A BRIEF INTROduction to the skill of SONG: Concerning the practice, set forth by William bath Gentleman. In which work is set down X. sundry ways of 2. parts in one upon the plain song. Also a Table newly added of the comparisons of Cleves, how one followeth another for the naming of Notes: with other necessary examples, to further the learner. FABIUS. Musica est honestum et jucundum oblectamentum, liberalibus ingenijs maxime dignum. LONDON Printed by Thomas Este. To the Reader. IGnorance as Divines do testify, is one of the plagues put upon man the creature, for transgressing of the commandments of God his creator from which we are to come, (as the patiented from his disease) by degrees. Man's understanding is likened by Aristotle to the eyes of the Owlet in the daylight. Solomon saith: Dedi cor meum ut scirem prudentiam, doctrinam, erroresque, et stultitiam, et agnom quod in his quoque est labor et afflictio spiritus. The fame of our ancestors that diligently laboured to bring us, and in many things brought us from ignorance to knowledge, shall never be forgotten so long as those things wherein they laboured, be in estimation, and (in mine opinion) so far forth as we may, we should Imitate the steps of them, for this plague of ignorance is so great, that neither did they neither shall we find so much: but that we must leave sufficient, for our posterity to be found. Wherefore seeing sufficiently others to labour and travel in other Sciences, I thought good to bestow my labour in Music, seeing that pains might so much prevail, as by the fruit of my labour may plainly appear. I took the matter in hand upon this occasion, though it were far distant from my profession, being desired by a gentleman, to instruct him in song, I gave him such rules as my Master gave me: Yet could I give him no song so plain, wherein there chanced not some one thing or other, to which none of those rules could directly lead him. Marking then how in mind, I did know what by rule I could not teach, I perceived how under the shade of rule, I attained to many things by rote▪ and how pleasant, speedy and sure it is to run by rule, I took this labour in hand, and brought it to this pass. Old Musicians laid down for Song, manifold and crabbed, confuse, tedious rules, as for example: though there be in all but six names, Vt, Re, Mi, Fa, Sol, Lafoy, having amongst them an easy order, yet could not they by rule declare, whether of these should be attributed to every Note, unless they had first framed the long ladder or scale of gamut, to which some added, thinking the ladder too short, some hewed off a piece, thinking it too long. Then would they have the learner be as perfect in coming down backward, as in going up forward, least in his practice he should fall, and break his neck. Then must he learn, gamut, in rule, Are, in space, b my in rule, C fault in space, etc. Then must he know Gam ut, how many cleves, how many notes. Are, how many notes, etc. Then must he know b, quadrij, proper chant and bemul, re in Are, whereby ut in Cfaut, whereby mi, in Alamire, whereby &c. And when all have done, after their long circumstances of time, whereby they should be often driven to millibi, for Notes standing in diverse places of gamut, have names that the place where they stand comprehend not. Touching all the prolix circumstances, & needless difficulties, that they use, it loathes me greatly that here I should write them: & much more would it grieve the Reader to learn them. Also many things are used in Song, for which they give no rules at all, but committed them to dodge at it, hark to it, and harp upon it. Now (Reader) th'effect of my pretended purpose, and fruit of my finished labour is this, where they gave prolix rules, I have given brief rules, where they gave uncertain rules, I have given sure rules, and where they have given no rules, I have given rules. After all this that I have said of their rules, I do affirm that they deserved greater commendations above me, for finding out the long way, than I above others for laying down the short way. For had not they opened the gap, touching me, it might very well hap that I should in no sort enter myself, and much less in any sort invite others: nothing can at the beginning be perfected, and therefore are they to be holden excused as the old verse hath: But ere the Painter can sure his craft attain, Much froward fashion transformeth he in vain, By raising superfluity, and adding that doth want, Rude Pictures are made both perfect and pleasant. For such things by negligence are left undone, That by good diligence might be won. There be sufficient, many, and firm proves had of this that I say, which may by my rules be done, of which I will here put down some of them, though I get as little by being believed, as I should lose by being belied. In a month and less I instructed a child about the age of eight years, to sing a good number of songs, difficult crabbed Songs, to sing at the first sight, to be so indifferent for all parts, alterations, Cleves, flats, and sharpes, that he could sing a part of that kind, of which he never learned any song, which child for strangeness was brought before the Lord Deputy of Ireland, to be heard sing: for there were none of his age, though he were longer at it, nor any of his time, (though he were elder) known before these rules to sing exactly. There was another, that had before often handled Instruments, but never practised to sing (for he could not name one Note) who hearing of these rules, obtained in short time, such profit by them, that he could sing a difficult song of himself, without any Instructor. There was another, who by dodging at it, hearkening to it, & harping upon it, could never be brought to tune sharps aright, who so soon as he heard these rules set down for the same, could tune them sufficiently well. I have taught diverse others by these rules, in less than a month; what myself by the old, obtained not in more than two years. diverse other proofs I might recite, which here as needless I do omit, because the thing will show itself. diverse have repent in their age that they were not put to sing in their youth; but seeing that by these rules, a good skill may be had in a month: and the ways learned in four or five days: none cometh too late to learn, and specially if this saying be true: That no man is so old but thinketh he may live one year longer. As Aristotle in setting forth his predicaments, saw many things requisite to be entreated off: and yet unfit to be mixed with his treatise: he therefore made ante predicaments, and post predicaments: so I for the same cause (desirous to abolish confusion) have added to my rules, ante rules, and post rules. Vale. The aunt rules of Song. To prepare for naming the Notes. PRactise to sunder the Vowels and Consonants, distinctly pronouncing them according to the manner of the place. To prepare for Quantity. PRactise to have the breath long to continue, and the tongue at liberty to run. To prepare for Time. PRactise in striking to keep a just proportion of one stroke to another. To prepare for Tune. PRactise to have your voice clear, which when thou hast done, learn the rules following. The skill of song doth consist in four things. Naming. Quantity. Time. Tune. The Scale of Music, which is called gamut, containeth 10 rules, and as many spaces; and is set down in letters and syllables, in which you must begin at the lowest word, gamut, and so go upwards to the end still ascending, and learn it perfectly without book, to say it forwards and backwards: to know, wherein every key standeth, whether in rule or in space: and how many Cliefes, how many Notes is contained in every Key. Hie. Midst. Low. ee la 1 Note dd la sol 2 Notes cc sol sa 2 Notes bb fa b-mi 2 Notes 2 Cliffs aa lafoy mi re 3 Notes g sol re ut 3 Notes f fa Vt 2 Notes c la mi 2 Notes d la sol re 3 Notes c sol fa ut 3 Notes b fa b-mi 2 Notes 2 Cliffs a la mi re 3 Notes G sol re ut 3 Notes F fa ut 2 Notes E la mi 2 Notes D fol re 2 Notes C fa ut 2 Notes B mi 1 Note A re 1 Note P ut 1 Note For Naming. Cap. primo. There be six names, Vt, Re, Mi, Fa, Sol, La. The order of ascension & descension with them is thus. Exceptions. Change Vt, into Sol, change Re, into Lafoy, when the next removing Note is under. for The Cleves whereby we know where the Vt standeth are thus marked as. The G: cliefe is the mark of the higher G sol re ut. In the scale: & the C: cleave of that place called C sol fa ut. And the F: cliefe of F fa ut the lower in the scale. Now in this sort you may find by the cliefe where every note standeth: and lest there should seem any difficulty, I will begin from the first sight of the book, that all things that do belong to their knowledge, may be the better understood. First when a man seethe the book before him he may see certain rules which go along lineally by 5 and 5 which number of 5 is called a set of prick song (for a set of plainesong hath commonly but 4. rules,) than he may see in the first of the set always one of the foresaid cleifes upon some rule, and whatsoever note standeth upon the same rule with the cliefe, is said to be in that place whereof that cleife which he seethe is the mark, and if any note stand in the next space above, it is said to stand in the next place above that place, whereof that cleife is the mark. And so upward and downward continually counting from the close as in this example. The first note standeth in C sol fa ut, because it standeth upon the same rule with the clief which is the mark of C sol fa ut, the second in D la sol re, because D la sol re is next above C sol fa ut in the scale of Gam ut: the third in B fa b mi, because it is in the next place beneath C sol fa ut: the fourth in E la mi, because E la mi is the next place save one to C sol fa ut, & the said fourth note standeth in the next place save one to the cliefe which is the mark of the place C sol fa ut. And so of all other notes: then in the end of the set, he may see a thing thus marked, which is called a direct, because it is always put upon the rule or space wherein the first of the next set standeth, and doth so direct a man, even as in books the word that is lowest upon every side of the leaf doth direct a man to the word next following. The rule of Vt. The next thing necessary to be known for the right naming of notes, is the place where that note standeth which is named Vt. And as by counting upward and downward from the cliefe it is to be known where every note standeth, so it is to be known by counting upward and downward from that which is called Vt, what the right name of every note is: but first let us set down how the place where the ut standeth is known, which is thus. There be three places, in one of which the ut must always be: that is to say, in G. which is Gamut and G sol re ut, when there is no flat in C, which is C fa ut, C sol fa ut, and C sol fa, when there is a flat in b mi, or b fa b mi. In F which is F fa ut, when there are two flats, one in b mi or b fa b mi, the other in E la mi, or E la. As for example. Now theut is in G. Now in C. Now in F. ¶ No b flat, the (ut) in G. The b flat in b only, the (ut) in C. The b flat in b and E, the (ut) in F. 1 G putteth Vt to the same place. 2 F and B to the next up, as. 3 4 C putteth Vt to the fift place up, and from C down to the fourth. B, taketh place of the rest. B, is placed last to show that it taketh place of the rest. 5 If there cometh two, b. b. being a fourth, the upper taketh place. 6 And being a fift, the neither taketh place, as: 7 D. putteth Vt to the fift place down, but it is seldom used. 8 If there cometh two b. b. being a second a sunder, the upper taketh place, which chanceth very rare. More shall be said of naming in the chapter of tuning. When you have in this sort found out the ut, you must understand that every note that standeth in the next place above it is named re, every note that standeth in the next place to that is named mi, in the next to that fa, then sol, then lafoy, then fa, ascending up always orderly, counting the rules, and spaces: then next above that again is ut: for you shall find that place, which is the eight place from that wherein your other ut stood, to begin with the same letter: So that if the rules & spaces were infinite, you might in this manner give every note his right name: and as you did count upward Vt, re, mi, fa, sol, lafoy, fa, and so come again to ut: so must you come downward from ut, the same way backward, by fa, lafoy, sol, fa, mi, re, ut. And so come to fa, again. And in this sort the right name of every note is known. Two things from these rules are excepted, the one is, that every re, should be named lafoy, when you ascend to it, or descend from it: and that every ut, should be named sol, which two things are used euphoniae gratia, and yet this name of ut, is most proper to the base or lowest part in the first place. Objection against the latter exception. In the latter exception it is said, that ut should be always changed into sol, therefore seeing it is never used, it is in vain placed in all this former tractation. Solution. It is placed in all this former tractation for two causes, the one is, that it should be distinguished by that name from the other sol, and the other is, because it hath been a name used from the beginning, and now commonly changed into sol, euphoniae gratia: it may sometimes nevertheless be used, for (as I said before) the cunning singing man keeping every note in his right tune, may name it according to his pleasure, for these▪ names be no necessary accidents, for you see daily that when any song is lettered, these names be not attributed to them, though then they be sung in their own order, according to the opinion of many, yea very many. I know I should add a third exception, that is to say, to except also, that every note having a sharp before it, should be named mi, as in this example, the third note. And because that of that opinion there be so many, I will for them show a probable reason as by our principles may be showed: then after by resolving them, show what is most profitable, not refuting the opinion as an error, because that looking to the matter, we may find that they may be named as well mi, as fa, insomuch as the names (as I said before) are no necessary accidents, but nevertheless, because here we seek the most apt name, it were unfit to pass it over. Wherefore the principal argument for them we may in this sort form. Objection. We should name all notes so near as we can, according as such notes are named in the gamut, for it is certain, that these are the names which are most fit, for so in the beginning by the first inventors of Music they have been set down: but no note that is sharp in the gamut is named fa, therefore no note made sharp by a collateral reason, should be named fa. Secondly, throughout all the gamvt, from sol to fa. Next under it is a whole note, but from that sol to that fa, if we should call it fa, is but half a note, therefore if we call it fa, we break altogether the rule of gamut, which we should observe: thirdly every place in the gamvt that is sharp, is named either mi or la. Therefore this note (because not so aptly la) must be named mi. Before we fully satisfy these arguments, one thing must necessarily be known: that is to say, that in naming the notes in gam ut the first inventors did observe two things, whereof the one was, to name the notes according to the ut: the other, to name every note which is sharp (as the argument proveth) mi, or lafoy: and it falleth out sometimes, when notes flat by collateral reasons are made sharp, that one of these two must necessarily be violated, that is to say, that either the note must not be named according to the ut, or a note sharp must be named fa, so that the controversy lieth in knowing, whether of these two should soon be observed: so according to this we answer to their arguments. To the first, where they impute a fault in us for naming a note sharp, fa, seeing that no sharp note in all the gamvt is named fa, we may impute an other absurdity to them, seeing they would have the next note under sol, mi, which is not found in all gam ut, which is the more absurdity (as we will prove in the solution to the third argument) To the second, the solution is easy, that even as every sol to fa, next under it is a whole note: so from every sol to mi, next under it is more: so that according to the gamvt, in that respect none of them is true. To the third we answer, that it may be as well lafoy, as mi, because that if there were any reason why it should not be as well lafoy, it might well be, to eschew this absurdity, that then in two places together there should be one name, because the next under it is also lafoy, but by naming it mi, the same absurdity cometh in another place, therefore the one is as absurd as the other, as in this example, where two places together must according to them be named mi, but to name two places together with one name, there is none but will think more dissonant, then to name them with divers, whatsoever: for if a man did name mi, six times together in one place, being quavers, the one coming fast upon the other, would make them seem as though it were mim, mim, mim, as for example, whereby it plainly appeareth that this is most absurd. But because that it were as good that ourselves should bring that, which others may do, by sharp grating upon our solutions, in this sort we may frame a reply. Let us suppose, that in the middle of a song which had fa in C sol fa ut, there came two notes, one in C sol fa ut, & another in B fa b mi, having a flat before it, then if the latter note in B fa b mi, having the flat before it, be not called fa, it is against the order of the ut, which by the solutions should most be kept, if it be named fa, then cometh the absurdity proved in the last example: that is, that two places together should have one name, and likewise if six quavers did come in that sort, the fast coming of the one upon the other, would make them seem to be faf, faf, faf, which is as absurd and dissonant, as mim, mim, mim. Resolution. Of the flat so coming, and of the sharp, there is not like reason, because that the flat so coming should alter the ut, so that as many notes as had come in C sol fa ut, after the flat, should be named sol, and not fa, but for the first note, & the second, they must be both fa, nevertheless because there may not be many of them together, as there may be of mi, & because that in quavers, twice fa, in that sort likely never chanceth, the one is not so absurd as the other. Replication. It is granted by the last solution, that the flat so coming should alter the ut, but to alter the ut, doth alter the key (which is in music a great absurdity) therefore by the last solution, there is a great absurdity granted. Solution. It is granted conditionally, that is to say, if the like happened (as in the argument objected) though sometimes in the midst of a song, to change the key, and come into it again, is allowed. Wherefore for the names being the least necessary and most troublesome accident, let this suffice. For Quantity. Cap. 2. There be eight quantities whereof every one hath his proper mark, and proper rest, as followeth. Large. Long. Brief. semibreve Minim. Cratchet. Quaver. semiquaver The proportion that these quantities hath one to another is that there should go two of every one to the next upward as two semiquavers, to a quaver, two quavers to a cratchet, two crotchets to a minim, etc. To these are reduced the quantities of proportions, as where there goeth three crotchets to a minim length of which the black semibreefe comprehendeth two, & there the minim rest is but as long as one of these crotchets. Hear note that the prick is in quantity half so long as the note before it: as a prick after a large, is in quantity as a long. etc. Pricks of division are used to separate diversity of kinds in quantity. For Time. Cap. 3. There be 2. kinds of time, Semibreefe time, & three minim time. Semibrefe time is the striking up & down of the hand equally in length continuing. Three minim time is the striking down & then up of the hand equally in length, making each latter stroke, just half the former. The mark of the former kind of time is. The mark of the latter is. In tuning Songs of Semibreefe time, you must put of the notes, as much as maketh a minim length to every moving of the hand, likewise in the minim time, save that to every stroke there goeth but a minim length. Hear note that these two kinds of time, may be divided into minim time, by keeping all strokes equal in length, putting a minim length to every whole stroke. For Tune. Cap. 4. There be eight notes, whose ascension, and descension do comprehend all tunes, as the root doth the tree, be they never so difficult, with flats and Sharps, who so knew how to use them, the notes are common, the use is rare, or not yet found, which being known, will give great light to Musicians, & breed great ease to Singing men, the eight notes are these that follow, as: The tune of these eight Notes is to be learned by practice, and to be believed as a principle in Music. Tune the first Note of any song as it serveth best for the voice. If the Note from which and to which you go, be both according to the Vt, of the Song, count according to the eight notes altogether. If the note to which you go be altered by some intermingled flat, then for compting sake name the Note from which you go, as well as the note to which you go, according to the Vt, of that intermingled flat, and in so doing take great care not to lose the tune of the note from which you count, as, sol fa sol fa fa fa First sing thus: then count thus: and so proceed thus. If the Note to which you go, be altered in tune by some intermingled sharp, observe both in the note from which and to which you go, this Rule. count to the tune of sharps by the Vt, put down to the third place, when you have thus counting by wrong names gotten the right tunes, give the right names after, as: lafoy sol fa mi sol fa First sing thus: then count thus: and so proceed thus. The sharp may be put in the upper fa, in the neither fa, and in Vt. The sharp in the Vt, taketh place of the sharp in the upper or neither fa, for by the Vt of it, the other two places should be sharp, the rest of the places remaining naturally as, Vt for counting. Likewise the sharp in the neither fa, taketh place of the sharp in the upper fa, for by the Vt of the ♯ in the neither fa, the upper fa must be sharp, the rest remaining naturally: as, Vt for Counting. The flat may be put in two places, in Mi, and in Lafoy, also it is common in Mi, but not so common in La: also if the flat be in La (according to the Vt of it) There must be flat: as, Hear note that for to tune sharps, put down Vt, to the third place. If the note to which you go may neither in tuning nor naming belong to one order of ascension, go back to the note before, and so count: as, sol fa fa mi sol fa First begin thus, Then go back thus, and so proceed thus. As men name according to the Vt, of the flat, so there be, that (for facility & fitness of the name to the tune) do name according to the Vt of the sharp sometimes: as, mi re mi. Hear note, that the intermingled flat beareth force but whilst notes as appendent come in the same place, though for handsomeness men name before or after according to it: Likewise the sharp, as, la Thappendancy of the flat by the sharp, and of the sharp by the Flat is taken away, though by negligence and ignorance of prickers, we are oft driven to gather thappendancy by the course of the song. Look in the last example. The prick is to be continued and kept in one tune with the note before it. Hear note, that the Cleves may remove from one rule to another, and that they are used for Flats. Also that the Direct is put to show the note following: as, Every Note in the order of Ascension is a whole note or tone above the next under, save the upper & neither Fa, which be but half notes or Semitones. For readiness in setting Notes distant, let the learner practise these examples following, with all such things as make variety in naming, or tuning. Also for readiness, note that every four rules & a space further, maketh an eight, & every eight, hath like names. ut mi re fa mi sol fa la la fa sol mi fa re mi ut re ut sol fa la sol mi la fa fa sol sol fa fa la mi sol re fa sol sol la sol fa sol sol sol la sol mi sol fa sol sol sol la sol fa sol sol sol. Sol la fa sol la la mi fa fa fa sol la fa sol la fa sol sol fa mi fa fa la sol sol la sol. Fa sol fa la fa sol fa la la mi fa sol fa sol la fa fa fa la sol fa. O God that art my righteousness, Lord hear me when I call; thou hast set me at liberty, when I was bound and thrall. The 3 parts follow. ☞ The Church Tune. Fa la mi fa sol fa sol fa fa fa la mi la sol la la la sol sol sol mi fa sol fa. Fa la sol la sol fa sol la mi fa sol fa la sol la fa la sol fa fa la sol fa. The post rules of Song. Hear followeth the post rules of Song, which are reduced to the unlimited observations used in Singing. For naming. Cap. I. THe exceptions from the order of ascension & descension are diversely used according to the diversity of place, and accordingly, they are to be given, for each order in naming seemeth best to them that have been brought up withal. D, is sometimes used in old songs as a Cleve, and putteth Vt down to the fift place. In Italy (as I understand) they change Vt into Sol: In England they change Re, into La: when the next removing Note before or after be under. Some there be that use sometimes in defending at this day, the names of Re, and Vt, there be that name at random, some for pleasure, and some through ignorant imagination, often times beareth great force in making a thing seem comely, or uncomely, as if in coming down, Sol, Fa, Lafoy, Sol, a man should name the first two notes Re Mi, it would seem to a singing man very uncomely: yet if the singing man did imagine, that the singer were putting a ditty, or word of four syllables, as: Remigrare, to these four Notes, he would not think it uncomely, & yet in doing the deed, both ways are all one, for the first two syllables of, Remigrare, are Re, Mi. For Quantity. Cap. II. TO make one and the self same mark of quantity sometimes long, and sometimes short, Musicians in old time, borrowed colours of the Painters, sometimes making it red, and sometimes black, etc. They borrowed numbers of Arithmetic, sometimes making this, and sometimes that figure, etc. They borrowed Circles and Semicircles of Geometry: sometimes putting in the Centre or a line, & sometimes leaving it out, etc. Sometimes also thereby signifying alteration in time. They borrowed similitudes of Philosophy, sometimes leaving fullness, and sometimes Eclipse, as appeareth in the Moon, sometimes knitting and sometimes losing, as in generation and corruption. They used moreover many signs and tokens and marks of Quantity, that are cut off as superfluous. They used also manifold names to distinguish these things one from another, to the wonderful pestering of the memory, & great toil of the understanding, though some of them were necessary, yet many were superfluous. The Quantities in Proportion are divers, according to the diversity of Proportions, which are infinite in potentia, that is to say, in possibility of increase, as number is. Many of these things are yet used, as the Semibreefe rest, in three minim time, for three minim rests. Some strange marks and knitting of Notes which time I doubt not will cut off, nevertheless here shall follow examples of some, to which the redsidue are to be reduced. Perfect mood. Perfect mood. Imperfect mood. Perfect time. Imperfect time. Mayor prolation. Minor prolation. Diminution, Imperfect time. Diminution, perfect time. Prolation Minor, Imperfect time. Prolation Minor, perfect time. Imperfect mood, Imperfect time. Imperfect mood, perfect time. Perfect mood, Imperfect time. Perfect mood, perfect time. By these examples following, the four Modes are known what quantity the lesser notes are to the greater. The lower notes are as much in quantity as the higher with their pricks. Pricks of Division are those, which are set above notes and not by them, and they show the note to be perfect before the prick: and the note following doth belong to another stroke. 2 longs to the black large. 2 briefs to the black long. 2 semibreefes to the black brief. 2 minims to the black semibrief. XII Examples of Legatures. 1 2 3 4 5 6 7 8 9 10 11 12 More Examples of Legatures, as followeth. For Time. Cap. III. IN timing hard proportions that go odding, many take care only of the whole stroke, wholly kept without dividing it to the going up & then down again of the hand. Some keep Semibreefe time, as sufficient easy of itself, and do not divide it into minim time. Three minim time is more difficult, and therefore some do divide it into minim time: as, 2 mi: 4 mi: 3 mi: 8 mi: Take a stick of a certain length, and a stone of a certain weight, hold the stick standing upon an end of some table: See you have upon the stick divers marks: hold the stone up by the side of the stick: then as you let fall the stone, instantly begin to sing one Note, and just with the noise that it maketh upon the table, beegin another Note, and as long as thou holdest the first Note, so long hold the rest, and let that note thy Cratchet or thy Minim, etc. as thou seest cause, and thus mayst thou measure the very Time itself that thou keepest, and know whether thou hast altered it, or not. For Tune. Cap. FOUR SOme learn to Tune only by the Voice of anoher: some use help of an Instrument, which is the better way. Learners use to tune by a certain continuance of time, according to the Vt of the song, before they practise intermingled Flats or sharps. Hear note, that C. called Csolfaut cleave, is a fift beneath G. called Gsolreut cleave, and F. called F fault cleave, is a fift beneath C. called Csolfaut, Cleve. Also a man may count from any cleave, by the letters, counting them forward when he goeth upward, and acompting them backward when he goeth downward, telling but the first seven letters: by the knowledge of this, men may give their tunes to the parts without knowledge of the Gamut. Yet for the common use, it were not amiss, that learners should sometime or other commit the gamut to memory. Many things are here taught by rule, for which teachers heretofore, gave no rule, and if they were asked how shall a man know the like? they would answer, that is according to the course of the Song, but this answer is so uncertain, that it is as good for the young Scholar, they had said we know not. ¶ A general Table comprehending two parts in one, of all kinds upon all plain Songs, upon all prick Songs, and in all ways that may be found, one part beginning, th'other following, the plain Song or ground being sung beneath them: all which are found by this present table, with such facility, that the upper part is made, and never booked, as here followeth. The observations of the places up are six 6 85 11 10 9 8 7 6 5 1 7 6 5 4 3 2 4 7 6 5 4 3 2 1 3 2 1 7 6 5 4 3 2 5 6 7 1 2 3 4 1 1 2 3 4 5 6 7 Places up. 1 7 6 5 4 3 2 Courses down. Courses up. 1 1356 6 135 16 35 136 5 2 7 6 135 16 35 136 5 1356 3 6 135 16 35 136 5 1356 6 4 5 16 35 136 5 1356 6 135 5 4 35 136 5 1356 6 135 36 6 3 136 5 1356 6 135 16 35 7 2 5 1356 6 135 16 35 136 8 Vt su: 1 1356 6 135 16 35 136 5 Places down 1 2 3 4 5 6 7 The observations of the places down are six. 1 1 2 3 4 5 6 7 2 5 6 7 1 2 3 4 3 2 3 4 5 6 7 1 4 7 1 2 3 4 5 6 5 1 2 3 4 5 6 7 6 5 6 7 8 9 10 11 THis present table, may serve also, who so marketh it well, for 2 parts in one, without a plain song, of all kinds, & in all ways for 3 parts in one, without a plainsong, or ground, the third part being under: of all kinds & of all ways for 2 parts in one, upon 2 plain songs, or grounds at once, for maintaining reports, & other such things as these be. First it is to be understanded by this word place, is meant the distance of the following part, to the former part, as the same place or unison, is called the first place, the next or second place is called the second place, whether it be up or down, etc. Next here is to be understanded that by this word, Course, is meant the distance of that which followeth just so long after, as the following part resteth to that which goeth before, in the plain Song or ground, as if the following part have a Semibreefe rest, than the Note of the ground is in the first course, which hath in the same place that which followeth, just a Semibreefe length after, and that note is in the second course, which hàth in the second place that which followeth just a Semibreefe length after, whether it be up or down, etc. This being known, first look in what place up or down, you would have the following part to be, which is according to the pleasure of the maker, and so it is how long the following part shall rest. Then look in what course up or down is the note of the ground, for which you would make, then look what square of the table meeteth with the place and course, and there you shall find noted by figures, what concord serveth for that course. All Concord's next expressed in the square, make discords betwixt the upper part and the plain song or ground. Nevertheless, they may be brought in, when they may be guarded by the place next adjoining, for whatsoever maketh a discord, the next place to it maketh a concord. Note also that just so long before the close, as the following part resteth, you make not that which breedeth a discord, betwixt the upper part and the ground, not that which to the close of the ground is one more in number then the second figure of observation. Note also, that if just so long before the close as the following part resteth, you make that which to the close is two more in number then the first figure of observation, than then the best way is to make it sharp. Note also, that from the beginning forth, of so far before the close, as the following part resteth, all concord's serveth. The exposition of the figure of observation. THe first and second figures showeth what distances (in respect of the latter notes of the course) should not come twice together, removing one way with the latter notes, and also where in respect of the latter note of the course, a flat for a sharp, or a sharp for a flat, contrary to the order of the place should not be. The third & fourth showeth what moving one way with the place, just so long after as the following part resteth, maketh discords. The fift and sixth serveth wherein the distance, there should not be like moving one way with the place just so long after as the following part resteth, and the fift figure. Also where sharp for flat, or flat for sharp, contrary to the order of the place should not be just so long after as the following resteth. Hear note, that under each number are comprehended all those that maketh eights, or concord's, of that kind to it, except that under the last figure of observation such as make eights to the number one way with the place, and such as make ninthes to it in the contrary way are comprehended. Hear note that two parts in one in the unizon, fourth, and fift, do differ from the rest, for in the rest, both parts are tied, to like order of ascension, but in these both parts do keep like order according to their place. Note also, that in two parts in one, in the fourth up, and in the fift down, the upper fa, kept flat in the neither parts causeth a strange flat to be brought in the upper part, therefore the best way is to make it sharp, unless it be in such places as a strange flat will do well to come in. Two verses comprehending the foresaid Table, which for necessity's sake of the matter, must be written crossing one another: Gladius Musicus. Aggredior quo aderis cado cernis adesto mi Ihesu unum addas tollasque loco stet quatuor addas IN this Table or figure aforesaid, four things are comprehendend, the places, the 6. figures of observation belonging to them, the courses and concord's serving for them, for the seven places, there be seven words in the blade of the Sword: the first word, Aggredior, is always for the first place: the second word downward, quo, is for the second place downward, etc. And the second word upward, mi, is for the second place upward, etc. This word, Ihesu, is cut off from the rest, to signify that it belongeth to another kind, for in it the letters numerable being 5. do signify the first and second figures of observation, and it is written one way with the verse, to signify that it goeth according to the word of the verse, which is for the place, for it signifieth one number with the word of the verse, that standeth for the place, as if the world be the fourth world of the verse, than it signifieth, 4. etc. and 5. signifieth the fift number, to that, as the fift number to four is 8. and so are the first and second figures of observation found. Then are the other four figures of observation to be found by the cross verse, which saith: add one to the place, take one from the place, let the place stand, add four to the place, and so shall you find the third, fourth, fift, and sixth figures of observation. Hear note, that if the place be the unizon, because you cannot take one from a unizon, take it from eight, which is of the same kind, when you have thus done, turn the point of the Sword down, and then the seven words, serveth for the seven courses in this order: First the word that serveth for the place, serveth for the first course, the second word upward, for the second course upward: the second word downward, for the second course downward, etc. As the Sword now standeth, counting about upon the seven words, when you have found what word serveth for the course, look what vowels be in it, and thereby you shall know the concord's, that serveth for that course, as if the vowel be A. it signifieth the unizon. If it be E, it signifieth the third, If it be I, it signifieth the fift. And if it be O, it signifieth the sixth. Lo, thus are all the things expressed at large in the table, briefly contrived in the compass of two verses. The names of the Cords for Counterpoint, Descant, and any set Song in how many parts soever. A concord is divided into an Vnizon. Third. Fift. Sixt. Eight. Tenth. Twelfth. thirteenth. & a fifteenth & their eights. Discord are these. A second. A fourth. A seventh. A Ninth. A leventh. A fourteen. & their eights. Concord's, perfect and unperfect Concord's, perfect and unperfect. Discords. Concord's. De Inuentione. CRescit in infinitum, Inuentio tempore cuncto, Sed tribus est dixis saepe morata malis. Est mora paupertas prohibens inventa probars, Non poterit fieri stultus inanis ait. Vis, piger inquit, adire via latitante leone? Sic mora pauperies, stultus, homoque piger. Laus nunc, laus semper, laus omni tempore summus: Discens atque docens, dicite: lavique Deo. FINIS. CANTUS. O Lord in thee is all my trust, give ear unto my woeful cry: Refuse me not that am un- just, but bowing down thy heavenly eye. Behold how I do still lament, my sins wherein I do offend: O Lord for them shall I be shent, Sith thee to please I do intend. TENOR. O Lord in thee: etc. ALTUS. O Lord in thee: etc. BASSUS. O Lord in thee: etc. 10. sundry ways of 2. parts in one upon the plain song. 1. 2. 3. 4. 5. 6. 7. 8. 9 10. FINIS. Place the Table of the comparisons of Cliffs after this. A Table of the comparisons of Cliffs, how one followeth another for the naming of Notes: changing (Vt) into (Sol) and (Re) into (La.) Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. Sol. La. Fa. Sol La. Mi. Fa. Sol. La. Fa. Sol. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La. Mi. Fa. Sol. La. Fa. Sol. La. Mi. Fa. Sol. La.