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.

It is usual in Lessons for the Bass-Viol, to change the Cliff where the Notes ascend a∣bove D la sol re, which is very necessary to

prevent the drawing of more lines above; therefore the Practitioner ought to be perfect in the C sol fa ut Cliff on the middle line, as you see in the five last Notes of the Table; also this Example mentions the like agreement of Notes in both Cliffs.

Example. 〈♫〉〈♫〉 〈♫〉〈♫〉

In this Example the Notes prick'd in the Tenor Cliff, are the same with those in the Bass or F fa ut Cliff, and are stopp'd in the same places on the Viol. This I thought fit to men∣tion, because you will meet with the change of Cliffs in the following Lessons.

Observe, that in the foregoing Table the Sharp (〈☐〉〈☐〉) before a Note makes it stopt a Fret lower, and a b Flat before a Note a Fret high∣er; for two Frets go to one whole or perfect Note, as that Table doth direct: Sometimes you may see a 〈☐〉〈☐〉 before D sol re, then it is stopt a Fret lower, which is the place of E la mi flat, so if a Flat is set before A la mi re, it is a Fret higher, which is G sol re ut 〈☐〉〈☐〉; the like of o∣ther flat or sharp Notes.

Also if a B flat or B sharp be set on Rule or Space at the beginning of any Line with the Cliff, that Flat or Sharp makes all the Notes which are in the same Rules or Spaces to be flat or sharp through the whole Lesson.

TREBLE-VIOL.

These Directions for the Bass-Viol do also serve the Treble-Viol, which is strung and tuned in the same manner, only eight Notes higher, G sol re ut on the Treble is the Eighth above G sol re ut on the Bass, being stopped on the same String and Fret with the Bass; and so other Notes accordingly.

TENOR-VIOL.

The Tenor-Viol is an excellent inward Part, and much used in Consort, especially in Fanta∣sies and Ayres of 3, 4, 5 and 6 parts. The Tuning of it is the same with the Bass and Treble, for the distance of sound betwixt each string; but being an Inward Part betwixt both, its Tuning is four Notes higher than the Bass, and five Notes lower than the Treble; its first or Treble string is tuned to G sol re ut on the third string of the Treble-Viol; its second four Notes lower, which is D la sol re; the third for Notes lower, is A la mì re; the fourth three Notes (or a flat Third) lower, is F fa ut; the fifth four Notes lower than it, is C fa ut;

and the sixth four Notes lower than the fifth, is Gam-vt; which is answerable to the Gam-vt on the Bass-Viol.

For the better understanding of these Tu∣nings severally, viz. Treble or Tenor, observe these two Examples of them, according as their six strings are Tuned by the several Di∣stances of Notes in the Gam-vt.

The Treble-Viol Tuning. 〈♫〉〈♫〉 1 2 3 4 5 6 String.

The fifth string on the Treble-Viol is the same with G sol re vt on the third string of the Bass-Viol.

The Tenor-Viol Tuning. 〈♫〉〈♫〉 1 2 3 4 5 6 String.

The fifth string of the Tenor-Viol is tuned to C fa vt or fourth string of the Bass-Viol.

For the Names of the Notes, and their Proportions of Time, I refer you to the fourth and seventh Chapters in the first Book.