A breefe introduction to the skill of musick for song & violl / by J.P.

CHAP. VIII. The five Graecian Moods their Names. 1. The Dorick, 2. the Lydian, 3. the Aeolick, 4. the Phrygian, 5. the Ionick.

1. THe Dorick Mood consists of sober slow ti∣med Notes (or counterpoint) which in com∣position

of parts goes Note for Note, be they of two, three, or four parts, as is usuall in Church Tunes to the usuall Psalms, by Mr. Ravenscroft and others in foure parts, and other pious Canticles in Meeter; and this Dorick had his name from Doria, a civill part in Greece neare Athens.

2. The Lydian Mood was used to grave, full, so∣lemn Musick, the Descant or Composition being of slow time fitted to sacred Hymnes, as Anthems, or spirituall Songs in prose, sometimes in verses alone, and sometimes in a full Chorus of foure or five parts. This Mood had its derivation from the famous Ri∣ver in Lydia called Pactolus, and the winding retro∣grade Meander, representing thereby the admira∣rable varieties of sounds in Musick in its passing by the chiefe Cities of Philadelphia and Sardis, being the Royall seat of the Rich Croesus.

3. The Aeolick Mood was that which was of a more Ayery and soft pleasing sounds, as your Ma∣drigals, or Fa la's of five and six parts, which were composed for Viols and Voyces by many of our Ex∣cellent English Authours, as Mr. Morley, Wilkes, Wilbey, Ward, and others, and had his derivation from Aeolia (a Kingdome of Aeolus) whence hee is faigned to send his rushing windes, the which do resemble this Mood, that is so commixt with fancy and Ayery sounds.

4. The Phrygian Mood was a more warlike and couragious kinde of Musick, expressing the Musick of Trumpets and other Instruments used of old, ex∣citing

to Arms and activity, as Almans, and the like. This Mood had it derivation from Phrygia (a region bordering upon Lydia and Caria) in which is Cios that martiall Mare Towne, and the most high hill Ida famous for the Trojan war: and many Histori∣ans have written of its rare effects in warlike prepa∣rations. (Suidas in litera T.) writes of Timotheus a skilfull Musitian, that when Alexander the Great was much dejected in his minde, and loath to take up Armes, hee with his Phrygian Flute expressed such excellent sounds and varieties of Musick that the Kings passions were immediatly stirred to war, and ran presently and took up Arms But the story of Ericus Musitian, passes all, who had given forth that by his Musick he could drive men into what af∣fections he listed, being required by Bonus King of Denmarks to put his skill in practice, hee with his Harp or Polycord Lyra expressed such effectuall melody and harmony in the variety of changes in severall Keyes, and in such excellent Fugg's and sprightly Ayres, that his Auditors began first to be moved with some strange passions; but ending his excellent voluntary with some choice Fancy upon this Phrygian Mood, the Kings passions were altred and excited to that height, that he fell upon his most trusty friends which were neare him, and slew some of them with his fist for lacke of another weapon, which our Musitian perceiving ended with the so∣ber Dorick: the King came to himselfe and much lamented what he had done. This is recorded at

large by Kranzius lib. 5. Dania cap. 3. and by Saxo Grammaticus lib. 12. Hist. Daniae and others.

5. The Ionick Mood was for more light and effe∣minate Musick, as pleasant, amorous Songs, Coran∣to's, Sarabands and Jigs, used for honest mirth and delight in Feasts and other merriments. This Mood had its derivation from the Ionian of Ionia, which lies between Aeolia and Caria a situation full of all pleasure, whose plenty and idleness turned their ho∣nest mirth into lasciviousness. By this Mood was the Pythagoreans Huntsup or morning Musick, which wakened and roused their dull spirits to study and action. The abuse of this Mood is soone reformed by the sober Doricke, for what this excites above moderation, the other draws into a true Decorum.

Heer followeth three plain Songs for the first Tuning of the voyce.

For the ascending and descending eight Notes.

〈♫〉〈♫〉Sol la Mi fa sol la fa sol sol fa la sol fa mi la sol la sol. 〈♫〉〈♫〉Sol mi la fa mi sol fa la la fa sol mi fa la mi sol la sol.

Ascending. 〈♫〉〈♫〉Sol la ••a sol mi sol la mi fa sol fa sol la mi fa sol sol sol sol

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

Descending. 〈♫〉〈♫〉fa sol la fa sol sol sol sol fa la sol la sol fa la sol sol sol 〈♫〉〈♫〉sol fa la sol fa sol fa sol fa la sol fa mi sol mi sol fa la sol 〈♫〉〈♫〉fa mi la sol la sol fa la so. f mi la sol sol sol fa sol la sol sol sol fa sol mi sol la sol

Adjuncts, or Characters used in Musick.

A Direct {direct}

Which is placed at the end of the line to direct where the first Note of the next line standeth.

A Double Barr :‖:

Which divides the strains of a Song or Lesson.

A Repeat :S:

To repeat over such a part of a Song or Lesson a∣gaine.

A Hold {fermata}

Or a Close, put at the end of a Song or Lesson.

A Table of the Names of the Notes in all usuall Cleaves.

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

• 〈♫〉〈♫〉 la fa sol la mi fa sol la mi fa sol la fa sol la mi
• 〈♫〉〈♫〉 fa sol la mi fa sol la fa f-sol la fa sol la mi fa
• 〈♫〉〈♫〉 sol la mi fa sol la fa sol sol la fa sol la mi fa sol
• 〈♫〉〈♫〉la mi fa sol la fa sol la la fa sol la mi fa sol la