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.

An Introduction to the Skill of MUSICK. (Book 1)

CHAP. I. Of the Scale of Musick called the Gam-Ut.

THe Gam-ut is the Ground of all Musick, both Vocal and Instrumental; and (as Or∣nithoparcus reporteth) it was composed by Guido Aretinus, about the year 960, who (out of six Syllables in the Saphick of the Hymn of St. Iohan. Baptista,) framed his Mu∣sical Scale set down in those six Syllables, as Names for the six Musical Notes.

VT queant laxis REsonare fibris MIra gestorum FAmuli tuorum, SO Lve poluti LAbii reatum. VT RElivet MIserum FAtum SOLitum{que} LAborem.

〈♫〉〈♫〉

VT RE Mi Fa Sol La VT RE Sol La.

These Six Notes were thus used for many years past in that order, ascending and descen∣ding; but in these latter times, Four are only in use, the which are Sol, La, Mi, Fa; so that Ut and Re are now changed into Sol and La, four being found sufficient for expressing

the several sounds, and less burthensome for the memory of Practitioners.

Besides the Names of these Notes, there is used in our Scale of Musick, called the Gam-ut, seven Letters of the Alphabet, which are set in the first Column, 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 Greek Alphabet, called Gamma, and is made thus 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, (the first derivation thereof being from the ancient Greeks) as you may see in the Scale at the end of this Chapter.

These seven Letters of the Alphabet are called seven Cliff's, or more properly Cleaves, the other Names and Syllables adjoyned to them are the Notes; and by these three Septe∣naries are distinguish'd three several Parts of Musick, into which the Scale is divided; first, the Bass, which is the lowest part; se∣condly, the Mean, or middle part; and thirdly, the Treble, or highest part; so that according to these three Septenaries, Gam-ut is the lowest Note, and E la the highest. And this the u∣sual Gamuts in Mr. Morley and others, did not exceed; but it is well known that there is ma∣ny Notes in use, both above and below, which

exceed that compass, and that both in Vocal and Instrumental Musick, which ought not to be omitted; for the Compass of Musick is not to be confin'd: And though there be but three Septenaries of Notes in the Ex∣ample of the Gam-ut, which amount to the Compass of One and Twenty Notes or Sounds; yet in the Treble, or highest part, as occasion requires, you may Ascend more Notes, for it is the same over again, only eight Notes higher: Or in your Bass, or low∣est part you may Descend the like Notes low∣er than Gam-ut, as the Compass of the Voyce or Instrument is able to extend, the which will be the same, and only Eights to those above. And these Notes of Addition are usually thus distinguished:

Those above E la 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, Double E la mi, &c. as being Eights or Diapasons to those above Gam-ut. I have therefore in the Table of the Gam-ut in this Book, expressed them with double Let∣ters in their right places.

The Gam-ut is drawn upon fourteen Rules and their Spaces, and doth comprehend all Notes or Sounds usual in Musick; either Vo∣cal

or Instrumental, yet when any of the parts which it is divided into, viz. Treble, Mean, or Tenor and Bass, shall come to be prick'd out by it self in Songs or Lessons, either for Voyce or Instrument, five lines is only usual for one of those Parts, as being sufficient to contain the compass of Notes thereto be∣longing: And if there be any Notes that ex∣tend higher or lower, it is usual to add a line in that place with a Pen.

But all Lessons for the Organ, Virginals, or Harp, two staves of six lines together are re∣quired, one for the left hand or lower Keys, the other for the right hand or upper Keys.

Therefore he that means to understand what he Sings or Plays, must study to be perfect in the knowledge of the Scale or Gam-ut, and to have it perfect in his memory without book, both forward and backward, and to distinguish the Cliffs and Notes as they be in Rule or Space; for knowing the Notes Places, their Names are easily known.

Also, on the right side of this following Table of the Scale or Gam-ut, there is set four Columns: In the first is the Alphabetical Let∣ters, or Cliffs: The other three shew the Names of the Notes, ascending and descen∣ding, according to their several Names and Keys••

In the second Column is set the Names of the Notes as they be called, which is B duralis or B sharp, as having no flat in B mi; and then your Notes are called as they are set there on the Rules and Spaces ascending. The third Co∣lumn is B proper or B naturalis, which hath a B flat in B mi only, which is put at the begin∣ning of the line with the Cliff, and there you have also the Names as they are called on Rule and Space. The 4^th Column is the Notes, call'd B fa or B mollaris, having two B flats, the one in B mi, the other in E la mi, placed as the other; by observing of which, you have a certain Rule for the Names of the Notes in any part, be it Treble, Mean, Tenor, or Bass.

In these Three observe this for a General Rule, that what Name the Note hath, the same Name properly hath his Eighth above or be∣low, be it either in Treble, Mean, Tenor, or Bass.

There is an old Metre, though not very common, yet it contains a true Rule of the Theorick part of Musick, which is necessary to be observed by young Beginners, and as it falls in our several Chapters I shall insert it: It begins thus,

TO attain the Skill of Musicks Art, Learn Gam-Ut up and down by heart, Thereby to learn your Rules and Spaces, Notes Names are known, knowing their places,

[illustration]

THE GAM-VT, OR SCALE OF MUSICK.

A Second Table of the Scale of MUSICK called the GAM-VT, in which every Key or Note is put in its proper place upon the Five Lines, according to the two usual signed Cleaves or Cliffs, viz. the Bass and the Treble, ascending from the lowest Note of the Bass to the highest in the Treble.

〈♫〉〈♫〉 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 b mi, C sol fa, 〈♫〉〈♫〉 A la mi re, B fa b 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, 〈♫〉〈♫〉 C•• fa ut, DD sol re, EE la mi, FF fa ut, Gam-ut, A re.

CHAP. II. Of the Cliffs or Cleaves.

IN this Gam-ut (as I said before) is contai∣ned three Septenaries of Letters, which are G, A, B, C, D, E, F. These seven Letters are set at the beginning of each Rule and Space, and are called seven Cleaves; of these seven four is only usual, one of which is usual∣ly placed at the beginning of every Line of the Song or Lesson, either Vocal or Instrumen∣tal. The first is called the F fa ut Cleave or Cliff, which is only proper to the Bass or lowest part, and is thus marked 〈☐〉〈☐〉 on the fourth Line, at the beginning of Songs or Les∣sons. The second is the C sol fa ut, which is proper to the middle or inner pars, as Tenor, Counter-Tenor, or Mean, and it is thus signed or marked 〈☐〉〈☐〉. The third is the G sol re ut Cleave or Cliff, which is only proper to the Treble, or highest, and is signed or marked thus 〈☐〉〈☐〉 on the second Line of the Song or Lesson.

These three Cliffs are called the three sig∣ned Cliffs, because they are always set at the beginning of the Lines on which is prickt the

Song or Lesson; (for Cleave is derived from Clavis which signifies a Key.) From the place of this Cliff, the places of all the other Notes in your Song or Lesson are understood, by proving your Notes from it, according to the Rule of the Gam-ut.

The fourth Cliff is the B Cliff, which is proper to all parts, as being of two natures or properties, that is to say, Flat or Sharp, and doth only serve for that purpose for the flat∣ting and sharping of Notes, and therefore it is called B fa, B mi; the B fa signifies flat, the B mi sharp: The B fa, or B flat, is known on Rule or Space by this mark [〈☐〉〈☐〉]; and the B mi, which is sharp, by this [〈☐〉〈☐〉.]

But these two Rules you are to observe of them both: First the B fa, or B flat, doth alter both the name and property of the Notes be∣fore which it is placed, and is called Fa, ma∣king it half a tone or sound lower than it was before.

Secondly, the B mi, or B sharp, alters the property of the Notes before which it is pla∣ced, but not the Name; for it is usually pla∣ced either before Fa or Sol, and they retain their Names still, but their Sound is raised half a tone or sound higher.

Note, That these two B Cliffs are placed

not only at the beginning of the Lines with the other Cliff, but is usually put to several Notes in the middle of any Song or Lesson for the Flatting and Sharping of Notes, as the Harmony of the Musick requires.

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

FIrst observe with which of the three u∣sual Cliffs your Song or Lesson is signed with at the beginning, if it be with the G sol re ut Cleave, then if the Note be above it, whose name and place you would know, you must begin at your Cliff, and assign to every Rule and Space a Note, according to the Rule of your Gam-ut, ascending till you come to that Rule or Space where the same Note is set: But if the Note be below your Cliff, then you must prove downwards to it, saying your Gam-ut backwards, assig∣ning to each Rule and Space a Note, till you come to its place. So that by knowing in what place of your Gam-ut the Note is set, you will easily know its name, the next Cha∣pter directing you an infallible Rule for it, and that by an easie and familiar Example.

CHAP. IV. Containing a plain and easie Rule for the Naming your Notes in any Cliff.

HAving observed the foregoing Directi∣on of proving your Notes, to know their Places, you may easily know their Names also, if you will follow this Rule: First, observe that Mi is the principal or master Note, which leads you to know all the o∣ther; for having found out that, the o∣thers follow upon course; and this Mi hath its being in four several places, but it is but in one of them at a time; its proper place is in B mi, but if a B fa, which is a B flat (as is mentioned in chap. 2.) be put in that place, then it is removed into E la mi, which is its second place; but if a B flat be placed there also, then it is in its third place, which is Alamire; if a B flat come there also, then it is removed into its fourth place, which is D la sol re; so that in which of these it is, the next Notes above it a∣scending are Fa sol la, Fa sol la, twice, and then you meet with your Mi again, for it is found but once in Eight Notes: In like man∣near,

the Notes next below it descending are L sol fa, La sol fa, and then you have your Mi again: For your better understan∣ding of which, I have here inserted the afore∣mentioned old Metre, whose Rules are plain, true, and easie.

No man can sing true at first sight, Unless he names his Notes aright; Which soon is learnt, if that your Mi You know its place where e're 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 * 1.1B alone be Flat, Then * 1.2E 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 * 1.3A 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 * 1.4D.

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 you'll sing true without all blame, You call all Eights by the same name.

Example. Sol la fa sol sol fa la s••l 〈♫〉〈♫〉 Sol la fa sol sol fa la sol

These Rules and Examples being seriously perused by the Learner, will infallibly direct him in the right naming of his Notes, which is a very great help to the Singer; for there is nothing makes him sooner mistake his tune in Singing, than the misnaming of his Notes: Therefore for the better understanding the Rule of naming your Notes, by finding your Mi in its several places, cast your eye on ano∣ther Example, for the like naming your Notes in any Cliff whatsoever, be it Bass, Trebl••, or any Inward Part. For there is no Song pricked down for any part, but it doth imploy some of those Five Lines in this fol∣lowing Example. The which several Parts are demonstrated by those little Arches, or Columns, on the right side of the following Example.

Example. Mi in B. Mi in E. Mi in A. 〈♫〉〈♫〉

This Example expresses the Names of the Notes as they are called in the three removes of your Mi. I have seen some Songs with four flats, as is before-mentioned, that is to say, in B mi, E la mi, A la mi re, and D la sol re; but this fourth place of D la sol re, is very seldom used, and such Songs may be termed irregu∣lar, as to the naming the Notes (being rather intended for Instruments than Voices) and therefore not fit to be proposed to young Be∣ginners to sing. And because I will omit no∣thing that may be useful to Practitioners, I have set down a third Example of the naming of the Notes in all Parts and Cliffs, as the Flats are assigned to all Cliffs.

An exact Table of the Names of the Notes in all usual Cliffs, expressed in the Six seve∣ral Parts of Musick.

TREBLE, G sol re ut Cliff on the second Line.

〈♫〉〈♫〉 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

ALTUS, C sol fa ut Cliff on the first Line.

〈♫〉〈♫〉 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

MEAN, C sol fa ut Cliff on the second Line.

〈♫〉〈♫〉 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

COUNTER-TENOR.

〈♫〉〈♫〉 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

TENOR.

〈♫〉〈♫〉 La fa sol la mi 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

BASSE.

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

First learn by Cliffs to Name your Notes, By Rules and Spaces right; Then Tune with Time, to ground your Skill For Musicks sweet Delight.

A TABLE shewing the Comparison of the most usual Cliffs, how they agree together in the Naming the Notes.

〈♫〉〈♫〉 SLFSLMFS SLFSLMFS SLFSLM 〈♫〉〈♫〉 LMFSLFSL LMFSLFSL 〈♫〉〈♫〉 LFSLMFSL LFSLMFSL 〈♫〉〈♫〉 FSLMFSLF FSLMFSLF FSLMFS 〈♫〉〈♫〉 FSLFSLMF FSLFSLMF FSLFSLM 〈♫〉〈♫〉 SLMFSLFS SLMFSLFS SLMFSLF 〈♫〉〈♫〉 MFSLFSLM MFSLFSLM

CHAP. V. Of Tuning the Voyce.

THus having briefly given you plain and familiar Rules for the understanding the nature and use of the Gam ut, it will be necessary, before I set down your first plain Songs, to insert a word or two concerning the Tuning of the Voyce, in regard none can attain the right guiding or ordering their Voyce in the rising and falling of several Sounds which are in Musick (at first) without the help of another Voyce or stringed Instrument. They are both of them extraordinary helps, but some Voyces are best guided by the sound of an Instrument, and better, if the Learner have skill thereon to express the several sounds, so that his Voyce may go along with the Instrument, in the ascending and descen∣ding of the several Notes or Sounds. And (if not) if an Instrument be sounded by another who is an Artist, so the Learner hath a good Ear to guide his Voyce in unity to the sound of the Instrument, it will with a little pra∣ctice, by sometimes singing with, and some∣times without) guide his Voyce into a perfect Harmony, to sing any plain Song with exact∣ness;

I mean by Tuning his Notes perfectly, Ascending and Descending, and also in the rising or falling of a Third, a Fourth, or Fifth, and Sixth, &c. as in the following Plain Songs are set down. At the first guiding the Voyce therein, it will much help if you observe this Rule; for a Third ascending, which is from Sol to Mi, at your first Tuning sound by de∣grees all three Notes, as Sol La Mi, then at second Tuning leave out La, the middle Note, and so you will Tune from Sol to Mi, which is a Third. This Rule serves for the rising of Fourths or Fifths, &c. as your third Plain Song in the next page directs.

1. Observe that in the Tuning of your Voyce you strive to have it cleer.

2. In the expressing of your Voyce, or Tu∣ning of Notes, let the Sound come clear from your throat, and not through your teeth, by sucking in your breath, for that is a great ob∣struction to the clear utterance of the Voyce.

Lastly, observe that in Tuning your first Note of your plain Song, you equal it so to the pitch of your Voyce, that when you come to your highest Note, you may reach it with∣out Squeaking, and your lowest Note with∣out Grumbling.

Here followeth the three usual Plain Songs for Tuning the Voice in the Ascending and De∣scending of Notes.

〈♫〉〈♫〉 SLMFSLFS SFLSFMLSLS 〈♫〉〈♫〉 SMLFMSFL LFSMFLMSLS 〈♫〉〈♫〉 SLMSMSLMFSFSLMFSSS 〈♫〉〈♫〉 SLMFSLSLSLMFSLFSF 〈♫〉〈♫〉 SLMFSLFSSS SFLSLS 〈♫〉〈♫〉 FLSSSSFLSFSFSFLSFM 〈♫〉〈♫〉 SMSFLSFMLSLSFLSFM 〈♫〉〈♫〉 LSSSFSLSSSFSMSLS

CHAP. VI. Of Tones or Tunes of Notes.

OBserve that the two B Cliffs before men∣tioned are used in Song for the flat∣ting and sharping Notes. The property of the B flat is to change Mi into Fa, making that Note to which it is joyn'd a Semitone or half a Note lower; and the B sharp raiseth the Note before which it is set a Semitone or half a sound higher, but alters not its Name; so that from Mi to Fa, and likewise from La to Fa, is but a Semitone or a half Note, between any two other Notes it is a perfect Tone, or sound, as from Fa to Sol, from Sol to La, from La to Mi, are whole Tones, which is a perfect Sound. And this may be easily distinguished, if you try it on the Frets of a Viol or Lute, you shall perceive plainly that there goes two Frets to the stopping of a whole Note, and but one Fret to a half Note; so that it is observed that Mi and Fa do only serve for the flatting or sharping all Notes in the Scale, and they being rightly understood, the other Notes are easily applyed to them; for if G sol re ut have a sharp set before it, it's the same in sound with A la mi re flat; and B fa B mi flat, is the

same with A la mi re sharp; and C fa ut sharp, is D sol re flat, &c. as being of one and the same sound, or stopped upon one and the same Fret on the Viol or Violin. For Example: Vnisons. Octaves. 〈♫〉〈♫〉

For a Discourse of the Cords and Discords, I shall only name them in this part of my Book.

PErfect Cords are these, a Fifth, an Eighth, with their Compounds or Octaves.

Imperfect Cords are these, a Third, a Sixth, with their Compounds,, all other distances rec∣koned from the Bass are Discords.

A Diapason is a perfect Eighth, and contains 5 whole Tones, and 2 half Tones, that is in all the seven natural Sounds or Notes besides the Ground, what flats or sharps soe're ••here be. But for a further Discourse, I shall refer you to the Second part of this Introduction, enti∣tituled, The Art of Descant, or Composing of Mu∣sick in Parts; my purpose in this Book being only to set down the Rules for the Theorick part of Musick, so far as is necessary to be un∣derstood by young Practitioners in Musick, either Vocal or Instrumental. I shall therefore proceed to the next Rules for the Notes, their Time and Proportions.

CHAP. VII. The Notes; their Names, Number, and Proportions.

Large. Long. Breve. Semibreve. Minim. Crotchet. Quaver. Semiq. 〈♫〉〈♫〉

MEasure in this Science is a Quantity of the length and shortness of Time, ei∣ther by Natural Sounds pronounced by the Voyce, or Artificial, upon Instruments; which Measure, is by a certain motion of the hand or foot expressed in variety of Notes. These Notes in Musick have two Names, one for Tune, the other for Time or Pro∣portion of Notes to certain Sounds. The Names of Notes in Tuning I have set down in the former Chapter, being Four, Sol, La, Mi, Fa. Those in the Proportion of Time are Eight, as a Large, Long, Breve, Semibreve, Minim, Crotchet, Quaver, and Semiquaver, expressed at the beginning of this Chapter: The four first are Notes of Augmentation or Increase, the four last of Diminution or Decrease. The Large is the first of Aug∣mentation,

being longest in sound; and the Semibreve the last of Augmentation, being shortest in sound: In Time, it is called the Master-Note, being of one certain Measure by it self. All the other Notes, both of Aug∣mentation and Diminution, are measured by or proportioned to its value: The Large con∣tains eight Semibreves, the Long four, and the Breve two. The Notes of Diminution, viz. Minim, Crotchet, Quaver, and Semiquaver, are reckoned to, as the others were measured by the Semibreve; and, according to the ordi∣nary proportion of Time, two Minims are accounted to the Semibreve, two Crotchets to the Minim, two Quavers to the Crotchet, and two Semiquavers to the Quaver.

Example.

[illustration]

Notes of Augmentation. Notes of Diminution.

CHAP. VIII. Of the Rests or Pauses, of Pricks, and Notes of Syncopation.

Large. Long. Breve. Semibreve Minim. Crotchet. Quaver. 〈♫〉〈♫〉

PAuses or Kests are silent Characters, or an artificial omission of the Voyce or Sound, proportioned to a certain Measure of Time, by motion of the hand or foot (whereby the Quantity of Notes and Rests are directed) by an equal measure, the signatures and characters of which are placed over each Note in the Example at the beginning of this Chapter.

To these Notes appertain also certain other Rules, as Augmentation, Syncopation, Pricks of Perfection or Addition; of which, I shall only set down what is necessary to be understood by the Practitioner; as first, of the Pricks of Perfection or Addition; next, of Syncopation, or breaking of the Time, by the Driving a Minim through Semibreves, or Crotchets through Minims, which is the bea∣ting the Time in the middle of such Notes.

First, this Prick of Perfection of Addition is ever placed on the right side of all Notes thus,

[illustration]

for the prolonging the sound of that Note it follows to half as much more as it is: For Example, the Prick which is placed after a Semibreve is in proportion a Minim, and makes that Semibreve which be∣fore was but two Minims to be three Minims, in one continued Sound; and so the like pro∣portion to other Notes. Example.

Prick Long. Breve. Semibreve. Minim. Crotchet. Quaver. 〈♫〉〈♫〉

A further Example of the Prick Notes, wherein the Measure of the Time is barred, according to the Semi∣breve, both by Prick Semibreves, Minims, and Crotchets.

〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉

Secondly, Pricks of Perfection are used for perfecting of Notes, and are only used in the Triple-Time; of which, I shall speak more at the latter end of Chap. 10.

Thirdly, Syncopation is when the beating of Time falls to be in the midst of a Semibreve or Minim, &c. or, as we usually term it, Notes driven till the Time falls even again. Examp.

〈♫〉〈♫〉 〈♫〉〈♫〉

Of the Tying of Notes.

〈♫〉〈♫〉 〈♫〉〈♫〉

This Example shews, that many times in Songs or Lessons, two, four, or more Quavers or Semiquavers, are Tyed together by a long stroke on the top of their Tails: And though they be so, they are the same with the other, and are so tyed for the benefit of the sight, when many Quavers or Semiquavers happen together, not altering the Measure or Pro∣portion of Time.

CHAP. IX. Of the Keeping of Time by the Measure of the Semibreve or Master-Note.

OBserve that to the Measure of the Semi∣breve all Notes are proportioned, and its Measure is expressed (by a Natural Sound of the Voyce, or Artificial on an Instrument) to the moving of the hand or foot up and down when its measure is whole; in Notes of Aug∣mentation, the Sound is continued to more than one Semibreve; but in Notes of Diminu∣tion, the Sound is variously broken into Mi∣nims, Crotchets, and Quavers, or the like: So that in keeping time your hand goes down at one half, which is a Minim, and up at the next. For the more ease at first, if you have two Minims, or four Crotchets, as in the Exam∣ple following, in one Bar, which is the pro∣portion of a Semibreve; you may, in Minims, pronounce one, two, your hand being down at your first sounding one, lift it up leisurely, and when it is up a small distance pronounce two, and then laying your hand down again begin the third Minim, lifting it up at the fourth, and down at the fifth, &c. Also when you have four Crotchets, pronounce one, two,

three, four, that is, the hand is down at one and up at three, and down when you begin the next Bar of four Crotchets, as in this Example. This Rule observe, according to the Measure of those Notes your Semibreve is divided into, be it either Triple, Duple or Common Time.

Example. 〈♫〉〈♫〉 1 2 1 2 1 2 1 2 1 2 1 〈♫〉〈♫〉 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1

CHAP. X. Of the Four Moods or Proportions of the Time or Measure of Notes.

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

THere are four Moods, the which are di∣vided into four Tables, that is to say,

Moods.

• ...Great.
  • 1. The Perfect of the More. 〈☐〉〈☐〉
  • 2. The Perfect of the Less. 〈☐〉〈☐〉
• ...Less.
  • 3. The Imperfect of the More. 〈☐〉〈☐〉
  • 4. The Imperfect of the Less. 〈☐〉〈☐〉

These four Moods were used in former times, but of late years, those of our Na∣tion that have Composed Musick, either Vocal or Instrumental, have made use only of the two latter; that is to say, the Im∣perfect of the More and Imperfect of the Less, one being called the Triple Time, the other the Duple or Common Time, these two being sufficient to express much variety of Musick: However, because the Italians do at this day use in their Musick all four, I will not omit to give you the Definitions and Proportions of them in their order, and be more large upon the two latter, because most used by the Pra∣ctitioners of Musick in this our Nation.

Of the two first Moods.

1. THe Perfect of the More is when all go by three, as three Longs to a Large, three Breves to a Long, three Semib••eves to a Breve, three Minims to a Semibreve; except Crotchets, &c. which go by two; Mark'd thus,

[illustration]

The Perfect of the More 〈☐〉〈☐〉.

2. The Perfect of the Less is when all go by two, except the Semibreves, as two Longs to a Large, two Breves to a Long, three Semi∣breves to a Breve, two Minims to a Semibreve, &c. and its Sign or Mark is made thus,

[illustration]

The Perfect of the Less 〈☐〉〈☐〉

Of the two last or most usual Moods.

3. THe Imperfect of the More is when all go by two, except the Minims, which go by three, as two Longs to a Large, two Breves to a Long, two Semibreves

to a Breve, three Minims to the Semibreve, with a Prick of Perfection, which makes the whole proportion of three Minims, and is cal∣led a Time: Its Mood is thus signed 〈☐〉〈☐〉, and this is usually called the Triple Time.

[illustration]

The Imperfect of the More 〈☐〉〈☐〉

This Mood is much used in Airy Songs and Galiards, and is usually called Galiard or Triple Time; and is of two Motions, the one slow, the other more swift.

The first is, when the Measure is by three Minims to a Semibreve with a Prick, which Prick is for Perfection, to make it a perfect Time, and is usually called Three to One.

〈♫〉〈♫〉

The second Measure of this Triple Time is to a swifter motion, and is measured by three Crotchets, or a Minim with a Prick for Per∣fection. This swifter Measure is appropriated or used in light Lessons, as Corants, Sarabands, Iigs, and the like.

〈♫〉〈♫〉

This swifter Triple Time is sometimes prick'd in Black Notes, which Black Note is of the same Measure with the Minim in the foregoing Example, but is seldom used, be∣cause the Minims are the same and serve as well.

For Example: 〈♫〉〈♫〉

4. The fourth or last Mood, which is called the Imperfect of the Less, is when all go by two, as two Longs to a Large, two Breves to a Long, two Semibreves to a Breve, two Minims, to a Semibreve, two Crotchets to a Minim, &c. and this is called the Dupla or Semibreve Time, (but many call it the Common Time, because most used;) its Mood is thus marked 〈☐〉〈☐〉, and is usual in Anthems, Fantasies, Pavans, Al∣mans, and the like; whose Measure is set down in this following Example.

[illustration]

The Imperfect of the Less 〈☐〉〈☐〉

Note, That when this Common Mood is reversed thus 〈☐〉〈☐〉, it is to signifie, that the Time of that Lesson or Song, before which it is so set, is to be Play'd or Sung as swift again as the usual Measure.

CHAP. XI. Of the several Adjuncts and Characters used in Musick.

• 1. A Direct is usually at the end of a Line, and serves to direct to the place of the first Note on the next Line, and are thus made, 〈♫〉〈♫〉
• 2. Bars are of two sorts, single and double. The single Bars serve to divide the Time, ac∣cording to the Measure of the Semibreve: The double Bars are set to divide the several Strains or Stanzaes of the Songs and Lessons, and are thus made, 〈♫〉〈♫〉
• 3. A Repeat is thus marked 〈☐〉〈☐〉, and is used to signifie that such a part of a Song or Les∣son must be Played or Sung over again from that Note over which it is placed.
• ...

  4. A Tye is of two uses; first, when the Time is broken or struck in the middle of the Note, it is usual to Tye two Minims, or a Minim and a Crotchet together, as thus, 〈♫〉〈♫〉

• ...

  The second sort of Tye is, when two or more Notes are to be Sung to one Syllable, or two Notes or more to be plaid with once drawing the Bow on the Viol or Violin, as thus: 〈♫〉〈♫〉 Thou art not Kind but Cruel.

• 5. A Hold is thus made 〈☐〉〈☐〉, and is placed o∣ver the Note which the Author intends should be held to a longer Measure than the Note contains, and over the last Note of a Lesson.
• 6. The Figures usually placed over Notes in the Thorough-Bass of Songs or Ayres, for the Organ or Theorbo, is to direct the Perfor∣mer to strike in other Parts to those Notes, as Thirds, Sixths, and the like, to the Ground, as thus: 〈♫〉〈♫〉

I shall here conclude the First Part, wherein I have set down what is needful to be understood of the Theorick Part of Musick, in the plainest and easiest Method that I could; not doubting but by it, and a little assistance of some already skill'd in Musick, to guide you to the Practick.

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.

Of the five Moods used by the Grecians.

• 1. The Dorick,
• 2. The Lydian,
• 3. The AEolick,
• 4. The Phrygian,
• 5. The Ionick.

OF these Moods, though of little use a∣mong us, there is scarce any Author that has wrote of Musick but do give some account of them; among the Latin, Alste∣dius, Cassiodorus, and others; in English, Mr. Butler and Mr. Morley; therefore not in∣tending to be singular, I shall give you this short Narrative.

These five Moods have no relation to those Moods mentioned in the former part of this Book; those have reference to Notes and Time, these only concern Tune. That which the Grecians called Mode or Mood, the Latins termed Tone or Tune: The design of either, was to shew in what Key the Song was set, and how each Musical Key had relation one to another. These five appertained to the Grecians only, and had their several appel∣lations

from the Countries in which they were invented and practised. The Latins reduced theirs to Eight Tones or Tunes, and were by the Churchmen termed Plain-songs. These exceeded not the compass of six Notes, and was to direct how to begin and end in the proper Keys; which eight Tones or Tunes are printed in the Tenor Part of Mr. Morley's Introduction, pag. 147. The Grecian Moods had these various effects.

• 1. The Dorick Mood consisted of sober slow Tun'd Notes (Counterpoint) where the Com∣position of Parts goes Note for Note toge∣ther, be they of two, three, or four Parts, as is set forth in my late Book of Musick of four Parts to the Psalms and Hymns used in our Churches, Printed in Folio, 1671. This Mood had its name from Doria, a civil part of Greece near Athens; and being solemn, moveth to Sobriety and Godliness.
• 2. The Lydian Mood was used to grave solemn Musick, the Descant or Composition being of slow time, fitted to Sacred Hymns and Anthems, or Spiritual Songs, in Prose, sometimes in Verses alone, and ••ometimes in a full Chorus of four or five Parts; which moveth a kind of Heavenly Harmony, where∣by the mind is lifted up from the regard of

• earthly things to those celestial Joys above. This Mood had its derivation from the famous River in Lidia called Pactolus, and the win∣ding retrograde Meander, representing there∣by the admirable variety of Sound in Musick, passing by the famous Cities, Philadelphia, and Sardis once the Royal Seat of rich King Croesus.
• 3. The AEolick Mood, was that which was of a more Airy and soft pleasing sound, as your Madrigals or Fa la's of five and six Parts, which were Composed for Viols and Voices by many of our excellent English Authors, as Mr. Morley, Wilks, Wilbey, Ward, and others: Which Musick by its variety and delightful∣ness, allayeth the Passions, and charmeth the Affections into a sweet and pleasing temper; such as was that enchanting Musick of the Harp, provided for King Saul, 1 Sam. 16. That Saul was refreshed, and the evil Spirit de∣parted from him. This Mood had its deriva∣tion from AEolia (a Kingdom of AEolus) whence he is feigned to send his rushing Winds, which do resemble this Mood, that is so commixt with fancy and airy reports, one part after other.
• 4. The Phrygian Mood was a more warlike and couragious kind of Musick, expressing the Musick of Trumpets and other Instruments

• of old, exciting to Arms and Activity, as Al∣mans, and the like. This Mood had its de∣rivation from Phrygia (a Region bordering upon Lydia and Caria) in which is that Mar∣tial Town Cios, and the most high Hill Idae, famous for the Trojan War. Many Historians have written of its rare Effects in warlike Preparations: Suidas (in litera T) writes of Timotheus, a skilful Musician, that when Alex∣ander the Great was much dejected in his mind, and loth to take up Arms, he with his Phrygian Flute expressed such excellent sounds and varieties of Musick, that the Kings passions were immediately stirred to War, and ran presently and took up Arms. But the Story of Ericus the Musician passes all; who had given forth, that by his Musick he could drive men into what Affections he listed; and being required by Bonus King of Denmark to put his Skill in practice, he with his Harp, or Polycord Lyra, expressed such ef∣fectual melody and harmony, in the variety of changes in several Keyes, and in such ex∣cellent Fug's and spritely Ayres, that his Au∣ditors 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

• altered, and excited to that height, that he fell upon his most trusty friends which were near him, and flew some of them with his fist for lack of another weapon; which the Mu∣sician perceiving, ended with the sober and solemn Dorick, which brought the King to himself, who much lamented what he had done. This is recorded at large by Crantzius, lib. 5. Daniae cap. 3. and by Saxo Grammaticus, lib. 12. Hist. Daniae, and others.
• 5. The Ionick Mood was for more light and effeminate Musick, as pleasant amorous Songs, Corants, Sarabands, and Iigs, used for honest mirth and delight at Feasts and other merri∣ments. This Mood had its derivation from the Ionians of Ionia, which lies between AEo∣lia and Caria, a situation full of all pleasure, whose plenty and idleness turned their honest mirth into lasciviousness. By this Mood was the Pythagorean Huntsup, or Morning Musick, which wakened and roused their dull Spirits to study and action. The abuse of this Mood is soon reformed by the sober Dorick; for what this excites above moderation, the other draws into a true Decorum.

Let thus much suffice to have been spoken of the Grecian Moods. I shall now set down some short Songs, and Ayres for two Voices, very use∣ful for Beginners.

Short Ayres or Songs of Two Voices, Treble and Bass for Beginners.

A. 2. Voc. TREBLE. W. L.

〈♫〉〈♫〉 GAther your Rose-buds while you may, old 〈♫〉〈♫〉 Time is still a flying, and that same Flow'r that 〈♫〉〈♫〉 smiles to day, to morrow will be dying.

A. 2. Voc. BASSE. W. L.

〈♫〉〈♫〉 GAther your Rose-buds while you may, old 〈♫〉〈♫〉 Time is still a flying, and that same Flow'r that 〈♫〉〈♫〉 smiles to day, to morrow will be dying.

A. 2. Voc. TREBLE. I. P.

〈♫〉〈♫〉 COmely Swain why sitt'st thou so, Fa la la la la &c. la. 〈♫〉〈♫〉 Folded arms are signs of woe, Fa la la la la la la la la la. 〈♫〉〈♫〉 If thy Nymph no favour show, Fa la la la la la la la. 〈♫〉〈♫〉 Chuse another, let her go, Fa la la la la la la la la la.

A. 2. Voc. BASSE. I. P.

〈♫〉〈♫〉 COmely Swain why fitt'st thou so; Fa la la la la &c. la. 〈♫〉〈♫〉 Folded Arms are signs of woe, Fa la la la la la la la la la la. 〈♫〉〈♫〉 If thy Nymph no favour show, Fa la la la la la la la. 〈♫〉〈♫〉 Chuse another, let her go, Fa la la, &c.

A. 2. Voc. TREBLE. T. M.

〈♫〉〈♫〉 NOw is the Month of Maying, when merry 〈♫〉〈♫〉 Lads are playing, Fa la la la la, &c. 〈♫〉〈♫〉 Each wi••h his bonny Lass upon the greeny grass, 〈♫〉〈♫〉 Fa la la la la, &c.

A. 2. Voc. BASSE. T. M.

〈♫〉〈♫〉 NOw is the Month of Maying, when merry 〈♫〉〈♫〉 Lads are playing, Fa la la la la, &c. 〈♫〉〈♫〉 Each with his bonny Lass upon the greeny grass, 〈♫〉〈♫〉 Fa la la la la, &c.

A. 2. Voc. TREBLE. B. R.

〈♫〉〈♫〉 IN the merry month of May, in a morn by break of day; 〈♫〉〈♫〉 forth I walkt the wood so wide, when as May was in her pride; 〈♫〉〈♫〉 there I spyed all alone, Philida and Coridon.

A. 2. Voc. BASSE. B. R.

〈♫〉〈♫〉 IN the merry month of May, in a morn by break of day; 〈♫〉〈♫〉 Sorth I walkt the wood so wide, when as May was in her pride; 〈♫〉〈♫〉 there I spyed all alone Philida and Coridon.

A. 2. V••c. TREBLE. H. L.

〈♫〉〈♫〉 COme Cloris hye we to the Bow'r, to sport us e're 〈♫〉〈♫〉 the day be done; such is thy pow'r that ev'ry Flow'r 〈♫〉〈♫〉 will ope to thee as to the Sun.

The wanton Suckling and the Vine Will strive for th' Honour, who first may With their green Arms incircle thine, To keep the burning Sun away.

A. 2. Voc. BASSE. H. L.

〈♫〉〈♫〉 COme Cloris hye we to the Bow'r, to spo••t us 〈♫〉〈♫〉 e're the day be done; such is thy pow'r, that ev'ry Flow'r 〈♫〉〈♫〉 will ope to thee as to the Sun.

A. 2. Voc. TREBLE. I. G.

〈♫〉〈♫〉 VVIll Cloris cast her Sun-bright Eye upon so 〈♫〉〈♫〉 mean a Swain as I? Can she affect my oaten reed? or 〈♫〉〈♫〉 stoop to wear my Shepherds weed.

What rural sport can I devise, To please her Ears, to please her Eyes? Fair Cloris sees, fair Cloris hears•• With Angels Eyes and Angels Ears.

A. 2. Voc. BASSE. I. G.

〈♫〉〈♫〉 VVIll Cloris cast her Sun-bright Eye upon so 〈♫〉〈♫〉 mean a Swain as I? Can she affect my oaten reed? or 〈♫〉〈♫〉 stoop ••o wear my Shepherds weed.

A. 2. Voc. TREBLE. T. B.

〈♫〉〈♫〉 TUrn Amarillis to thy Swain, turn Amarillis to thy 〈♫〉〈♫〉 Swain, turn Amarillis to thy Swain, thy Damon calls thee 〈♫〉〈♫〉 back again, thy Damon calls thee back again: Here is a 〈♫〉〈♫〉 pretty, pretty, pretty, pretty, pretty Arbour by, where Apollo, 〈♫〉〈♫〉 where Apollo, where Apollo, where Apollo cannot, cannot 〈♫〉〈♫〉 spy, where Apollo cannot spy. Here let's fit, and whilst I 〈♫〉〈♫〉 play, sing to my Pipe, sing to my Pipe, sing to my Pipe, 〈♫〉〈♫〉 sing to my Pipe, sing to my Pipe a Roundelay; sing to 〈♫〉〈♫〉 my Pipe, sing to my Pipe, sing to my Pipe a Roundelay.

A. 2•• Voc. BASSE. T. B.

〈♫〉〈♫〉 TUrn Amarillis to thy Swain, turn Amarillis, turn 〈♫〉〈♫〉 Amarillis, turn Amarillis to thy Swain, thy Damon calls 〈♫〉〈♫〉 thee back again, thy Damon calls thee back again: Here 〈♫〉〈♫〉 is a pretty Arbour by, where Apollo, where Apollo, where 〈♫〉〈♫〉 Apollo, where Apollo cannot spy, where Apollo cannot 〈♫〉〈♫〉 spy: There let's sit, and whilst I play, sing to my Pipe, 〈♫〉〈♫〉 sing to my Pipe, sing to my Pipe, sing to my Pipe, sing to 〈♫〉〈♫〉 my Pipe a Roundelay; sing to my Pipe, sing to my 〈♫〉〈♫〉 Pipe, sing ro my Pipe a Roundelay.

A. 2. Voc. TREBLE. W. L.

〈♫〉〈♫〉 LOve is lost and gone astray being blind hath lost 〈♫〉〈♫〉 his way. Ve╌nus cryeth for her son. out alass she is undone! 〈♫〉〈♫〉 Cupid sor his mother wept, weepin••, thus sate down and slept.

A. 2. Voc. BASSE. W. L.

〈♫〉〈♫〉 LOve is lost and gone astray, being blind hath lost 〈♫〉〈♫〉 his way. Venus cryeth for her son, out a╌lass she is undone! 〈♫〉〈♫〉 Cupid for his mother wept, weeping, thus sate down and slept.

For more Songs and Ayres of this nature for Beginners, I refer you to two Books lately published, one entituled, Select Ayres and Dialogue ••or One, Two, and Three Voices; the other, The Mu∣sical Commpanion, containing Ayres for Two, Three, and Four Voices.

RULES and DIRECTIONS For SINGING the PSALMS.

THe Tunes of Psalms are of general use, all who are true Lovers of Divine Musick will have them in estimation, they may be called Holy David's Mu∣sick, they are easie and delightful: Those who are principally concerned, are Parish-Clerks, as being the Leaders of those Tunes in their Congregations, for whose use and benefit, I have set down these following Directions.

First, observe how many Notes Compass the Tune is; secondly, the place of the first Note; and lastly, how many Notes above and below that, so that you may begin the first Note in such a Key, as the rest may be sung in the compass of your own and the peoples Voices, without squeaking above, or grumbling below. For the better understanding of which, these follow∣ing Instructions are necessary, which serve also for all other Tunes that are not here; but when you are per∣fected in these, I refer you to my large Book lately published in Folio, Entituled, Psalms and Hymns in Solemn Musick of Four Parts; in which is 47 several Tunes, with the Bass under each Common-Tune, as pro∣per to sing to the Organ, Theorbo, or Bass-Viol; also variety of excellent Translations of Psalms and Hymns, never before published.

The Short Tunes to Four Lines, whose Measure is Eight Syllables on the first Line, and six on the next.

• These Tunes, in Tu∣ning, the first Note will bear a cheerful high pitch, in regard their whole Compass is not above five or six Notes, from the highest Note to the lowest.
  • To Psal. Consolatory.
    • ...Oxford Tune
    • ...Cambridge Tune
    • ...Litchfield Tune
    • ...Low-Dutch Tune
  • To Psalms of Prayer, Confession, and Fu∣nerals.
    • ...York Tune
    • ...Windsor Tune
    • ...Westminster Tune
    • ...Ely Tune
    • ...Worcester Tune
    • ...Hartfordshire Tune
  • To peculiar Psal. as 25,50,67,70,134.
    • ...Southwell Tune
    • ...New Tune
• These Tunes are eight Notes Compass above the first, and there∣fore you must begin the first Note indif∣ferent low.
  • To Psalms of Praise and Thanksgiving.
    • ...St. David's Tune
    • ...Martyrs Tune
    • ...Winchester Tune
    • ...London Tune
    • ...London new Tune
    • ...Norwich Tune
    • ...Hereford Tune
    • ...Exceter Tune

Long Tunes, most of them usual to Psalms of Eight Lines, which contain Eight Syllables in the first Line, and six in the next.

• These Tunes are eight Notes in Compass above the first Note, and therefore you must begin the first Note low.
  • ...1 Psal. Tune
  • ...81 Psal. Tune
  • ...113 Psal. Tune
  • ...119 Psal. Tune
  • ...148 Psal. Tune
• These Tunes fall four Notes lower than the first Note, therefore begin that indifferent high.
  • ...51 Psal. Tune
  • ...68 Psal. Tune
  • ...100 Psal. Tune
  • ...125 Psal. Tune

The most usual Common Tunes Sung in Parish Churches, with the Bass under each Tune.

Psal. 4. Oxford Tune.

〈♫〉〈♫〉 O God that art my righteousness, Lord hear me when I call: Thou hast set me at liberty, when I was bound and thrall.

Psal. 69. Litchfield Tune.

〈♫〉〈♫〉 SIng ye with praise unto the Lord, new songs with joy & mirth. Sing unto him with one accord, all people on the earth.

Psal. 116. Windsor Tune.

〈♫〉〈♫〉 I Love the Lord, because my voice and prayer heard hath he: 〈♫〉〈♫〉 〈♫〉〈♫〉 When in my days I call`d on him, he bow'd his ear to me. 〈♫〉〈♫〉

Psal. 141. Westminster Tune.

〈♫〉〈♫〉 O Lord upon thee do I call, Lord hast thee unto me: 〈♫〉〈♫〉 〈♫〉〈♫〉 And hearken Lord unto my voice, when I do cry to thee. 〈♫〉〈♫〉

Psal. 26. Worcester Tune.

〈♫〉〈♫〉 LOrd be my Judge, and thou shalt see my paths be right & plain: 〈♫〉〈♫〉 〈♫〉〈♫〉 I trust in God, and hope that He will strength me to remain. 〈♫〉〈♫〉

Psal. 133. Hereford Tune.

〈♫〉〈♫〉 O How happy a thing it is, and joyful for to see: 〈♫〉〈♫〉 〈♫〉〈♫〉 Brethren together fast to hold the band of amity. 〈♫〉〈♫〉

Psal. 21. Cambridge Tune.

〈♫〉〈♫〉 HElp Lord, for good and godly men do perish and decay: 〈♫〉〈♫〉 〈♫〉〈♫〉 And faith and truth from worldly men is parted clean away. 〈♫〉〈♫〉

Psal. 39. Martyrs Tune.

〈♫〉〈♫〉 I Said I will look to my ways, for fear I should go wrong: 〈♫〉〈♫〉 〈♫〉〈♫〉 I will take heed all times that I offend not with my tongue. 〈♫〉〈♫〉

Psal. 25. or 50,67,70,134. Cambridge short Tune.

〈♫〉〈♫〉 I Lift mine heart to thee, my God and guide most just: 〈♫〉〈♫〉 〈♫〉〈♫〉 Now suffer me to take no shame, for in thee do I trust. 〈♫〉〈♫〉

Psal. 134. or 25. New Tune.

〈♫〉〈♫〉 BEhold and have regard, ye Servants of the Lord: 〈♫〉〈♫〉 〈♫〉〈♫〉 Which in his house by night do watch, praise him with one accord. 〈♫〉〈♫〉

Psal. 23. Low-Dutch Tune.

〈♫〉〈♫〉 THe Lord is only my support, and he that doth me feed: 〈♫〉〈♫〉 〈♫〉〈♫〉 How can I then lack any thing whereof I stand in need. 〈♫〉〈♫〉

Psal. 84. Winchester Tune.

〈♫〉〈♫〉 HOw pleasant is thy dwelling place, O Lord of hosts to me! 〈♫〉〈♫〉 〈♫〉〈♫〉 The Tabernacles of thy grace, how pleasant Lord they be! 〈♫〉〈♫〉

Psal. 103. Hartfordshire Tune.

〈♫〉〈♫〉 MY Soul give land unto the Lord, my Sp'rit shall do the same: 〈♫〉〈♫〉 〈♫〉〈♫〉 And all the Secrets of my Heart, praise ye His Holy Name. 〈♫〉〈♫〉

Psal. 145. Exceter Tune.

〈♫〉〈♫〉 THee will I laud my God and King, and bless thy name for aye: 〈♫〉〈♫〉 〈♫〉〈♫〉 For ever will I praise thy name, and bless thee day by day. 〈♫〉〈♫〉

Psal. 73. York Tune.

〈♫〉〈♫〉 THe L. is both my health and light, shall man make me dismaid? 〈♫〉〈♫〉 〈♫〉〈♫〉 Sith God doth give me strength & might, why should I be afraid? 〈♫〉〈♫〉

Psal. 95. St. David's Tune.

〈♫〉〈♫〉 O Come let us lift up our voice, and sing unto the Lord: 〈♫〉〈♫〉 〈♫〉〈♫〉 In him our rock of health ••ejoyce, let us with one accord. 〈♫〉〈♫〉

Psal. Hackney Tvne.

〈♫〉〈♫〉 REgard, O Lord, for I complain, and make my sute to thee: 〈♫〉〈♫〉 〈♫〉〈♫〉 let not my words return in vain, but give an ear to mee. 〈♫〉〈♫〉

Psal. 135. London New Tune.

〈♫〉〈♫〉 O Praise the L. praise him, praise him, praise him with one accord 〈♫〉〈♫〉 〈♫〉〈♫〉 O praise him still all ye that be, that servants of the Lord. 〈♫〉〈♫〉

Psal. 100.

〈♫〉〈♫〉 ALl Pple that on earth do dwel, sing to the L. w^th cheerful voice: 〈♫〉〈♫〉 〈♫〉〈♫〉 Him serv with fear, his praise forth tel; cōe ye before him & rejoyce. 〈♫〉〈♫〉

Psal. 125. Ten Commandement Tune.

〈♫〉〈♫〉 THose that do put their confidence, upon the L. our God only: 〈♫〉〈♫〉 〈♫〉〈♫〉 And fly to him for their defence, in all their need and misery. 〈♫〉〈♫〉

First Psalm.

〈♫〉〈♫〉 THe man is blest that hath not bent, to wicked read his ear: 〈♫〉〈♫〉 〈♫〉〈♫〉 Nor led his life as sinners do, nor sate in scorner•• chair. 〈♫〉〈♫〉 〈♫〉〈♫〉 But in the Law of God the Lord doth set his whole delight: 〈♫〉〈♫〉 〈♫〉〈♫〉 And in that Law doth exercise himself, both day and night. 〈♫〉〈♫〉

Psal. 51.

〈♫〉〈♫〉 O Lord consider my distress, and now with speed some pity take 〈♫〉〈♫〉 〈♫〉〈♫〉 My sins deface, my faults redress, good L. for thy great mercy sake 〈♫〉〈♫〉 〈♫〉〈♫〉 Wash me, O L. and make me clean from this un••ust & sinful act: 〈♫〉〈♫〉 〈♫〉〈♫〉 And purifie yet once again my hainous crime and bloody fact. 〈♫〉〈♫〉

Psal. 68.

〈♫〉〈♫〉 LEt God arise, and then his foes will turn themselves to flight, 〈♫〉〈♫〉 〈♫〉〈♫〉 His en'mies then will run abroad, and scatter out of sight: 〈♫〉〈♫〉 〈♫〉〈♫〉 And as the fire doth melt the wax, and wind blow smoak away: 〈♫〉〈♫〉 〈♫〉〈♫〉 So in the presence of the Lord the wicked shall decay. 〈♫〉〈♫〉

Psal. 81.

〈♫〉〈♫〉 BE light and glad in God rejoyce, which is our strength and stay: 〈♫〉〈♫〉 〈♫〉〈♫〉 Be joyful, and lift up you voice, to Iacob's God I say. 〈♫〉〈♫〉 〈♫〉〈♫〉 Prepare your Instruments most meet, some joyful Psalm to sing: 〈♫〉〈♫〉 〈♫〉〈♫〉 Stri••e up with Harp and Lute so sweet, on every pleasant string. 〈♫〉〈♫〉

Psal. 113.

〈♫〉〈♫〉 YE childrē wch do serve the L. praise ye his nāe with one accord: Who from the rising of the Sun, till it return where it begun: 〈♫〉〈♫〉 〈♫〉〈♫〉 Ye blessed be alwa••s his name. The L. all Pple doth surmoūt, Is to be praised with great fame. The L. all Pple doth surmoūt, 〈♫〉〈♫〉 〈♫〉〈♫〉 As for his glory we may count, above the Heavens high to be. 〈♫〉〈♫〉 〈♫〉〈♫〉 With God the Lord who may compare, whose dwellings in the 〈♫〉〈♫〉

〈♫〉〈♫〉 Heavens are: Of such great pow'r and fo••ce is He. 〈♫〉〈♫〉

Psal. 148.

〈♫〉〈♫〉 GIve laud unto the Lord, from heav'n that is so high; 〈♫〉〈♫〉 〈♫〉〈♫〉 Praise him in deed and word above the starry sky: 〈♫〉〈♫〉 〈♫〉〈♫〉 And also ye, his Angels all, Armies royal, praise him with glee. 〈♫〉〈♫〉

Psal. 119.

〈♫〉〈♫〉 BLessed are they that perfect are, and pure in mind and heart, 〈♫〉〈♫〉 〈♫〉〈♫〉 Whose lives and conversations from Gods Laws never start. 〈♫〉〈♫〉 〈♫〉〈♫〉 Blessed are they that give themselves his S••atutes to observe, 〈♫〉〈♫〉 〈♫〉〈♫〉 Seeking the L. with all their hearts, and never from him swerve. 〈♫〉〈♫〉

Notes

• * 1.1

  B fa B mi.
• * 1.2

  E la mi.
• * 1.3

  A la mi re.
• * 1.4

  D la sol.