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

CHAP. I. Of the Scale of MUSICK, called the Gam-ut.

THe GAM-UT is the Ground and Foundation of Musick both Vo∣call and Instrumentall, and as Ornithop••••chus reporteth, it was composed by Guido Aretinus a∣bout the yeare 960. who also in six syllables, which hee found in the first Saphick of the Hymne of S. Johannis Baptista.

ƲTqueant laxis REsonare fibris MIra gestorum FAmuli tuorum SOLve poluti LAbii reatum.

It is supposed he drew the six names of the Notes, viz. UT, RE, MI, FA, SOL, LA, which were so generally taught and practised in the same order, ascending, and descending: but in these latter times foure of them are onely in use, which are SOL, LA, MI, FA; so that UT and RE are changed into SOL LA, and these foure being found to be sufficient for

the expressing of the severall sounds, and lesse bur∣thensome to the memory.

Besides these names of the Notes there is used in the GAM-UT seven Letters of the Alphabet, which are set at the beginning of each Rule and Space, as G. A. B. C. D. E. F. and of these there are three Septenaries ascending one above the other, G. being put first, which is according to the third Letter in the Greeke Alphabet called Gamma, and is made thus r, in token that the first derivation thereof was from the ancient Greeks.

These seven Letters of the Alphabet are called the 7 Cliffs, or more properly Cleaves, the other names or sylables adjoyned to them, the Notes: And by these three Septenaries are distinguished the severall tones or sounds, which the Scale is divided into: First the Basse, which is the lowest part; the second the Meane, or middle part; the third, the Treble, or highest part, so that according to these three Sep∣tenaries, Gam-ut is the lowest Note, and Ela the highest: And this the usuall Gam-uts in Mr. Mor∣ley and others, do not exceed; but it is well known that there are many Notes in use, both above and below exceed that compass, both in Vocall and In∣strumentall Musick, and therefore ought not to bee omitted; for the Compass of Musick ought not to be confin'd: for though there be but three Septena∣ries in the Gam ut of the Alphabet, which expresse the severall sounds, yet if occasion requires, you may ascend one more higher, for it is but the same again,

onely eight Notes higher; or if occasion require, you may descend lower then Gam-ut another Sep∣tenarie, they will be the same to those above, onely eight Notes lower, and it is usuall to distinguish them thus:

Those above Ela are called Notes in Alt, as F fa ut, and G sol re ut, &c. in Alt: And those below Gam-ut are called double Notes, as Double F fa ut, E la mi, &c. as being Eights, or Diapasons to those above Gam-ut, I have therefore in the Gam-ut of this Booke expressed them in their right places: The Gam-ut is drawne upon foureteene Rules, and their Spaces, which comprehend all Notes or sounds usuall in Musicks either Vocall or Instrumentall, though when any of these parts which it is divided into, come to be prickt out by it selfe, five lines is onely usuall, as being sufficient to containe the com∣pass of Notes thereto belonging, if there be a Note that extends higher, it is usuall to adde a line in that place with a pen. But for Lessons for the Organ, Virginalls, or Harp two staves of six lines together are required, one for the left hand or lower Keyes, the other for the right or upper Keyes.

Therefore he that means to understand what hee sings or plays, must study to be perfect in the know∣ledge of the Gam-ut, and to have it perfectly in his memory without booke, both forwards and backe, and to distinguish Cliffs and Notes, in Rule and in Space; for by knowing their places, their names are easily known.

This Scale or Gam-ut hath three Columns which shew the names of the Notes ascending and descen∣ding in their severall Keyes: the first Columne is called B Duralis or B sharp, as having no flat in B mi: the second is B proper, or B Naturalis which hath a B flat in B mi onely: the third is called B fa or B Moralis, having two B flats, the one in B mi the other in E la mi, and in these three observe that that what name the Note of any Cliffe hath, the same name properly hath his eight above or below him, be it either in Treble, Meane, or Basse.

There is an old Meeter, though not very common, yet it containes in it many pithy Rules of the Theo∣rick part of Musick, which are to be observed of those who are yong beginners, and as it falls in our severall Chapters I shall insert it; it begins thus:

To attaine the skill of Musicks Art, Learne Gam-ut up and down by heart, Thereby to learn your Rules and Spaces, Notes names are known knowing their places.

The Gamvt or Scale of Musick with the Names of the Cleaues and Notes in there Severall Keyes

The Treble or highest Keyes	aa	la mi re	la	la	mi
gg	sol re vt	sol	sol	la
ff	fa vt	fa	fa	sol
E	la	la	mi	♭ fa
D	la sol	sol	la	la
C	sol fa	fa	sol	sol
B	fa ♯ mi	mi	♭ fa	♭ fa
A	la mi re	la	la	mi
G	sol re vt	{G-clef} cleaue sol	{G-clef} sol	{G-clef} la
The Meane or midle Key's
ff	fa vt	fa	fa	sol
E	la mi	la	mi	♭ fa
D	la sol re	sol	la	la
C	sol fa vt	{C-clef} cleaue fa	{C-clef} sol	{C-clef} sol
B	fa ♯ mi	mi	♭ fa	♭ fa
A	la mi re	la	la	mi
G	sol re vt	sol	sol	la
F	fa vt	{F-clef} cleaue fa	{F-clef} fa	{F-clef} sol
The Basse or lowest Keyes
E	la mi	la	mi	♭ fa
D	sol re	sol	la	la
C	fa vt	fa	sol	sol
B	mi	mi	♭ fa	♭ fa
A	re	la	la	mi
G	Γamvt	sol	sol	la
FF	fa vt	fa	fa	sol
EE	la mi	la	mi	fa
DD	sol re	sol	la	la
CC	fa vt	fa	sol	sol
			1 B D$$alis	2 B Naturalis	3 B Mollaris

A Second Table of the Scale or Gam-ut, in which every Key or Note is put in his proper place, according to the two signed Cleaves of the Basse and Treble.

• {G-clef}
  • D la sol 〈♫〉〈♫〉
  • E la 〈♫〉〈♫〉
  • F fa ut 〈♫〉〈♫〉
  • G sol re ut 〈♫〉〈♫〉
  • A la mi re 〈♫〉〈♫〉
  • F fa ut 〈♫〉〈♫〉
  • G sol re ut 〈♫〉〈♫〉
  • A la mi re 〈♫〉〈♫〉
  • B fa ♭ mi 〈♫〉〈♫〉
  • C sol fa 〈♫〉〈♫〉
• {F-clef}
  • A la mi re 〈♫〉〈♫〉
  • B sa ♭ mi 〈♫〉〈♫〉
  • C sol fa ut 〈♫〉〈♫〉
  • D la sol re 〈♫〉〈♫〉
  • E la mi 〈♫〉〈♫〉
  • B mi 〈♫〉〈♫〉
  • C fa ut 〈♫〉〈♫〉
  • D sol re 〈♫〉〈♫〉
  • E la mi 〈♫〉〈♫〉
  • F fa ut 〈♫〉〈♫〉
  • G sol re ut 〈♫〉〈♫〉
  • CC fa ut 〈♫〉〈♫〉
  • DD sol re 〈♫〉〈♫〉
  • EE la mi 〈♫〉〈♫〉
  • FF fa ut 〈♫〉〈♫〉
  • Gam 〈♫〉〈♫〉
  • ut 〈♫〉〈♫〉
  • A re 〈♫〉〈♫〉

CHAP. II. Of the Cliffs or Cleaves.

IN the Gam-ut (as I said before) is contained three Septenaries of Letters, which are, G.A.B.C.D.E.F. these 7 Letters are set at the beginning of each Rule and Space, and are called the seven Cleaves; of these seven, foure is onely usuall: the first is the F fa ut Cleave, which is only proper to the Basse, or lowest part, and is thus signed or marked {F-clef} The second is the C sol fa ut, which is proper to the middle, or in∣ner parts, as Tenor, Counter-Tenor, or Meane, and he is thus signed or marked {C-clef} The third is the G sol re ut Cleave, which is only proper to the Treble, or highest, and is signed or marked thus {G-clef}

These three Cleaves are called the three signed Cleaves, because they are alwayes set at the begin∣ning of every line of a Song, or Lesson; for Cleave is derived from Clavis, which signifies a Key, for by this Key the places of all the Notes in the Song are known.

The fourth is the B Cleaves, which is proper to all parts, as being of two natures or pro∣perties, that is to say, Flat and Sharp, and doth onely serve for that purpose for the flatting and sharping of Notes, and therefore he is called B fa, B mi: the B fa signifies Flat, the B mi Sharp, The

B fa or B flat, is known by this marke ♭ and the B mi, which is sharp by this ♯.

But these Rules observe of them both: First the B fa or B flat doth alter both the name and proper∣ty of the Notes before which he is placed, and they are called Fa, making them halfe a tone or found, lower then they were before.

Secondly, the B mi or B sharp alters the proper∣ty of the Notes before which he is placed, but not their names; for he is usually placed either before fa or sol, and they retaine their names still, but their sound is raised halfe a tone or sound higher.

CHAP. III. A briefe Rule for the proving the Notes in any Song or Lesson.

FIrst observe with what Cleave your Song or Lesson is signed with at the beginning, if it bee the G sol re ut, then if the Note be above, you must begin at G sol re ut, and assigne to every Space and Rule a Key according to your Gam-ut, ascending till you come to the Rule or Space where he is set: If a Note below your Cleave, then you must prove downwards to him, saying your Gam ut backward, assigning to each Rule and Space a Key, till you come to his place.

CHAP. IV. Containing a plain and easie Rule for the naming your Notes in any Cleave.

HAving observed the fore-going Rule of proo∣ving your Notes to know their places, you may easily know the names also, if you follow this Rule: First observe that Mi is the principall or ma∣ster Note, which leads you to know all the other; for having found out him, the other followes upon course, and this Mi has his being in foure severall places, but he is but in one of them at a time; his proper place is in B mi: But if a B fa, which as a B flat (as is mentioned in chap. 2.) be put in his place, then he is removed into Ela mi, which is his second; but if a B flat bee placed there also, then he is in his third place, which is A la mi re; if a B flat come there also, then he is removed into his fourth place, which is D la sol re, so that in which of these he is, the next Notes above him ascending, are Fa sol la, Fa sol la twice, and then you meet with your Mi againe, for he is found but once in eight Notes: In like manner, the Notes next below him descending, are La sol fa, La sol fa, and then you have your Mi againe: I shall here insert the old Meeter, with examples of the Notes, for the more easie under∣standing thereof in the severall places.

No man can sing true at first sight, Unless he names his Notes aright, Which soon is learnt if that your Mi You know where ere it be.

1.

If that no flat be set in B, Then in that place standeth your Mi.

Example. 〈♫〉〈♫〉Sol la Mi fa Sol la fa Sol.

2.

But if your B alone be flat, Then E is Mi be sure of that.

Example. 〈♫〉〈♫〉Sol la fa Sol la Mi fa Sol.

3.

If both be Flat, your B and E, Then A is Mi here you may see.

Example. 〈♫〉〈♫〉La Mi fa sol la fa sol la.

4.

If all be Flat, E, A and B. Then Mi alone doth stand in D.

Example. 〈♫〉〈♫〉La fa sol la Mi fa sol la.

The first three Notes above your Mi, Are fa sol la here you may see, The next three under Mi that fall, Them la sol fa you ought to call.

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

If youle sing true without all blame, You call all Eights by the same name.

Example. Sol la fa Sol Sol fa la sol. 〈♫〉〈♫〉 Sol la fa sol Sol fa la sol.

CHAP. V. Of Tones, or Tunes of Notes.

OBserve that the 2 B. Cleaves before mentioned are used in Song for the altering of the tone or tune of Notes. the B flat changeth mi into fa, making him a semitone or half a note lower: and the B sharp raiseth the Note before which he is set halfe a Tone higher, but alters not their names, so that from Mi to fa, and likewise from la to fa is but halfe a tone, between any two other Notes is a whole tone, as

from fa to sol, from sol to la, and from la to Mi are whole Tones, and this may be easily distinguished if you trye it on the Frets of a Viol, you shal perceive plainly that there goes two frets to the stopping of a whole Note, and but one fret to a halfe Note; so that is observed that Mi and fa doe serve for the flatting or sharping the other ordinary Notes in the Scale, and they being rightly understood, the other Notes are easily applied to them; for if G sol re ut have a sharp set before him, it is A la mi re flat, and B mi flat is A re sharp, and C. fa ut sharp is D sol. re flat, &c. as being of one and the same sound. And it is observed that a Diapason or perfect eight contains five whole tones and two halfe tones, that is in all the seven naturall sounds, or Notes besides the ground, what flats or sharps soere there be. But for this I shall referre you to Doctor Campions ex∣cellent discourse or Preface which is added at the end of this Booke.

Time, Tune and Eare must now be used, Or else sweet Musick is abused.

CHAP. VI. The Notes, their names, proportions, and their Rest or pauses, with directions for keeping Time.

The Notes. Their Rests or Pauses.

Large.	Long.	Breif.	Semibrief.	Minim.	Crochet.	Quaver.	Semiquaver
8	4	2		2	4	8	16
{large note}	{long note}	{breve note}	{semibreve note}	{minim note}	{crotchet note}	{quaver note}	{semiquaver note}
{large rest}	{long rest}	{breve rest}	{semibreve rest}	{minim rest}	{crotchet rest}	{quaver rest}	{semiquaver rest}
By Augmentation.		By Diminution.

IT is to be observed, that Notes have two names, one for Tune, as Sol la mi fa; the other for Time, or prolongation of sounds, as first the Large, 2. the Long, 3. the Briefe, 4. the Semibriefe, 5. the Minim, 6. the Crochet, 7. the Quaver, 8. the Semiquaver: and these eight Notes are thus distinguished, the Large being the first and longest sound, the rest as they follow one another are halfe the proportion of the Note before him. The Semibriefe being the Master Note; for in Songs or Lessons all Times are kept to his value, which is the hand up and downe: If it be a Long (which is a Note of Augmentation) 'tis foure Semibriefs, which is the hand foure times up and down: If Notes of Diminutions as Minims and Crochets, then such a proportion of them as a∣mount

to the value of one Semibrief is a Time, which is the hand up at one Minim and downe at the o∣ther.

These Notes have often times an augmentation or addition of a prick which followes them, which is for the continuing or prolonging of the sound of that Note it follows, and the prick is halfe as much as the note which it follows: for example, if a prick be set after a Sembriefe, that prick addes a Minim more to him, and the Semibriefe which before but two Minims is now made to contain three Minims▪ the like is to the other Notes.

Example.

〈♫〉〈♫〉

The usuall Moods may not here be mist, In them much cunning doth consist.

CHAP. VII. Of the Moods or Proportions of the Time, or measure of Notes.

THere are foure Moods, that is to say, The Per¦fect of the More, The Perfect of the lesse, Th••

Imperfect of the More, The Imperfect of the Lesse: all these four have been of much use in former times. but what our late Masters of Musick have composed either for Voice or Instrument, make use onely of the two latter; that is to say, the Imperfect of the More, the Imperfect of the Lesse, one being called the Triple Time, the other the duple, or Common Time: however I will give you the definition of all foure in their order, and be more large upon the two latter, because of most use to all yong Practitioners.

The Perfect of the More is when all go by three, as three Longs to a Large, three Briefs to a Long, three Sembriefs to a Brief, three Minums to a Sem∣brief, and his signe or mark is thus {timeperf-prolatperf}3.

Example. The Perfect of the More.

{large note}

{long note}{long note}{long note}

{long note}

{breve note}{breve note}{breve note}

{breve note}

{semibreve note}{semibreve note}{semibreve note}

{semibreve note}

{minim note}{minim note}{minim note}

{minim note}

{crotchet note}{crotchet note}

{crotchet note}

{quaver note}{quaver note}

{quaver note}

{semiquaver note}{semiquaver note}

The Perfect of the Lesse is when all goe by two, except the Sembriefs, as two Longs to a Large, two Briefs to a Long, three Sembriefs to a Briefe, two Minims to a Sembriefe, &c. and his signe or marke is made thus {timeperf-prolatimperf-str}3.

Example. The Perfect of the Lesse.

{large note}

{long note}{long note}

{long note}

{breve note}{breve note}

{breve note}

{semibreve note}{semibreve note}{semibreve note}

{semibreve note}

{minim note}{minim note}

{minim note}

{crotchet note}

{crotchet note}

{quaver note}{quaver note}

{quaver note}

{semiquaver note}{semiquaver note}

The Imperfect of the More, is when all goes by two, except the Minims, which goes by three, as two Longs to a Large, two Briefs to a Long, two Sembriefs to a Briefe, three Minims to a Sembriefe, with a prick of Augmentation (else it would not beare the proportion of three Minims, which is cal∣led a Time) and two Crochets to a Minim, &c. his Mood is thus signed {timeimperf-prolatperf} and this is called the Triple Time.

Example. The Imperfect of the More.

{large note}

{long note}{long note}

{long note}

{breve note}{breve note}

{breve note}

{semibreve note}{semibreve note}

{semibreve note}·

{minim note}{minim note}{minim note}

{minim note}

{crotchet note}{crotchet note}

{crotchet note}

{quaver note}{quaver note}

{quaver note}

{semiquaver note}{semiquaver note}

This Mood is much used in Ayery songs and Galliards, and is usually called Galliard or Triple time, and this Triple time is in some Lessons, as Co∣ranto's, Sarabands, and Jigs brought into a Measure, as swift againe, for as before three Minims or Sem∣briefs with a prick made a Time, in this three Cro∣chets makes a Time, or one Minim with a prick, and this measure is knowne by this signe or mark 3j, which is usually called Three to one.

Example.

{minim note}·

{minim note}{crotchet note}

{crotchet note}{crotchet note}{crotchet note}

{crotchet note}·{quaver note}{crotchet note}

{crotchet note}·{quaver note}{quaver note}{quaver note}

{quaver note}{quaver note}{quaver note}{quaver note}{quaver note}{quaver note}

{minim note}·

{minim note}{crotchet note}

{crotchet note}{crotchet note}{crotchet note}

{crotchet note}·{quaver note}{crotchet note}

{crotchet note}·{quaver note}{quaver note}{quaver note}

{quaver note}{quaver note}{quaver note}{quaver note}{quaver note}{quaver note}

{minim note}·

{minim note}{crotchet note}

{crotchet note}{crotchet note}{crotchet note}

{crotchet note}·{quaver note}{crotchet note}

{crotchet note}·{quaver note}{quaver note}{quaver note}

{quaver note}{quaver note}{quaver note}{quaver note}{quaver note}{quaver note}

{minim note}·

{minim note}{crotchet note}

{crotchet note}{crotchet note}{crotchet note}

{crotchet note}·{quaver note}{crotchet note}

{crotchet note}·{quaver note}{quaver note}{quaver note}

{quaver note}{quaver note}{quaver note}{quaver note}{quaver note}{quaver note}

{minim note}·

{minim note}{crotchet note}

{crotchet note}{crotchet note}{crotchet note}

{crotchet note}·{quaver note}{crotchet note}

{crotchet note}·{quaver note}{quaver note}{quaver note}

{quaver note}{quaver note}{quaver note}{quaver note}{quaver note}{quaver note}

The fourth and last Mood, which is the Imperfect of the Lesse, is when all goes by two, as two Longs to a Large, two Briefs to a Long, two Sembriefs to a Briefe, two Minims to a Sembriefe, two Crochets to a Minim, &c. and this is called the Duple or Sem∣brief Time, and this Mood is thus marked {timeimperf-prolatimperf-str}, and is usuall in Songs, Fantasies, Pavins and Almans, and the like.

The Imperfect of the Lesse.

{large note}

{long note}{long note}

{long note}

{breve note}{breve note}

{breve note}

{semibreve note}{semibreve note}

{semibreve note}

{minim note}{minim note}

{minim note}

{crotchet note}{crotchet note}

{crotchet note}

{quaver note}{quaver note}

{quaver note}

{semiquaver note}{semiquaver note}

Having in this Chapter given you the Definition of the foure Moods now used and their proportions, I think it not amiss to give you a short account of the five Moods used by the ancient Graecians in their severall varieties of their Musick, out of Mr. Butlers learned Treatise of Musick.

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

A Preface, or Briefe Discourse of the nature and use of the Scale or Gam-ut.

By Dr. THOMAS CAMPION.

THere is nothing doth trouble, and disgrace our Traditionall Musitian more, than the ambiguity of the termes of Musick, if hee cannot rightly distinguish them, for they make him uncapable of any rationall discourse in the Art he professeth: As if wee say a lesser Third con∣sists of a Tone, and a Semi-tone; here by a Tone is meant a perfect Sound, or (as they name it) a whole Note: But if we ask in what Tone is this or that Song made, then by Tone wee intend the Key

which guides and ends the whole Song. Likewise the word Note is sometime used properly, as when in respect of the forme of it, wee name it a round or square Note: in regard of the place we say, a Note in Rule, or a Note in Space; so for the Time, wee call a Briefe, or Sembriefe a long Note, a Crochet, or Quaver a short Note. Sometime the word Note is otherwise to be understood, as when it is signum pro signato, the signe for the thing signified: so we say a Sharp, or flat Note, meaning by the word Note, the sound it signifies; also we term a Note high, or low, in respect of the sound. The word Note sim∣ply produced, hath yet another signification, as when we say this is a sweet Note, or the Note I like, but not the words, we then meane by this word Note, the whole Tune, putting the part for the whole: But this word Note with addition, is yet far other∣wise to be understood, as when we say a whole Note, or a halfe Note, we mean a perfect or imperfect Se∣cond, which are not Notes, but the severall distances between two Notes, the one being double as much as the other; and although this kinde of calling them a whole and a halfe Note, came in first by abu∣sion, yet custom hath now made that speech passable.

In like manner there can be no greater hinderance to him that desires to become a Musitian, than the want of the true understanding of the Scale, which proceeds from the errour of the common Teacher, who can doe nothing without the old Gam-ut, in which there is but one Cliffe, and one Note, and yet

in the same Cliffe he will sing re and sol. It is most true, that the first invention of the Gam ut was a good invention, but then the distance of Musick was cancelled within the number of twenty Notes, so were the six Notes properly invented to help youth in vowelling, but the liberty of the latter age hath given Musick more space both above and below, al∣tering thereby the former naming of the Notes: the curious observing whereof hath bred much unneces∣sary difficulty to the learner, for the Scale may bee more easily and plainly exprest by foure Notes than by six, which is done by leaving out Ʋt and Re.

The substance of all Musicke, and the true know∣ledge of the Scale, consists in the observation of the halfe note, which is expressed either by Mi Fa, or La Fa, and they being known in their right places, the other Notes are easily applyed unto them.

To illustrate this I will take the common Key which we call Gam-ut, both sharp in Bemi and flat, as also flat in Elami, and shew how with ease they may be expressed by these foure Notes, which are Sol, La, Mi, Fa.

I shall need no more then one eight for all, and that I have chosen to be in the Base, because all the upper eights depend upon the lowest eight, and are the same with it in nature; then thus first in the sharp:

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

First observe the places of the halfe Notes, which are marked with a halfe circle, and remember that if the lowest be Mi fa, the upper halfe Note is La Fa, and contrariwise if the lowest hafe Note be La Fa, the upper must be Mi Fa.

It will give great light to the understanding of the Scale, if you trie it on a Lute, or Viol, for there you shall plainly perceive that there go two frets to the raising of a whole Note, and but one to a halfe Note, as on the Lute in this manner the former eight may be expressed.

Heere you may dis∣cern〈♫〉〈♫〉 that between A and C, and C and E, is interposed a fret, w^ch makes it double as much as E and F which is marke for the half Note, so the whole Note you see con∣tains in it the space of two halfe Notes, as A C. be∣ing the whole Note, containes in it these two halfe Notes, A B and B C.

Now for the naming of the Notes, let this be a generall rule, above Fa ever to sing Sol, and to sing Sol ever under La.

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

Here in the flat Gam-ut, you may finde La Fa be∣low, and Mi Fa above; which on the Lute take their places thus:

〈♫〉〈♫〉The lower halfe Note is betweene C and D, the higher be∣tween E and A: but next let us examine this Key as it is flat in Elami, which being proper to be set in Are, so is it to be sung with ease, La instead of Re, being the right limits of this eight.

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

Mi fa here holds his place below, & La Fa above, but yet removed a Note lower. The same on the Lute.

〈♫〉〈♫〉You shall heer finde the upper halfe Note placed a fret lower than it was in the ex∣ample of the flat Gam ut which was set down next before, by reason of the flat in Elami, which makes that whole Note but halfe so much as it was being sharp.

This is an easie way for him that would either with ayd of a Teacher, or by his owne industry learne to sing, and if he shall well bear in minde the placing of the halfe Notes, it will helpe him much in the knowledge of the cords, which have all their varie∣ty from the halfe Note.

[illustration]

Heere followeth some plaine Directions for the Basse Violl, or Violl de Gambo.

THe Basse Violl is that which usually playes the ground or lowest part, which is called the Basse, and hath six strings, which are usually named thus: The first is called the Treble, the second the Small Meane, the third the Great Meane, the fourth the Countertenor, the fifth the Tenor or Gam-ut, the sixth the Basse: Or they may be called by the Notes they are tuned in; the first or Treble is D la sol re, the second A la mi re, the third E la mi, the fourth C fa ut, the fifth Gam-ut, the sixth Dou∣ble DD sol re; and these six strings have seven frets, on which are stopt all Notes either flat or sharp, as appears by the following Table,

For the tuning thereof I shall give you two Rules, the first is by the Notes, the second by Letters. By Notes thus: first raise your Treble or first string as high as you conceive it will hold without breaking, then tune your second to be four Notes lower, and the third foure Notes lower then the second, and the fourth three Notes lower then the third, and the fifth foure Notes lower then the fourth, and the sixth foure Notes lower then the fifth, and sometimes it is tuned five Notes lower then the fifth, as being an eight or Diapason to the fourth string.

The second Rule for tuning is by eight Letters, which are A. B. C. D. E. F. G. H. and they are thus known, A is the string open, the other seven Letters are assigned to the seven Frets on the Neck of the Violl, B. being the first Fret, C the second, &c. First raise your Treble as high as it will beare, and then stop your second string in F. and tune it till it agree in sound with the Treble, then stop your third in F. and make it agree in sound with your second, then stop your fourth in E. and make it agree in sound with your third, then stop your fifth in F. and make it agree in sound with your fourth, then stop your sixth string in F. and make it agree in sound with your fifth: This being exactly done, your Violl will be perfectly in Tune. The next thing to be known is your Notes according to the Gamut on the 6 strings of your Violl, for which followeth an easie Rule.

A Table to finde all Notes usuall on the Basse Violl, either flat or sharp, beginning at the sixth string, and so upwards to the rest, still ascending to the highest Note on the first or Treble string, according to the seven Frets.

6 〈♫〉〈♫〉Double D sol re. Double E la mi Flat. DD E la mi. Proper. DD F fa ut. DD F fa ut Sharp. Sixth string. open. Sixth string. first fret. Sixth string. second fret. Sixth string third fret. Sixth string. fourth fret.

5 〈♫〉〈♫〉Gamut. Gamut sharp. A re B mi fret. B mi proper. Fifth string open fifth string first fret fifth string second fret fifth string third fret fifth string. fourth fret.

4 〈♫〉〈♫〉C fa ut C fa ut, sharp. D sol re E la mi, flat. Fourth string open fourth string first fret fourth string second fret fourth string. third fret.

3 〈♫〉〈♫〉E la mi F fa ut F fa ut, sharp. G sol re ut G sol re ut, sharp. Third string open third string first fret third string. second fret third string. third fret third string. fourth fret.

2 〈♫〉〈♫〉A la mi re B fa b mi, flat. B fa •• mi, proper. C sol fa ut C sol fa ut. sharp Second string open second string first fret second string second fret second string third fret. second string. fourth fret.

1 〈♫〉〈♫〉D la sol re E la mi, flat E la mi F fa ut F fa ut, sharp. G sol re ut. first string open first string first fret first string second fret first string third fret first string fourth fret first string. fifth fret.

These Directions for the Basse Violl wil also serve for the Treble Violl, for G sol re ut upon the Basse is also G sol re ut on the Treble, and the strings of the Treble are tuned according to the strings on the Basse, onely eight Notes higher.

The Tenor Violl is an excellent inward part, and much used in consort, especially in Fancies or Ayres, of three, foure, and five parts, and is tuned in the same manner, as the Basse and Treble is, but be∣twixt both; for it is tuned foure Notes higher then the Basse, and five Notes lower then the Treble, and the first string or Treble of it is G sol re ut, the 2. D la sol re, the 3. A la mi re, the 4. F fa ut, the 5. C fa ut, the 6. Gamut: For the Notes and their names and proportions of Time I have before men∣tioned them, for the same Gam-ut and Notes that serve for Vocall Musick do also serve for Instrumen∣tall. Thus I have briefly given you these Rules of the Theorik part, the practick remains on your part, in the which I dayly wish you a good successe.

Two short Lessons to begin on the Bass Viol.

〈♫〉〈♫〉

a. 2 parts. Bassus. Alphon. Ferabosco.

〈♫〉〈♫〉 Almaine.

a. 2 parts. Treble. Alphon. Ferebosco.

〈♫〉〈♫〉 Almaine.