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.

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A BRIEF INTRODUCTION To the Playing on the Bass-Viol. The Second BOOK.

THe Viol (usually called) de Gambo, or Consort Viol, because the Musick thereon is play'd from the Rules of the Gam-vt, and not as the Lyra-Viol, which is by Letters or Tableture. Of this Viol de Gambo there are three several sizes, one larger than the other, according to the three Parts of Musick set forth in the Gam-vt, viz. Treble-Viol, Tenor-Viol, and Bass-Viol. The Treble-Viol plays the highest Part, and its Lessons are prick'd by the G sol re vt Cliff 〈☐〉〈☐〉; the Tenor-Viol, or middle part, its Lessons are by the C sol fa vt Cliff 〈☐〉〈☐〉; and the Bass-Viol, which is the lar∣gest,

its Lessons are by the F fa vt Cliff 〈☐〉〈☐〉 These three Viols agree in one manner of Tu∣ning; where I shall give you the Directi∣ons for Tuning the Bass-Viol, which is usually strung with six Strings (as you may observe on the Figure expressed in the foregoing page) which six strings are known by six se∣veral names; the first, which is the smallest, is called the Treble; the second, the small Mean; the third, the great Mean; the fourth, the Counter-Tenor; the fifth, the Tenor or Gam-vt string; the sixth, the Bass. But if you will name them after they are Tuned, ac∣cording to the Rule of the Gam-vt, the Tre∣ble string, is D la sol re; the smal Mean, A la mi re; the great Mean, E la mi; the Counter-Tenor, C fa vt; the Tenor or fifth string, Gam-vt; and the sixth or Bass, double D sol re. Belonging to these six strings there are seven Frets or Stops on the neck of your Viol, which are for stopping the various Sounds, accor∣ding to the several Notes of the Gam-vt, both Flats and Sharps: For the more plain under∣standing of which, I have drawn an exact Ta∣ble in the following pag. 88. beginning with the lowest Note on your sixth string, and so a∣scending to the highest on the first or Treble string. Your perfect understanding of that

Table will much further you in the know∣ledg of Tuning your Viol; for which Tuning I will give you two Rules, one by Tableture or Letters, the other by the Gam-vt Rule; the first being the easiest way to a Beginner, whose Ear at first is not well acquainted with the several distances of Sounds that the Strings are Tuned in, shall by this way use only one Sounding, viz. an Unison, which is to make two strings (one of them being stopt, the other not) to agree in one and the same sound: The Letters are Eight, A, B, C, D, E, F, G, H; seven of these are assigned to the seven Frets on the Neck of the Viol; A is for the string open, so B is the first Fret, C the second, D the third, E the fourth, F the fifth, G the sixth, and H the seventh.

Example.

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Six Strings.

When you begin to Tune, raise your Treble or smallest string as high as conveni∣ently it will bear without breaking; then stop only your second or small Mean in F, and

tune it till it agree in sound with your Treble open; that done, stop your Third in F, and make it agree with your Second open; then stop your Fourth in F, and make it agree with your Third open; then stop your Fifth in F, and make it agree with your Fourth open; and lastly, stop your Sixth in F, and make it agree to your Fifth open. This being exact∣ly done, you will find your Viol in Tune, ac∣cording to the Rule of the Gam-vt.

Example, Tuning by Letters. 〈♫〉〈♫〉

Example, Tuning by Notes. 〈♫〉〈♫〉 D la sol re. A la mi re. E la mi. C fa vt. Gam-vt. D D sol re.

The other way of Tuning is by the Rule of the Gam-vt, by distances of Sounds, as in the foregoing Example, thus: The Treble being raised as high as it will conveniently bear without breaking, is called D la sol re, then tune your second four Notes lower, and it is A la mi re; the third four Notes lower

is E la mi; the fourth three Notes, or a f••at Third lower, is C fa vt; the fifth four Notes lower, is Gam-vt; and the sixth four Notes lower than the fifth, is double D sol re: This is the most usual way of Tuning it; yet there are some Lessons do require it one Note lower, which is double C fa vt, but that is very seldom.

Example of the Notes ascending and descending. 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉

Your Viol being Tuned, practice to play this Example of the Notes ascending and de∣scending, and by it you shall know your Viol is right Tuned.

An exact Table, directing the Places of the Notes, Flat and Sharp, to every Stop on the Bass-Viol, according to the Gam-ut; beginning at the lowest Note of the Bass on the Sixth String, and ascending to the highest on the Treble.

6 String.

〈♫〉〈♫〉 Double D ••ol re. Double E la mi. Flat. D D E la mi. Proper. D D Ffa ut. D D F fa ut. Sharp. Sixth string open. Sixth string first fret. Sixth string second fret. Sixth string third fret. Sixth st••ing fourth fret.

5. String.

〈♫〉〈♫〉 Gamut. Gamut sharp. A re. B mi flat. B mi proper. Fifth string open. fifth string ••••••st fret. fifth string second fret. fifth string third fret. fifth string fourth fret.

4 String.

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

2 String.

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

2 String.

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

1 String.

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

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.

Some General Rules for the Viol.

THere are three sorts of Bass-Viols, as there are three manners of ways in playing.

First, a Bass-Viol for Consort must be one of the largest size, and the Strings propor∣tionable.

Secondly, a Bass-Viol for Divisions must be of a less size, and the Strings according.

Thirdly, a Bass-Viol to play Lyra-way, that is by Tableture, must be somewhat less than the two former, and strung proportionably.

2. In the choice of your Viol Bow, let it be proportioned to the Viol you use, and let the Hair be laid stiff, and the Bow not too heavy, nor too long.

3. In holding your Viol observe this Rule: Place it gently between your Knees, resting the lower end thereof upon the Calves of your Legs, and let your Feet rest flat on the Ground, your Toes turned a little outward, and let the top of your Viol lean towards your left shoulder.

4. In the holding of your Bow, observe this Rule: Hold the Bow betwixt the ends of your Thumb and your Forefinger, an Inch below the Nut, the Thumb and first Finger resting on the Wood, the ends of

your second and third Fingers staid upon the Hair, by which you may poise and keep up your Bow. Your Bow being thus fix'd, you must draw it over one string, and then ano∣ther, in a right angle, about two or three In∣ches above the Bridge, making each several string yield a clear sound.

5. In the posture of your left hand observe this Rule, place your Thumb on the back of the Neck, and opposite to your Forefinger, so that when your Fingers are to rest on the se∣veral Stops or Frets, your hand may have li∣berty to move up and down, as occasion shall require; and in the stopping observe, that when you set any finger down, let it not be just upon the Fret, but close to it, bearing it hard down with the end of your finger, and let it rest there, playing the following Notes with your other fingers, until occasion re∣quire the moving it; and be sure not to lift your fingers too high, but keep them in an even distance to the Frets, that so they may pass more readily from Fret to Fret.

Also in the Rule of true Fingering, where you skip a Fret, there leave a finger; and when you have any Notes which are high Notes, that reach lower than the Frets, there the highest Note is always stopt either with

the third or fourth finger; if with the third, then the first and second fingers are ready to stop the two next Notes either ascending or descending from it: But if the highest Note be stopt with the fourth finger, then the Note under it is stopt either with the third or se∣cond finger, according as it is either Flat or Sharp; if Sharp, the third; if Flat, the se∣cond. But whether the highest Note be stopt with the third or fourth finger, the third be∣low it must be stopt with the first finger•• which is ever as a guide to the two Notes above it. Lastly, when two Notes which follow one another are stopt with the same finger removed, it is to prepare the other fingers to the aforementioned posture, or to remove them to some other place. This or∣der of Fingering directs the whole Finger∣board (in stopping three Notes which follow upon any one string) with this proviso, where stops are wide, the fourth or little finger is of more use, than lower down, where the stops fall more close.

6. In the moving your Bow observe this Rule, when you see an even number of Qua∣vers or Semiquavers, as 2, 4, 6, or 8, tyed to∣gether, you must begin with your Bow for∣ward, though the Bow be drawn forward the

Note before; but if the number be odd, as 3, 5, or 7, (which is by reason of a Prick Note or an odd Quaver Rest) then the first Note must be plaid with the bow drawn backward.

Lastly, in the practice of any Lesson, play it slow at first, and by often practice it will bring your hand to a more swift motion.

And now, your Viol Being Tuned accor∣ding to the foregoing Directions, I have here following set down a few Lessons for to be∣gin with, and over the Notes I have set fi∣gures, to direct with what fingers to stop them; 1, 2, 3, 4, is set for first, second, third, and fourth fingers; those which have no fi∣gures over them, are the string open.

For the usual Graces, the Shake is the prin∣cipal; of which there are two, the close shake and the open shake; the close shake is when you stop with your first Finger on the first Fret, and shake with your second Finger as close to it as you can; the open shake is when you stop with your first Finger on the first Fret, and shake with your third Finger on the third Fret; this observe in all stops whatsoever. For other Graces, as Double Relishes, Back-falls, &c. I refer you to the Table of the several Graces in my Directions for the Treble-Violin, which are proper also to the Bass-Viol.

Short Lessons for the Bass-Viol.

1 3 1312 12 13 3 2 12 12 〈♫〉〈♫〉 〈♫〉〈♫〉 2 3 23 1 3 23 2 2 12 〈♫〉〈♫〉 2 3 31 3 1 21 2 2 32 〈♫〉〈♫〉 31 31 3 1 3 13 1 2 〈♫〉〈♫〉 The Ground of Iohn come kiss. 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 A Ground. 〈♫〉〈♫〉

〈♫〉〈♫〉 A Ground. 〈♫〉〈♫〉 〈♫〉〈♫〉 A Ground. 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 A Tune. 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 A tune.

〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 A Preludium. 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉

〈♫〉〈♫〉 An easie Division. 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉

A BRIEF INTRODUCTION To the Playing on the TREBLE-VIOLIN.

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THE Treble-Violin is a cheerful and spritely Instrument, and much pra∣ctised of late, some by Book, and some with∣out; which of these two is the best way,

may easily be resolved: First, to learn to play by rote or ear without Book, is the way never to play more than what he can gain by hearing another play, which may soon be forgot; but on the contrary, he which learns and practises by Book, according to the Grounds of Musick, fails not, after he comes to be perfect in those Rules, which guide him to play more than ever he was taught or heard, and also to play his part in Consort; which the other will never be capa∣ble of, unless he have this sure guide.

The Violin is usually strung with four strings, and tuned by fifths; for the more plain and easie understanding thereof, and the stopping all Notes in their right places and tune, it will be necessary that on the neck or finger-board of your Violin, there be placed six frets, as is on a Viol: This, though it be not usual, yet it is the best and easiest way for a Beginner who has a bad Ear, for by it he has a certain rule to direct and guide him to stop all his Notes in exact tune, which those that do learn with∣out, seldom have at first so good an Ear to stop all Notes in perfect tune.

Therefore for the better understanding thereof, in this following Example is assigned to those six frets on the finger-board, six Let∣ters

of the Alphabet in their order; the first Fret is B, the second C, the third D, fourth E, fifth F, and sixth G; A is not assigned to any of the Frets, but is the String open.

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In this Example you have the names of the 4 strings, and the letters assigned to each fret.

The Scale of Musick on the four Strings of the Treble-Violin, expressed by Letters and Notes.

The Fourth String or Bass. 〈♫〉〈♫〉

The Third or Great Mean. 〈♫〉〈♫〉

The Second or Small Mean. 〈♫〉〈♫〉

The First or Treble. 〈♫〉〈♫〉

This Example doth direct the places of all the Notes, Flat and Sharp; each Note being placed under the Letters, according to their several Stops upon each string distinctly, be∣ginning at the lowest Note on the Bass, or fourth string, and ascending up to the highest on the Treble, according to the Scale of the Gam-vt; in which you may also observe, that the Lessons for the Violin by Letters are prick'd on four Lines, according to the four several strings; but Lessons by Notes are prick'd upon five Lines, as appears in that Example.

For the Tuning of your Violin it is by Fifths, which is five Notes distance betwixt each string; for, according to the Scale or Gam-vt, the Bass or fourth string is called G sol re vt, (and is tuned an eight above Gam-vt on the Bass-Viol) the third or great Mean, D la sol re; the second or small Mean, A la mi re; and the first or Treble, Ela; as in the following Example the first Note of each string is upon ••, and is known by this signature * under each of those Notes.

But for a Beginner to Tune by Eights, will be easier than by Fifts, if his Violin be fretted; to begin which, he must wind up his first or Treble string as high as it will bear, and stop it in F, then Tune his second an Eighth be∣low

it; then stop the second in F, and Tune the third an Eighth under it; then stop the third in F, and Tune the fourth an Eighth below that; and so your Strings will be in perfect Tune.

Example of the Tuning By Eights. By Fifts. 〈♫〉〈♫〉 2 2 3 1 2 3 〈♫〉〈♫〉 2 3 4 2 3 4

Another Example of the Tuning, as the five Notes ascend on each of the four strings, beginning on the Bass or fourth string.

〈♫〉〈♫〉 * 4 String. * 3 String. * 2 String. * 1 String. 〈♫〉〈♫〉 G sol re vt. D la sol re. A la mi ••e. E la.

Some General Rules for the TREBLE VIOLIN.

FIrst, The Violin is usually plaid above∣hand, the Neck thereof being held by the left hand; the lower part thereof is re∣sted on the left breast, a little below the shoul∣der: The Bow is held in the right hand, be∣tween the ends of the Thumb and the three first Fingers, the Thumb being staid upon the Hair at the Nut, and the three Fingers resting upon the Wood: Your Bow being thus fixed, you are first to draw an even stroke over each string severally, making each string yield a clear and distinct sound.

Secondly, for the posture of your left hand, place your Thumb on the back of the Neck, opposite to your Forefinger, so will your Fingers have the more liberty to move up and down in the several Stops.

Thirdly, for your true fingering, observe these directions, which will appear more easie to your understanding, if in your first pra∣ctice you have your Violin fretted, as is be∣fore mentioned, that where you skip a fret or stop, there to leave a finger, for every stop is but half a Tone or Note, for from 〈☐〉〈☐〉 to 〈☐〉〈☐〉 is but half a Note, but from 〈☐〉〈☐〉 to 〈☐〉〈☐〉 is a whole Note, therefore the leaving of a fin∣ger

is necessary to be in readiness when half Notes happen, which is by flats and sharps.

Next, when you have any high Notes, which reach lower than your usual Frets or Stops, there you are to shift your fingers; if there be but two Notes, then the first is stopt with the third finger; but if there be three Notes that ascend, then the first is stopt with the second finger, and the rest by the next fingers.

Fourthly, in the moving your Bow up and down observe this Rule, when you see an even number of Quavers and Semiquavers, as 2, 4, 6 or 8 tyed together, your Bow must move up or forwards, though it was up at the Note immediately before, but if you have an odd number, as 3, 5 or 7 (which happens very often, by reason of a prickt Note or an odd Quaver Rest) there your Bow must draw back at the first Note.

Lastly, in your practice of any Lesson, play it slow at first, and by often practice you will bring your hand to a more swift motion.

As for the several Graces and Flourishes that are used, as Shakes, Backfalls, and double Relishes, this following Table will be some help to your practice; for there is first the Note plain, and after the Grace expressed by Notes at length.

A Table of Graces proper to the Viol or Violin.

Smooth Graces.

〈♫〉〈♫〉 A Beat Explan: A Backfall Expla: A Double Backfall Explan: 〈♫〉〈♫〉 Elavation Explan: A Springer Expla. A Cadent Explan:

Shaked Graces.

〈♫〉〈♫〉 A Backfall shaked Explan: A Close shake Explan: A shaked Beat 〈♫〉〈♫〉 Explan: Elevation Explan. Cadent 〈♫〉〈♫〉 Explan: Double Relish Explan. 〈♫〉〈♫〉 or thus Explan:

Short Tunes for the Treble-Violin, by Letters and Notes.

〈♫〉〈♫〉 Maiden Fair. 〈♫〉〈♫〉

Note, That in these Lessons by Letters, the Time is not put over every Letter, but if a Crotchet be over any Letter, the following Letters are to be Crotchets also, till you see the Note changed, and so in ••ther Notes likewise.

〈♫〉〈♫〉 Maiden Fair. 〈♫〉〈♫〉 〈♫〉〈♫〉

〈♫〉〈♫〉 The Kings Delight. 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 The Kings Delight. 〈♫〉〈♫〉 〈♫〉〈♫〉

〈♫〉〈♫〉 Parthenia. 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 Parthenia. 〈♫〉〈♫〉 〈♫〉〈♫〉

Iohn come kiss, with Division to each Strain. 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉

〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 The Lark, with Division. 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉 〈♫〉〈♫〉