An introduction to the skill of musick in two books : the first, the grounds and rules of musick, according to the gam-ut, and other principles thereof, the second, instructions & lessons for the bass-viol, and instruments & lessons for the treble-violin / by John Playford ; to which is added, The art of descant, or composing musick in parts, by Dr. Tho. Campion ; with annotations thereon, by Mr. Chr. Simpson.

THE ART of DESCANT: OR, Composing Musick in Parts. (Book 3)

I. Of * 1.1 Counterpoint.

THe Parts of Musick are in all but four, howsoever some skilful Musicians have Composed Songs of twenty, thirty, and forty parts; for be the parts never so many, they are but one of these four in nature. The names of those four parts are these: The Bass, which is the lowest part and foundation of the whole Song; the Tenor, placed next above the Bass; next above the Tenor, the Mean or Counter-Tenor; and in the highest

place, the Treble. These four Parts by the Learned are said to resemble the four Ele∣ments; the Bass expresseth the true nature of the Earth, who being the gravest and lowest of all the Elements, is as a foundation to the rest; the Tenor is likened to the Water, the Mean to the Air, and the Treble to the Fire: Moreover, by how much the Water is more light than the Earth, by so much the Air is lighter than the Water, and Fire than Air. They have also in their native property every one place above the other; the lighter upper∣most, the weightiest in the bottom. Having now demonstrated that there are in all but four Parts, and that the Bass is the foundati∣on of the other three, I assume that the true sight and judgment of the upper three must proceed from the lowest, which is the Bass; and also I conclude, that every part in nature doth affect his proper and natural place, as the Elements do.

True it is, that the ancient Musicians, who intended their Musick only for the Church, took their sight from the Tenor, which was ra∣ther done out of necessity, than any respect to the true nature of Musick; for it was usual with them to have a Tenor as a Theam, to which they were compelled to adapt their

other Parts: But I will plainly convince by demonstration, that contrary to some opinions the Bass contains in it both the Ayr and true judgment of the Key, expressing how any man at first sight may view in it all the other Parts in their original essence.

In respect of the variety in Musick which is attained to by farther proceeding in the Art, as when Notes are shifted out of their native places, the Bass above the Tenor, or the Tenor above the Mean, and the Mean above the Treble; this kind of Counterpoint, which I promise, may appear simple and only fit for young Beginners, (as indeed chiefly it is) yet the right speculation may give much satisfa∣ction, even to the most skilful, laying open unto them, how manifest and certain are the first grounds of Counterpoint.

First, it is in this case requisite that a for∣mal Bass, or at least part thereof be framed, the Notes rising and falling according to the nature of that Part, not so much by degrees, as by leaps of a third, fourth, or fifth, or eighth, a sixth being seldom, a seventh never used, and neither of both without the dis∣cretion of a skilful Composer. Next, we must consider whether the Bass doth rise or fall, for in that consists the mystery: That rising

or that falling doth never exceed a fourth, (a) 1.2 for a fourth above, is the same that a fifth is underneath, and a fourth underneath is as a fifth above; for Ex∣ample, if a Bass should rise thus: 1 2 3 〈♫〉〈♫〉

The first rising is said to be by degrees, be∣cause there is no Note between the two Notes; the second rising is by leaps, for G skips over A to B, and so leaps into a third; the third Example also leaps two Notes into a fourth. Now for this fourth, if the Bass had descended from G above to C underneath, that descending fifth in sight and use had been all one with the fourth, as here you may dis∣cern, for they both begin and end in the same Keys, thus: G C 〈♫〉〈♫〉 G C

This Rule likewise holds, if the Notes de∣scend a second, (b) 1.3 third, or fourth; for the

fifth ascending, is all one with the fourth de∣scending. Example of the first Notes.

1 2 3 〈♫〉〈♫〉The third two Notes which make the distance of a fourth, are all one with this fifth following.

But let us make our ap∣proach G D 〈♫〉〈♫〉 GD yet nearer: if the Bass shall ascend either a second, third, or four••h•• that part which stands in the third or tenth above the Bass, shall fall into an eighth, that which is a fifth shall pass into a third, and that which is an eighth shall remove into a fifth.

But that all this may appear

[illustration]

more plain and easie, I have drawn it all into these six figures,

Though you find here only mention••d and figured a third, fifth, and eighth, yet not only these single Concords are meant, but by them also their (c) 1.4 Compounds, as a tenth, a twelfth, a fifteenth, and so upwards; and also this Unison as well as the eighth.

This being granted, I will give you an Ex∣ample of those figures prefixed: When the

Bass riseth, beginning from the lowest figure, and rising to the upper; as if the Bass should rise a second, in this manner: 〈♫〉〈♫〉

Then if you begin with your third, you must set your Note in A la mi re, which is a third to F fa vt, and so look upward, and that Cord which you see next above it use, and that is an eight in G sol re vt.

After that, if you will take a fifth to the first Note, you must look upward, and take the third you find there for the second Note. Last∣ly, if you take an eighth for the first Note, you must take for the second Note the Cord above it, which is the fifth.

Example of all the three Parts added to the Bass.

8 5 Treble 〈♫〉〈♫〉 5 3 Mean. 〈♫〉〈♫〉 3 8 Tenor. 〈♫〉〈♫〉 Bass. 〈♫〉〈♫〉

What Parts arise out of the rising of the second; the same an∣swer in the rising of the 3^d and 4^th, thus: 8 5 8 5 〈♫〉〈♫〉 5 3 5 3 〈♫〉〈♫〉 3 8 3 8 〈♫〉〈♫〉 This rises 3d this a 4th 〈♫〉〈♫〉

Albeit any man by the rising of parts, might of himself conceive the same reason in the falling of them; yet that nothing may be thought obscure, I will also illustrate the descending Notes by example.

If the Bass descends or falls a second, third, or fourth, or riseth a fifth (which is all one as if it had fallen a fourth, as hath been shew∣ed before) then look upon the six figures, where in the first place you shall find the eighth which descends into the third, in the second place the third descending into the fifth, and in the third and last place the fifth which hath under it an eighth.

8 3 8 3 8 3 Treble. 〈♫〉〈♫〉 5 8 5 8 5 8 Mean. 〈♫〉〈♫〉 3 5 3 5 3 5 Tenor. 〈♫〉〈♫〉 Bass. 〈♫〉〈♫〉

Thus much for the rising and fal∣ling of the Bass in several: Now I will give you a brief ex∣ample of both of them mixed toge∣ther in the plainest fashion, let this fol∣lowing strain serve for the Bass.

Example. 〈♫〉〈♫〉

The two first Notes fall a second, the second and third Notes fall a fifth, which you must call rising a fourth; the third and fourth Notes fall a fifth, which you must name the fourth falling; the fourth and fifth Notes rise a second, the fifth and sixth Notes rise a third, the sixth and seventh Notes also fall a third, the seventh and eighth rise a second, the eighth and ninth Notes rise a fourth, the tenth and eleventh Notes fall a fifth, which you must reckon rising a fourth.

Being thus prepared, you may chuse whether you will begin with an eighth, or fifth, or a third; for assoon as you have ta∣ken any one of them, all the other Notes necessarily without respect of the rest of the parts, and every one orderly without mix∣ing, keeps his proper place above the other, as you may easily discern in the following Example.

Example. 8 3 8 3 8 3 5 3 8 3 8 Treble. 〈♫〉〈♫〉 5 8 5 8 5 8 3 8 5 8 5 Mean. 〈♫〉〈♫〉 3 5 3 5 3 5 8 5 3 5 3 Tenor. 〈♫〉〈♫〉 Bass. 〈♫〉〈♫〉

Let us examine only one of the Parts, and let that be the Tenor, because it stands next to the Bass. The first Note in B is a third to the Bass, which descends to the se∣cond Note of the Bass: Now look among the six figures, and when you have found the third in the upper place, you shall find under it a fifth, then take that fifth which is C next from F to B below, is a fifth de∣scending, for which say ascending, and so you shall look for the fifth in the lowest row of the figures, above which stands a third, which

is to be taken; that third stands in D; then from B to F the Bass rises a fifth, but you must say falling, because a fifth rising and a fourth falling is all one, as hath been often declared before; now a third, when the Bass falls, re∣quires a fifth to follow it. (d) 1.5 But what needs farther demonstration, when as he that knows his Cords, cannot but conceive the necessity of consequence in all these, with help of those six figures.

But let them that have not proceeded so far, take this Note with them, concerning the placing of the parts; if the upper part or Treble be an eighth, the Mean must take the next Cord under it, which is a fifth, and the Tenor the next Cord under that, which is a third: But if the Treble be a third, then the Mean must take the eighth, and the Tenor the fifth. Again, if the uppermost part stands in the fifth or twelfth, (for in respect of the Learners Ear, in the simple Concord I con∣clude

all his compounds) then the Mean must be a tenth, and the Tenor a fifth. More∣over, all these Cords are to be seen in the Bass, and such Cords as stand above the Notes of the Bass are easily known, but such as in sight are found (e) 1.6 under it, trouble the young Beginner; let him therefore know, that a third under the Bass, is a sixth above it, and if it be a greater third, it yields a lesser sixth above; if the lesser third, the greater sixth. A fourth underneath the Bass is a fifth above, and a fifth under the Bass is a fourth above it. A sixth beneath the Bass is a third above, and if it be the lesser sixth, then is the third above the greater third, and if the greater sixth underneath, then is it the lesser third above: And thus far I have di∣gressed for the Scholars sake.

[illustration]

Treb. M. Ten. Bass.

Which being prick'd in several Parts, appeareth thus: 3 8 3 5 3 8 3 5 3 Treble. 〈♫〉〈♫〉 8 5 8 3 8 5 8 3 8 Mean. 〈♫〉〈♫〉 5 3 5 8 5 3 5 8 5 Tenor. 〈♫〉〈♫〉 Bass. 〈♫〉〈♫〉

If I should discover no more than this al∣ready deciphered of Counterpoint, wherein the native order of four parts with use of the Concords, is demonstratively expressed, might I be my own Judge, I had effected more in Counterpoint, than any man before me hath ever attempted, but I will yet pro∣ceed a little further. And that you may per∣ceive how cunning and how certain nature is in all her operations, know that what Cords have held good in this ascending and descen∣ding of the Bass, answer in the contrary by the very same rule, though not so formally as the other, yet so, that much use is, and may be made of this sort of Counterpoint. To keep the figures iu your memory,

[illustration]

I will here place them again, and under them plain Examples.

8 5 8 5 8 5 5 8 5 8 5 8 〈♫〉〈♫〉 5 3 5 3 5 3 3 5 3 5 3 5 〈♫〉〈♫〉 3 8 3 8 3 8 8 3 8 3 8 3 〈♫〉〈♫〉 〈♫〉〈♫〉In these last Examples you may see what variety Nature offers of her self; for if in the first Rule the Notes follow not in expected formality, this second way be∣ing quite contrary to the other, affords us sufficient supply: the first and last two Notes arising and falling by degrees, are not so for∣mal as the rest, yet thus they may be mollifi∣ed, by breaking two of the first Notes.

8 5 5 8 〈♫〉〈♫〉 5 3 3 5 〈♫〉〈♫〉 3 8 8 3 〈♫〉〈♫〉 〈♫〉〈♫〉How both the wayes may be mix'd together you may per∣ceive by this example, where∣in the black Notes distin∣guish the se∣cond way from the first.

3 5 8 〈♫〉〈♫〉 5 8 3 〈♫〉〈♫〉 5 8 3 〈♫〉〈♫〉 〈♫〉〈♫〉In this example the fifth and sixth Notes of the three upper Parts are after the second way, for from the fourth Note of the Bass, which is in from G, and goeth to B, is a third ri∣sing, so that accor∣ding to the first Rule, the eighth shall pass into the fifth, the fifth into a third, the third into an eighth. But here contrariwise the eighth goes into a third, the fifth into an eighth, and the third into a fifth; and by these Notes you may censure the rest of that kind. (f) 1.7

Though I may now seem to have finished all that belongs to this sort of Counterpoint, yet there remaius one scruple, that is, how the sixth may take place here, which I will

also declare. Know that whensoever a sixth is requisite, as in B, or in E, or A, the Key be∣ing in Gam-vt, you may take the sixth instead of the fifth, and use the same Cord follow∣ing, which you would have taken if the for∣mer Cord had been a fifth.

Example. 6 3 〈♫〉〈♫〉 〈♫〉〈♫〉 6 3 〈♫〉〈♫〉 〈♫〉〈♫〉The sixth in both places (the Bass rising) passes into a third, as it should have done if the sixth had been a fifth.

Moreover, if the Bass shall use a sharp, as in F sharp; then must we take the sixth of necessity, but the eighth to the Bass may not be used; so that excepti∣on is to be taken against our Rule of Counter∣point: To which I answer thus; first, such Basses are not (g) 1.8 true Basses, for where a

sixth is to be taken either in F sharp, or in E sharp, or in B, or in A, the true Bass is a third lower, F sharp in D, E in C, B in G, A in F; as for Example.

〈♫〉〈♫〉In the first Bass two sixths are to be taken, by reason of the imperfection of the Bass wanting due latitude, the one in E, the other in F sharp; but in the second Bass the sixths are removed away, and the Musick is fuller.

Nevertheless, if any be pleased to use the Bass sharp, then instead of the eighth to the Bass, he may take the third to the Bass, in this manner.

3 〈♫〉〈♫〉 〈♫〉〈♫〉 3 〈♫〉〈♫〉 〈♫〉〈♫〉Here the Treble in the third Note, when it should have past in the sharp eight in F takes for it a third to the Bass in A, which causeth the Bass and Tre∣ble to rise two thirds, whereof we will speak hereafter.

Note also, that when the Bass stands in E flat, and the part that is an eighth to it must pass into a sharp, or greater third, that this passage from the flat to the sharp would be unformal; and there∣fore

it may be thus with small alteration avoi∣ded, by removing the latter part of the Note into the third above, which though it meets in Unison with the upper part, yet it is right good, because it jumps not with the whole, but only with the last half of it.

Example. 1 2 Teble. 〈♫〉〈♫〉 8 3 Mean. 〈♫〉〈♫〉 Tenor. 〈♫〉〈♫〉 Bass. 〈♫〉〈♫〉

For the second Example look hereafter in the rule of thirds, but for the first Ex∣ample here, if in the Mean Part the third Note that is divided, had stood till a Mi∣num (as by rule it should) and so had past in F sharp, as it must of force be made sharp at a close, it had been then passing un∣formal. But if the same Bass had been set in the sharp Key, the rest of the parts would have fallen out formal of themselves without any help, as thus:

Treble. 〈♫〉〈♫〉 Mean. 〈♫〉〈♫〉 Tenor. 〈♫〉〈♫〉 Bass. 〈♫〉〈♫〉When the Bass shall stand still in one Key, as above it doth in the third Note, then the other parts may remove at their pleasure.

Moreover, it is to be observed, that in composing of the Bass, you may break it at your pleasure, without altering any of the other Parts: as for Example.

Treble. 〈♫〉〈♫〉 Mean. 〈♫〉〈♫〉 Tenor. 〈♫〉〈♫〉 Bass. plain. 〈♫〉〈♫〉 Bass. divided. 〈♫〉〈♫〉

One other Observation more I will handle, that doth arise out of this Example, which according to the first Rule may hold thus: Treble. 〈♫〉〈♫〉 Mean. 〈♫〉〈♫〉 Tenor. 〈♫〉〈♫〉 Bass. 〈♫〉〈♫〉

Herein are two errours; first, in the second Notes of the Bass and Treble, where the third to the Bass ought to have been sharp; secondly, in the se∣cond and third Notes of the same Parts, where the third be∣ing a lesser third, holds while the Bass falls into a fifth, which is unelegant, (h) 1.9 but if the upper third had been the greater third, the fifth had fitly follow'd, as you may see in the third and fourth Notes of the Tenor and the Bass.

There may yet be more variety afforded the Bass, by ordering the fourth Notes of the upper Parts, according to the second Rule, thus:

Example. 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉

But that I may (as near as I can) leave no∣thing untouch'd concerning this kind of Counterpoint, let us now consider how two Thirds being taken together between the

Treble and the Bass, may stand with our Rule. For sixths are not in this case to be mentio∣ned, being distances so large that they can produce no formality: Besides, the sixth is of it self very imperfect, being compoun∣ded of a third, which is an imperfect Con∣cord; and of a fourth, which is a Discord: and this the cause is, that the sixths produce so many fourths in the Inner Parts. As for the third, it being the least distance of any Concord, is therefore easily to be reduced into good order. For if the Bass and Treble do rise together in thirds, then the first Note of the Treble is regular with the other Part, but the second of it is irregular; for by rule instead of the rising third, it should fall into the eight. In like sort, if the Bass and Treble do fall two thirds, the first Note of the Treble is irregular, and is to be brought into rule by being put into the eighth, but the second Note is of it self regular. Yet whether those thirds be re∣duced into eights or no, you shall by suppo∣sition thereof find out the other parts, which never vary from the rule but in the sharp Bass. But let me explain my self by Ex∣ample.

Example. 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉

The first two Notes of the Treble are both thirds to the Bass, but in the second stroke the first Note of the Treble is a third, and the second, which was before a third, is made an eight, only to shew how you may find out the right Parts which are to be used when you take two thirds between the Treble and the Bass: For according to the former rule, if the Bass descends, the third then in the Treble is to pass into the eight, and the Mean must first take an eight, then a fift; and the Tenor a fift, then a third; and these are also the right and proper parts, if you re∣turn the eight of the Treble into a third again, as may appear in the first example of the Bass falling, and consequently in all the rest.

But let us proceed yet further, and suppose that the Bass should use a sharp, what is then to be done? as if thus: 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉

If you call to mind the Rule de∣livered concerning the sharp Bass, you shall here by help thereof see the right parts, though you cannot bring them under the Rule: for if the first Note of the Bass had been flat, the Mean Part should have taken that, and so have de∣scended to the fifth; but being sharp, you take for it (according to the former observation) the third to the Bass, and so rise up into the fifth. The Tenor that should take a fifth, and so fall by degrees into a third, is here forced by reason of the sharp Bass, for a fifth to take a sixth, and so leap downward into the thirds. And so much for the thirds.

Lastly, in favour of young beginners let me also add this, that the Bass intends a close as often as it riseth a fifth, third, or second, and then immediately either falls a fifth, or riseth a fourth. In like manner, if the Bass falls a fourth or second, and after falls a fi••th, the Bass insinuates a close, and in all these cases the part must hold, that in holding can

use the fourth or eleventh, and so pass either in the third or tenth.

Thus, or thus. Thus, or thus. 〈♫〉〈♫〉 〈♫〉〈♫〉 Thus, or thus. Thus, or thus. 〈♫〉〈♫〉 〈♫〉〈♫〉 Thus, or thus. 〈♫〉〈♫〉 〈♫〉〈♫〉

In the Examples before set down I left out the Closes, of purpose, that the Cords might the better appear in their proper places, but this short admonition will direct any young beginner to help that want at his pleasure. And thus I end my Treatise of Counterpoint, both brief and certain, such as will open an easie way to them, that without help of a skilful Teacher endeavour to acquire the first grounds of this Art.

A short Hymn, Composed after this form of Counter∣point, to shew how well it will become any Divine or grave subject.

〈♫〉〈♫〉 Lord have mercy upon me, O hear my prayers both 〈♫〉〈♫〉 Lord have mercy u••on me, O hear my prayers both 〈♫〉〈♫〉 Lord have me••cy u••on me, O hear my prayers bo••h 〈♫〉〈♫〉 Lord have mercy upon me, O hear my pra••ers both 〈♫〉〈♫〉 day and night, with tears pour'd forth to thee. 〈♫〉〈♫〉 day and night, with tears pou••'d forth to thee. 〈♫〉〈♫〉 day and night, with tears pour'd forth to thee. 〈♫〉〈♫〉 day and night, wi••h tears pour'd forth to thee.

THE ART of DESCANT: OR Composing Musick in Parts.

PART II. Of Tones of Musick.

OF all things that belong to the making up of a Musician, the most necessary and useful one for him is the true knowledge of the Key or Mood, or Tone, for all signifie the same thing, with the Closes belonging un∣to it, for there is no Tune that can have any grace or sweetness unless it be bounden with∣in a proper Key, without running into strange Keys, which have no affinity with the Ayr of the Song. I have therefore thought good in an easie and brief discourse to endeavour to express that which many in large and obscure Volumes have made fearful to the idle Reader.

The first thing herein to be considered is the eighth, which is equally divided into a fourth, and a fifth, as thus:

The8 〈♫〉〈♫〉 The 4. The 5.

Here you see the fourth in the upper place, and the fifth in the lower place, which is called Modus Authentus: But contrary thus: The 8 〈♫〉〈♫〉 The 5. The 4.

This is called Modus Plagalii, but howsoever the fourth in the eighth is placed, we must have our eye on the fifth, for that only discovers the Key, and all the Closes pertaining pro∣perly thereunto: This fifth is also divided into two thirds, sometimes the lesser third hath the upper place, and the greater third supports it below, sometimes the greater third is higher, and the lesser third rests in the lowest place: as for Example: 〈♫〉〈♫〉 The lesser 3. The greater 3. 〈♫〉〈♫〉 The greater 3. The lesser 3.

The lowest Note of this fifth bears the name of the Key, as if the eighth be from G to G, the fifth from G beneath to D above, G being the lowest Note of the fifth, shews that G is the Key; and if one should demand in what Key your Song is set, you must answer in Gam-vt, or G sol re vt, that is, in G.

If the compass of your Song should fall out thus: 〈♫〉〈♫〉

Respect not the fourth below, but look to your fift above, and the lowest Note of that fift assume for you Key, which is C, then di∣vide that fift into its two 3^ds, and so you shall find out all the closes that belong to that Key.

The main and fundamental close is in the Key it self, the second is in the upper Note of this fift, the third is in the upper Note of the lowest third, if it be the lesser third; as for example, if the Key be in G, with B flat, you may close in these three places.

〈♫〉〈♫〉 〈♫〉〈♫〉

The first close is that which maintains the Ayr of the Key, and may be used often, the second is next to be preferr'd, and third last.

But if the Key should be in G with B sharp, then the last close being to be made in the greater or sharp third, is unproper, and therefore for variety sometime the next Key above is joyned with it, which is A, and some∣times the fourth Key, which is C. But these

changes of Keys, must be done with judge∣ment, yet I have aptly closed in the upper Note of the lowest third of the Key, the Key being in F, and the upper Note of the third standing in A, as you may perceive in this Ayr.

1 〈♫〉〈♫〉 〈♫〉〈♫〉 2 3 〈♫〉〈♫〉 〈♫〉〈♫〉 4 〈♫〉〈♫〉 〈♫〉〈♫〉

In this Ayr the first Close is in the upper Note of the fifth, which from F is C, the se∣cond Close is in the upper Note of the great third, which from F is A.

But the last and final Close is in the Key it self, which is F, as it must ever be, whereso∣ever

your Key shall stand, either in G, or C, or F, or elsewhere, the same rule of the fifth is perpetual, being divided into thirds, which can be but two ways, that is, either when the upper third is less by half a Note than the lower, or when the lower third contains the half Note, which is Mi fa, or La Fa.

If the lower third contains the half Note, it hath it either above, as La Mi Fa; La Mi being the whole Note, and Mi Fa but half so much, that is the half Note; or else when the half Note is underneath, Mi Fa Sol; Mi Fa is the half Note, and Fa Sol is the whole Note; but whether the half Note be uppermost or lowermost, if the lowest third of the fifth be the lesser third, that Key yields familiarly three closes; example of the half Note, standing in the upper place was shew∣ed before, now I will set down the other.

〈♫〉〈♫〉 〈♫〉〈♫〉

But for the other Keys that divide the fifth, so that it hath the less third above, and the greater underneath, they can challenge

but two proper closes, one in the lowest Note of the fift, which is the fundamental Key, and the other in the uppermost Note of the same, wherein also you may close at plea∣sure. True it is, that the Key next above hath a great affinity with the right Key, and may therefore, as I said before, be used, as also the fourth Key above the final Key.

Examples of both in two beginnings of Songs. 1 〈♫〉〈♫〉 〈♫〉〈♫〉 2 〈♫〉〈♫〉 〈♫〉〈♫〉

In the first Example A is mixt with G, and in the second C is joyned with G, as you may understand by the second closes of both.

To make the Key known is most necessary in the beginning of a Song, and it is best ex∣prest by the often using of his proper fift, and fourth, and third, rising or falling.

THE ART of DESCANT: OR Composing Musick in Parts.

PART III. Of the taking all Concords, Perfect and Imperfect.

THe consecution of perfect Cords a∣mong themselves is easie, for who knows not that two eighths or two fifths are not to be taken rising or falling together, but a fifth may either way pass into an eight, or an eight into a fift, yet most conveniently when the one of them moves by degrees, and the other by leaps, for when both skip together the passage is less pleasant: the ways by degrees are these.

1 2 3 4 5 6 〈♫〉〈♫〉 〈♫〉〈♫〉

The fourth way is only excepted against, where the fift rising into the eight, and in few parts it cannot well be admitted, but in Songs of many Voices it is oftentimes necessary.

The passage also of perfect Concords into imperfect, either rising or falling, by degrees or leaps, is easie, and so a Unison may pass in∣to a lesser third, or a greater third; also into the lesser sixt, but seldom into the greater sixt. A fift passeth into the greater sixt, and into the lesser sixt; as also into the greater or les∣ser third; and so you must judge of their eights, for de octavis idem est judiciem; and therefore when you read an Unison, or a fift, or a third, or a sixt, know that by the simple Concords the Compounds are also meant.

Note here, that it is not good to fall with the Bass, being sharp in F, from an eight unto a sixt.

As thus: Or thus. 〈♫〉〈♫〉 〈♫〉〈♫〉 But concerning imper∣fect Cords, because they observe not all one way in their passages, we will speak of them severally, first declaring what not harmonical doth signifie, whereof mention will be made hereafter.

Relation, or reference, or respect not har∣monical,

is Mi against Fa in a cross form, and it is in four Notes, when the one being con∣sidered cross with the other doth produce in the Musick a strange discord; Example will yield it more plain.

1 2 3 4 5 6 〈♫〉〈♫〉 〈♫〉〈♫〉

The first Note of the upper parts in E la mi sharp, which being considered, or referred to the second Note of the lower part, which is E la mi, made flat by the cromatick flat sign, begets a false se∣cond, which is a harsh discord; and though these Notes sound not both together, yet in few parts they leave an offence in the ear. The second Example is the same descending; the third is from E la mi sharp in the first Note of the lower part, to the second Note in the upper part, it being flat by reason of the flat sign, and so between them they mix in the Musick a false fift; the same doth the fourth Example; but the fifth yields a false fourth, and the sixth a false fifth.

There are two kinds of Imperfect Con∣cords, thirds or sixts, and the sixts wholly par∣ticipate of the nature of the thirds; for to the lesser third, which consists but of a whole Note and half, add a fourth, and you have the lesser sixt; in like manner to the greater third that consists of two whole Notes, add a fourth, and it makes up the greater sixt; so that all the difference is still in the half Note, according to that only saying, Mi & Fa sunt tota Musica. Of these four we will now discourse, proceeding in order from the lesser to the greater.

Of the lesser or Imperfect Third.

The lesser third passeth into an unison, first by degrees, when both parts meet, then by leaps, ascending or descending when one of the parts stand still, but when both the parts leap or fall together, the passage is not al∣lowed.

〈♫〉〈♫〉 Lesser 3d into the unison. Passages not allowed. 〈♫〉〈♫〉

Secondly, the lesser third passeth into a fift, first in degrees, when they are separated by contrary motions; then by leaps, when the lower part riseth by degrees, and the upper part descends by degrees, and thus the lesser tenth may pass into a fift. Lastly, both parts leaping, the lesser third may pass into a fift, so that the upper part doth descend by leap the distance of a lesser third. Any other way the passage of a lesser third into a fift, is disallowed.

〈♫〉〈♫〉 Allowed. Disallowed. 〈♫〉〈♫〉

In the last disallowance, which is when the upper part stands, and the lower part falls from a lesser third to a fift, many have been deceived, their ears not finding the absurdity of it; but as this way is immusical, so is the fall of the greater third in the former manner into a fift, passing harmonious; insomuch that it is elegantly, and with much grace taken in one part of a short Ayr four times, whereas had the fift been half so often taken with the lesser third falling, it would have yielded a most unpleasant harmony.

〈♫〉〈♫〉 1 〈♫〉〈♫〉 〈♫〉〈♫〉 3 4 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉He that will be diligent to know, and carefull to ob∣serve the true allow∣ances, may be bold in his Composition, & shall prove quickly ready in his sight, doing that safely and resolutely which others attempt ti∣morously and uncertainly. But now let us proceed in the passages of the lesser third.

Thirdly, the lesser third passeth into an eight, the lower part descending by de∣grees, and the upper part by leaps: but very seldom when the upper part riseth by de∣grees, and the lower part falls by a leap.

〈♫〉〈♫〉 〈♫〉〈♫〉Fourthly, the lesser third pas∣seth into other Concords, as when it is continued, as in de∣grees it may be, but not in leaps.

Also it may pass into the greater third, both by degrees and leaps, as also in the lesser sixth, if one of the parts stand still, into the great sixth it sometimes passeth, but very rarely.

1 2 3 4 〈♫〉〈♫〉 〈♫〉〈♫〉

Lastly, add unto the rest this 〈♫〉〈♫〉 〈♫〉〈♫〉 passage of the lesser third into the lesser sixt, as when the low∣er part riseth by degrees, and the upper part by leaps.

Of the greater or perfect Third.

The greater or perfect third being to pass into perfect Concords, first take the unison, when the parts ascend together, the higher by degree, the lower by leap; or when they meet together in a contrary motion, or when one of the parts stand still. Secondly, it passeth into a fift when one of the parts rests, as hath been declared before; or else when the parts ascend or descend together, one by degrees, the other by leaps; and so the grea∣ter tenth may pass into a fift; seldom when both parts leap together, or when they sepa∣rate themselves by degrees; and this in re∣gard

of the relation not harmonical which falls in between the parts. Thirdly, the grea∣ter third passeth into the eight by contrary motions, the upper part ascending by degrees.

〈♫〉〈♫〉 The Vnison. The Fifth. The Eighth. 〈♫〉〈♫〉

The greater third may also pass into other Concords, and first into a lesser third, when the parts ascend or descend by degrees, or by the lesser leaps. Secondly, it is continued but rarely, because it falls into relation not harmo∣nical, thereby making the harmony less plea∣sing. Thirdly, into a lesser sixt, when the parts part asunder, the one by degree, the other by leap. Fourthly, into a great sixt, one of the parts standing, or else the upper part falling by degree, and the lower by leap.

1 2 3 4 〈♫〉〈♫〉 〈♫〉〈♫〉

Of the lesser Sixth.

The lesser sixt, regularly goes into the fift,

one of the parts holding his place; rarely in∣to an eight, and first when the parts ascend or descend together, and one of them pro∣ceeds by the half Note, the other by leap.

1 2 〈♫〉〈♫〉 〈♫〉〈♫〉Howsoever the ways of rising and falling from the lesser sixth in∣to the eight in the for••mer example may pass, I am sure that if the Bass be sharp in F fa vt, it is not tolerable to rise from a sixt to an eight.

〈♫〉〈♫〉 〈♫〉〈♫〉Lastly, the lesser sixth may pass in∣to an eight in Crotchets, for they are easily tolerated.

It passeth likewise into other Concords, as into a greater sixt, the parts rising or falling by degrees, as also in a greater or lesser third, the one part proceeding by degree, the other by leap; or when one of the parts stands. It self cannot follow, by reason of the falling in of the Relation not harmonical.

1 2 3 〈♫〉〈♫〉 〈♫〉〈♫〉

Of the greater Sixth.

The greater sixt in proceeding affects the eight, but it will hardly pass into the fift, unless it be in binding-wise, or when way is prepared for a Close 〈♫〉〈♫〉 〈♫〉〈♫〉

Finally, the greater sixt may in degrees be continued, or pass into a lesser sixt, as al∣so into a greater third, or a lesser third.

〈♫〉〈♫〉 1 2 3 〈♫〉〈♫〉

These are the principal observations be∣longing to the passages of Concords, Perfect and Imperfect, in few parts; and yet in those few, for fuge and formality sake, some dis∣pensation may be granted. But in many parts necessity enforcing, if any thing be commit∣ted contrary to rule, it may the more easily be excused, because the multitude of Parts will drown any small inconvenience.

FINIS.

Notes

• * 1.1

  Cou••terpoint, in Latin Contra punctum, was the old manner of Composing Parts together, by setting Points or Pricks one against anoth••r (as Minims and Semibreves are set in this following Treatise) the measure of which Points or Pricks were sung acco••∣ding to the quantity of the Words or Syllables to which they were applied. (For these Figures

  [illustration]

  were not as yet inven••ed.) And, because in Plain song Musick we set Note against ••ote, as they did point against point, thence it is, that this kind of Musick doth still r••tain th•• name of Counterpoint.
• (a) 1.2

  If the Bass do rise more than a fourth, it must be called falling: and likewise, if it fall any distance more than a fourth, that falling must be called rising.
• (b) 1.3

  If your Bass should fall a seventh, it is but the same as if it did rise a second; or a sixth falling, is but the same of a third rising: and so on the contrary, if the Bass do rise a seventh or sixth, it is the same as though it did fall a s••cond or third.
• (c) 1.4

  By their Compounds is me••nt their Octa••es, as a third and it•• eig••ts, a ••••••th and i••s ••ig••ts, &c.
• (d) 1.5

  When you have made a formal Bass, and would joyn other three parts to it, set the first Note of your Tenor either a third, fifth, or eighth, above your Bass, (which of them you please) which done, place your Mean in the next Cord you find above your Tenor, and your Treble in the next Cord above your Mean, then follow the Rule of your figures, according to the rising or falling of your B••ss, and the other Notes will follow in their due order.
• (e) 1.6

  If this Discourse of Cordt under the Bass do trouble the young Beginner, let him think no more upon them (for it is not intended that he should place any Notes below the Bass) but let him look for his Cords, reckoning always from his Bass upward; which that he may more easily perform, let him draw eleven lines (which is the whole compass of the Scale) and set the three used Cliffs in their proper places; this done, he may prick his Bass in the lowest five lines, and then set the other three parts in their orderly distances above the Bass, Note against Note, as you see in this following Example.

  I hav•• proposed the former Example of the eleven lines, to lead the young beginner to a true k••owledge of the Scale, with∣out which nothing can be effected; but having once got that knowledge•• let him then compose his Musick in several parts, as be seeth in this second Example.

  He••e I think it not a••••ss to advertise the young Beginner, that so often as the Bass doth fall a fifth, or rise a fourth (which is all one, as hath been said) that 〈◊〉〈◊〉 which is a third to the Bass in the antecedent Note, that third I say must always be the sharp or greater third, as was apparent in the last example of four Parts•• in the first Notes of the second Bar in the Mean Part, and likewise in the last Note but one of the same Part; in both which places there is a 〈☐〉〈☐〉 set to make it the greater third. The same is to be observed in what Part soever this third shall happen.
• (f) 1.7

  When your Bass standeth still (that is to say, hath two or more Notes together in one and the same place) you may chuse whether you will make your parts do so too, or change them, as you see our Author hath done in the second Note of this present example. If you change them, you may do it either by the Rule of descendi••g or ascending, which you please, so you do but observe formality.
• (g) 1.8

  He do••h not mean, that such Basses are bad, false, or de∣fective, but that they have (perhaps for elegancy or variety) as∣sumed the nature of some part for a Note or two, and so want the full latitude of a Bass in those Notes.
• (h) 1.9

  but that scruple may be taken away by making the second Note of the Treble sharp, and instead of a fifth by removing the third Note into a sixth.

  When any informality doth occu••, the Scholar need not keep himself to the first rules of the Bass rising or falling•• but may take such Cords as his Genius shall prom••t him to•• (having a care that he take not two eighths or fif••hs together) rising or falling betwixt any two Parts whatsoever: 'Tis true, our Author did invent this Rule of the Figures, as the easiest way to lead the young Beginner to this kind of Composition, in which he hath done more than any that I have ever seen upon this sub∣ject; but this he did to shew the smoothest way, and not to tye his Scholar to keep strictly that way, when a block or stone should hap∣pen to lye in it, but that he may in such a case step out of this way for a Note or two, and then return again into it.