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.

A Brief Discourse of the Italian manner of Singing; wherein is set down, the Vse of those Graces in Singing, as the Trill and Gruppo, used in Italy, and now in England: Written some years since by an English Gentleman, who had lived long in Italy, and be∣ing returned, Taught the same here.

The Proem to the said Discourse is to this effect.

HItherto I have not put forth to the view of the World, those Fruits of my Musick Studies employed about that Noble manner of Singing, which I learnt of my Master the famous Scipione del Palla in Italy; nor my Compositions of Ayres, Composed by me, which I saw frequently practised by the most famous Singers in Italy, both Men and Women: But seeing many of them go about maimed and spoil'd, and that those long winding Points were ill performed, I therefore devis'd to avoid that old manner of running Division, which has been hitherto

used, being indeed more proper for Wind and Stringed Instruments than for the Voice. And seeing that there is made now a days an indifferent and confused use of those ex∣cellent Graces and Ornaments to the good manner of Singing, which we call Trills, Grupps, Exclamations of Increasing and Aba∣ting of the Voice, of which I do intend in this my Discourse to leave some foot-prints, that others may attain to this excellent man∣ner of Singing: To which manner I have framed my last Ayres for one Voice to the Theorbo, not following that old way of Com∣position, whose Musick not suffering the Words to be understood by the Hearers, for the multitude of Divisions made upon short and long Syllables, though by the Vulgar such Singers are cryed up for famous. But I have endeavoured in those my late Compo∣sitions, to bring in a kind of Musick, by which men might as it were Talk in Harmony, using in that kind of Singing a certain noble neglect of the Song (as I have often heard at Florence by the Actors in their Singing Opera's) in which I endeavoured the Imita∣tion of the Conceit of the Words, seeking out the Cords more or less passionate, accor∣ding to the meaning of them, having con∣cealed

in them so much as I could the Art of Descant, and paused or stayed the Consonan∣ces or Cords upon long Syllables, avoiding the short, and observing the same Rule in making the passages of Division by some few Quavers to Notes and to Cadences, not exceeding the value of a quarter or half a Semibreve at most. But, as I said before, those long windings and turnings of the Voice are ill used, for I have observed that Divisions have been invented, not because they are necessary unto a good fashion of Singing, but rather for a certain tickling of the Ears of those who do not well understand what it is to sing Passionately; for if they did undoubtedly Divisions would have been ab∣horr'd, there being nothing more contrary to Passion than they are; yet in some kind of Musick less Passionate or Affectuous, and upon long Syllables, not short, and in final Cadences, some short Points of Division may be used, but not at all adventures, but upon the practice of the Descant; but to think of them first in those things that a man will sing by himself, and to fashion out the manner of them, and not to promise a mans self that his Descant will bear it; for to the good manner of Composing and Singing in

this way, the understanding of the conceit and the humour of the words, as well in passionate Cords as passionate Expressions in Singing, doth more avail than Descant; I having made use of it only to accord two Parts together, and to avoid certain notable Errours, and bind certain Discords for the accompanying of the Passion, more than to use the Art: And certain it is, that an Ayre composed in this manner upon the conceit of the words, by one that hath a good fashion of Singing, will work a better effect and de∣light, more than another made with all the Art of Descant, where the Humour or Con∣ceit of the words is not minded.

The original of which defect (if I deceive not my self) is hence occasioned, because the Musician doth not well possess and make himself Master of that which he is to Sing. For if he did so, undoubtedly he would not run into such Errours, as most easily he falleth into, who hath framed to himself a manner of Singing; for Example, altoge∣ther Passionate, with a general Rule that in Encreasing and Abating the Voice, and in Exclamations, is the foundation of Passion, doth always use them in every sort of Mu∣sick, not discerning whether the words re∣quire

it: Whereas those that well under∣stand the conceit and the meaning of the Words, know our defects, and can distin∣guish where the Passion is more or less requi∣red. Which sort of people we should en∣devour to please with all diligence, and more to esteem their praise, than the applause of the ignorant Vulgar.

Thus Art admitteth no Mediocrity, and how much the more curiosities are in it, by reason of the excellence thereof, with so much the more labour and love ought we, the Professors thereof, to find them out: Which love hath moved me (considering that from Writings we receive the light of all Science, and of all Art) to leave behind me this little light in the ensuing Notes and Discourses; it being my intention to show so much as appertaineth to him who maketh profession of Singing alone, upon the Har∣mony of the Theorbo, or other Stringed In∣strument, so that he be already entred into the Theorie of Musick, and Play sufficiently. Not that this cannot also be attain'd by long Practise, as it is seen that many, both Men and Women, have done, and yet this they attain is but unto a certain degree: But because the Theorie of these Writings c••nduceth

unto the attaining of that degree; and be∣cause in the profession of a Singer (in regard of the excellence thereof) not only parti∣cular things are of use, but they all together do better it; therefore to proceed in order, thus I will say:

That the chiefest foundations, and most important Grounds of this Art are, the Tu∣ning of the Voice in all the Notes; not only that it be neither too high nor too low, but that there be a good manner of Tuning it u∣sed. Which Tuning being used for the most part in two fashions, we will consider both of the one and the other; and by the following Notes will shew that which to me seemeth more proper to other effects.

There are some therefore that in the Tu∣ning of the first Note, Tune it a Third under: Others Tune the said first Note in its proper Tune, always increasing it in Lowdness, say∣ing, that this is a good way of putting forth the Voice gracefully.

Concerning the first: Since it is not a ge∣neral Rule, because it agrees not in many Cords, although in such places as it may be used, it is now become so ordinary, that instead of being a Grace (because some stay too long in the third Note under, where∣as

it should be but lightly touched) it is ra∣ther tedious to the Ear; and that for Begin∣ners in particular it ought seldom to be used: but instead of it, as being more strange, I would chuse the second for the Increasing of the Voice.

Now, because I have not contained my self within ordinary terms, and such as others have used, yea rather have continually sear∣ched after novelty, so much as was possible for me, so that the Novelty may fitly serve to the better obtaining of the Musicians end, that is to delight and move the affections of the mind, I have found it to be a more affectuous way to Tune the Voice by a contrary effect to the other, that is, to Tune the first Note in its proper Tune, diminishing it; because Excla∣mation is the principal means to move the af∣fection; and Exclamation properly is no other thing, but the slacking of the Voice to re-in∣force it somewhat more. Whereas Increasing of the Voice in the Treble Part, especially in feigned Voices, doth oftentimes become harsh, and unsufferable to the Hearing, as upon divers occasions I have heard. Un∣doubtedly therefore, as an affection more proper to move, it will work a better effect to Tune the Voice diminishing it, rather than

Increasing of it: Because in the first of these ways now mentioned, when a man Increases the Voice, to make an Exclamation, it is needful that in slacking of it, he Increase it the more. And therefore I have said that it showeth harsh and rough. But in the Dimi∣nishing of the Voice it will work a quite contrary effect, because when the Voice is slacked, then to give it a little spirit, will always make it more passionate. Besides that also, using sometimes one, sometimes another, variety may be used, which is very necessary in this Art, so that it be directed to the said end.

So•• then, if this be the greatest part of that Grace in Singing, which is apt to move the affection of the mind, in those conceits certainly where there is most use of such Af∣fections or Passions, and if it be demonstrated with such lively reasons, a new consequence is hence inferred, that from Writings of men likewise may be learned that most ne∣cessary Grace, which cannot be described in better manner, and more cleerly for the understanding thereof; and yet it may be perfectly attained unto: So that after the Study of the Theorie, and of these Rules, they may be put in practise, by which a man

grows more perfect in all Arts, but especially in the profession of a perfect Singer, be it man or woman.

More languid. A livelier Exclamation. For Example. 〈♫〉〈♫〉 Cor mio deh non langui — re gui — re. 〈♫〉〈♫〉

Of Tuning therefore with more or less Grace, and how it may be done in the afore∣said manner, tryal may be made in the a∣bove-written Notes with the words under them, Cor mio, deh non languire. For in the first Minim with the Prick, you may Tune Cor mio, diminishing it by little and little, and in the falling of the Crotchet increase the Voice with a little more spirit, and it will become an Exclamation passionate enough, though in a Note that falls but one degree: But much more spriteful will it appear in the word deh, by holding of a Note that falls not by one degree: As likewise it will be∣come most sweet by the taking of the greater Sixth that falls by a leap. Which thing I have observed, not only to show to others

what a thing Exclamation is, and from whence it grows; but also that there may be two kinds of it, one more passionate than the o∣ther; as well by the manner in which they are described, or tuned in the one way or the other; as also by imitation of the word, when it shall have a signification sutable to the conceit. Besides that, Exclamations may be used in all Passionate Musicks, by one ge∣neral Rule in all Minims and Crotchets with a Prick falling; and they shall be far more Pas∣sionate by the following Note, which run∣neth, than they can be in Semibreves; in which it will be fitter for increasing and diminishing the Voice, without using the Exclamations. Yet by consequence under∣stand, that in Airy Musicks, or Corants to dance, instead of these Passions, there is to be used onl•• a lively cheerful kind of Sing∣ing, which is carried and ruled by the Air it self. In the which, though sometimes there may be place for some Exclamation, that live∣liness of Singing is in that place to be omit∣ted, and not any Passion to be used which sa∣voureth of Linguishment. Whereupon we see how necessary a certain judgment is for a Musician, which sometimes useth to prevail above Art. As also we may perceive by the

foregoing Notes, how much greater Grace the four first Quavers have upon the second syllable of the word Languire (being so stayed by the second Quaver with a Prick) than the four last equal Quavers, so printed for Example. But because there are many things which are used in a good fashion of Singing, which because there is found in them a greater Grace, being described in some one manner, make a contrary effect one to the other; whereupon we use to say of a man that he sings with much Grace, or little Grace: These things will occasion me at this time first to demonstrate in what fashion I have described the Trill and the Grup; and the manner used by me to teach them to those who have been interessed in my house; and further, all other the more necessary effects: So that I leave not unex∣pressed any curiosity which I have observed.

Trill, or plain shake. Gruppo, or Double Relish. 〈♫〉〈♫〉 Cor — re mi — a.

The Trill described by me is upon one Note only, that is to say, to begin with the first Crotchet, and to beat every Note with

the throat upon the Vowel [a] unto the last Breve; as likewise the Gruppo or double Relish. Which Trill and Gruppo was exactly learned, and exquisitly performed by my Scholars. So that if it be true, that Experience is the Tea∣cher of all things, I can with some confidence affirm and say, that there cannot be a better means used to teach it, nor a better form to describe it. Which Trill and Grup, because they are a step necessary unto many things that are described, and are effects of that Grace which is most desired for Singing well; and (as is aforesaid) being described in one or other manner, do work a contrary effect to that which is requisite: I will shew not only how they may be used, but also all the effects of them described in two man∣ners, with the same value of the Notes, that still we may know (as is aforementio∣ned) that by these Writings, together with Practise, may be learned all the Curiosities of this Art.

Example of the most usual Graces. 〈♫〉〈♫〉

1 Beating of the Throat. 〈♫〉〈♫〉 2 Beating the Throat. 〈♫〉〈♫〉 2 Trill. 〈♫〉〈♫〉 2 Trill. 1 A plain fall. 2 D••uble fall. 〈♫〉〈♫〉 A fall to take breath. 〈♫〉〈♫〉 Another fall like it. 〈♫〉〈♫〉 Where this Mark 〈☐〉〈☐〉 is set over a Note, the Trill is to be used.

It is to be observed in these Graces that the second hath more grace in it than the first; and for your better experience we will in this following Ayre describe some of those Graces with words under, together with the Bass for the Theorbo; in which Ayre is contained the most passionate passages.

Abating the Voice A sprightly Exclam. A more lively Exclam. 〈♫〉〈♫〉 Deh deh doue son fuggiti deh doue son spariti 〈♫〉〈♫〉 Exclam. Exclam. Exclam. Trillo. 〈♫〉〈♫〉 g'oc chi de qualier rai jo son ce ner homa i 〈♫〉〈♫〉 Exclam. cheerful, as it were talking in harmony, and neglecting 〈♫〉〈♫〉 Aure aure divine ch'er rate peregrine in que- 〈♫〉〈♫〉 the M••sick. ••rill. Exclamation. 〈♫〉〈♫〉 sta par••'en quella deh recate nouella dell' alma 〈♫〉〈♫〉

Exclam. larger time. Trill. Exclam. 〈♫〉〈♫〉 luce loro aure ch'io me ne moro deh recate no- 〈♫〉〈♫〉 Ex••lam. 〈♫〉〈♫〉 uella deli' alma luce loro Aure Aure 〈♫〉〈♫〉 Exclam. reinforced. 〈♫〉〈♫〉 ch'io me ne moro. 〈♫〉〈♫〉

And because in the two last lines of the foregoing Ayre, Deh doue son fuggiti, there are contained the best passions that can be used in this noble manner of Singing, I have therefore thought good to set them down,

both to show where it is fit to encrease and abate the voice, to make Exclamations, Trills, and Grups; and in a word, all the Treasures of this Art; and that they may serve for Example, whereby men may take notice in the Musick of the places, where they are most necessary, according to the passions of the words. Although I call that the no∣ble manner of Singing, which is used with∣out tying a mans self to the ordinary measure of time, making many times the value of the Notes less by half, and sometimes more, according to the conceit of the words; whence proceeds that excellent kind of Sing∣ing with a graceful neglect, whereof I have spoken before.

[Our Author being short in setting forth this chief or most usual Grace in Singing, called the Trill, which, as he saith very right, is by a beating in the Throat on the Vowel (a'h) some observe that it is rather the shaking of the Uvula or Pallate on the Throat, in one sound, upon a Note. For the attaining of this, the most surest and ready way is by imitation of those who are perfect in the same; yet I have heard of some that have attained it by this manner, in sing∣ing a plain Song, of 6 Notes up and 6 down, they have in the midst of every Note beat or shaked

with their finger upon their Throat, which by often practice came to do the same Notes exactly without. It was my chance lately to be in com∣pany with three Gentlemen at a Musical Practice, which sung their Parts very well, and used this Grace (called the Trill) very exactly: I desired to know their Tutor, they told me I was their Tutor, for they never had any other but this my Introduction: That (I answered) could di∣rect them but in the Theory, they must needs have a better help in the Practick, especially in attaining to sing the Trill so well. One of them made this Reply, (which made me smile) I used, said he, at my first learning the Trill, to imitate that breaking of a Sound in the Throat, which Men use when they Leuer their Hawks, as he-he-he-he-he; which he used slow at first, and by often practice on several Notes, higher and lower in sound, he became perfect therein. The Trill, or Shake of the Voice, being the most usual Grace, is made in Closes, Cadences, and other places, where by a long Note an Exclamation or Passion is expressed, there the Trill is made in the latter part of any such Note; but most usually upon binding Notes in Cadences and Closes, and on that Note that precedes the closing Note. Those who once attain to the perfect use of the Trill, other Graces will become easie.]

Since there are so many effects to be used for the excellency of this Art, there is required (for the performing of them) neces∣sarily a good voice, as also a good wind to give liberty, and serve upon all occasions where is most need. It shall therefore be a profita∣ble advertisement, that the Professor of this Art, being to sing to a Theorbo or other stringed instrument, and not being compelled to fit himself to others, that he so pitch his Tune, as to sing in his full and natural Voice, avoiding feigned Tunes of Notes. In which, to feign them, or at the least to inforce Notes, if his Wind serve him well, so as he do not discover them much; (because for the most part they offend the Ear;) yet a man must have a command of Breath to give the grea∣ter Spirit to the Increasing and Diminishing of the Voice, to Exclamations and other Passions by us related; and therefore let him take heed, that spending much Breath upon such Notes, it do not afterward fail him in such places as it is most needful: For from a feigned Voice can come no noble manner of singing; which only proceeds from a natural Voice, serving aptly for all the Notes which a man can manage accor∣ding to his ability employing his wind in such

a fashion as he command all the best passio∣nate Graces used in this most worthy manner of Singing. The love whereof, and gene∣rally of all Musick, being kindled in me by a natural inclination, and by the study of so many years, shall excuse me, if I have suffered my self to be carried further than perhaps was fit for him, who no less esteems and de∣sires to learn from others, than to communi∣cate to others what himself hath learned; and to be further transported in this Dis∣course, than can stand with that respect I bear to all the Professors of this Art. Which Art being excellent and naturally delightful, doth then become admirable, and entirely wins the love of others, when such as possess it, both by teaching and delighting others, do often exercise it, and make it appear to be a pattern and true resemblance of those ne∣ver ceasing celestial Harmonies, whence pro∣ceed so many good effects and benefits upon earth, raising and exciting the minds of the Hearers, to the contemplation of those infi∣nite delights which Heaven affordeth.

This Author having set most of his Examples and Graces to the Italian words, it cannot be denyed but the Italian Language is more smooth

and better vowelled than the English, by which it has the advantage in Musick, yet of late our Language is much refined, and so is our Musick, to a more smooth and delightfal way and manner of singing after this new method; especially by the excellent Compositions of Mr. Henry Lawes, and other excellent Masters in this Art, and was by them Taught for above this forty years past, and is daily used and taught by several eminent Professors at this day. Therefore such as desire to be taught to sing after this way, need not seek after Italian or French Masters, for our own Nation was never better furnished with able and skilful Artists in Musick than it is at this time, though few of them have the Encourage∣ment they deserve, nor must Musick expect it as yet, when all other Arts and Sciences are at so low an Ebb: But I do hope, as Almighty God has most miraculously restored His Sacred Ma∣jesty in Peace, whose Virtues and Piety declare Him a Lover and Encourager of Arts, and of Musick especially; so I hope the Clergy, Nobility, and Gentry of this Kingdom, will follow His Gracious and Royal Example.