute.
The Exami∣nation of the several Keys.
Cross-stop∣ping, the har∣dest piece of Lute-play.
B-mi-Key Na∣tural seldom us'd as the Key in Con∣sort, &c.
A very Con∣siderable Thing, as to the Compleat∣ness of the Lute-Tuning.
Who (for Recreation) will Sing Thus?
A Great Ble∣mish to a Tu∣ning.
A Comparison betwixt the 2 Tunings.
The Reason why ••o late New Tuning for the Lute.
No better can be Invented, than what we now Enjoy.
A Great Gul∣lery to Young Scholars, who think, that New Tunings bring New Mu∣sick into the World.
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What has been one main Cause of making the Lute Hard, and Trouble∣some to Lear∣ners.
What is the Lute's Grea∣test Enemy.
By what Oc∣casion It came to be Inuen∣ted.
How a Deaf Person may Hear Musick; and the Un∣valuable Bene∣fit of It to the Author, being Deaf.
Two Great Avantages It has of all o∣ther Lutes, as to Augmenta∣tion of Sound.
The wonder∣ful Secret of Unities in Sound.
Some other Considerable Benefits by This Instru∣ment.
One only Ob∣jection against It, sufficiently Answered.
Concerning the Dimensi∣ons of This Instrument.
The Great In∣convenience of Dispropor∣tionable Heads to Lutes or Theorboes.
Concerning the In side of This Instru∣ment, and Its Conveniences
A Recreative Fancy.
Viz. When They United Both against the Dutch, and Beat Them Soundly.
Viz. Discords; for the 7th. and 2d. are the 2 only Hateful Dis∣cords in Na∣ture.
The Descri∣ption of the Theorboe.
The Diffe∣rence between It, and the Old English Lute.
2d. Reason.
A 3d. Reason,
Inconvenien∣cies, by Rea∣son of too long Diapasons in a Lute, or The∣orboe.
Directions for the Playing upon the The∣orboe.
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What is ne∣cessary for a Theorboe-man to know.
The Greatest Excellency in a Theorboe-man.
Things Requi∣site in a The∣orboe-man.
Gam-ut Sharp.
All the Natu∣ral Stops pro∣per to Gam-ut, with Its Sharp-Third.
A Theorboe is Incompleat, without It carries 26 Strings.
Gam-ut Flat.
Here They are, with Its Flat Third.
A Flat or Sharp-Third, a Chief Thing to be regar∣ded▪
A-re Flat and Sharp.
B-mi Natural Flat and Sharp.
Wherein lies the Greatest Profit, or Ad∣vantage for a Learner.
A vast Diffe∣rence, and Conveniency betwixt the Lutes of our Time, and Those of for∣mer Times.
The Best way to Amplifie your Play.
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How to know your Key.
How to know whether It be a Flat or Sharp Key.
How the Work will be made much Easier, than It is Imagined.
The General Rule for Uni∣ting of Parts, in Composi∣tion.
Concerning the 6th. when It is to be used Generally.
The meaning of the Figures over the Notes of the Bass.
The meaning of a Flat or a Sharp over the Note of a Bass.
The Consecu∣tion of 2 5th's, and 2 8th's to be avoided.
Concerning the Cadence.
The meaning of a Cadence, or Close.
A General Rule for the Flat or Sharp Sixth.
The same up∣on another Key.
Another usual way of using the Sixth.