ANDREA'S ORNITHOPARCUS HIS MICROLOGUS, OR INTRODUCTION: Containing the Art of Singing.  
Digested into Four Books.  
NOT ONLY PROFITABLE, BUT also necessary for all that are studious of Music.  
ALSO THE DIMENSION AND PERfect Use of the MONOCHORD, according to Guido Aretinus.  
BY JOHN DOULAND LUTENIST, Lute-player, and Bachelor of Music in both the Universities.  
1609  
LONDON: Printed for Thomas adam's, dwelling in Paul's Churchyard, at the Sign of the white Lion.   

TO THE RIGHT HONOURABLE ROBERT EARL OF Salisbury, Viscount Cranborne, Baron of Essingdon, Lord High Treasurer of England, Principal Secretary to the Kings most excellent Majesty, Master of the Courts of Wards and Liveries, Chancellor of the most famous University of Cambridge, Knight of the most Noble Order of the Garter, and one of his majesties most honourable Privic Counsel.  
YOur high Place, your princely Honours and Virtues, the hereditary vigilance and wisdom, wherewith Hercules- like, you assist the protection of the whole State: Though these (most honoured Lord) are powerful encitements to draw all sorts to the desire of your most Noble protection. Yet besides all these (in more particular by your Lordship's special Favours and Graces) am I emboldened to present this Father of Music Ornithoparchus to your worthiest Patronage, whose approved Works in my travails (for the common good of our musicans) I have reduced into our English Language. Beseeching your Lordship (as a chief Author of all our good) graciously to receive this poor presentment, whereby your Lordship shall encourage me to a future task, more new in subject, and as memorable in worth. Every Plant brings forth his like, and of musicans, Music is the fruit. Moreover such is your divine Disposition that both you excellently understand, and royally entertain the Exercise of Music, which mind-tempering Art, the grave Luther was not afraid to place in the next seat to Divinity. My daily prayers (which are a poor man's best wealth) shall humbly solicit the Author of all Harmony for a continual increase of your Honours present happiness with long life, and a successive blessing to your generous posterity.  
Your Lordships humbly devoted  
john Douland.   

To the Reader.  
EXcellent men have at all times in all Arts delivered to Posterity their observations, thereby bringing Arts to a certainty and perfection. Among which there is no Writer more worthy in the Art of Music, than this Author Ornithoparcus, whose Work, as I have made it familiar to all that speak our Language, so I could wish that the rest in this kind were by the like means drawn into our knowledge, since (I am assured) that there is nothing can more advance the apprehension of Music, than the reading of such Writers as have both skilfully and diligently set down the precepts thereof. My industry and onset herein if you friendly accept (being now returned home to remain) shall encourage me shortly to divulge a more peculiar work of mine own: namely, My Observations and Directions concerning the Art of Luteplaying: which Instrument as of all that are portable, is, and ever hath been most in request, so is it the hardest to manage with cunning and order, with the true nature of fingering; which skill hath as yet by no Writer been rightly expressed: what by my endeavours may therein be attained, I leave to your future judgement, when time shall produce that which is already almost ready for the Harvest. Vale, From my house in Fetter-lane this tenth of April. 1609.  
Your Friend,  
john Douland.   

TO THE RIGHT HONOURABLE, WORTHY, AND WISE GOVERNORS' OF THE STATE OF LUNENBURG, ANDREAS ORNITHOP ARCHUS OF MEYNING, MASTER OF THE LIBERAL SCIENCES.  
WE read, that Socrates (he that was by Apollo's Oracle famoused for the wisest man in the world) was wont to say, That it had been fit men's hearts, should have windows, that so the thoughts might be discerned. This power if we now had, honourable Lords, believe it, you should discern my love towards you and yours. But because speech is the minds interpreter, and you cannot know men, and their thoughts, but by their words or writing, I am to entreat that you would take in as good part these words, which in my absence I utter, as if I had in presence delivered them.  
It is not out of any humour of arrogancy or vain ostentation that I do this: but that upright, gentle, and religious fashion of yours, wherein you excel more than any Easterlings that border these Baltic coasts, these make me assay the art of Harmony, which the Grecians call Music; Music the nurse of Christian Religion, and mother of good fashions, of honesty, of Commonwealths, if in any thing we may give credit to the ancients.  
These made me commit my sails to the furious winds; these made me give Zoiles and Thersites power to rage over me; these made me travel many Countries not without endamaging my estate, to search out the Art; these made me many a time to sustain weariness, when I might have been at rest; grief, when I might have solaced myself; disgrace, when I might have lived in good reputation; poverty, when I might have lived in plenty. But also these things (right Worthies) seemed to me not worthy the regarding, when I sought how I might whilst others slept, whom your state doth nourish (before all others) profit your youth, and so consequently the youth of all Germany, drawing them to good fashions, recalling them by the honest delights of Music from unlawful attempts, and so by little and little stir them up to virtuous actions. For Socrates, and Plato, and all the Pythagoreans did generally enact, that young men and maids should be trained up in Music, not to the end their minds might be incited to wantonness by those baubles, which make Art to be so vilely reputed of: but that the motions of the mind might be ruled and governed by law and reason. For seeing the nature of young men is unquiet, and in all things desiring delights, & therefore refuseth severer arts, it is by the honest delights of Music brought to those recreations, which may also solace honest old age.  
Among those things wherewith the mind of man is wont to be delighted, I can find nothing that is more great, more healthful, more honest, than Music: The power whereof is so great, that it refuseth neither any sex, nor any age, and (as Macrobius a man of most hidden & profound learning saith) there is no breast so savage and cruel, which is not moved with the touch of this delight. For it doth drive away cares, persuade men to gentleness, represseth and stirreth anger, nourisheth arts, increaseth concord, inflameth heroical minds to gallant attempts, curbeth vice, breedeth virtues, and nurseth them when they are borne, composeth men to good fashion. For among all those things which do admit sense, that only worketh upon the manners of men, which toucheth his ears, as Aristotle in his musical problems doth more at large discourse. Hence was it that Agamemnon being to go General for the Trojan wars, as Philelphus reports, left a physician at his house, who by singing the praises of women's virtues might incite Clytaemnestra to a chaste and honest life, wherein he did so far prevail, that they say she could not be overcome by Aegisthus his unchaste attempts, till the ungodly wretch had made away the physician, who only hindered him from his wicked purpose. Besides Lycurgus, though otherwise he enacted most severe laws for the Lacedæmonians his countrymen; yet did he very much embrace Music, as Quintilian writes. I omit those ancient Philosophers, (for so they rather chose to be called, than to be named wise men) who did repose the sum of their studies in this art as in a certain treasure-house. I omit those princes who for the admirable sweetness of this art spend many talents. Lastly, I omit the most religious of all men, who though they estrange themselves from all worldly pleasure, yet dwell upon this delight, as if it were the only heavenly one. Since therefore this Art is both holy, and sweet, and heavenly, participating of a divine, fair, and blessed nature, I thought good to dedicate this book, wherein all the knots of practic Music are untied, to the gentle youth of your City, after it had been first brought forth at Rostoch, that famous University of the Baltic coast, and since amended by the censure of the Elders, and publicly read in three famous Universities of Germany, the University of Tubing, Heydelberg, and Maguntium. That by their deserts the after ages being helped, might pay the tribute of thanks not to me, but to them, as to the first moving causes.  
Wherefore wise Fathers, I beseech your wisdoms to deign this book your gentle favour and acceptance, not contemning the base style or little volume of that, which is rather holy than pleasant, and set out not upon any rash humour, but upon a true devotion. For it is written for them that fast, not for them that are filled with delicacies, though even they may find here that which will fit their stomachs. And since great things fit great men, small things small men, I acknowledge myself small; and therefore give small gifts, yet promise greater whensoever I shall grow greater. Farewell most happy, most worthy, most wise.   

The Preface upon the Division of the work..  
SEeing it is fitter, as an Emperor said, to cast out a few fit things, then to be burdened with many unnecessary superfluities, which precept Horace put him in mind of, saying: 
Quicquid precipies esto brevis, ut citò dicta,  
Per cipiant animi dolices, teneantque fideles.  What ere thou teach, be short: the learners brain Brief saws will quicker take, and best retain.  
Hence it is, that we have resolved to collect into certain most short rules, the precepts of Active Music, if not all, yet the especial, out of divers Authors. For to know all things and fail in nothing, is a mark rather of divine then of human nature. Now those, whom I herein followed as my leaders, and acknowledge as my special Patrons, are these: For Theoricks' Boëtius Romanus. For Practics Guido Aretinus. Plutarch Cheronaeus. joannes pontifex Ro. Saint Augustine. Saint Bernard. Franchinus Gafforus. Saint Gregory. Valla Placentinus. Berno the Abbot. Faber Stapulensis. joannes Tinctoris.  
Wherefore omitting all needless circumlocutions, and affecting shortness, the mother of truth, we purpose to open all Practic Music in four Books, for of so many parts it doth consist. The first whereof, shall show the principles of plain Song: The next Measurall Song: The third the Accent: The fourth and last the Counterpoint, as it were the governor and mother of the rest. The head of each Book, shall in their places be mentioned, as occasion shall serve.   

THE FIRST BOOK OF ORNITHOPARCHUS HIS Music, declaring the Principals of plain Song.  

THE FIRST CHAPTER.  

Of the Definition, Division, Profit, and Inventors of Music.  
BEing to deliver the Art of singing, than which in the world there is nothing sweeter, lest out of a small error a great may arise, let us begin with the definition, by which the nature of all things is known: that is with the easiest things first, that so the Art may be more fitly delivered. And then, having unfolded the nature thereof in general, we will proceed to the particulars, first making the general division, and afterward handling each part severally.   

The general Description of Music.  
MVsicke (as Franchinus Gafforus in the third Chapter of the first book of Theory writeth) is a knowledge of Tuning, which consists in sound and Song. In sound (I say) because of the music which the motion of the celestial Orbs doth make. In Song, lest that melody which ourselves practise, should be secluded out of our definition.   

The Division of Music.  
BOétius (to whom among the Latin writers of Music, the praise is to be given) doth show in the second Chapter of his first book of Music, that Music is threefold. The World's Music: human Music: and Instrumental Music.   

Of the Music of the World.  
WHen God (whom Plutarch proves to have made all things to a certain harmony) had devised to make this world movable, it was necessary, that he should govern it by some active and moving power; for no bodies but those which have a soul, can move themselves, as Franchinus in the first Chapter of his first book of Theoric saith. Now that motion (because it is the swiftest of all other, and most regular) is not without sound: for it must needs be that a sound be made of the very wheeling of the Orbs, as Macrobius in Somnium Scip. lib. 2. writeth. The like said Boêtius, how can this quick-moving frame of the world whirl about with a dumb and silent motion? From this turning of the heaven, there cannot be removed a certain order of Harmony. And nature will (saith that prince of Roman eloquence Cicero, in his sixth book de Reipub.) that extremities must needs sound deep on the one side, & sharp on the other. So then, the world's Music is an Harmony, caused by the motion of the stars, and violence of the Spheres. Lodovicus Coelius Rodiginus; lectionum antiquarum lib. 5. cap. 25. writeth, That this Harmony hath been observed out of the consent of the heavens, the knitting together of the elements, and the variety of times. Wherefore well said Dorilaus the Philosopher, That the World is God's Organ. Now the cause we cannot hear this sound according to Pliny is, because the greatness of the sound doth exceed the sense of our ears. But whether we admit this Harmonical sound of the Heavens, or no, it skills not much; sith certain it is, that the grand Workmaister of this Mundane Fabric, made all things in number, weight, and measure, wherein principally, Mundane Music doth consist.   

Of human Music.  
HVmane Music, is the Concordance of divers elements in one compound, by which the spiritual nature is joined with the body, and the reasonable part is coupled in concord with the unreasonable, which proceeds from the uniting of the body and the soul. For that amity, by which the body is joined unto the soul, is not tied with bodily bands, but virtual, caused by the proportion of humours. For what (saith Coelius) makes the powers of the soul so sundry and disagreeing to conspire oftentimes each with other? who reconciles the Elements of the body? what other power doth solder and glue that spiritual strength, which is endued with an intellect to a mortal and earthly frame, than that Music which every man that descends into himself finds in himself? For every like is preserved by his like, and by his dislike is disturbed. Hence is it, that we loath and abhor discords, and are delighted when we hear harmonical concord's, because we know there is in ourselves the like concord.   

Of Instrumental Music.  
Instrumental Music, is an Harmony which is made by help of Instruments. And because Instruments are either artificial, or natural, there is one sort of Music, which is made with artificial Instruments; another, which is made with natural instruments. The Philosophers call the one Harmonical; the other Organical.   

Of Organical Music.  
Organical Music (as Coelius writeth) is that which belongeth to artificial Instruments: or it is a skill of making an Harmony with beating, with fingering, with blowing: with beating, as Drums, Tabors, and the like: with blowing, as Organs, Trumpets, Flutes, Cornets: with fingering, as those Instruments which are commanded, either with the touching of the fingers, or articulating of the Keys. Yet such Instruments as are too voluptuous, are by Coelius Rodiginus rejected.   

Of Harmonical Music.  
Harmonical Music, is a faculty weighing the differences of high and low sounds by sense and reason, Boetius: Or, it is a cunning, bringing forth the sounds with human voice, by the help of natural Instruments, and judging all the Sounds which are so brought forth. This as Placentinus writeth in the third Chapter of the second book of his Music: is twofold, Inspective and Active.   

Of Inspective Music.  
Inspective Music, is a knowledge censuring and pondering the Sounds form with natural instruments, not by the ears, whose judgement is dull, but by wit and reason.   

Of Active Music.  
Active Music, which also they call Practic, is (as Saint Austin in the first book of his Music writeth) the knowledge of singing well: or according to Guido in the beginning of his Doctrinal, it is a liberal Science, dispensing the principles of singing truly. Franchinus (in the third Chapter of his first Book of his Theoric) doth so define it: It is a knowledge of perfect singing, consisting of sounds, words, and numbers; which is in like sort twofold, Mensurall, and Plain.   

Of Mensurall Music.  
MEnsurall Music, is the divers quantity of Notes, and the inequality of figures. Because they are augmented or diminished according as the mood, time, and prolation doth require: of this we will speak at large in the second Book.   

Of Plain Music.  
Plain Music, (as Saint Bernard an excellent searcher into regular and true Concinence) doth write in the beginning of his Music, saying: It is a rule determining the nature and form of regular Songs. Their nature consists in the disposition, their form in the progression and composition. Or plain Music is a simple and uniform prolation of Notes, which can neither be augmented nor diminished.   

Of the profitableness of this Art.  
THe Profit of this Art is so great, (as writeth Pope john the 22. of that name, in the second Chapter of his Music) that whosoever gives himself to it, shall judge of the quality of any Song, whether it be trivial, or curious, or false: He knows both how to correct that which is faulty, and how to compose a new one. It is therefore (saith he) no small praise, no little profit, no such labour as to be esteemed of slightly, which makes the Artist both a judge of those Songs which be composed, and a Corrector of those which be false, and an Inventor of new.   

Of the difference betwixt a physician, and a Singer.  
OF them that profess the Art of Harmony, there be three kinds; (saith Franchinus in the first Book the 4. chap. of his Theoric) one is that which dealeth with Instruments; the other maketh Verses; the third doth judge the works both of the instruments, and of the verses. Now the first, which dealeth with Instruments, doth herein spend all his work; as Harpers, and Organists, & all others which approve their skill by Instruments. For they are removed from the intellectual part of Music, being but as servants, and using no reason: void of all speculation, and following their sense only. Now though they seem to do many things learnedly and skilfully, yet is it plain that they have not knowledge, because they comprehend not the thing they profess, in the pureness of their understanding; and therefore do we deny them to have Music, which is the Science of making melody. For there is knowledge without practice, and most an end greater, than in them that are excellent Practitioners. For we attribute the nimbleness of fingering not to Science, which is only residing in the soul, but to practise, for if it were otherwise, every man the more skilful he were in the Art, the more swift he would be in his fingering. Yet do we not deny the knowledge of Music to all that play on Instruments; for the Organist, and he that sings to the Harp, may have the knowledge of Music, which if it be, we account such the best Artists.  
The second kind is of Poets, who are led to the making of a verse, rather by a natural instinct, than by speculation. These Boêtius secludes from the speculation of Music, but Austin doth not.  
The third kind of musicans, be they which do assume unto them the cunning to judge and discern good Airs from bad: which kind, (sith it is wholly placed in speculation and reason) it doth properly belong to the Art of Music.   

Who is truly to be called a physician.  
THerefore he is truly to be called a physician, who hath the faculty of speculation and reason, not he that hath only a practic fashion of singing: for so saith Boêtius lib. 1. cap. 35. He is called a physician, which taketh upon him the knowledge of Singing by weighing it with reason, not with the servile exercise of practice, but the commanding power of speculation, and wanteth neither speculation nor practice. Wherefore that practice is fit for a learned man: Plutarch in his Music sets down (being forced unto it by Homer's authority) and proves it thus: Speculation breedeth only knowledge, but practice bringeth the same to work.   

Who be called Singers.  
THe Practitioner of this faculty is called a Cantor, who doth pronounce and sing those things, which the physician by a rule of reason doth set down. So that the Harmony is nothing worth, if the Cantor seek to utter it without the Rules of reason, and unless he comprehend that which he pronounceth in the purity of his understanding. Therefore well saith joan. Papa 22. cap. 2. To whom shall I compare a Cantor better than to a Drunkard (which indeed goeth home,) but by which path he cannot tell. A physician to a Cantor, is as a Praetor to a Crier: which is proved by this sentence of Guido:  

Musicorum, ac Cantorum, magna est distantia,  
Isti sciunt, illi dicunt, quae componit Musica,  
Nam qui facit, quod non sapit, diffinitur bestia  
Verum si tonantis vocis laudent acumina,  
Superabit Philomela, vel vocalis Asina.   

Twixt musicans, and Practitians, odds is great:  
They do know, these but show, what Art doth treat.  
Who doth aught, yet knoweth nought, is brute by kind:  
If voices shrill, void of skill, may honour find?  
Then Philomela, must bear the bell,  
And Balaams' Ass, physician was.   
Therefore a Speculative physician, excels the Practic: for it is much better to know what a man doth, than to do that which another man doth. Hence is it, that buildings and triumphs are attributed to them, who had the command and rule; not to them by whose work and labour they were performed. Therefore there is great difference in calling one a physician, or a Cantor. For Quintilian saith, That musicans were so honoured amongst men famous for wisdom, that the same men were accounted musicans and Prophets, and wise men. But Guido compareth those Cantors, (which have made courtesy a far off to Music) to brute Beasts.   

Of the Inventors of Music.  
THe best writers witness, That Music is most ancient: For Orpheus and Linus (both borne of Gods) were famous in it. The invention of it is attributed to divers men, both because the great antiquity of it, makes the Author incertain; and also because the dignity of the thing is such, and maketh so many great men in love with it, that every one (if it were possible) would be accounted the Authors of it. Wherefore some think Linus the Theban; some, that Orpheus the Thracian; some, that Amphion the Dircean; some, that Pythagoras the Samian found out this Art. Eusebius attributes it to Dionysius, Diodorus, to Mercury, Polybius, to the Elders of Arcadia, with whom there was such estimation of Music, that it was the greatest disgrace that could be in that place to confess the ignorance of Music. Neither did they this, saith Coelius lib. 5. antiquarum lection. for wantonness or delicateness, but that they might mollify and temper their daily labours, and besides their austerity and severe fashions; which befell them by a certain sad temperature of the clime with this sweetness and gentleness. Yet if we give any credit to josephus, and the holy Writ, Tubal the Son of Lamech was the chief and most ancient Inventor of it, and left it written in two tables, one of Slate; another of Marble before the flood for the posterity. The Marble one (some say) is yet in Syria. But least some error arise out of the multitude of these Inventors, it is clear that Tubal before the flood, that Moses among the Hebrews, that Orpheus, Amphion, and such like among the Gentiles, that Pythagoras among the Grecians, that Boêtius among the Latins, was first famous for Music.    

THE SECOND CHAPTER.  

Of Voices.  
COncord, (which rules all the Harmony of Music) cannot be without a Voice, nor a Voice without a Sound, saith Boêtius, lib. 1. cap. 3. Wherefore in seeking out the description of a Voice, we thought fit to search out this point, what Sounds are properly called Voices. Note therefore, that the sound of a sensible creature is properly called a Voice, for things without sense have no Voice, as Coelius writes, antiquar. lect. lib. 10. cap. 53. When we call pipes Vocal, it is a translated word, and a Catachresis. Neither have alsensible creatures a Voice: for those which want blood, utter no Voice. Neither do fishes utter any Voice, because a Voice is the motion of the air, but they receive no air. Wherefore only a sensible creature doth utter a Voice, yet not all sensible creatures, nor with every part of their bodies (for the hands being strooken together make a clapping, not a Voice.) A Voice therefore is a sound uttered from the mouth of a perfect creature, either by advise, or signification. By advise, (I say) because of the cough, which is no Voice: By signification, because of the grinding of the teeth. But because this description of a Voice, doth agree only to a lively Voice, and not to a deaf musical Voice, which especially, being a sole syllable is deaf, unless it be actually expressed, we must find out another description more agreeable to it. Therefore a musical Voice, is a certain syllable expressing a tenor of the Notes. Now Notes is that by which the highness, or lownes of a Song is expressed.   

Who first found out the Musical Voices.  
BEing that all Harmony is perfected by Voices, and Voices cannot be written, but remembered: (as Gafforus lib. 5. Theor. cap. 6. and 1. Pract. cap. 2. saith; that they might therefore be kept the better in memory, Guido Aretinus a Monk, led by a divine inspiration, devoutly examining the Hymn of Saint john Baptist, marked, that the six capital syllables of the Verses, viz, Vt, Re, Mi, Fa, Sol, La, did agree with musical Concord's. Wherefore he applied them in the chords of his introductory: which devise joannes the 22. Bishop of Rome allowed.   

Of the Division of Voices.  
IN the Fourth part of this Work, I will handle that Division, by which Voices are divided into Vnisones, aequisones, Consones, Eumeles, etc. Here I will only touch that which will serve our turn; Therefore of Voices, Some are called b Molls Viz. Vt Fa because they make a Flat sound. Naturals Re Sol Mean ♮ Sharps There La Sharp  
Besides of Voices some be Superiors: viz. Fa, Sol, La. Others be Inferiors: as Vt, Re, Mi.   

Rules for the Voices.  
FIrst, Vt, (in Harmonical Songs) is the head and beginning of the other Voices.  
The second, The Superior Voices are fitly pronounced in Descending, and the Inferior in Ascending. Yet to this Rule there be Four places contrary.  
The first is this. In F fault you never sing ut, unless you must sing fa, in b fa ♮ mi.  
The second, In b fa ♮ mi, you must always sing that Voice which the Scale requires.  
The third, The same Voice may not be repeated in seconds, though in fourth's, fifths, and eights it may very fitly.  
The fourth, Neither must the superior Notes be sung in the descending, nor the inferior Notes in the ascending, because they make a needless change. A Progression of the Six Musical Voices, according to the Rule of Arsim and Thesim.    

THE THIRD CHAPTER.  

Of the Keys.  
THe Wisdom of the Latin musicans, imitating the diligence of the Grecians (whereas before the Singers did mark their Chords with most hard signs) did first note a musical Introduction with Letters. To this Guido Aretinus joined those Voices he found out, and did first order the Musical Keys by lines and spaces, as appeareth in his Introductory. Therefore a Key is a thing compacted of a Letter and a Voice. For the beginning of every Key is a Letter, and the end a Syllable: Of a Voice (I say) not of Voices, both because all the Keys have not many Voices, and also because the names of Generalities, of Specialties▪ and of Differences, of which a definition doth consist, cannot be expressed in the plural number. For Animal is the genus, not Animalia; a Man is the species, not men: rationale is the difference, not rationabilia: Or more formally▪ A Key is the opening of a Song, because like as a Key opens a door, so does it the Song.   

Of the Number and Difference of Keys.  
Keys, (as Franchinus lib. 1. pract▪ cap.▪ 1. doth write) are 22. in number. Though Pope john, and Guido (whom he in his fifth Chapter saith to have been the most excellent musicans after Boêtius) only make 20. These Two and Twenty Keys are comprehended in a threefold order. The first is of Capital Letters; the Second of small; the Third of double Letters. And all these Keys differ one from the other in sight, writing, and naming: because one is otherwise placed, written, or named than the other. Of the Capital there be eight, viz. Γ. A. B. C. D. E. F. G. Of the small also Eight, a. b. c. d. e. f. g. for b fa ♮ mi. is not one Key only, but two: which is proved by mutations, voices, and instruments. The same you must account of the upper bb fa ♮ ♮ mi his Eight: of the double ones there be Six, viz. aa. bb. ♮ ♮ cc. dd. and ee. The order of all these is expressed in Ten lines and spaces in the Table following.  
Here follows the introductory of Guido Aretinus a Benedictine Monk, a most witty physician, who only (after Boêtius did give light to Music) found out the voices, ordered the keys, and by a certain divine industry, invented a most easy way of practice, as here followeth to be seen.   

Of the Keys which are to be marked.  
OF Keys some are to be marked, or (as others call them) marked Keys, others are called unmarked Keys. Of the marked, there are five principal, viz. Γ ut, F faut, C solfaut, G solreut, and Dd la sol: which the Ambrosians (as Franch. lib. 1. pract. cap. 3. reports) did mark with colours. F fault, with red, C solfaut with blue, double bb with skie-colour. But the Gregorians (whom the Church of Rome doth imitate) marking all the lines with one colour, to describe each of the marked Keys by his first Letter, or some other sign, as in the Scale was mentioned.  
Those Keys which are less principal, are two, b round, and ♮ square: The firstshews that the Voice is to be sung fa, the second that it is to be sung mi in the place wherein it is found. And unless one do heedily discern b from ♮, he doth confound the Song (as Berno saith) even as wine and water being mingled together, one can discern neither.   

To the Readers.  
SEeing it is a fault to deliver that in many words, which may be delivered in few (gentle Readers) leaving the hand, by which the wits of young beginners are hindered, dulled, and distracted, learn you this fore-written Scale by numbering it: for this being known, you shall most easily, and at first sight know the voices, Keys, and all the Mutations.   

Rules for the Keys.  
FIrst, Of the marked Keys one differs from the other a fifth, except Γ ut, which is removed from F faut a Seventh.  
2. The Keys of an odd number are contained in line, the Keys of an even number in space.  
3. All the signed keys, from which the judgement of other Keys is fetched, are set in line.  
4. The Greek Letter is placed in the base part of the Introductory, in honour of the greeks, from whom Music came to us: For Berno the Abbot (in his first Book of Music) saith, The Latins chose rather to put the Greek letters than the Latin, that the greeks may be noted hereby to be the Authors of this Art.  
5. All Keys beginning with one Letter, do differ an Eight, saith Guido cap. 5. of his Microl.  
6. Of Eights there is the same judgement.  
7. It is not lawful for plainsong to go under, Γ ut, nor above Eela. Hereupon it is, that the Three highest Keys have no inferior Voices, because beyond them there is no rising: Neither have the three lowermost superior voices, because there is no descending under them.  
8. As oft as in a broken Song, you go beyond the extreme Keys (as you do often) take your voices from Eights.    

THE FOURTH CHAPTER.  

Of Tones in General.  
A Tone (as Guido saith) is a rule judging the Song in the end, or it is a knowledge of the beginning, middle, and end of every Song, showing the rising and falling of it.   

Of the number of Tones.  
BY the authority of the Grecians, we should only observe 4. Tones, (saith Guido Microl. II. I. Proton. 2. Deuteton, 3. Triton, 4. Tetarton. But the Latins considering the rising & falling, and dividing each of the Greek Tones into authentic & plagall: to conclude every thing that is sung within Eight Tones, agreeable to the eight parts of Speech. For it is not amiss, (saith joan Pont. cap. 10.) that every thing which is sung, may be comprehended within Eight Tones, as every thing which is spoken, is confined within Eight parts of Speech.  
Now these Eight Tones (as Franch. lib. 5. Theor. and last Chapter, and lib. 1. pract. 7. cap. saith) are by the Authors thus named, The first Dorian; the second, Hypodorion; the third, Phrygian; (which Porphyrio calls barbarous; the fourth, Hypophrygian; the fifth, Lydian; the sixth, Hypolydian; the seventh, Myxolydian; the eight, some call Hypermyxolydian; others say it hath no proper name.   

Of the Finals belonging to the Tones.  
FInals, (as Saint Bernard in his Music saith, both truly and briefly) are the Letters which end the Songs. For in these must be ended every Song which is regular, and not transposed, and are in number Four, as Guido writeth in the Dialogue of his Doctrinal: To wit, D solre In which every Song ends First and Second regular Tones E lami Third Fourth F faut fifth Sixth G solreut Seventh Eight   

Of the Compasses of the Tones.  
THe Compass is nothing else, but a circuit or space allowed by the authority of the musicans to the Tones for their rising and falling.  
Now to every Tone there are granted but Ten Notes or Voices, wherein he may have his course, (as Saint Bernard saith in the Prologue of his Music. Hereof he assigns Three reasons: to wit, The authority of the Decachorde of the Psalter: the worthiness of equality: and the necessity of setting the Notes down. Although at this time the licentious ranging of our modern musicans, doth add an Eleventh to each, as in the figure following appears.   

Of the Repercussions of Tones.  
Whereupon the Repercussion, which by Guido is also called a Trope, and the proper and fit melody of each Tone. Or it is the proper interval of each Tone, as in the Examples following appeareth. Re la gives the first, Re fa gives the second, Mi mi gives the Third, Mi la gives the Fourth, Vt sol gives the fifth, The sixth gives Fa la, Vt sol uneven Tetartos, ut fa doth give the last.   

Rules for the Tones.  
FIrst, All the odd Tones are Authentical, all the even Plagall: these are so called because they descend more under the final Key: these, because they do more ascend above the final Key.  
The second, Every Song in the beginning, rising strait beyond the final Note to a fifth, is Authentical: but that which falls strait way to a Third, or a Fourth, under the final Key, is Plagall.  
The third, A Song not rising in the middle beyond the final Note to an Eight, although it have a fifth in the beginning, is Plagall: unless the Repercussion of an Authentical being there found, preserve it: as an Antiphone is newly found, which is judged to be of the Eight Tone, because it hath not the rising of an Authent in the middle. But the Repercussion of a seventh, appearing strait in the beginning, doth preserve it, and make it remain Authentical. See Pontifex cap. 12.   

By how many ways we may know the Tones.  
WE may know the Tones by three means: by the beginning: the middle: and the end. By the beginning; for a Song rising in the beginning strait ways above the final Key to a fifth, is Authentical, as before was said in the second Rule. By the middle, and first, by the rising; For the Song which toucheth an Eight in the middle, is Authentical: that Song which doth not, is Plagall: secondly by the Repercussion, which is proper to every Tone, as before was said; by which at first hearing you may judge of what kind a Song is. By the end, as before we spoke of the final Notes.  
Besides there be certain Songs, which do ascend as an Authentical, & descend as a Plagall, and those are called Neutral, or mixed Songs, though indeed Saint Bernard doth not allow of them: for he saith, what execrable licentiousness is this, to join together those things, which are contrary one to the other, transgressing the bonds of Nature? surely as it doth make a discontinuance in conjoining, so doth it open wrong to Nature. Therefore they are stark mad, which presume so far as to rise a Plagall, and descend an Authentical.  
Yet are these Songs (in my judgement) to be very diligently marked in the end, to which Tone they incline most. For whilst they descend from a fifth to the final Note, they are Authentics; but whilst they rise from a Third or a Fourth to a final, they are Plagals: See Pontifex in his 12. and 16. chap.    

THE fifth CHAPTER.  

Of Solfaing.  
Whereupon, Solfaing is the orderly singing of every Song by Musical Voices, according as Mi and Fa shall require. For to Sol fa (as Gafforus witnesseth) is to express the Syllables, and the names of the Voices.   

Of three manners of Singing.  
EVery Song may be sung three manner of ways: that is, by Solfaing, which is for Novices, that learn to sing: By sounding the soundsonly, which belongs to Instrumentists, that they may affect the minds of them that hear or conceive them with care or solace: Thirdly, by applying, which is the work of the Cantor, that so he may express God's praise.   

Of Scales.  
BEcause the diversity of Tones causeth a diversity in the Solfaing, especially about mi and fa, in b fa ♮ mi, which before we concluded was not one only Key, but two: therefore the industrious musicans have devised Two Scales, in which every Song doth run, and is governed: and hath ordained, that the first should be called ♮ durall of the ♮; the second, b moll of b Flat.   

The general description of the Scale.  
THerefore generally a Scale is nothing else, but the knowledge of mi and fa, in b fa ♮ mi, and in his Eights.   

What the Scale ♮ Durall is.  
THe Scale ♮ Durall is a Progression of Musical Voices, rising from A to ♮ sharply, that is, by the Voice Mi.   

What the Scale b Moll is.  
But the Scale b Moll is a Progression of Musical Voices, rising from A to b flatly, that is by the Voice fa: therefore a b Moll Scale doth always require fa in b fa ♮ mi, and a ♮ sharp Scale, mi: as in the draft following you may see.   

Rules of Solfaing.  
THe First, He that will Solfa any Song, must above all things have an eye to the Tone. For the knowledge of the Tone is the invention of the Scale, under which it runs.  
The Second, All the Tones run under the Scale of ♮ Dure, excepting the fifth and the sixth.  
The Third, To have a Song run under ♮ Dure, is nothing else, but to sing Mi in b fa ♮ mi, and fa in a flat Scale.  
The Fourth, When a Song runs under a Scale ♮ Dure, the lowermost Notes of that kind are to be sung; but under a Scale b Moll, the uppermost Notes.  
The fifth, Every Solfaer must needs look, whether the Song be regular, or no; for the transposition of a Song is oft times an occasion of changing the Scale.  
The sixth, Every Song ending in the Finals, is regular, and not transposed, saith Saint Bernard in his Dialogue.  
The Seventh, Whensoever a Song ascends from D sol re to A la mi re by a fifth, mediately or immediately, and further only to a second, you must sing fa in b fa ♮ mi in every Tone, till the song do again touch D sol re, whether it be marked or no. But this Rule fails, when a song doth not straightways fall to F faut, as in the Hymn, ave maris stella, you may see.  
The Eight, In b fa ♮ mi, and his eights, you may not sing mi for fa, nor chose; because they are discording and repugnant voices, saith Franchinus lib. 1. pract. cap. 4.  
The Ninth, b in places, where he is marked contrary to his nature, doth note Mutation.  
The Tenth, The Scale being varied, the Mutations are also with it varied, both in the whole and in part. In the whole, as in transposed Songs; in part, as in conjoined Songs.  
The eleventh, As often as fa or mi is marked contrary to their nature, the Solfaer must follow the mark so long as it lasts.  
The twelve, Seeing there is one and the self-same judgement of eights, the same Solfaing of Voices must be.    

THE sixth CHAPTER.  

Of Mutations.  
WHereupon Mutation (as Georg. Valla lib. 3. cap. 4. of his Music proveth) is the putting of one Voice for another. But this definition, because it is general, doth not properly agree to a physician: therefore Mutation is (to apply it to our purpose) the putting of one concord for another in the same Key. And because all- Voices are not concord's, all do not receive Mutation. Therefore it is necessary to consider, to which Voices Mutation doth agree, and to which not; for ♮ dures are not changed into b molls, nor contrarily: as you may see in the example following.   

Rules for Mutations.  
FIrst, As often as the Progression of six Musical Voices wants, there must necessarily be Mutation.  
2 No Mutation can be in a Key which hath but one Voice, because there one Voice is not changed into itself, although it may well be repeated.  
3 In Keys which have two Voices, there be two Mutations, the first is from the lower to the upper; the second contrarily. From this Rule are excepted Keys which have Voices of one kind, as cc solfa, and dd la sol.  
4 A Key having three Voices, admitteth six Mutations, although therein you must needs vary the Scale.  
5 Let there be no Mutation, unless necessity force you to it.  
6 The b moll Voices cannot be changed into ♮ square, nor contrarily: because they are discords.  
7 Natural Voices are changed both into ♮ Dures, and into b molls, because they are doubtful: excepting mi and sol, re and fa, which are not changed one into another; because they are never found dwelling in one Key.  
8 In the falling of a Song, let the lower be changed into the higher, in the rising contrarily.  
9 In a Key which hath one Voice, there may be so many Mutations, as there may be in his eight, because of them there is the same judgement.  
10 You must make a mental, not a vocal Mutation, unless two or three Notes be put in the same place that receives Mutation.    

THE SEVENTH CHAPTER.  

Of Moods, or intervals.  
AN interval (as Boëtius, whose conceit for Music, no man ever attained lib. 1. cap. 8. writeth) is the distance of a base and high sound. Or (as Placentinus lib. 2. cap. 8. saith) it is the way from lowness to height, and contrarily. Or it is the distance of one Voice from another, considered by rising and falling. Whence it is manifest, that an Unison is not a Mood, although it be the beginning of Moods, as unity is of numbers. For Boêtius saith, As unity is the beginning of plurality, and number, so is equality of proportions. Now an Unison is, (according to George Valla lib. 2. cap. 2.) a Voice so qualified, that it neither tendeth to depth nor to height. Or it is a conjoining of two or three Notes in the same place, as appear in exercise.   

Of the number of the Moods.  
NOw the usual intervals are in number 9, viz. a Semitone, and that is a rising from one Voice to another, (by an imperfect second) sounding flatly: and it is only betwixt the Voices Mi, fa. It is called a Semitone, not because it is half a Tone, (for a Tone cannot be divided into two equal parts) but because it is an imperfect Tone, for Semum is called that which is imperfect, as saith Boêtius lib. 1. cap. 16. Of how many sorts a Semitone is, I shall hereafter in my Theoricks discuss.  
A Tone (as Faber Stapulensis writeth) is the beginning of Consonances: or it is a Consonance caused by the number of eight. For Macrobius saith, that the eight, is an number, by which Symphony is bred; which Symphony the Grecians call a Tone. Or it is the distance of one Voice from another by a perfect second, sounding strongly, so called a Tonando, that is, Thundering. For Tonare, (as joannes Pontifex 12. cap. 8. saith) signifieth to thunder powerfully. Now a Tone is made betwixt all Voices excepting mi and fa, consisting of two smaller Semitones, and one Comma.   

A Semiditone.  
WHich Faber Stapulensis calleth Sesquitonium, is an interval of one Voice from another by an imperfect third: consisting of a Tone, and a semitone according to Placentinus. It hath two kinds, as Pontifex in the eight Chapter saith; the first is from re to fa; the second from mi to sol, as in exercise will appear.   

A Ditone.  
IS a perfect third: so called, because it contains in it two Tones, as Placentine and Pontifex witness. It hath likewise two kinds, the first is from ut to mi; the second from fa to la.   

Diatessaron.  
IN Boêtius lib. 1. cap. 17. It is a Consonance of 4. Voices, and 3. intervals. Or it is the leaping from one Voice to another by a Fourth, consisting of two Tones, and a lesser semitone. It hath three kinds in Boêtius lib. 4. cap. 13. and in Pontifex cap. 8. the first is from ut to fa, the second from re to sol, the third from mi to fa.   

Diapente.  
IS a Consonance of five Voices, and 4. intervals, as saith Boêtius lib. 1. cap. 18. Or it is the leaping of one Voice to another by a fifth, consisting of three Tones, and a semitone. It hath four kinds in Boêtius lib. 4. cap. 13. Therefore Pontifex calls it the Quadri-moode interval. The first, is from ut to sol; the second, from re to la; the third, from mi to mi; the fourth, from fa to fa.   

Semitone Diapente.  
IS an interval of one Voice from another by an imperfect sixth, according to Georgius Valla lib. 3. cap. 21. consisting of three Tones, and two Semitones.   

Tonus Diapente.  
IS the distance of one Voice from another by a perfect sixth. Which Stapulensis affirms to consist of four Tones, and a lesser semitone.   

Diapason.  
WHich only is called a perfect Consonance by Guido in the 9 Chapter of his Microl. according to the same Author in the 5. Chapter is an interval: wherein a Diatessaron and Diapente are conjoined. Or (as Franchinus lib. 1. pract. c. 7. writeth) is a Consonance of eight sounds, and seven intervals. Or (as Plutarch saith, it is a Consonance weighed by a duple reason. Now for example sake 6. and 12. will make a duple reason. But they to whom these descriptions, shall seem obscure, let them take this. It is a distance of one Voice from another by an eight, consisting of five Tones, and two lesser semitones. It hath seven kinds, according to Boêtius and Guido the most famous musicans. For from every Letter to his like is a Diapason. Besides every Mood hath so many kinds excepting one, as it hath Voices.   

Here followeth a Direction for the Moods.  
Ter tri ni sunt modi qui bus omnis cantile na contexitur, scilicet, Unisonus, Se mitonium, To nus, Semidito nus, Di to nus, Di a tes se ron, Di a pente, Semitonium cum diapente, To nus cum diapente, adhuc modus di a pason, Si quem delectat eius hunc modum een cognoscat cumque tam paucus mo dulis to ta harmonia formetur, utilissimum est eam altae memoriae commendare, nec ab homini studio re quiesce re, Donec vocum interuallum cog ni tum Harmontae totius facilime queat comprehendere noticiam.   

Of the forbidden intervals.  
THere be some other intervals, very rare, and forbidden to young beginners. For as the learned licence of Orators & Poets, doth grant certain things to those which are as it were passed the age of warfare, but doth deny the same to freshwater soldiers; so is it amongst musicans. The names of those are these.   

Tritonus.  
ANd it is a leaping from one Voice to another by a sharp Fourth, comprehending three whole Tones without the semitone. Wherefore it is greater than Diatessaron; Stapulensis saith thus, A Tritone doth exceed the Consonance of a Diatessaron. And this Mood is used in the answer, Isti sunt dies, Dominica judica: and in the answer, Vox Tonitrui, in the saying, evangelista, as thus: Io annes est Euangelista   

Semidiapente.  
IS an interval by an imperfect fifth, comprehending two Tones, with two semitones, which though it be not found in plainsong, yet doth the knowledge thereof much profit composers, who are held to avoid it.   

Semiditonus Diapente.  
IS an interval by an imperfect seventh. This according to Placentinus lib. 3. cap. 24. comprehends four Tones, and two semitones. the example of this is in an Antiphone called, Dum inducerent puerum Ihesum, in the speech, Accepit Parents e ius ac ce pit.   

Ditonus Diapente.  
IS the distance of one Voice from another by a perfect seventh: consisting of five Tones, and one semitone, according to Georg. Valla lib. 3. cap. 26. It is found in the responsory, sancta legio de sancto Mauritio, in the word, Aganensium. sancta le gio Aganensium   

Semidiapason.  
IS an imperfect eight, consisting of four Tones, and three Semitones, not to be used in any plain Song, yet worthy to be known by componists.   

Semitonium Diapason.  
IS a leaping by an imperfect Ninth, consisting of five Tones, and three semitones. Now a Tone with a Diapason is a perfect Ninth, consisting of six Tones, and two semitones.   

Semiditonus Diapason.  
IS an interval by an imperfect Tenth, as witnesseth Valla the 31. Chapter, consisting of six Tones, and three semitones. A Ditone with a true Diapason is a perfect Tenth, consisting of seven Tones, and two semitones.   

Diapason Diapente.  
IS a consonance of twelve sounds, and eleven intervals, consisting of eight Tones, and three semitones. The examples of these Moods are very rarely seen in plain Song; in mensurall often.   

Disdiapason.  
IS an interval by a Fifteenth, occasioned (as saith Macrobius) by a quadruple proportion. Wherein antiquity said we should rest, and go no further, as Ambrose Nolanus doth prove in the proverb Disdiapason, which is in Erasmus that other light of Germany. Both because this is the natural compass of man's voice, which going above this, is rather a squeaking; and going under, is rather a humming than a Voice: And also because Aristotle doth deny Music to be merely Mathematical. For Music must be so tempered, that neither sense be against reason, nor reason against sense.    

THE EIGHT CHAPTER.  

Of the Dimension of the Monochord.  
A Monochord, that is, an Instrument of one string, is thus truly made. Take a piece of wood of a yard long, or what length you please, of two fingers breadth, and so thick, make it hollow in the middle, leaving the ends of it unhollowed. Let it be covered with a belly piece well smoothed, that hath holes in it, like the belly of a Lute: through the middle of this, let there be secretly drawn one line, and in the beginning of it, let one prick be marked with the letter F. for that shallbe the first Magade of the Instrument: then divide the whole line from the prick F. into nine equal parts, and in the first prick of the divisions place ut, in the second nothing, in the third Cfaut, in the fourth nothing, in the fifth Gsolreut, in the sixth Csolfaut, in the seventh Gsolreut small, in the eight nothing, in the last o Cifer, which shall possess the place of the second Magade. This done, again divide the space; which is from ut to the second Magade, into nine parts.  
In the first part set A Base; in the third Dsolre; in the fifth Alamire; in the sixth D lasolre; in the seventh aalamire. Then from Are to the second Magade again make nine parts; in the first set ♮ mi Base; in the third Elami; in the fifth ♮ mi in the small letters; in the sixth Elami; in the seventh ♮ ♮ mi double.    

THE NINTH CHAPTER.  

Of the Definition, Profit, and use of the Monochord.  
A Monochord (as Guido proves in the beginning of his Doctrinal) is a long square piece of wood hollow within, with a string drawn over it; by the sound whereof, we apprehend the varieties of sounds. Or it is a rude and unskilful Master, which makes learned Scholars. For it shows to others that which itself conceives not, it tells truth, it cannot tell how to lie, it instructeth diligently, and reprehendeth no man's slow conceit. Now it is called a Monochord, because it hath but one string, as a Tetrachord is called that which hath four. And a Decachord which hath ten, saith joan. Pont. 22. cap. 7. of his Music.   

Of the profit of the Monochord.  
THe Monochord was chiefly invented for this purpose, to be judge of Musical voices and intervals: as also to try whether the song be true or false furthermore, to show haire-braind false musicans their errors, and the way of attaining the truth. Lastly, that children which desire to learn Music, may have an easy means to it, that it may entice beginners, direct those that be forward, and so make of unlearned learned.   

Of the use of the Monochord.  
THe use of the Monochord (saith Berno Cluniacensis lib. 2. of his Music) is, that we may know how much each voice is higher or lower than other. When therefore thou wilt learn a Song, even the deepest, of thyself by the help of thy Monochord, set thy Monochord before thee on the table, and mark in what Key the first Note of that Song is, which thou desirest to know. This being found, touch the same in the Monochord with a quill, and the sound it gives, is that thou desirest. Thus run over each Note of the Song, and so mayest thou by thyself learn any Song though never so weighty.    

THE TENTH CHAPTER.  

Of Musica Ficta.  
Feigned Music is that, which the greeks call Synemenon, a Song made beyond the regular compass of the Scales. Or it is a Song, which is full of Conjunctions.   

Of Conjunctions.  
THe conjunct sounds were called by the ancients Dijuncts because it is added to songs besides their nature, either to make them more sweet, or to make the Moods more perfect: for thus saith Saint Bernard: In every kind, where it is meet a flatter sound should be, let there be put a flat in stead of a sharp; yet covertly, lest the Song seem to take upon it the likeness of another Tone. Now a conjunct is this, to sing a Voice in a Key which is not in it. Or it is the sudden changing of a Tone into a Semitone, or a semitone into a Tone.   

Of the Division and number of Coniuncts.  
COniuncts are twofold: that is, Tolerable ones, when a Voice is sung in a Key, wherein it is not, yet is found in his eight: as to sing Mi in A re, La in Dsolre. Intolerable ones, when a Voice is sung in a Key which is not in it, nor in his eight, as to sing Fa in Elami, Mi in Ffaut. Of these Coniuncts there be two signs, viz. b round and ♮. The first showeth that the conjunct is in ♮ dure places; the second, that it is in b flat places.  
There be 8. Coniuncts most usual: although there may be more. The first in a Base, is marked with round b. The second in E final, is marked with the same sign. The third is in Ffaut, and is marked with ♮. The fourth in a small, is known by b flat. The fifth, in c affinall by ♮ dure. The sixth, in e by b round. The seventh, in f by ♮. The eight in aa by b. There be examples enough to to be found of these both in plain and mensurall Songs.   

Here follows the feigned Scale.  
THe feigned Scale exceeds the others both in height and depth. For it addeth a Ditone under Vt base, because it sings fa in A, and it riseth above eela by two degrees, for in it it sounds fa. Wherefore for the expressing of it, there are necessarily required twelve lines, as appeareth in the figure following. 
The Scale of ficts or Synemenon, and how the Mutations are made.    

Rules for Fict a Music.  
FIrst, It is better, and sweeter to sing by tolerable Coniuncts, than by the proper Voices of Keys.  
2 The tolerable Coniuncts do not spoil the Song, but the intolerable ones.  
3 Music may Fict in any Voice and Key, for Consonance sake.  
4 Marking fa in b fa ♮ mi, or in any other place, if the Song from that shall make an immediate rising to a Fourth, a fifth, or an Eight, even there fa must necessarily be marked, to eschew a Tritone, a Semidiapente, or a Semidiapason, and inusuall, and forbidden Moods: as appeareth in the example underwritten.   

An Exercise of Ficta Music.  
   

THE ELEVENTH CHAPTER.  

Of Song and Transposition.  
Wherefore a Song is a melody form of a Sound, Mood, & Tone, by a lively Voice. I say by a sound, because of the writing of the Notes, which improperly we call a Song: By the mood, I understand rising and falling, because of the prayers which are read in an Unison. By the Tone, because of the chirping of birds, which is comprehended within no Tone. For within a Syllogism is mood and figure, that in a Song is the Tone and Scale. I say a lively Voice, because of Musical Instruments. Or otherwise: A Song is the fitting of a lively Voice according to rising, and falling, Or (as Gafforus writeth in his Theoricks lib. 5. cap. 6.) it is the deduction of many Voices from the same beginning. And this description doth properly agree to this progression of syllables, because it is not a Song.   

Of the number of Deductions.  
THere are therefore three Deductions of this kind: the first is called ♮ durall, to be sung sharply, because it requires mi in b fa ♮ mi, and in his Eights.  
The second is b flat, which runneth with a sweet and flattering Harmony, and requires fa in b fa ♮ mi.  
The third is neutral, and is called natural. For it receiveth in b fa ♮ mi, neither mi, nor fa: because it comes not to such places.   

Rules for Deductions.  
FIrst, Wheresoever Vt is put in the Scale, there is the beginning of some Deduction: where fa is put, there the middle: where la, there the end: as appeareth in the figure following. In C Natural, F b Moll b and ♮ dure the beginning, F b c middle, d d e end.  
The second Rule. Of which Deductions this or that rule is, you shall thus easily know. Consider the voice that is there to be sung, with which it descends to his foundation, I say to Vt: and where you find any such, see what Deduction begins so: for it will be of that Note which you seek.   

Of Transposition.  
WHereupon Transposition is the removing of a Song, or a Key from his proper place. For to transpose is to remove a song, or a Key from the proper place. And Transposition is twofold, viz. Of the Song and of the Key.   

Of Transposition of a Song.  
IT is the avoiding of Coniuncts, for whilst we strive to avoid Coniuncts, (because they mar the Song) we do elevate the Song from the proper place of his end, above to a fifth, as directly appeareth in the responsory, Ite in Orbem. I te in Orbem I te in or bem   

Of the Affinall Keys of Tones.  
THe Keys (which we call Affinall) be the Letters, which end irregular Songs: whereof according to Guido, Berno, and Saint Gregory, there be three: Although the Ambrosians make more. Viz. alamire wherein ends First and Second transposed Tone. b fa ♮ mi every Song Third Fourth c solfaut of the fifth sixth  
Now this irregularnesse of Songs (as writeth Pontifex 14. chapter of his Music) comes sometime by licence, sometime by the negligence of the Cantors, sometimes by reason of ancientness, which cannot be gainsaid, sometimes because of the Counterpoint, that the Base may have place to descend.   

Of the Transposition of a Rule.  
FIrst, A Song of the seventh and eight Tones is not transposed. Not upward to Dlasolre, as the Ambrosians are of opinion, because an Authentic Tone hath no place of rising to the tenth, neither down to Cfaut, because a Plagall hath no place of falling to a fifth: neither must you climb above eela, nor descend under Γ ut, as before hath been declared. Wherefore (saith joan. Pontif.) It is fit, that he which cannot have a Vicar, do administer his business himself.  
2 A Song ending in Dlasolre, or in Cfaut, is either an Ambrosian Song, or corrupted with the ignorance of Cantors, as Pontifex saith; Whensoever in a Song of the fourth Tone, there falls any missing, let us say, that it proceeds from the unskilfulness of the Cantors, and is to be corrected with the cunning of the musicans. But the authority of the Gregorians admits no such Song.  
3 The placing of one strange Voice in any Key, is a cause, why the whole Song is transposed.  
4 Transposition is an help and excuse of the Coniuncts.  
5 Let every transposition be from a Final, to a fifth the proper Affinall: unless necessity compel, that it be to be made to a fourth. For then are we forced to transpose it to a fourth, when after the Transposition to a fifth more Coniuncts rise than were before: as in the answer, Quae est ista, under the third Tone may appear. Quae est ista regulariter. Transpositio quintaria non valens. Transpositio quartariae bene valens.  
6 The same Voices after Transposition are to be sung, which were sung before.  
7 In irregular Songs transposed to a fifth, you must sing Mi in b fa Γ mi in every Tone, unless it bespecially marked with fa.  
8 In Songs transposed to a fourth, fa is always sounded in b fa Γ mi: unless Mi bespecially noted.  
9 Transposition to a fourth is known, when a Song is ended by a voice which agrees not to his Scale. Or when in the beginning of a transposed Song, fa is found. To which transposition Saint Bernard seems to be opposite, in saying this: It is fit that they which propound to themselves an orderly course of life, have also the Art of Singing; and restrain from the liberty 
Note.  of those men, which regarding rather likeness than nature in Songs, disjoin those things which are joined together, and join together those things which are disjoined, begin and end, make low and high, order and compose a Song, not as they should, but as they list: for by the foolish transposition that such men use, there is grown such confusion in Songs, that most are thought to be of a contrary fashion.  
10 A Song ending in Gsolreut, marking fa in b fa Γ mi is of the first or second Tone transposed to the fourth. And that which is in alamire, is of the third or fourth, as Quae est ista, and so of others.   

Of the Transposition of Keys.  
THe Transposition of a Key is the raising or low carrying of a marked Key for want of lines, of which there are these Rules given.  
1 The transposition of Keys doth not make the Song irregular, because it varies not the regular end.  
2 By how much a transposed Key doth descend from the former going before; so much doth the following Note ascend above that transposed Key: and contrarily; as in the examples following is manifest. Haec sunt convivia quamtibi placent ô patris sa pi en tia    

THE twelve CHAPTER.  

Of the Tones in special.  
BEing that to proceed from generalty to specialty is more natural to us, as Aristotle the Prince of all Philosophers, and light of natural knowledge, in the first Book of his Physics showeth. Therefore in a fit order after the general delivery of the Tones, let us go to the special, discussing more largely and plainly of the nature of each. And first, of the first.   

Of the first Tone.  
THe first Tone (as S. Bernard saith) is a Rule determining the authentic of the first kind. Or it is the authentical progression of the first. Now an authentical progression, is the ascending beyond the Final Key to an eight, & a tenth. And the progression of the first is form by that kind of Diapente, which is from d to a: and of that kind of Diatessaron, which is from a to d, saith Franchinus lib. 1. pract. cap. 8. It hath his Final regular place in Dsolre, or his unregular in alamire. The beginnings of it according to Guido are C. D. E. F. G. and a, whose capital form is this: Capita. primi toni. Sacerdos in aeternum. Gaudeamus omnes in do.   

Of the differences of Tones.  
DIfferences of the Essences of Tones there be none, but for the unlearned there are some framed, that they may the easilier begin in the divers beginnings of Tones: saith Pontif. 23. chapter of his Music. Therefore I find no cause of this, but only use: neither have I found it written by any physician. Neither doth Saint Bernard much like it. For the differences give occasion of many confusions and errors. Wherefore seeing our obsequiousness, which we perform to God, must be reasonable, leaving the differences, which are by no reason approved, let the Readers only be careful of the Capital tenors of Tones, lest they wind themselves in unprofitable and superfluous precepts, put on the darkness of the night, and make an easy thing most hard and difficult. For God delights not in unreasonable turnings, but in Songs well fashioned and regular, being he himself hath made all things in a most regular and orderly fashion. Wherefore the Psalmist saith, Praise the Lord in well-sounding Cymbals: for he would not have said well sounding, if he would have had God praised with every bellowing, screaming, or noise.   

Of the Divisions of the Psalms.  
I Find there are two sorts of Psalms, which we use in praising God, the greater and the lesser: all Psalms are called lesser, except those two, viz. Of the blessed Virgin, and of Zacharias. Also the Song of simeon, in some Diocese is accounted for a greater Psalm, in some for a lesser; as I in going over the world have found.   

Of the true manner of Singing Psalms.  
THe authority both of Coelius Rhodiginus, and of all the Divines doth testify, That the Prophet had a great mystery in the Harmony of the Psalms: wherefore I thought good to interlace some within this book of the true manner of singing. Whence to sing psalms, is to sing the praises of almighty God with a certain joy. In which matter there is such diversity, (the more is the grief) that every one seems to have a several fashion of Singing. Neither do they observe the Statutes, and precepts of their forefathers, but every one sings Psalms, and other things even as they list. Whereupon there is such dissension grown in the Church, such discord, such confusion, that scarce two sing after one manner. This doth Pontifex in the 22. chapter of his Music, very much reprehend, and surely with good reason, saying: Seeing that one God is delighted with one baptism, one faith, and the unity of manners, who may think but that he is grievously offended with this multiplicity of Songs? Wherefore I had delivered certain Rules of the true order of singing, unless I had found them both copiously and learnedly written by master Michael Galliculo de Muris, a most learned man. Wherefore I send all that are desirous to be instructed in this point to him, only meddling with those things which belong to the tuning of psalms.   

Rules for the tuning of Psalms.  
FIrst, All the greater Psalms are to be tuned with a rising, the lesser without a rising.  
2 The indeclinable words, the Hebrew, and Barbarous, are to be pronounced in the middle accent high.  
3 The tuning of the lesser Psalms of the first Tone is thus out of alamire, and out of Ffaut, the tuning of the greater thus: Laudate pueri do laudate nomen domini: memento do. Da. Magnificat anima mea dominum.  
The melody of verses in Responsories, is framed by later musicans at their pleasure: but of entrances the manner is as yet inviolably kept, according to the decrees of the Ancients, in this manner. The Melody of the Verses in the answers of the first Tone. The Melody in the beginnings of the Verses of the first Tone.   

Of the second Tone.  
THe second Tone, (as Saint Bernard saith) is a Rule determining the Plagall of the first fashion. Or it is a plagall Progression of the first. Now a plagall Progression is a descending beyond the Final to a fifth, or at least a fourth. His beginnings (according to Guido) are A. C. D. F. & G. & doth rightly possess the extremes of the eight Authentic, because the soldier by law of Arms, doth dwell in the Tents of his captain. The manner of the second Tone, is thus: Cap. fecundi toni. Miserator do mi nus. Hunc mundum spernes.  
The tuning of the smaller Psalms is thus out of Ffaut; the tuning of the greater out of Cfaut, thus: Laudate pueri do. laudate nomen do. Memento do. da. Magnificat anima mea dominum. The Melody of the Verses in the answers of the second Tone. The Melody in the beginnings of the Verses of the second Tone.   

Of the third Tone.  
THe third tone, is a Rule determining the Authentical of the second manner. Or it is the authentical progression of the second, having the final place regular in Elami: His beginnings (according to Guido) are E. F. G. etc. The chief form whereof, is this: Capital tertij. O gloriosum. Faws distillans.  
The tuning of the lesser Psalms out of Csolfaut, and of the greater out of Gsolreut, is this: Laudate pueri do laudate nomen do. Memento do Da. Magnificat anima mea. The Melody of the Verses in the answers of the third Tone. The Melody in the beginnings of the Verses of the third Tone.   

Of the Fourth Tone.  
THe Fourth Tone (as witnesseth Bernard) is a Rule determining the plagall of the second manner. Or it is a Progression of the second plagall, holding the same end that his Authentic doth. It hath six beginnings, C. D. E. F. G. and a, whose principal tenor is this, as it followeth: Capital quarti Tota pulchra es Haec est dies.  
The tuning of the smaller Psalms out of alamire, and the greater out of Elami, is thus: Laudate pueri dominum, laudate nomen domini. Memento do. Da Magnificat anima mea dominum. The Melody of the Verses in the answers of the fourth Tone. The Melody in the Divine Offices of the Verses of the Fourth Tone.   

Of the fifth Tone.  
THe fifth Tone is a Rule, determining the Authentic of the third manner, or it is an Authentical Progression of the third. Whose regular end is in Ffaut; and irregular end in Csolfaut. The beginnings of it (as Franchinus witnesseth) are Four, F. G. a, and c. whose chief form is this: Capital quinti. Gaude Dei genitrix. Gau di a.  
The tuning of the smaller Psalms out of Csolfaut, and of the greater out of Ffaut, is in this sort. Laudate pueri dominum. Memento do. Da. Mag. anima mea dominum. The Melody of the Verses in the answers of the fifth Tone. The manner in the beginnings of the Verses of the fifth Tone.   

Of the sixth Tone.  
THe sixth Tone is a Rule, determining a plagall of the third sort. Or it is the plagall Progression of the third, participating justly with his Authentical in the final Notes. To whom there befall four beginnings, viz. C. D. F. and a, saith Franchinus in the 13. chapter of his Practic; and Guido in his doctrinal Dialogue. The chief form of it is this: Capital Sexti. Veni electa▪ mea. Diligebat. eam.  
The tuning of the lesser Psalms out of alamire, and greater out of Ffaut, is this: Laudate pueri dom. laudate nomen do. Me. dom. Da. Magnificat anima mea dom. The Melody of the Verses in the answers of the sixth Tone. The Melody in the beginnings of the Verses of the sixth Tone.   

Of the Seventh Tone.  
THe Seventh Tone is a Rule determining the Authentic of the fourth sort. Or it is the authentical Progression of the Fourth. It hath his end in Gsolreut regular only. To this belongs five beginnings, viz. G. a. ♮. c. & d. The chief form of it, is this: Capital septimi. Exortum est. Clamaverunt.  
The tuning of the lesser Psalms out of Dlasolre, and of the greater out of b fa ♮ mi, is thus: Laudate pueri dom. laudate nomen dom. Memento do. Da. Magnificat anima mea dom. The Melody of the Verses in the answers of the Seventh Tone. The Melody in the beginnings of the Verses of the Seventh Tone.   

Of the Eight Tone.  
THe Eight Tone is a Rule determining the plagall of the fourth sort. Or it is the plagall Progression of the fourth, possessing the same end that his Authentic doth. The beginnings of it are D. F. G. a. and c. The chief form of it, is this following: Capital octavi. Dum ortus. justi confitebuntur.  
The tuning of the lesser Psalms out of Csolfaut, and of the greater out of Gsolreut, is thus: Laudate pueri dominum, laudate només do. Memento do. Da. Magnificat anima mea dom. The Melody of the verses in the answers of the Eight Tone. The Melody in the beginnings of the verses of the Eight Tone.   

Of the strange Tone.  
THere is another Tone, which many call the Peregrine, or strange Tone, not that it is of strange Notes, but that it is very seldom used in our Harmony. For his Tenor is not sung to any but to one Antiphone, Nos qui vivimus, etc. and to two Psalms, In exitu etc. and Benedicite. His end is in the final Note of the Seventh Tone, as Franchinus demonstrates it. The Tenor of it followeth: Peregrinus tonus. In exitu Israel de Aegy. domus jacob de pop. barbaro.    

THE THIRTEENTH CHAPTER.  

That divers men are delighted with divers Moods.  
EVery man's palate is not delighted with the same meat (as Pon. writes in the 16. ch. of his Music.) but some delight in sharp, some in sweet meats: neither are all men's ears delighted with the same sounds: for some are delighted with the crabbed & courtly wandering of the first Tone. Others do affect the hoarse gravity of the second: others take pleasure in the severe, & as it were disdainful stalking of the third: others are drawn with the flattering sound of the fourth: others are moved with the modest wantonness of the fifth: others are led with the lamenting voice of the sixth: others do willingly hear the warlike leapings of the seventh: others do love the decent, & as it were, matronall carriage of the eight. Neither is it marvel (saith Guido in the 13. cha. of his Mic.) if the hearing be delighted with the variety of sounds, seeing that the sight, is pleased with the variety of colours, the smelling power, with the variety of odours; & the taste, with diversity of meats. Wherefore let a physician diligently observe that he dispose his song in that Tone, wherein he knows his auditors are most delighted. As if he will compose a song at the request of young men, let it be youthful and frolic; If at the request of old men, let it be testy, and full of severenes. For as a writer of Comedies, if he give the part of a young man unto an old man, or the part of of a wanton fellow to a covetous person, is laughed to scorn: so is a singer if he bring in a dancing merry mood, when occasion requires sadness, or a sad one, when it requires mirth. Now by what means that may be performed, the property of the Moods declareth. Because (as Cassiodorus writes in an Epistle to Boêtius, & Coelius repeats it in antiq. lect. lib. 5. cap. 22.) The Darian Mood is the bestower of wisdom, and causer of chastity. The Phrygian causeth wars, and inflameth fury. The Eolian doth appease the tempests of the mind, and when it hath appeased them, lulls them asleep. The Lydian doth sharpen the wit of the dull, & doth make them that are burdened with earthly desires, to desire heavenvly things, an excellent worker of good things. Yet doth Plato lib. 3. de Rep. much reprehend the Lydian, both because it is mournful, and also because it is womanish. But he alloweth of the Dorian, both because it is manly, & also doth delight valiant men, & is a discoverer of warlike matters. But our men of a more refined time do use sometime the Dorian; sometime the Phrygian; sometime the Lydian; sometime other Moods. because they judge, that according to divers occasions they are to choose divers Moods. And that not without cause: for every habit of the mind is governed by songs, (as Macrob. writeth) for songs make men sleepy, and wakeful, careful, & merry, angry, & merciful, songs do heal diseases, & produce divers wonderful effects (as saith Fran. Petrac.) moving some to vain mirth, some to a devout & holy joy, yea ofttimes to godly tears. Of all which I had rather be silent, than to determine any thing rashly: lest I do burden the wits of children with unprofitable & unnecessary precepts. Because who so in expounding any thing doth pour on more than is needful, increaseth the darkness, and maketh not the mist thinner, as Macrobius saith in the second book upon the dream of Scipio. Therefore let learners study those few precepts, because they are necessary for the understanding of that which follows.    
Here endeth the first Book.   

TO THE WORTHY HIS kind friend George Brachius, a most skilful physician, and chief Doctor of the Duke of Wittenberg his Chapel: Andraeas Ornithoparchus of Meyning, wisheth health.  
WHen I had thoroughly ruminated of that saying of Plato, That we were not made for ourselves, but to do good to our Country, and friends, I was even out of heart) my most respected friend) even as if my powers had failed me, and as one strooken with amazement. And as that first Monarch of the Roman Empire, when he first saw Alexander's statue at Gades, lamented for that he himself had done nothing worthy the remembrance: even so I, because I have done no such thing, did even lament; considering that beauty, pleasures, age, health, and delicacies do fade away, Sed famam extendere factis, hoc virtutis opus. Wherefore after many hearty sighs, taking heart again (though I were tossed with many floods of Cares, many gusts of adversities, and many storms of divers perturbations) yet began I to think what I should leave to posterity for witness that I had lived. Now my mind being turned hither and thither, in the end I chose the learning of Harmony; both because it is fit for moral education, and also because it is the servant of God's praise. For amongst all Scholarlike Arts, (which they commonly call Liberal) none is more moral, more pleasant, more divine, than Music. Whereof although there be many Professors, yet be there very few writers (I know not whether it grow out of hatred to the Art, or their own slothfulness) that have delivered the Art in a good form. Hence is it, that excepting those which are, or have been in the Chapels of Princes, there are none, or very very few true musicans. Whereupon the Art itself doth grow into contempt, being hidden like a Candle under a bushel, the praising of the almighty Creatòr of all things decreaseth, and the number of those which seek the overthrow of this Art, doth daily increase throughout all Germany. By this occasion stirred up, & further relying upon your kindness, most worthy Sir, (a great testimony whereof you gave me, when I came from the University of Tubing, & turned in at your pleasant (indeed most pleasant house) which you have of your Prince's gift) I turned my pen to the writing of Mensural Music, having before written of Plainsong. And what flowers soever other men's volumes had in them, like a Bee I sucked them out, and mad: this second Book the hive to lay them up in. Now as I have dedicated it in your name, so do I subject it to your censure, that you may both mend those faults you find in it, and detect it from the barking of those who do commonly defame all good men. For having a fit judge of these things which I write, I do fitly submit myself to his Censure; even his whom already both my own experience hath found, and all Suevia doth acknowledge, and all high Germany doth honour, for a godly, upright, and learned man. Farewell, (most learned friend) and defend thy Andraeas from the tooth of Envy.   

THE SECOND BOOK of Ornithoparchus his Music: wherein are contained the Rudiments of Mensurall Song.  

THE FIRST CHAPTER.  

Of the Profit and Praise of this Art.  
BOêtius that Roman, (whose wit in Music no man ever mended; nay, never attained to, in the first Chapter of his Music) writes, That there is such efficacy in Harmonical Consents, as a man though he would, cannot want them. For Music driveth away those cares which drive away sleep, stilleth crying children, mitigateth the pain of those which labour, refresheth wearied bodies, reformeth appassionate minds. And every living soul is so overcome with Musical sounds; that not only they which are of the gallanter sort (as saith Macrobius) but even all barbarous Nations doeuse Songs, either such as stir them up to an ardent embracing of virtue; or do melt them in unworthy pleasures: and so are they possessed with the sweetness of Harmony, that by Music the Alarm to war is given, by Music the Retreat is sounded, as if the Note did both stir up, and after allay that virtue of fortitude. Now of the two, that Music which we call Mensurall, doth specially perform these effects. For this (as Isidorus saith) stirreth up not only men, but also beasts, serpents, birds, and Dolphins with the sweetness of the harmony. By this did Arion preserve himself in the middle of the sea; by this did Amphion the Dircaean gather together stones for building the Theban walls. By this did Timotheus the Phrygian so inflame Alexander Magnus, the Conqueror of the whole world, that he rise from the table where he sat, and called for his arms; and afterwards changing his Mood on the Instrument, did cause him to put off his armour, and sit down again to banquet. By this did David the princely Singer, help Saul the King of Israel, when he was vexed with an unclean Spirit; by this, not only the great God, the maker of all things, but also the furies of the Stygian God are delighted, appeased, and mitigated. For this is the Lady and Mistress of all other Arts; which can delight both those that be in Pluto's jurisdiction, and those that abode in Neptune's fields; and those that live in jupiters' eternally-lightsome Mansions. This Art only, leaving the earth, flieth up before the tribunal seat of the highest judge; where together with the Instruments of the Saints it soundeth, where the Angels and Archangels do incessantly sing Hymns to God, where the Cherubins, and Seraphins, cry with a continual voice, Holy, holy, holy. Besides, no Art without Music can be perfect: wherefore Pythagoras appointed his Scholars they should both when they went to rest, and when they awaked use Melodies. Besides, Music doth govern and sharpen the manners and fashions of men. For even Nero whilst he gave himself to Music, was most gentle, as Seneca witnesseth: but when he leaving of Music, and set his mind on the Diabolical Art of Necromancy, than first began that fierce cruelty of his; then was he changed from a Lamb to a Wolf, and out of a most mild prince transformed into a most savage beast. But lest I digress too far, and lest we proceed from unknown beginnings, I will briefly set down what this Music is. Therefore Mensurall Music is a knowledge of making Songs by figures, which are in form differing, and having the quantity of Mood, time, and Prolation: Or it is an Art, whose Harmony is effected by the variety of figures and voices.    

THE SECOND CHAPTER.  

Of the Figures.  
WHerefore a Figure is a certain sign which represents a voice, and silence. A Voice, (I say) because of the kinds of Notes which are used: Silence, because of the Rests which are of equal value with the Notes, and are measured with Artificial Silence.   

Of the number of the Figures.  
THe Ancients observed only five Figures, as principal Figures, and such as receive the quantity of the three Degrees of Music: Out of which after ages have drawn out others for quickness sake, according to that saying of Ovid: 
Ex aliis alias reparat natura figuras.   
The bodies of the Figures are of the form following.  
A Large is a figure, whose length is thrice as much as his breadth, having on the part toward your right hand a small tail, bending upward, or downward.  
A Long is a Figure, whose length is twice as much as his breadth, having such a tail as the Large hath.  
A Brief is a Figure, which hath a body foursquare, and wants a tail.  
A Sembreefe is a Figure, which is round in form of an egg, or (as Franchinus sayeth) Triangular.  
A Minime is a Figure like a Sembreefe, having a tail, ascending or descending.  
A Crotchet, is a Figure like a Minime in colour varying.  
A Quaver is a figure like a Crotchet, having a dash to the right hand-ward.  
A Semiquaver is a figure like a Quaver which hath two dashes, and thereby is distinguished from it, as thus:  
The Eight figural bodies. 


Large.  
Long.  
Brief.  
semibreve  
 
Minime.  
Crotchet.  
Quaver.  
Semiquaver.  
    
There is a certain Figure, in shape like a Minime, but joined with the number of Three, which is called Sesquialterata, because three are sung for two.  
Besides, a Figure which hath two tails, is as if it had none; because one doth hinder another.    

THE THIRD CHAPTER.  

Of Ligatures.  
WHerefore a Ligature (as Gaff. writes in the fifth chap. of his second Book) is the conjoining of simple Figures by fit strokes. Or (according to the strokes upward or downward) it is the dependence of the principal figures in straightness, or crookedness.   

General Rules for the Ligatures.  
FIrst, There are four ligable Notes, that is a Large, a Long, a Brief, and a semibreve.  
2 Every ligable Note, except a Large, may be figured with a twofold body, a square body, and a crooked.  
3 Every ligable Note is to be judged according to the ascension and descension, either of itself, or of the Note following.  
4 Every ligable Note is either beginning, middle, or final.  
5 The Accidents of simple Notes, say for example, alteration, imperfection, and the like (as Franchinus witnesseth) are also the Accidents of the bounden Notes.   

Rules for the beginning Notes.  
FIrst, Every Beginning (whether strait, or crooked) wanting a tail, when the second Note descends, is a Long.  
2 Every Beginning Note without a tail, if the second Note ascend, is a Brief.  
3 Every Beginning Note having a tail downward on the left side of it, is a Brief.  
4 Every Initial, howsoever fashioned, having a tail on the left side up-ward, is a semibreve, together with the Note next following; so that you need not care whether it ascend, or descend.   

Rules for the middle Ligatures.  
FIrst, Every Note betwixt the first and the last, is called middle.  
2 Every middle Note howsoever shaped, or placed, is a Brief.  
3 A Long may begin and end a Ligature, but can never be in the middle of it.  
4 A Brief may be in the beginning, middle, and end of a Ligature very fitly.  
5 A semibreve may be in the beginning, middle, and end of a Ligature: so that it have a tail in the left part upward.   

Rules for the final Ligatures.  
FIrst, Every last Note that is strait, and descends, is a Long.  
2 Every Final Note that is strait, and ascending, is a Brief.  
3 Every crooked Final whether it ascend or descend, is a Brief.  
4 A Large wheresoever it is set, is always a Large.  
The Examples of these Rules are in the following Tenor set out. Tenor Exercise of Ligatures. Base Exercise. Of Ligatures.    

THE FOURTH CHAPTER.  

Of Mood, Time, and Prolation.  
THe degrees of Music, by which we know the value of the principal figures, are three: to wit, Mood, Time, and Prolation. Neither doth any of them deal upon all Notes, but each only with certain Notes that belong to each. As Mood dealeth with Largs, and Longs; Time, with briefs; Prolation, with Semibreefes.  
A Mood (as Franchinus saith in the second Book, cap. 7. of his Pract:) is the measure of Longs in Largs, or of briefs in Longs. Or it is the beginning of the quantity of Largs and Longs, measuring them either by the number of two or the number of three. For every Figure is measured by a double value. To wit, by the number of Two, and so is called Perfect, because we make 3. perfect, and limit the imperfect by 2. Three, Imperfect,   

Of the Division of Mood.  
Mood (as it is here taken) is twofold; to wit, The greater, which is in the Largs and Longs, and the lesser, which is in the Longs and briefs. And each of these is divided into the perfect and imperfect.   

Of the greater Mood.  
THe greater perfect Mood is, when a Larg contains in it three Longs: or it is the measuring of three Longs in one Larg. The sign hereof is a perfect circle accompanied with the number of three, thus; O3. The greater imperfect is a Larg, comprehending in it two Longs: which is known by an imperfect circle, joined to the number of three, thus; C3.   

Of the lesser Mood.  
THe lesser perfect Mood is a Long having in it three briefs. Or it is the measuring of three briefs in one Long, whose sign is a perfect Circle, accompanied with the number of 2, thus; O2. But the lesser imperfect, is a Long which is to be measured only with two briefs. The sign of this is the absence of the number of 2. Or a Semicircle joined to a number of 2. thus; C2. O. C. as followeth:   

Of Time.  
TIme is a Brief which contains in it two or three Semibreefes. Or it is the measuring of two or three Semibreefes in one Brief. And it is twofold, to wit, perfect: and this is a Brief measured with three Semibreefes. Whose sign is the number of three joined with a Circle or a Semicircle, or a perfect Circle set without a number, thus; O3. C3. O. The imperfect is, wherein a Brief is measured only by two Semibreefes. Which is known by the number of two joined with a perfect Circle, or a Semicircle, or a Semicircle without a number, thus; O2. C2.   

Of Prolation.  
WHerefore Prolation is the essential quantity of Semibreefes: or it is the setting of two or three Minims against one semibreve. And it is twofold, to wit the greater, (which is a semibreve measured by three Minims, or the comprehending of three Minims in one semibreve, whose sign is a point enclosed in a sign thus, ) The lesser Prolation is a semibreve measured with two Minims only, whose sign is the absence of a prick. For Franchinus saith, They carry with them the imperfecting of the figure, when the signs are wanting, thus: Time perfect. Imperf. time. Greater Prol. Less Prolation.  
There was one well seen in this Art, that made this underwritten Example of these three degrees, reasonable learnedly and compendiously for the help of young beginners: which (by his favour) we will not think unworthy to set down here. The Tenor, in the lesser Mood perfect. The Descant, in the greater Prolation. The Base, in time perfect.    

THE fifth CHAPTER.  

Of the Signs.  
THough there be such dissension betwixt musicans about the Signs, such confusion of rules and examples, that even to a perfect physician they seem to breed doubts: so that Plutarch (a man furnished with all learning) saith in that Book, which he wrote of Music: In our time, the form of difference hath so much increased, and so far varied from the Custom of our Ancestors, that there is no mention, no precept, no certainty of Art left. And also though we be not to make a definitive sentence in doubtful matters, but rather to hold question: yet that young beginners, which are desirous to learn this Art, may not be either discouraged from proceeding, or misled, leaving those things which more unusual, we will briefly show those things which are in use amongst those musicans, who now are in credit: by seeking out that doubt of the circle and number, which was among the Theoricks. Therefore a sign is, a certain figure set before a Song, which showeth the Mood, Time, and Prolation.   

Of the Divisions of Signs.  
OF Signs some be principal, and some less principal: The principal are those, which are fit for the understanding of Mood, Time, and Prolation. And they are twofold, to wit, extrinsical, and intrinsical: extrinsical are those called, which do outwardly present themselves, and show the degrees of Music, as Number, a Circle and a Point.   

Rules for the extrinsical Signs.  
FIrst, A Circle set alone by itself showeth time: if it be perfect it shows perfect time, if imperfect, imperfect time. When it is joined to a number, it signifies the Mood.  
2 A Circle accompanied with the number of 3. doth represent the greater Mood, but joined with a number of 2. the lesser.  
3 Wheresoever is the greater Mood, there is the less, but not contrarily.  
4 The number of three joined to a Circle, is a sign of the perfect time: but the number of two, of the imperfect.  
5 A point enclosed in a sign of time noteth the greater Prolation, thus: 
Of Signs, some be 


O3 of the greater Mood Perfect of the perfect time. C3 Imperfect  
O2 of the lesser Mood Perfect the time imperfect. C2 Imperfect  
the greater Prolation Perfect Time. Imperfect  
O Time Perfect in the lesser Prolation. C Imperfect      
But when out of the mingling of three principal Signs, to wit; of the number, circle, and point, there be divers signs made, that you may the easilier have the knowledge of them, and every figure may have his value, I thought good in this form following to set down a Table, by which you might at first sight iudg of the value of any figure, though placed in any sign.   

A Resolutorie Table, showing the value of the Signs, by the beholding of every figure.  
  

Of the Intrinsical Signs.  
THe intrinsical signs are those, by which the perfection of Musical degrees in the figures is showed, without the adjoining of any of the extrinsical Signs. Of these there are three, to wit;  
1 The invention of a rest of three times. For when in a Song, there is found a Rest which toucheth three spaces, it signifies the less perfect Mood. If it touch two, it showeth the greater perfect. For saith Franchinus; It is not unfit, that two Rests of three Times be adjoined to the greater Mood, if one be adjoined to the lesser.  
2 The blacking of the Notes. For as oft as you find three Longs coloured, the lesser perfect Mood is signified. When three briefs, the perfect time. When three coloured Semibreefes, the greater Prolation.  
3 The doubling of certain Rests. For as oft as two Semibreefe Rests are placed with a semibreve, the perfect Time is signified. So by two Minims with a Minime Note, the greater Prolation, thus; The greater Mood. The lesser Mood. Time perfect. The greater Prolation.   

Of the less principal Signs.  
THe Signs less principal are those, which are not necessary for the knowledge of Mood, Time, and Prolation. And these are divers, as you may plainly see in the quadrate following. Repetition. Convenience. Concordance Aspiration. b Moll. Dealbation. Cardinalis.    

THE sixth CHAPTER.  

Of Tact.  
WHerefore Tact is a successive motion in singing, directing the equality of the measure: Or it is a certain motion, made by the hand of the chief singer, according to the nature of the marks, which directs a Song according to Measure.   

Of the Division of Tact.  
TAct is threefold, the greater, the lesser, and the proportionate. The greater is a Measure made by a slow, and as it were reciprocal motion. The writers call this Tact the whole, or total Tact. And, because it is the true Tact of all Songs, it comprehends in his motion a semibreve not diminished: or a Brief diminished in a duple.  
The lesser Tact, is the half of the greater, which they call a Semitact. Because it measures by it motion a semibreve, diminished in a duple: this is allowed of only by the unlearned.  
The Proportionate is that, whereby three Semibreefes are uttered against one, (as in a Triple) or against two, as in a Sesquialtera. Of this we shall speak more at large in the Chapter of proportions.   

A Rule for Tact.  
A semibreve in all Signs (excepting the Signs of Diminution, augmentation, and proportions) is measured by a whole Tact, as in the example following appeareth: 
The Table of Tact resolved.     

THE SEVENTH CHAPTER.  

Of Augmentation.  
BEcause in the Chapter before going, we have made mention of Augmentation and Diminution, therefore lest we proceed from unknown things, we will show what each is.  
Therefore Augmentation is the making of more Notes in a Song: or it is the excrement of some Note. For in it is put a Minime for a semibreve; a semibreve for a Brief; a Brief for a Long.   

By what signs you shall know Augmentation.  
OF Augmentation therebe 3. Signs. The first is, the fewness of the Notes in one part of the Song.  
The second is, the adjoining of the Canon, by saying, Let a Brief be a Large, let a semibreve be a Long, let a Minime be a Brief. Or let it increase in Duplo, Triplo, vel hexagio, etc.  
The third is, a point in the Sign of time, found only about one part of the Song: One I say, for if it be found about all, it is not a sign of Augmentation, but of the greater Prolation.   

Rules of the Augmention.  
FIrst, Augmentation is the contradiction of Diminution.  
2 In Augmentation the Minime figure is measured with an whole Tact.  
3 Betwixt Prolation and Augmentation, there is this difference, Augmention sounds one Minime to a Tact; Prolation sounds three, that is a perfect semibreefe: which then is measured with a proportionate Tact.  
4 The Rests are diminished and augmented, as well as the Notes.  
5 Augmentation must seldom be, but in the Tenor.  
6 A Large is not augmented, because it hath none greater than itself, whose value it may assume. Therefore they are in an error, which say there are 81. Tacts in a Large which is set under such a sign ☉ 3: because a Large neither grows to above 27. Tacts, nor admitteth any thing greater than itself, because it is the greatest, than which there is nothing greater. Besides as in nature, so in Art it is in vain to place a nothing: therefore should a Large be in vain augmented, because no Song was ever found of so long time, that 81. Tacts might be Sung in an Unison.  
7 Augmentation comprehends under itself all the kinds of Notes excepting a Large, for which point mark the example following: Augmentation. The greater The Bariton or Base, Prolation. under the sign of Semiditie. The greater Prolation.   

What a Canon is.  
BEing we have made mention of a Canon, lest I hold the learner in a mammering, I will show what a Canon is.  
A Canon therefore is an imaginary rule, drawing that part of the Song which is not set down out of that part; which is set down. Or it is a Rule, which doth wittily discover the secrets of a Song. Now we use Canons, either to show Art, or to make shorter work, or to try others cunning, thus;    

THE EIGHT CHAPTER.  

Of Diminution.  
DIminution, which is more truly called syncopation, is the varying of Notes of the first quantity, as writeth Fran. li. 2. Pr. 14. Or it is a certain cutting off of the measure. For as in Grammar we say saecla for saecula, so in Music we do curtal the natural and essential measure of the Notes by this syncopation. Therefore generally it shall be called syncopation, not Diminution, because it is a kind of syncopation.   

Of the kinds of Syncopations.  
OF this there be two kinds; Semiditie, and Diminution. Semiditie is the middle of the chief measure of Notes, which can be placed only in an imperfect time, which hath these Signs, O2. C2. . . .  
For in all these, the half of the measure is put off by the dash properly, and by the number, for so much as it hath of Duple proportion. Therefore Erasmus Lapicida doth well in placing one number under another in all these signs, thus; O2/1. C2/1.  
For proportion is the relation of two quantities, not of one, as elsewhere we will more largely show.   

Of Diminution.  
DIminution (as the Ancients thought) is the taking away of the third part from the measure. But the opinion of the Moderns, is more true and laudable, which make no difference betwixt Diminution and Semiditie, as joan: Tinctoris, of all that ever excelled in Music the most excellent writer, and Franchinus Gafforus lib. 2. cap. 14, have positively set down.  
Therefore Diminution is the cutting off of the half part in the measure, nothing differing from semiditie, but that it is found in perfect Signs, and in figures which are to be measured by the number of 3. Wherefore I cannot but scorn certain Componists (for so they will be called) though indeed they be the Monsters of Music) who though they know not so much as the first Elements of the Art, yet proclaim themselves, The musicans or musicans, being ignorant in all things, yet bragging of all things, and do (by their foolish toys which contrary to the majesty of the Art, they have gotten an habit of, rather by use, than wit) disgrace, corrupt, and debase this Art, which was in many ages before honoured, and used by many most learned, (and to use Quintitians words) most wise men: using any Signs at their pleasure, neither reckoning of value, nor measure, seeking rather to please the ears of the foolish with the sweetness of the Ditty, than to satisfy the judgement of the learned with the majesty of the Art. Such a one know I, that is now hired to be Organist in the Castle at Prage, who though he know not (that I may conceal his greater faults) how to distinguish a perfect time from an imperfect, yet gives out publicly, that he is writing the very depth of Music: and is not ashamed to say, that Franchinus (a most famous writer, one whom he never so much as tasted of) is not worth the reading, but fit to bescoffed at, & scorned by him. Foolish bragging, ridiculous rashness, gross madness, which therefore only doth snarl at the learned, because it knows not the means how to emulate it. I pray God, the Wolf may fall into the Toils, and hereafter commit no more such outrage; nor like the Crow brag of borrowed feathers. For he must needs be counted a Dotard, that prescribes that to others, the Elements whereof himself never yet saw. As Phormio the Greek Orator (in Tully's second Book de Orat.) who having before Antiochus the King of Asia, (in the presence of Hannibal) made a long Oration of the duty of a General, when as he himself had never seen Camp, not arms, and had made all the rest to admire him, in the end Hannibal being asked, what his judgement was of this Philosopher, his answer was, That he had seen many doting old men, but never any man that doted more, than Phormio. Now come I to the matter, and leave these unlearned ridiculous Phormio's, many whereof (the more is the shame) have violently invaded the art of Music, as those which are not compounders of Harmonies, but rather corrupters, children of the furies, rather than of the Muses, not worthy of the least grace I may do them. For their Songs are ridiculous, not grounded on the Principles of the Art, though perhaps true enough. For the Artist doth not grace the Art, but the Art graceth the Artist. Therefore a Componist doth not grace Music, but contrarily: for there be that can make true Songs not by Art, but by Custom, as having happily lived amongst singers all their lifetime: yet do they not understand what they have made, knowing that such a thing is, but not what it is. To whom the word our Saviour used on the Cross, may be well used; Father pardon them, they know not what they do. Wherefore allow of no Componists, but those, who are by Art worthy to be allowed of: now such are joan. Okeken, joan: Tinctoris, Loyset, Verbonet, Alex: Agricola, jacobus Obrecht, josquin, Petrus de Larue, Hen: Isaac, Hen: Finck, Ant: Brummel, Mat: Pipilare, Geor.: Brack, Erasmus Lapicida, Caspar Czeys, Conradus Reyn, and the like: whose Compositions one may see do flow from the very fountain of Art. But least by laughing at these fellows we grow angry, and by being angry grow to hate them, let us even let them alone, and return to Diminution.  
A Table for the Tact of Diminution.   

By what signs Diminution is marked.  
NOw Diminution is marked by three ways, to wit: By a Canon, by a Number, and by a Dash. By a Canon, saying; It decreaseth in Duplo, Triplo, and Quadruple, and such like.  
By a Number, for every number adjoined to a Circle, or a Semicircle, besides that which essentially it betokens, doth also diminish according to the naming of his figure. As the number of 2, being placed with a whole Circle besides the time, which it betokens to be imperfect, doth also signify a duple Diminution, the number of three a Triple, the number of four a Quadruple, and so forth.  
By a Dash, to wit, when by a Dash, the sign of Time is divided, thus; . . . .   

Rules of Syncopation.  
FIrst, Syncopation belongeth to the measure of Time, not to the figures themselves.  
2 Syncopation doth respect both the Notes, and the Rests.  
3 Syncopation doth not take away the value, but the measure of the Notes.  
4 The number doth not diminish Prolation, because it cannot work upon the prick, whilst a Circle doth keep it.  
5 Betwixt Diminution and Semiditie, there is no difference of Tact, or Measure, but only of nature.  
6 Diminution is the contradiction of Augmentation.  
7 It is not inconvenient, that to the same Sign there may belong a double Diminution, to wit; virgular and numeral, thus; 2.  
8 Virgular Syncopation is much used, Numeral seldom, Canonical most seldom: the Example therefore following is of the first, and the second. The Rule of Semiditie in Diminution. Syncopation by number.    

THE NINTH CHAPTER.  

Of Rests.  
Arrest (as Tinctoris writeth) is the Sign of Silence. Or (as Gafforus saith) it is a figure which showeth the Artificial leaving off from singing: Or it is a stroke drawn in line and space, which betokens silence. Now Rests are placed in songs after three manners, to wit; Essentially, judicially, and both ways. Essentially, when they betoken silence. judicially, when they betoken not silence but the perfect Mood: and then their place is before the sign of Time. Both ways, when they represent both.   

Rules for the Rests.  
FIrst, There be as many kinds of Rests, as of Notes.  
2 The Rest, which toucheth all the spaces, is general, where all the voices cease together, and is only to be placed in the end.  
3 The rest which takes up three spaces, is called of the Mood, which it betokens, and is to be placed only in a perfect Mood.  
4 A Rest, which doth conclude two spaces, is called an imperfect Long.  
5 A Rest, which takes up but one space, is a Brief betokening one Time▪ whether perfect or imperfect.  
6 A Rest, descending from the line to the middle of the space, is called a semibreve.  
7 A Rest, ascending from the line to the middle of the space, betokens a Minime, or a sigh.  
8 A Rest, like a sigh, being forked to the right hand-ward, betokens a Crotchet.  
9 The Rests of the two last figures, because of their too much swiftness, are not in use among musicans. Rests general. Larg. Long. Brief. semibreve. Minim. Crotchet.    

THE TENTH CHAPTER.  

Of Pricks.  
WHerefore a Prick is a certain indivisible quantity, added to the Notes, either for Division, or for Augmentation, or for Certainty sake. Or it is a certain Sign lesser than any other accidentally set either before, or after, or between Notes.   

Of the Division of a Prick.  
Out of this Definition, there are collected three kinds of Pricks, to wit: That of Addition, and that is the Augmentation of the figures. Or it is the perfection of imperfect Notes. This is set in the middle on the right side, and is found only in imperfect Signs, and doth augment the Notes to which it is added, the half of his own value, as in the Example following appeareth. Tenor point of Addition. The Base is the same.   

Of the Prick of Division.  
THe Prick of Division is the disjoining of two Notes, neither taking away nor adding any thing, but distinguishing two Notes by reckoning the first with the former, & the second with the following Notes, to the end that the ternary perfection in Notes may be had. Here the Prick in perfect degrees, is joined not to perfect figures, but to their near parts, neither is adjoined to the middle of the side, as that of Addition, but a little higher, or lower about the middle of the Notes, which it divides, thus: The Prick of Division in the Tenor. Also in the Base.   

Of the Prick of Alteration.  
THe Prick of Alteration, was observed more by the Ancients, than the later musicans. Yet lest it may breed some doubt to the Singer, that shall light on it by chance, it is not amiss to speak somewhat of it. Therefore the Prick of alteration is the repeating of Notes, which doth accidentally befall them, not as they are perfect, but as their parts neighbouring the perfect. Now is it set neither on the one side, nor upward, nor downward, but directly over the Note, which it altars, as in this Example appeareth. The Prick of Alteration in the Tenor. Also in the Base.  
There are beside these, two other kinds of Pricks; to wit, of perfection. And this is a Prick set after a perfect Note; neither increasing not diminishing it, but only preserving it from being imperfected by the following Note. It is set as the Prick of Addition, but differs from it, because it is always, and only placed about perfect Notes.  
There is another Prick of Transportation, adjoined to Notes, which it doth translate to be reckoned with figures removed further off: and this doth direct his force not upon the precedent Notes, but only upon the following ones, thus; The Prick of perfection or Transportation in the Tenor. Also in the Base.    

THE ELEVENTH CHAPTER.  

Of Imperfection.  
WHerefore Imperfection is the degrading of perfect Notes. For to imperfect is to make a perfect Note imperfect. Or it is this, to bring itfrom his value.   

Of twofold Imperfection.  
IMperfection is twofold: to wit, total, when precisely the third part of the value is taken from the Notes: as when in perfect time a Brief is imperfected by a semibreve. Or partial, when not precisely the third part, but a less than that, say a sixth part, or so, is taken from the Notes: as when a long of the imperfect Mood, but in the perfect time, where it is valued at two briefs, is imperfected by a semibreve, in regard of the Brief in it contained: and as a Brief by a Minime in the greater Prolation.   

By what Signs Imperfection is known.  
OF Imperfection there be three Signs, (as writeth Franchinus li. 2. Pract. cap. 11.) to wit, numeral Imperfection, punctual Division, and fullness of the Notes.   

Rules of Imperfection.  
FIrst, There is four Notes which may be imperfected, to wit, a Larg, a Long, a Brief, a semibreve.  
2 Every figure, which may be imperfected, is alway to be considered in the number of his perfect quantity.  
3 That which is once imperfect, cannot be more imperfected.  
4 Every figure that may be imperfected, is greater than the imperfecting figure.  
5 Imperfection is made not only by the near parts of the Notes, but also by the removed parts. As a perfect brief can be imperfected, not only by a semibreve, which is the near part, but also of two Minims, which are remote parts of it.  
6 Two neighbouring parts of one perfect figure do not imperfect it, but only one: although two removed ones may do the same. Wherefore if you find two semibreve Rests after a perfect Brief, it shall remain perfect, unless punctual Division come between.  
7 Every less figure being superfluous doth imperfect the greater going before, not the following one: unless it happen by reason of the Prick of Division, Perfection, or Transportation.  
8 A Note of one sort coming before his like is not imperfected, whereby every figure that is to be imperfected, must be put before a figure that is greater, or less than itself.  
9 The greater Note doth not imperfect the less, nor an equal Note an other equal Note.  
10 The figure which doth imperfect another figure, takes so much from it, as itself is valued at.  
11 A Rest is not imperfected, but doth imperfect.  
12 A Ligature doth never imperfect, but is imperfected.  
13 A Larg doth nothing, but suffereth only in Imperfection.  
14 A Minime doth, and never suffereth in Imperfection.  
15 A Long, Brief, and semibreve do imperfect, and are imperfected.  
16 Every Imperfection is either before or behind: Before, as when the imperfecting Note doth go before the Note that is imperfected: Behind, as when it followeth. There be that think it is caused both ways in partial Imperfection.  
17 That Imperfection, which is caused before and behind, is caused not by the neighbouring, but by the remote parts.  
18 All Imperfection is caused either by the Note, the Rest, or the colour. By the Note, to wit, when a figure of a lesser kind is placed before or after a perfect Note, and so imperfects it, thus: Tenor. Base.  
By a Rest, to wit, when a Rest of a less kind is found before or after a perfect Note: but the Rest cannot be imperfected, as thus: Tenor. Base.  
By Colour: when in the perfect figures you find Colour, the Notes are Imperfect; because their third part is taken away, thus: Tenor. Bassus and his Position.   

Of Colour.  
Wherefore Colour in this place is nothing, but the fullness of the Notes: Or, it is the blacking of the principal figures: the force whereof is such, that it takes away the third part of the value from figures placed in their perfect quantity: and from imperfects sometime it takes away the fourth part, sometimes it makes them of the Hemiola proportion. Wherefore I thought good to place here a Table of the perfect figures coloured. Wherein note this, that the void spaces do show that that figure, over which they are placed, is not to be coloured in that sign. But the Spherical figure (which the learned call the figure of nothing) declares that the figures may be coloured, yet that they have not the value of one Tact.  
Colour is oftentimes found among most of the learnedst, neither to take away nor to add any thing: but specially, when to remove Alteration; it is placed in the neighbouring parts of perfect figures, thus: Tenor. Base.  
Most commonly the Colour doth cause a Duple proportion in the imperfect figures, (as Franchinus saith. lib. 2. cap. 11.) which Henry Isaac in a certain Alleluia of the Apostles, did thus both wittily, and truly dispose. Tenor. Base.    

THE twelve CHAPTER.  

Of Alteration.  
ALteration according to joannes de Muris, is the doubling of a lesser Note in respect of a greater, or (as Tinctor saith) it is the doubling of the proper value. Or it is the repetition of one, and the self-same Note. And it is called Alteration, Quasi alter a actio, it is another action, to wit: A secondary singing of a Note, for the perfecting of the number of three.   

Rules of Alteration.  
FIrst, There be four Notes, which may be altered, (saith Franchinus lib. 2. cap. 13.) a Long, a Brief, a semibreve, and a Minime.  
2 Alteration doth exclude the Larg, and is limited by a Minime, because a Larg hath not a greater than itself, whose neighbouring part it may be: and the less figures are not to be reckoned after the number of three.  
3 Alteration happens in numbers which be not perfect, but are parts neighbouring to perfect Notes, because a perfect Note in as much as it is a perfect Note is not liable to Alteration.  
4 Only the Notes are altered, not the Rests.  
5 Alteration falleth upon the second Note, not upon the first.  
6 Every altered Note containeth itself twice.  
7 A like Note is not altered before a like Note.  
8 Alteration only falls out in perfect degrees.  
9 Alteration comes for want of one Note, when you have reckoned after the Ternary numbering.  
10 As oft as two alterable Notes are placed betwixt two imperfectible Notes without a Prick of Division: the second is always altered, as the Example following doth show. Altera. Tenor. Altera. Base.  
11 If a Rest together with the figure, to which it is of equal value, be enclosed betwixt 2. perfect notes; them either the rest goes before the figure, or followesit; if the Rest go before, the figure is altered: if otherwise, there is no place for Alteration, because the notes only are altered, & not the Rests. Beside Alteration falls always upon the second, and not upon the first, thus: Tenor. Base.  
12 Alteration is taken away by the fullness of the notes; and by the Prick of Division. In Ligatures also Alteration is kept, as in the following Example is clear. Tenor. Base.  
13 As oft as three alterable Notes are shut within two imperfectible Notes, both the imperfectible shall remain perfect, and none of the alterable Notes is altered: because the ternary number is every where perfect.    

THE THIRTEENTH CHAPTER.  

Of Proportion.  
WHerefore Proportion is the nature of two compared together in one univocal thing. univocal I say, because in aequivocals there is no comparison: for a still and a loud voice are not compared. Whence is it, that proportion is properly called, when it is found in those things, which are equal and unequal, like and unlike. Or according to Euclid; it is a certain disposition of two quantities how big soever, (being of the same next Genus) one to the other. Hence is it that things continuate and discreet, although they be contained under the same Genus of quantity, yet are not compared, because they are remote, not near.   

Of the Division of Proportion.  
PRoportions are some of equality, some of inequality. That of equality is the Relation of two equal quantities. For that is equal, which is neither greater, nor less than his equal. That of inequality, is the disposition of two unequal quantities. For that is called inequal, which being in Relation with another is either greater or lesser than it.   

What Proportions is fit for musicans.  
BEcause the dissimilitude, and not the similitude of voice doth breed Harmony: therefore the Art of Music doth only consider of the Proportion of inequality. This is twofold; to wit, the Proportion of the greater or of the less inequality. The Proportion of the greater inequality, is the relation of the greater number to the less, as 4. to 2. 6. to 3. The Proportion of the lesser inequality is contrarily the comparison of a less number to greater, as of 2. to 4. of 3. to 6.   

Of the 5. kinds of Proportions.  
OF the Proportions of the greater inequality, there be 5. Kinds, to wit; Multiplex, Super particular, Super partiens, and those be simple: the compounded are the Multiplex Super particular, & the Multiplex Super partiens.  
To these are opposed 5. other kinds of the lesser Inequality (saith Franchinus) and having the same names with the Preposition Sub, only set before them: as Submultiplex, etc.  
But seeing that Multiplex Proportio hath chief force in Musical Consonances, and next to that the Super particular, and the Super partiens with the two following none, we do therefore abandon the Super partient with the rest following, as unworthy of the Harmonical Consort, and do receive the two foremost only.   

Of the Multiplex kind.  
THe Multiplex Proportio, is both more excellent, and more ancient than the rest, as when a greater number being in Relation with a less, doth precisely comprehend the whole lesser number more than once, as say, twice, or thrice. The kinds of this will be infinite, if you compare each number with an unity, as in the following quadrate you may see. Dupla. Trip. Quadru. Quintu. Sexiu. Septu. Octup. Nonu. Decu.  
To this foresaid kind is opposed the first kind of the lesser Inequality, called Submultiplex. The one of these destroyeth the other; and this kind, making the same Relation of an unity to other numbers, doth produce out of itself the same Species which a Multiplex doth, and Species of the same names, by adding the Preposition Sub, and is produced in this manner. Sub Sub Sub Sub Sub Sub Sub Sub Sub dup. trip. quadr. quintu. sextu. septu. octu. nonu. decu.   

Of the Superparticular Kind.  
SVperparticular, the second kind of Proportions is, when the greater number being compared with the less, doth comprehend it in itself once, & besides some such part of it. Some such part (I say) which being often taken doth make precisely the whole greater number. Of this kind the sorts are innumerable, if you reckon each of the numbers, taking away an unity, with the next lesser, in manner following. Sesqui Sesqui Sesqui Sesqui Sesqui Sesqui Sesqui Sesqui altera. tertia. quarta. quinta. sexta. septima. octa. nona.  
The opposite to this, is Sub superparticular, the second kind of the less Inequality: which doth produce the same Species, which the former doth, with the same names, the Preposition (Sub) being adjoined: if you will compare each of the lesser numbers (an Unity I always except) with the greater neighbouring, as here followeth the manner. Subsesquialtera. subsesquiterta. subsesquiquarta. subsesquiquinta. subsesquisexta. subsesquiseptima. subsesquiocta. subsesquinona.   

By what means Proportion is made of equality, and consequently one Proportion out of another.  
WHen you will make a Proportion out of Equality, and one proportion out of another, you shall thus truly work it by this Rule of Boëtius, Disposing three equal numbers, say unities, or any other, let three other be placed under them, so that the first may be even with the first; the second with the first, and the second; the third, with the first; the two seconds, and the third, and you shall find it a Duple, thus: Duplae. Duplae. Duplae.  
Now if you will make Triples, placing the Duplaes, which you have made in the higher rank, let three numbers be placed underneath, according to the Tenor of the foresaid Rule, and you have your desire; thus: Triplae. Triplae. Triplae.  
Now if we place these Triples, which we have thus found in the upper rank, we shall produce Quadruples, by the concordant, and regular opposition of the numbers unwritten, of quadrupla's, Quintuplaes; and also out of quintupla's, Sextuplaes, and so forward infinitely. Quadruplae. Quintuplae. Sextuplae.  
And if out of dupla's, you will create Sesquialteraes, inverting the numbers of the Duplaes, so that the greater may be first, and the lesser succeed in a natural order: let there be under placed three other numbers, as often as the said Rule requireth, and you have that, as followeth. Sesquialterae. Sesquialterae. Sesquialterae.  
Now as of Duples you make Sesquialteraes, so of Triples you may make sesquitertiaes, and of quadrupla's sesquiquartaes, by converting the numbers, as was said of sesquialteraes, and so you may go infinitely, in manner following. Sesquitertiae. sesquiquartae. sesquiquintae.   

Out of what Proportions Musical Concord's are made.  
THe Proportions, which make Musical Consonances, are six, (as Boêtius and Macrobius witness) three in the Multiplex Kind, to wit, the Dupla, Tripla, Quadrupla: 3 in the super particular, to wit; sesquialtera, sesquitertia, & sesquioctava. Of which specially the allowed intervals of Music are compounded (as saith Plutarch.) Where relinquishing others, we thought fit to make plain by short precepts and examples these only, which consist and are described in Notes. So keeping the natural order, we will begin with the Dupla, because it is both worthier and better known, than the rest.   

Of the Duple Proportion.  
DVpia Proportio, the first kind of the Multiplex, is when the greater number being in relation with the less, doth comprehend it in itself twice: as 4. to 2: 8. to 4. But Musically, when two Notes are uttered against one, which is like them both in nature and kind. The sign of this some say is the number of 2: others (because Proportion is a Relation not of one thing, but of 2) affirm that one number is to be set under another, thus; And make no doubt but in all the rest this order is to be kept. Tenor Duplae. Bassus duplae.  
I would not have you ignorant, that the duple Proportion, and all the other of the Multiplex kind, are marked by certain Canons, saying thus, Decrescit in duplo, in triplo, and so forth. Which thing because it is done either to increase men's diligence, or to try their cunning, we mislike not. There be that consider the whole Proportion in figures, which are turned to the left hand-ward with signs, and crooks, saying, that this C. is the duple of this . and this of and in Rests that this is the duple of this I think only upon this reason, that Franchinus pract. lib. 2. cap. 4. faith that the right side is greater and perfecter than the left: and the left weaker than the right. Against which opinion neither myself am. For in Valerius Probus a most learned Grammarian in his interpretation of the Roman letters saith, that the letter C. which hath the form of a Semicircle signifies Caius the man, and being turned, signifies Caia the woman. And Fabius Quintilianus in approving of Probus his opinion saith; for Caius is showed by the letter C. which being turned signifies a woman: and being that men are more perfect than women, the perfection of the one, is declared by turning the Semicircle to the right hand, & the weakness of the other by turning it to the left. By this occasion the musicans thought fit to take away the half left side from the right, thus;   

Rules of Proportions.  
FIrst, Every Proportion is either taken away by the coming of his contrary proportion, or is broken by the interposition of a sign. As by the coming of a subduple, a dupla is taken away, and so of others.  
2 Every Proportion respecteth both Rests and Notes.  
3 Every Proportion of the great Inequality doth diminish the Notes and Rests with his natural power: but the Proportion of the less Inequality doth increase them.  
4 Alteration and Imperfection are only in those Proportions, which are in perfect degrees, neither are they in all figures, but in those only, which those degrees do respect with their perfection, or to which these accidents besides the Proportion do belong.  
5 The sesquialtera Proportion doth exclude the ternary perfection of figures, unless they have it from a sign. Wherefore when the sign denies it; they receive neither Alteration, nor Imperfection.   

Of the Triple.  
THe Triple Proportion, the second kind of the Multiplex is, when the greater number, being in Relation with the less, doth comprehend it in itself 3. times, as 6. to 2: 9 to 3. But Musically, when three Notes are uttered against one such, which is equal to it in kind. The sign of this is the number of three set over an Unity, thus; Tenor Triplae. Bassus Triplae.   

Of the Quadrupla.  
THe Quadrupla is the third kind of the Multiplex, and is, when a greater number doth comprehend a less in itself four times, as 8. to 2▪ 12 to 3. But Musically, when 4. Notes are sounded to one: the signs of it are these as thus: Tenor Quadrupla. Bassus Quadruplae.   

Of the Sesquialtera.  
THe Sesquialtera is the first sort of the Super particular, and is, when a great number doth comprehend a less once, and some other part of it: as 6. to 4: 9 to 6. But Musically, when three Notes are sounded against two of the same kind: the as in the Example following. signs of it are these; Tenor Sesquialterae. Bassus sesquialterae.  
There be, which add the colour to the figures which are made sesquialterate by the Characters of the numbers: and contrarily sesquialterating the sesquialteraes. And these men (as Franchinus witnesseth) have this fault, that they make of two sesquialteraes, not a duple sesquialtera, (as they think) but a duple sesquiquarta. Some put Imperfection & Alteration in the sesquialterates of the imperfect time, measuring a Brief Rest with one Tact: although in the Notes they set 3 semibreefes in one Tact. But upon what ground they do it, excepting of an ass-headed ignorance, I know none. For Imperfection admits not the Imperfection and Alteration of signs, neither doth Proportion exclude Rests.   

Of the Sesquitertia.  
THe Sesquitertia Proportion, which they call Epitrite, because it is made by an Epitrite, Macr. saith, it is when the greater number of Notes, doth contain the lesser in itself, & besides his third part: as 4. to 3: 8 to 6: 12. to 9 But Musically, when 4. Notes are sounded against 3. which are like themselves. The signs of it are these, There be that ascribe an inverted semicircle to this Proportion, but Tinctor seems to be against that. Tenor sesquitertiae. Bassus sesquitertiae.   

Of the sesquioctava.  
THe sesquioctava Proportion is, when a greater number being compared with a less, doth comprehend it once, and with it his 8 part, as 9 to 8: 18 to 16. But Musically, when 9 Notes are sung to 8, which are like themselves. The sign of it is the number of 9 set over 8, thus; Tenor sesquioctavae. Bassus sesquioctavae.  
There are beside, who (because the value is diminished by adjoining the colours) do consider the Sesquialtera by the fullness of the Notes; which also they call Hemiola. For Hemiola is that, which Sesquialterá is, saith Aulus Gellius lib. 19 cap. 14. Yet this blacking of the Notes, is accidental to it never, but under the imperfect quantity, as Franchinus writeth. Tenor Hemiolae. Bassus Hemiolae.  
Though there be many other kinds of Proportions, which the musicans do observe in Harmonical Consent, yet have I omitted all these for briefenesie sake, least children (for whom this Book is made) should have their wits rather clogged than helped hereby. Therefore the learned may pardon me, because this is written for them that are hungry, not for those that have a delicate maw. Yet (by the grace of God) all that now for brevity sake, or upon other occasions I now omit, shall be painfully set down in a greater volume with more diligence and care. Mean while, I entreat young men to exercise themselves with these small precepts, that when they are to go to higher matters they may be fit.    
The end of the second Book.   

TO PHILIP SURUS OF MILTENBURGH A SHARPWITTED MAN, MASTER OF Art, and a most cunning physician, Chappel-Master to the Count Palatine the Duke of Bavaria: Andraeas Ornithoparchus of Meyning, sends greeting.  
MOst dear Philip, in that a man is the most worthy of all Creatures, a creature made like to God, by nature mild, of stature upright, provident, wise; of memory, witty; by reason, susceptible of Laws and learning; by his creators great gift, far preferred before all unreasonable Creatures in all things, but specially in two, to wit, Speech and Reason; it follows that Ignorance in him is so much the fouler fault, by how much he is more worthy than other Creatures. Now this as it is a fowl shame for all men, so for Scholars it is the foulest disgrace: the course of whose life is ordained for this, that by living well they may show others an example of good fashions, learning and honesty, increasing fervent Faith in the people, and (which is their chiefest Office, by praising God in Hymns and songs, stirring up devotion in the hearts of the faithful.  
By observation whereof (most kind friend) I was stirred up to help learners in that kind also, and after the handling of Consent, which in the former books we have delivered, to deliver the Ecclesiastical Accent. A matter surely hard, because it requires both a Grammarian and a physician, and also because it is to be had rather by use than by writing: and further because either none or very few men have handled this point: by this difficulty the work was a while hindered from seeing the light; now being set out and perfected, I commit it to your tuition, and subject it to your censure, beseeching you both to mend the errors you find in it, and to defend it from the invasion of envious men: because thou art able, learned, godly, and besides other gifts of nature, hast an elegant style, a sweet vain, and in singing a graceful cunningness, wherein thou dost exceed thy fellow-Musitians, in entertaining strangers (as I to your cost found) a liberal humour. Whence it is come to pass, that all the Masters of the Budorine university, which they call Heydelberg, do singularly love, honour, and respect you. Farewell, (worthy Sir) and defend thy Andreas from the envious backebiter.   

THE THIRD BOOK OF ORNITOPARCHUS HIS MUSIC, TOUCHING THE ECCLESIASTICAL ACCENT.  
The Argument of Master Choterus upon the Third Book.  

THE FIRST CHAPTER.  

In Praise of Accent.  
ACcent hath great affinity with Consent, for they be brothers: because Sonus, or Sound, (the King of Ecclesiastical Harmony) is Father to them both, and begat the one upon Grammar; the other upon Music, whom after the Father had seen to be of excellent gifts both of body and wit, and the one not to yield to the other in any kind of knowledge, and further that himself (now growing in years) could not live long, he began to think, which he should leave his kingdom unto; beholding sometime the one, sometime the other, and the fashions of both. The Accent was elder by years, grave, eloquent, but severe: therefore to the people less pleasing. The Consent was merry, frolic, lively, acceptable to all, desiring more to be loved, than to be feared: by which he easily won unto him all men's minds. Which the Father noting, was daily more and more troubled, in making his choice. For the Accent was more frugal, the other more pleasing to the people. Appointing therefore a certain day, and calling together the Peers of his Realm, to wit, Singers, Poets, Orators, moral Philosophers, besides Ecclesiastical Governors, which in that Function held place next to the King, before these King Sonus is said to have made this Oration: My noble Peers, which have undergone many dangers of war, by land and sea, and yet by my conduct have carried the Prize throughout the whole world; behold, the whole world is under our Rule, we have no enemy, all things may go prosperously with you; only upon me death increaseth, and life fadeth, my body is weakened with labour, my soul consumed with Care, I can expect nothing sooner than death. Wherefore I purpose to appoint one of my sons Lord over you, him (I say) whom you shall by your common voices choose, that he may defend this Kingdom, which hath been purchased with your blood, from the wrong and invasion of our enemies.  
When he had thus said, the Nobles began to consult, and by companies to handle concerning the point of the common safety; yet to disagree, and some to choose the one, some the other. For the Orators and Poets would have the Accents, the musicans, and the Moralists chose the Consent. But the Papale Prelates, who had the Royalties in their hands, looking more deeply into the matter, enacted that neither of them should be refused, but that the kingdom should be divided betwixt them, whose opinion the King allowed, and so divided the Kingdom, that Concentus might be chief Ruler over all things that are to be sung (as Hymns, Sequences, Antiphones, Responsories, Introitus, Tropes, and the like: and Accent over all things, which are read; as Gospels, Lectures, Epistles, Orations, Prophecies. For the Functions of the Papale kingdom are not duly performed without Consent. So these matters being settled each part departed with their King, concluding that both Consent and Accent should be specially honoured by those Ecclesiastical persons. Which thing Leo the Tenth, and Maximilian the most famous Roman Emperor, both chief lights of good Arts, (and specially of Music) did by general consent of the Fathers and Princes approve, endow with privileges, and condemned all gainsayers, as guilty of high Treason; the one for their bodily; the other for their spiritual life. Hence was it, that I marking how many of those Priests, (which by the leave of the learned I will say) do read those things they have to read so wildly, so monstrously, so faultily, that they do not only hinder the devotion of the faithful, but also even provoke them to laughter, and scorning with their ill reading) resolved after the doctrine of Consent to explain the Rules of Accent, in as much as it belongs to a physician, that together with Consent, Accent might also as true heir in this Ecclesiastical kingdom be established. Desiring that the praise of the highest King, to whom all honour and reverence is due, might duly be performed.    

THE SECOND CHAPTER.  

Of the Definition, and Division of Accent.  
WHerefore Accent (as Isidorus lib. 1. eth. cap. 17. writeth) is a certain law, or rule, for the raising, or low carrying of syllables of each word Or, it is the Rule of speaking. For that speaking is absurd, which is not by Accent graced. And it is called accent, because it is ad Cantum, that is, close by the song, according to Isidore: for as an adverb doth determine a Verb, so doth accent determine Consent. But because these descriptions do rather agree with the Grammatical accent, than with the Musical, I hold it necessary to search out by what means the Ecclesiastical accent may rightly be described. Therefore accent (as it belongeth to Churchmen) is a melody, pronouncing regularly the syllables of any words, according as the natural accent of them requires.   

Of the Division of accent.  
NOw it is threefold, as Priscian and Isidore witness, the Grave, the Acute, and the Circumflex. The Grave is that, by which a syllable is carried low: but to speak musically, it is the regular falling with final words, according to the custom of the Church. Of which there be two sorts. One which doth fall the final word, or any syllable of it by a fifth: and this is properly called Grave. Another which doth fall the final word, or any syllable of it only by a third, which by the musicans is called the middle Accent. Neither have the Grammarians cause to be angry, if they find any thing here contrary to their laws. For we go not about to handle the Grammatical Accent, which Priscian, and others have thoroughly taught, but the Ecclesiastical, as here followeth: Medius. Gravis. Parce mihi domi ne, ni hill enim sunt di es me i  
An acute Accent grammatically, is that, by which the syllable is raised. But musically, it is the regular elevation of the final words or syllables according to the custom of the Church. Whereof there are likewise two kinds: one which reduceth the final syllable or word to the place of his descent, keeping the name of Acute. The other, which doth raise the second syllable not to the former place of his descent, but into the next below. Which is also called Moderate, because it doth moderately carry a syllable on high, as appear in the example following: Moderatus. Acutus. Il lumi nare High ru sa lem qui a glow ri a do mi ni super te or ta est.  
The Circumflex is that, by which a syllable first raised is carried low. For it is, as Isidore witnesseth, contrary to the acute, for it begins with the acute, and ends with the grave, unknown to Churchmen. Yet the Monks, and especially those of the Cistertian order, have the Circumflex accent, as at the old Cell a Monastery of the same order myself have tried, and I myself have seen many of their books in the same place.  
Now farewell they that forbid Churchmen to use Music; what solace (setting singing aside) can they have either more healthful, or more honest? For whilst we recreate ourselves with singing, all evil thoughts, and speech, all backbiting, all gluttony and drunkenness, are avoided. Wherefore Song-Musicke both plain and Mensurall, becometh the most religious, that they may both singpraises to God, and make themselves merry at fit times of recreation. But leaving this discourse, let us return thither whence we digressed, and send those which would busily inquire the nature of the Circumflex accent, to Mich. Galliculus, who hath set out the matter so briefly, that it need no other explaining.    

THE THIRD CHAPTER.  

Of the general Rules of Accent.  
BEcause to proceed from càsie things to harder, is the natural method, we thought fit first to explain the general Rules of accent, and secondly the special.  
1 Every word of one syllable, or indeclinable, or barbarous, requires an acute accent: as Astarot, Senacherib, me, te, sum.  
2 Greek and Hebrew words in Latin terminations retain the Latin accent, as Parthenopolis, Nazarenus, Hierosolima.  
3 Greek and Hebrew words having not the Latin Declension, are acuted, as Chryson, Argyrion, Ephraim, Jerusalem.  
4 A grave accent is made in the end of a complete sentence, an acute likewise, the Moderate and Mean only in the end of an imperfectsentence.  
5 A grave accent must not be repeated, if no other come betwixt, unless the speech be so short, that another cannot come betwixt, as thus: Factum est vesper & mane dies secundus dixit quoque Deus.    

THE FOURTH CHAPTER.  

Of the special Rules of Accent.  
FIrst, A word that is of one syllable, indeclinable, barbarous, or Hebrew, which we said must have an acute accent, either is in the end of a complete sentence, and is thus acuated; or in the end of a sentence nor complete, and is thus. From this Rule are excepted Encletical Conjunctions, which are marked with a grave Accent, thus: Do mi nus locutus est cla ma te ad me & e go ex au diam vos Deus dominusque.  
2 The first syllable of a word which hath two syllables, doth always receive the accent, whether it be short or long, thus: Et fugit velist umbra. Et in a ma ri tu di ni bus more ra by tur o culus meus.  
3 A word of many syllables put in the end of a speech, either hath the last save one Long or Short: if Long, the accent falls upon it, if short, than the last save two receives the accent. Lignum si praecisum fu e rit rursum vi re scit. Et rami e ius pu lu lant.  
4 A speech with an interrogation, whether it have in the end a word of one syllable, or of two syllables, or more, the Accent still falls upon his last syllable, and that must be acuated. Now the signs of such a speech are, who, which, what, and those which are thence derived, why, wherefore, when, how, in what sort, whether, and such like. unde es tu Quid est homo? Quantas ha be o in i qui tastes & pecca ta?  
To these are joined Verbs of ask as I ask, I seek, I require, I search, I hear, I see, and the like.    

THE fifth CHAPTER.  

Of the Points.  
BEcause the Ecclesiastical accent is commonly known by Points, it is necessary to deliver the nature of certain Points fitting this purpose.  
1 The Point, which they call a Dash, if it be placed betwixt more words of one part of a sentence, it shows they are to be read distinctly.  
2 Two Pricks, or one Prick set directly on the middle of the right side, is a mark of the middle accent, which descends by a third.  
3 A Prick in the end of any sentence raised a little above the middle, doth represent either the acute, or moderate accent, according as the sentence gives it.  
4 A Prick a little below the middle of the word, is a mark of the Grave accent.  
5 A Point of Interrogation, which is made thus (?) being found in some place, doth show that the last syllable of the word, (to which it is joined) is to be pronounced with an acute accent. The evidence whereof follows in the example following. Hesterna luce cum aequitassem in campum virentem, herbosum, floridum, spaciaturus in eo? occurrit mi high le pus cum lus cum geni to re suo. Insequens eum ca tel lis meis sex. Apprehendi duntaxat pusillum in valle montis Oreb. De li be rans autem a mi co rum Le po ri as istas carnes essem con do na tu rus? inte rogans comitem meum quid esset sua surus? Sano mi high con si li o di xit. Horror eum fi du ci a e as do no da ri con sum li de Brunswick. Tu autem domine, misere re nobis.    

THE sixth CHAPTER.  

Of Accent in the Epistles.  
THe total Accent of Epistles is divers, (according to the diversity of Diocese and Religions) yet the partial is the same withal, because it proceeds from the quantity of Syllables, as by the underwritten rules is clear.  
1 Every accent of Epistles and Gospels are taken out of the syllables of the final sentences, and their number?  
2 When in the end of a sentence is placed a word of one syllable, the accent is varied according to the variety of the words going before.  
3 If a word of one syllable go before the like final word, and before it a third of the same sort, the first is to be raised, thus: Sic in fla ti sunt quidam tanquam non ven tu rus sit ad nos.  
Now by what means (according to the Monks) that accent is distinguished, Friar Michael de Muris Galliculis in his Treatise, which he wrote both truly and learnedly, hath worthily showed.  
4 If a word of two syllables come before a word of one syllable final, than the first syllable of it must be raised, whether it be long: or short, thus: Om ni a e nim vestra sunt si quis diligit de 'em ex e o est.  
5 If a word of three syllables come before a word of one syllable final, then is it to be raised, if it have the last save one Long: if short, than the accent is to be translated to the last save two. In pace Deus vocavit vos. Dispen sa ti o mi high credita est.  
6 If a word of two syllables be placed in the end of a speech, than the last syllable save one of the word going before must be raised, if it belong: If it be short, the last saving two, thus: Et dix it mi hi. Et in ple ni tu di ne Sanctorum de ten ti o me a.  
7 If a word of three syllables be placed in the end of a speech, and a word of one syllable go before it, than this is to be raised but if a word of two syllables, then let the first syllable of it be raised, whether it be long, or short. If a word of three syllables go before a word of three syllables, it raiseth the last save one, if it be long: If it be short, the last save two, thus: Tu scis am ni a nun dix it do mi nus cantantes De o glori am. Ac il li dix e runt do mi no novit am ni a domi nus.  
8 If in the end of a speech be placed a word of more syllables than three, than the first syllable of it must be raised, if it be long: if it be short, the accent falls upon the word going before, thus: Dix it domi nus om nipotens in templo So lo more nis sunt au rei pa ri e tes.    

THE SEVENTH CHAPTER.  

Of the Accent of Gospels.  
THe total accent of Gospels, is differing in divers Diocese and Religions. But the partial, which is the same every where, is comprehended in the Rules following.  
1 If the speech end with a word of one syllable, and another go before it, and a third before that, the accent is taken from the first, thus:  
2 If a word of two syllables go before a word of one final, the first syllable of it receives the accent, whether it be long or short, thus. Surrexit non est hic. Om ni a verba haec. Do mi nus dedit hoc.  
3 If a word of many syllables go before a word of one syllable final, the accent falls upon his last syllable save one, if it be long; if it be short, upon the last save two. Dolentes que re ba mus te nun dix it omni a haec.  
4 If the speech end with a word of two syllables, the last syllable save one of the word going before must be raised, if it be long; if short, the last save two, thus. Vt de scri be retur v ni versis Or bis Abraham au tem ge nu it jacob.  
5 If the speech end with a word of three syllables, having the last save one Long, than the accent falls upon the last syllable of the word going before. But if it be short, than the last syllable save one of it shall receive the accent, thus: Ex e a quae fu it V ri ae. Et clausa est jam mi a.  
6 If the final word of a speech be of more syllables than three, the Accent falls upon the first syllable of it, if it be long: if it be short, the last syllable of the word going before is raised. In trans migratione Basilius by lo nis. Et fi li us all tis si mi voca by tur.   

Of the Accents of Prophecies.  
THere is 2. ways for accenting Prophecies. For some are read after the manner of Epistles, as on the Feast days of our Lady, the Epiphany, Christmas, and the like, & those keep the accent of Epistles: some are sung according to the manner of Morning Lessons, as in Christ's night, & in the Ember Fasts: and these keep the accent of those Lessons. But I would not have you ignorant, that in accenting oftentimes the manner and custom of the Country and place is kept; as in the great Church of Magdeburgh, Tu autem Domine, is read with the middle syllable long, by reason of the Custom of that Church, whereas other Nations do make it short, according to the Rule. Therefore let the Reader pardon me, if our writings do sometime contrary the Diocese, wherein they live. Which though it be in some few things, yet in the most they agree. For I was drawn by my own experience, not by any precepts to write this book. And (if I may speak without vainglory) for that cause have I seen many parts of the world, and in them divers Churches both Metropolitan and Cathedral, not without great impeachment of my state, that thereby I might profit those that shall live after me. In which travel of mine I have seen the five Kingdoms of Pannonia, Sarmatia, Boemia, Denmark, and of both the Germanies 63. Dioceses, Cities 340. infinite fashions of divers people, beside sailed over the two seas, to wit, the Baltic, and the great Ocean, not to heap riches, but increase my knowledge. All which I would have thus taken, that the Readers may know this book is more out of my experience, than any precepts.    
The end of the Third Book.   

TO THE WORTHY AND INDUSTRIOUS, MASTER Arnold Schlick, a most exquisite physician, Organist to the Count Palatine, Andraeas Ornithoparchus of Meyning, sends health.  
Dear Arnold, whereas man's intellect in it beginning is naked and without form, and hath nothing in it, but a possibility to receive forms, many have doubted why the high Creator did not give knowledge naturally to man as well as to other sensible creatures. For some have naturally the art of spinning; some of making honey; some of weaving; some of doing other things: but man is borne naked, unarmed, without any Art, crying the first day of his birth, and never laughing till he be 40. days old (as Pliny writeth in the Prologue of the 7 book of his Nat. Hist.) Is man therefore inferior to beasts? in no sort, for that nakedness of man doth not argue his unworthiness, but his nobleness. For that which is within, hinders not that which would be without. Hence is it, (we see) that those animals, which have arts naturally, can do nothing but that natural Art. But man wanteth all Arts, that he may be fit for all: which is proved by the natural desire he hath to knowledge. For Arts are desired by all, though they be not bought by all; and are praised by all, though they be not searched after by all. The hindrance is sloth, pleasure, unorderly teaching, and poverty. And though we have naturally the desire of all Arts, yet above all we do desire and love the Art of Singing. For that doth entice all living things with the sweetness; draw them with the profit; and overcome them with the necessity of it: whose parts (though they be all both sacred & divine) yet that which we call the Counterpoint, is more sweet, worthy, & noble, than all the rest. For this is the dwelling place of all the other, not that it contains in it all the difficulties of Music; but because to make it, it requires a learned and perfect physician. Wherefore having discussed of the rest, lest our Office be failing in this last point, I thought good to handle the Counterpoint, placing it in the last place (as it were a treasury) wherein all the secrets of Music are laid up: not that hereby all men, to whom nature is not serviceable, should fall to composition, but that all men may judge whether those things which be composed by others, be good or bad. Yet who so can, let them compose by our writings: they which cannot, let them proceed, as far as they can.  
But not to digress too wide, (worthy Sir) I have in this last book, collected the Rules of the Counterpoint, out of divers places, for the common good of learners; which I bring to you to be weighed, that after your censure, it may be subjecteth to the carp of the malicious. For from your sentence no man will ever appeal; because there is no man either learneder, or subtler in this Art, than yourself, who besides the practice, hast wisdom, eloquence, gentleness, quickness of wit, & in all kinds of Music a divine industry, and further the knowledge of many other sciences. Thou wantest the bodily lamp, but in thy mind shineth that golden light: thou seest nothing without thee, within thee thou seest all things. Thou wantest the clearness of the eyes, thou hast the admirable quickness of wit: thy sight is weak, thy understanding strong; Wherefore not only by thy princes, who are to thee most gracious, but even of all men (like Orpheus and Amphion) art thou loved. Farewell, the honour and delight of Music, and protect thy Andraeas from Zoilisses and Thersitisses.   

THE FOURTH BOOK OF ORNITHO PARCHUS HIS Music, declaring the Principles of the Counterpoint.  
The Argument of Master Cotherus.  

THE FIRST CHAPTER.  

Of the Definition, Division, and difference of the names of the Counterpoint.  
NIcomachus the physician saith, That the Art of Music was at first so simple, that it consisted of a Tetrachord. And was made with the voice Assa, that is, one Voice alone (for Assa the Ancients called alone, whereof it is called Vox assa, when it is uttered with the mouth, not adding to it other Musical Concents', wherein the praises of the Ancients was sung, as Phil. Beroaldus writeth in the Tenth book of his Commentary upon Apuleius. Yet by the means of divers authors, the Tetrachord from four Cords grew to fifteen. To which the afterages have added five and six Voices, and more. So that a Song in our times hath not one voice alone, but five, six, eight, and sometimes more. For it is evident, that joannes Okeken did compose a Mottet of 36. Voices. Now that part of Music which effecteth this, is called of the musicans, the Counterpoint. For a Counterpoint generally, is nothing else than the knowledge of finding out of a Song of many parts. Or it is the mother of Modulation, or (as Franchinus lib. 3. cap. 1. writes) it is the Art of bending found'st that may be sung, by proportionable Dimension, and measure of time. For, as the clay is in the hands of the Potter; so is the making of a Song in the hands of the physician. Wherefore most men call this Art not the Counterpoint, but Composition. Assigning this difference of names, and saying, that Composition is the collection of divers parts of Harmony by divers Concord's. For to compose is to gather together the divers parts of Harmony by divers Concord's. But the Counterpoint is the sudden, and unexpected ordering of a plain Song by divers Melodies by chance. Whence Sortisare signifies to order a plain Song by certain Concord's on the sudden. Now it is called Counterpoint (as Bacchus saith) as it were a concordant Consent of Voices set one against another, examined by Art.   

Of the Division of the Counterpoint.  
THe Counterpoint is twofold: Simple and Coloured. The Simple Counterpoint is the concordant ordering of a Song of divers parts by Notes of the same kind. As when a plain Note is set against a plain Note, a Brief against a Brief, thus: Discantus. Tenor. Altus. Bassus.  
The Coloured Counterpoint is the constitution of a Song of divers parts by divers figures, and differing Concord's, thus: Cantus. Tenor. Altus. Bassus.    

THE SECOND CHAPTER.  

Of Concord's and Discords.  
BEing that Concordance (as saith Boêtius) is the due mingling of two or more voices, and neither can be made without a Sound, nor a Sound without beating, nor beating without Motion, it is necessary motion be divided. Of motions therefore some be equal, some unequal. Now it is plain, that out of the equality of Motions do proceed equal sounds, and out of the inequality of it, unequal sounds: and out of the mean inequality do proceed consonant Sounds, out of the greater inequality, Discords. Hence is it, that the Pythagoreans concluded, that no Concord could be beyond the Disdiapason (as before appeared lib. 1. cap. 5.) because of the too great distance of the extremes. By how much therefore Sounds are nearer one another, they are so much the sweeter? and the further they are distant one from another, the less they agree. Which I do chiefly prove to come by the inequal falling of such sounds into the ears, because a Consonance is a mixture of two Sounds, falling into the ears uniformly. For high Sounds are heard sooner, than base Sounds. As a sharp Sword pierceth quicker, whereas a blunt one doth not so, but enters slowly: even so when we hear an high forced Voice, it strikes into one: but a base voice doth dully, as it were thrust at one, saith Coelius lib. 10. cap. 53.   

Of Voices.  
BEcause the likeness of Voices, doth not breed Concord, but the unlikeness. Therefore Voices are called some unisons; some not unisons. unisons are those, whose Sound is one. Not unisons are those, whereof one is deeper, another higher. Of not unisons, some are aequisons; some Consones; some Emmeles; some Dissonant. Aequisons are those, which being stroke together, make one sound of 2. as Diapason and Disdiapason. Consones are those, which yield a compound or mingled Sound, Diapente and Diapason diapente. Emmeles are they, which being not Consones, yet are next to Consones: as those which sound thirds, sixts, or other imperfect Concord's. Discords are they whose Sounds mingled together, do strike the sense unpleasingly.   

What Concord is.  
BY that which hath been said appears, that Consonance (which otherwise we call Concordance) is the agreeing of two unlike Voices placed together. Or is (as Tinctor writeth) the mixture of divers Sounds, sweetly pleasing the ears. Or according to Stapulensis lib. 3. It is the mixture of an high, and low sound, coming to the ears sweetly, and uniformly. Of which (among the Practickes) there are two used, although some by repeating the former, have more. Viz. Unison, 8 15 Vnisonum & eundem causant sonum, quia fiunt in octavis. Third, 10 17 fifth, 12 19 sixth, 13 20   

Of Discords.  
A Discord (as saith Boêtius) is the hard and rough thwarting of two sounds, not mingled with themselves. Or, (as Tinctor saith) it is the mixture of divers sounds, naturally offending the ears, whereof there be Nine: Viz. Second, 9 16 unum & eundem causant sonum, quia fiunt in octavis. Fourth, 11 18 Seventh, 14 21    

THE THIRD CHAPTER.  

Of the Division of Concord's.  
OF Concordances some be simple or primary, as an Unison, a third a fifth, and a sixth. Others are repeated or secondary; which are also aequisons to them that go before, proceeding of a duple dimension. For an eight doth agree in sound with an unison; a tenth with a third; a twelfth with a fifth; and a thirteenth with a sixth. Others are tripled, to wit, a fifteenth; which is equal to the sound of an Unison, and an Eight. A seventeenth, which is equal to a third, and a tenth; a nineteenth which is equal to a fifth, & a twelfth; a twentieth, which is equal to a sixth and a thirteenth, and so forth. Of Concord's also some be perfect; some imperfect. The perfect are those, which being grounded upon certain Proportions, are to be proved by the help of numbers. The imperfect, as not being probable, yet placed among the perfects, make an Unison sound; whose names are these: The Perfects are Unison, and 12 Imperfects are 13 fifth, 15 17 Eight, 19 20  
Each whereof simply carried, doth receive only two Voices, although by corruption it receive more.   

Rules of Concord's.  
FIrst, Two perfect Concord's of the same kind, are not suffered to follow themselves, but Cords of divers kinds may well. Yet an Eight, so that they proceed by different and contrary Motions, saith Franchinus lib. 3. cap. 3. thus: Discantus. Tenor.  
2 Two imperfect Concord's or more, are allowed to follow themselves together, ascending or descending.  
3 Let always the next perfect follow the imperfect Concord's, as an Unison after an imperfect third; a fifth after a perfect; a fifth after an imperfect sixth; an eight after a perfect, as Gafforus lib. 3. cap. 3. declareth.  
4 Many perfect concord's of the same kind immovable are allowed to follow one another, but the movable not.  
5 A Minime, or his pause is not sufficient to come betwixt perfect Concord's of the same kind, because of the little, and as it were insensible sound it hath, although by most the contrary be observed.  
6 It may fall out so, that a Minime or a Crotchet, may be a concord in parts contrarily proceeding, for such a discord is hidden, nothing at all offending the ears. Yet must you take heed, lest two or more be joined together.  
7 A Brief or a semibreve discording, is banished from the Counterpoint. Yet be there, that admit a Brief discordant diminished in a Quadruple, and a semibreve diminished in a Duple.    

THE FOURTH CHAPTER.  

Of the general Rules of the Counterpoint.  
FIrst, If you desire to compose any thing, first make the Tenor, or some other Voice; according as the Tone by which it is ruled doth require.  
2 The unusual Moods are by all means to be avoided: for they all are Discords, except the tenth.  
3 In perfect Concordances never set a sharp Voice against a flat, nor contrarily, but set a Sharp against a Sharp; a Flat against a Flat, or at least against a natural. For the Naturals are doubtful, and will agree with ♮ Dures, and b Molls, thus? Tenor. Base not good. Base is good.  
4 If the Tenor in the plain Song go too deep, transpose it to a fifth, or to a fourth if need be, as you may see in the Hymn, Quem terra.  
5 All the parts of the Song in the beginning and end were by the ancients made of perfect Cords: which Rule with us is arbitrary.  
6 When one Voice goes upward or downward, you need not vary the rest: because to an immovable voice, many movable voices may be fitted.  
7 In every Song seek for the nearest Concord's: for they which are too far distant, do taste of Discord, say the Pythagoreans.  
8 Let the Tenor together with the rest have sweet Melody, in wandering Collations.  
9 If the Tenor touch the Means and Trebles, the Mean may descend to the place of the Tenor.  
10 If the Tenor fall to touch the Base, let the Base go up into the place of the Tenor, according as the Concord's shall require.  
11 Every Song, must be often adorned with formal Closes.  
12 If the Tenor shall have the Close of the Mean; the Mean on the other side shall have the Close of the Tenor, by ending either from a tenth in an eight, or from a third in an Unison, thus: Discantus. Tenor.  
13 If the Base take the Close of the Tenor, the Tenor shall take the Close of the Mean; Or if the Base take the Close of the Mean, the Tenor shall take his Close, as in the Rule going before is showed, thus: Tenor. Base.  
14 The Mean doth seldom take a fifth above the Tenor: but the imfect Concordance oft times.  
15 The Base must seldom or never be placed in a sixth under the Tenor, unless an Eight straight follow, but in the perfect Concord's it may often.  
16 If the Base have a fifth under the Tenor, let the Mean be set in a fifth above the Tenor, by ending in a third, thus: Discantus. Tenor. Bassus.  
17 Let the Mean seldom leap by a fifth upwards, but by a sixth and an eight it may oft: to which also an eight downward is forbidden, though all the other intervals be granted.  
18 A Base may not leap a sixth, it hath all the other Moods common.  
19 In Fourth's Mi doth not agree with Fa, because it maketh a Tritone.  
20 A Fourth though being simply taken it is a Discord; yet being joined to a Concord, and mingled therewith, it maketh a Concordant middling with the extremes, saith Franchinus.  
21 A Fourth is admitted only in two places in the Counterpoint: first when being shut betwixt two Eights, it hath a fifth below. Because if the fifth be above, the Concord is of no force: by that reason of Aristotle's (whom Plato calleth Anagnostes, that is an unwearied Reader of Books) whereby in his Problems he shows, that the deeper Discordant sounds are more perceived than the higher. Secondly, when the Tenor and Mean, do go by one or more sixts, than that Voice which is middling, shall always keep a Fourth under the Cantus, and a third above the Tenor. The higher Voice. The middle Voice. The lowest Voice.  
21 The most famous manner of the Counterpoint, as (saith Franchinus) is, if the Base go together with the Mean, or any other Voice, being also distant by a tenth, whilst the Tenor doth go in Concord to both, thus: Tenor huius. The Treble out of the Base in the Tenth.  
23 If you join not the same Concord, you shall make two parts Concord's in Tenths.  
Neither must young learners think it a matter of no weight, how the signs are set together, for by the unorderly referring of them, so many errors have sprung in Music, that it is hard to be known, in what path a man may go safe. Wherefore if a man will compare one sign with another, let him carefully mark the nature of the Diminution and Proportions, least referring this to that, the measure of the one be too great, or too little.    

THE fifth CHAPTFR.  

Of the Parts and Closes of a Song.  
THe Ancient simpleness of Music, knew not the divers parts of a Song, which the subtleness of our age requires. For the whole being increased, all the parts are increased. Now the parts which musicans at this time use, are many, to wit; the Treble, Tenor, high Tenor, Melody, Concordant, Vagrant, Contratenor, Base; yea, and more than these. But because they be not all commonly used, we will speak somewhat of those which are most commonly used; of the rest nothing.   

Of the Discantus.  
THe Discantus (as Tinctor saith) is a Song made of divers voices. For it is called Discantus, Quasi diversus Cantus, that is, as it were another Song. By which name the ancients did call every Mensurall Song. But we, because Discantus is a part of a song severed from the rest, will describe it thus. Discantus is the uppermost part of each Song. Or it is an Harmony to be song with a Child's Voice.   

Of the Tenor.  
A Tenor is the middle voice of each Song, or (as Gafforus writes lib. 3. cap. 5.) it is the foundation to the Relation of every Song: so called a Tenendo, of holding, because it doth hold the Consonance of all the parts in itself, in some respect.   

Of the Baritone.  
THe Bassus, (or rather Basis) is the lowest part of each Song. Or it is an Harmony to be sung with a deep voice, which is called Baritonus, a Vari, which is low, by changing V into B, because it holdeth the lower part of the Song.   

Of the higher Tenor.  
THe high Tenor, is the uppermost part, save one of a Song: or it is the grace of the Base: for most commonly it graceth the Base, making a double Concord with it. The other parts every Student may describe by himself.   

Of the formal Closes.  
BEing that every Song is graced with formal Closes, we will tell what a Close is. Wherefore a Close is (as Tinctor writes) a little part of a Song, in whose end is found either rest or perfection. Or it is the conjunction of voices (going diversly) in perfect Concord's.   

Rules for Closes.  
FIrst, Every Close consists of three Notes, the last, the last save one, and the last save two.  
2 The Close of the Discantus made with three Notes, shall always have the last upward.  
3 The Close of the Tenor, doth also consist of three Notes, the last always descending.  
4 The Close of the base requires the last Note sometime above, and sometime beneath the Tenor. Yet commonly it thrusts it an eight below, and sometimes raiseth it a fifth above.  
5 The Close of a high Tenor, doth sometime rise, sometime fall with the last Note; sometime makes it an Unison with others. Which being it proceeds by divers motions, the sorting of it is at the pleasure of the Composers.  
6 The Close of the Discantus, doth require the last Note save one above the Tenor in a sixth: or in a fifth, if the Base hold a sixth below.  
7 The last Note save one of a Tenor, is flatly placed a fifth above the Base and a sixth also, if the Base take the Close of the Tenor, and the Tenor the Close of the Discantus.  
8 If the Close of the Tenor end in Mi, as it is in the Deutero, or otherwise the last Note but one of the base being placed not in the fifth. But in the third beneath the Tenor, may fall upon the fifth Final without any hazard of Descant, as is declared in the underwritten Consent. Tenor. Baritonus.  
9 If the Close of the Tenor end in Re, as commonly it doth in the first Tone, the Base shall very finely end from a fifth to a third upward, not varying the Discantus, although it may also fall into an eight. Tenor. Bassus.  
10 Every Song is so much the sweeter, by how much the fuller it is of formal Closes. For such force there is in Closes, that it maketh Discords become Concord's for perfection sake. Therefore let Students labour to fill their Songs with formal Closes. Now that they may the more easily do this, we thought fit here to set down an Exercise or Storehouse of Closes, that such as Students sing here, they may know they are in their own Songs to make.   

Here followeth the Exercise and form of Closes.  
Discantus. Tenor. Bassus.    

THE sixth CHAPTER.  

Of the special precepts of the Counterpoint.  
Having delivered those things which we think necessary for the Art of setting, now will we in most short Rules open essentially the matter itself, as it is.  
2 As oft as the Discantus is placed 23. above the Tenor, let the Base be placed a third below, and the Altus a sixth above, or in an Unison. But if the Base have an eight below, for a fifth it cannot have, the Altus shall hold a fourth below. But if the Base hold a tenth below, the Altus requires a third, or a sixth below. Which a Student may prove by such a Scale as goes before.  
3 If the Discantus hold place in a fifth above the Tenor, which it seldom doth, the Base shall be in a sixth below, and the Altus in a third above, or in a fourth below. But if the Base be in an eight below, the Altus requires a third above, or a fourth, or a sixth below.  
4 If the Discantus be in a sixth above the Tenor, the Base shallbe in a fifth below, and the Altus in a third below, or a fourth above. Or if the Base be in an eight below, the Altus shall only agree in a third above; but when the Base is in a tenth below, the Altus shallbe in a third above, or in the same below. It might also be in an eight below, and sound a thirteenth with the Discantus.  
5 If the Discantus be placed in an eight above the Tenor, the Base will agree well in a third below, & the Altus in a third or sixth above, or in a fifth below. But when a Base be in the same below, the Altus shallbe in a fourth or sixth above, or in a third below. If the Base be in an eight below, the Altus shall sweetly agree in a fifth or third above. But if the Base fall to a tenth below, the Altus shall hold a third or sixth above, or the same below.  
6 As oft as the Discantus doth rest in a tenth above the Tenor: the Base shall be in a third below, and the Altus in a third, sixth, or eight above. But if the Base be found in a third above, the Altus shallbe in a third below, or in a fifth or eight above. But if the Base be in a fifth above the Tenor, (for below it cannot) the Altus shallbe in a third above, or an eight below. But if the Base fall to an eight below, the Altus may be in a fourth below, or in a third or fifth above.  
7 When the Discantus is in a twelve above the Tenor, the Base must be in an eight below, & the Altus in a third, fifth, or eight above. But when the Base is in a third above, the Altus shall be in a fifth, eight, or tenth concordantly.  
8 If the Discantus be in a fourth above the Tenor, the Base requires a a fifth below, & the Altus a third or sixth above. Contrarily (if you make your Base first) you shall make it with the Discantus. But if a man will make more than 4. parts, let him take the Concord's above or below, as other parts shall require, observing those things which are to be observed, which we refer to the Setters judgement.    

THE SEVENTH CHAPTER.  

Wherefore Rests are put in the Counterpoint.  
THe placing of Rests in a Counterpoint, is for many causes tolerated.  
1 To avoid difficulty. For whilst two parts of a song or more are so fitted together that it is hard to fit the other parts, we set Rests for so long, till that difficulty cease.  
2 To avoid Fict Voices, and the forbidden intervals.  
3 To distinguish two perfect Concord's which cannot mutually follow one another, unless a Note or pause come betwixt.  
4 For the making of Signs. Now a sign is the successive distribution of one and the same Close, in the beginning or any other place, by divers parts of a Song. Or it is the repetition of the same Close in divers parts of the song thus: Discantus Tenor. Bassus.  
5 Rests are admitted for taking breath, least by the swiftness of the Song, either the Singer might be out of breath, or breed confusion by taking his breath at unfit times.  
6 That the intrinsical signs and marks of Musical degrees, consisting in their perfection, may be perceived. For a perfect Mood is inwardly noted by a rest of 3. times. A perfect time by 2. semibreve Rests, placed with a semibreve, as before is said in the fifth Chapter of the second book.  
7 Because of the many parts of a song. For when a song goes with more parts than four, it is necessary that some Rest, whilst others sing: lest the sweetness be dulled either by the too much prolonging of the Voices, or by the unelegant commixtion of Concord's, and so the Consort seem rather to make a noise, than a Concordant sound.    

THE EIGHT CHAPTER.  

Of the divers fashions of singing, and of the Ten Precepts for Singing.  
EVery man lives after his own humour; neither are all men governed by the same laws, and divers Nations have divers fashions, and differ in habit, diet, studies, speech, and song. Hence is it, that the English do carol; the French sing; the Spaniards weep; the Italians, which dwell about the Coasts of janua caper with their Voices; the other bark: but the Germans (which I am ashamed to utter) do howl like Wolves. Now because it is better to break friendship, than to determine any thing against truth, I am forced by truth to say that which the love of my Country forbids me to publish. Germany nourisheth many Cantors, but few musicans. For very few, excepting those which are or have been in the Chapels of Princes, do truly know the Art of Singing. For those Magistrates to whom this charge is given, do appoint for the government of the Service youth Cantors, whom they choose by the shrillness of their Voice, not for their cunning in the Art; thinking that God is pleased with bellowing and braying, of whom we read in the Scripture, that he rejoiceth more in sweetness than in noise, more in the affection, than in the Voice. For when Solomon in the Canticles writeth, that the voice of the church doth sound in the ears of Christ, he doth presently adjoin the cause, because it is sweet. Therefore well did Baptista Mantuan (that modern Virgil) inveigh every puffed up, ignorant, bellowing Cantor, saying; 
Curio tantis delubra Boum mugitibus imples,  
Tu ne Deum tali credis placare tumultu.   
Whom the Prophet ordained should be praised in Cymbals, not simply, but well sounding.   

Of the Ten Precepts necessary for every Singer.  
BEing that divers men do diversly abuse themselves in God's praise; some by moving their body undecently; some by gaping unseemly; some by changing the vowels, I thought good to teach all Cantors certain Precepts, by which they may err less.  
1 When you desire to sing any thing, above all things mark the Tone, and his Repercussion. For he that sings a Song without knowing the Tone, doth like him that makes a syllogism without Mood and Figure.  
2 Let him diligently mark the Scale, under which the Song runneth, lest he make a Flat of a Sharp or a Sharp of a Flat.  
3 Let every Singer conform his voice to the words, that as much as he can he make the Consent sad when the words are sad; & merry, when they are merry Wherein I cannot but wonder at the Saxons (the most gallant people of all Germany, by whose furtherance I was both brought up, and drawn to write of Music) in that they use in their funerals, an high, merry and jocund Consent, for no other cause (I think) than that either they hold death to be the greatest good that can befall a man (as Valerius in his fifth Book writes of Cleabis and Biton two brothers) or in that they believe that the souls (as it is in Macrobius his second Book De somnio Scip.) after this body do return to the original sweetness of Music, that is to heaven. Which if it be the cause, we may judge them to be valiant in contemning death, and worthy desirers of the glory to come.  
4 Above all things keep the equality of measure. For to sing without law and measure, is an offence to God himself, who hath made all things well, in number, weight, and measure. Wherefore I would have the Fasterly Franci (my countrymen) to follow the best manner, and not as before they have done; sometime long; sometime to male short the Notes in Plainsong, but take example of the noble Church of Herbipolis, their head, wherein they sing excellently. Which would also much profit, and honour the Church of Prage, because in it also they make the Notes sometimes longer, sometime shorter, than they should Neither must this be omitted, which that love which we owe to the dead, doth require. Whose Vigils (for so are they commonly called) are performed with such confusion, haste, and mockery, (I know not what fury possesseth the minds of those, to whom this charge is put over) that neither one Voice can be distinguished from another, nor one syllable from another, nor one verse sometimes throughout a whole Psalm from another. An impious fashion to be punished with the severest correction. Think you that God is pleased with such howling such noise, such mumbling, in which is no devotion, no expressing of words, no articulating of syllables?  
5 The Songs of Authentical Tones must be timed deep, of the subiugall Tones high, of the neutral, meanly. For these go deep, those high, the other both high and low.  
6 The changing of Vowels is a sign of an unlearned Singer. Now, (though divers people do diversly offend in this kind) yet doth not the multitude of offenders take away the fault. Here I would have the Francs to take heed they pronounce not u for o, as they are wont, saying nuster for noster. The country Churchmen are also to be censured for pronouncing, Aremus in stead of Oremus. In like sort, do all the Renenses from Spire to Confluentia change the Vowel i into the diphthong ci, saying Mareia for Maria. The Westphalians for the vowel a pronounce a & e together, to wit, Aebs te for Abste. The lower Saxons, & all the Suevians, for the Vowel e, read e & i, saying, Deius for Deus. They of lower Germany do all express u & e, in stead of the Vowel u. Which errors, though the German speech do often require, yet doth the Latin tongue, which hath the affinity with ours, exceedingly abhor them.  
7 Let a Singer take heed, lest he begin too loud braying like an Ass, or when he hath begun with an uneven height, disgrace the Song. For God is not pleased with loud cries, but with lovely sounds: it is not (saith our Erasmus) the noise of the lips, but the ardent desire of the Art, which like the loudest voice doth pierce God's ears. Moses spoke not, yet heard these words, Why dost thou cry unto me? But why the Saxons, and those that dwell upon the Baltic coast, should so delight in such clamouring, there is no reason, but either because they have a deaf God, or because they think he is gone to the Southside of heaven, and therefore cannot so easily hear both the Easterlings, and the Southerlings.  
8 Let every Singer discern the difference of one holiday from another, least on a sleight Holiday, he either make too solemn service, or too sleight on a great.  
9 The uncomely gaping of the mouth, and ungraceful motion of the body, is a sign of a mad Singer.  
10 Above all things, let the Singer study to please God, and not men; (saith Guido) there are foolish Singers, who contemn the devotion they should seek after? and affect the wantonness which they should shun: because they intent their singing to men, not to God: seeking for a little worldly fame, that so they may lose the eternal glory: pleasing men that thereby they may displease God: imparting to other that devotion, which themselves want: seeking the favour of the creature, contemning the love of the Creator: to whom is due all honour, and reverence, and service. To whom I do devote myself, and all that is mine, to him will I sing as long as I have being: for he hath raised me (poor Wretch) from the earth, and from the meanest baseness. Therefore blessed be his Name world without end, Amen.    
The end of the work..   

The Epilogue and Conclusion of the Book.  
I Am to entreat the courteous Reader favourably to view this Work of Musical Theorems, which I have before this some years passed searched out, & now at last put into the form of a book and printed, not out of any arrogant humour, as some envious persons will report, but out of a desire to profit the Youth of Germany, whilst others are drowsy. If the baseness of the style, or simpleness of the words offend any man, I entreat him to attribute that to the matter which we handle, and the persons for whom it is written, namely, Children. I doubt not but there will be some, that will be soon ready to snarl at it, and to backbite it, contemning it before they read it, and disgracing it before they understand it. Who had rather seem than be musicans, not obeying Authors, or Precepts, or Reasons: but whatsoever comes into their haire-braind Coxcomb, accounting that only lawful, artificial, and Musical. To whom I entreat you (gentle Readers) to lend no ear. For it is a thing praiseworthy to displease the evil. Yea, (to use the sentence of Antisthenes' the Philosopher) to be backbited is a sign of greatness; to backbite, a token of meanness. And because the praise of one wise man is better than the commendation of Ten fools; I pray consider not the number, but the quality of those detractors: and think what an easy matter it is to silence those Pies, and to crush such Fleas even betwixt two nails. Neither hearken ye to those that hate the Art: for they dissuade others from that which their dullness will not suffer them to attain to, for in vain it is to harp before an Ass. But account that this I speak to you as a Master, because I have passed the Ferrular. For the cunning men in each Art must be believed, as the emperors Majesty saith. Wherefore let those courteous Readers (that be delighted with Ornithoparchus his pains taken) be contented with these few things, for as soon as I can but take breath, they shall see matters of greater worth.   


A TABLE OF ALL THAT IS CONTAINED IN THE FIRST BOOK.  
OF the Definition, Division, Profit, and Inventors of Music, Chap. 1  
Of voices▪ chap. 2  
Of the Keys, chap. 3  
Of Tones, chap. 4  
Of Solfization, chap. 5  
Of Mutations, chap. 6  
Of Moods, chap. 7  
Of the Dimension of the Monochord, chap. 8  
Of the Definition, Division, and Profit of the Monochord, chap. 9  
Of Musica Ficta, chap. 10  
Of Song and Transposition, chap. 11  
Of the Tones in special, chap. 12  
That divers men are delighted with divers Moods, chap. 13   

The Table of all that is contained in the second Book.  
OF the Profit and Praise of this Art, Chap. 1  
Of the Figures, chap. 2  
Of Ligatures, chap. 3  
Of Mood, Time, and Prolation, chap. 4  
Of the Signs, chap. 5  
Of Tact, chap. 6  
Of Augmentation, chap. 7  
Of Diminution, chap. 8  
Of the Rests, chap. 9  
Of Pricks, chap. 10  
Of Imperfection, chap. 11  
Of Alteration, chap. 12  
Of Proportion. chap. 13   

The Table of all that is contained in the Third Book.  
IN the Praise of Accent, chap. 1  
Of the Definition and division of Accent, chap. 2  
Of the general Rules of Accent, chap. 3  
Of the special Rules of Accent, chap. 4  
Of the Points of Accent, chap. 5  
Of the Accent of Epistles, chap. 6  
Of the Accent of Gospels, and Prophecies. chap. 7   

The Table of all that is contained in the Fourth Book.  
OF the Definition, division, and Difference of the names of the Counterpoint, Chap. 1  
Of Concord's and Discords, chap. 2  
Of the Division of Concord's, chap. 3  
Of the general Rules of the Counterpoint, chap. 4  
Of the Parts and Closes of a Song, chap. 5  
Of the special Precepts of the Counterpoint, chap. 6  
Wherefore Rests are put in the Counterpoint, chap. 7  
Of the divers fashions for Singing. chap. 8   
FINIS.