A BRIEF AND SHORT INSTRUCTION OF THE ART OF MUSIC, to teach how to make Discant, of all proportions that are in use:  
VERY NECESSARY FOR ALL such as are desirous to attain to knowledge in the Art;  
And may by practice, if they can sing, soon be able to compose three, four, and five parts: And also to compose all sorts of Canons that are usual, by these directions of two or three parts in one, upon the Plainsong.  
By ELWAY BEVIN.  
LONDON, Printed by R. Young, at the sign of the Star on Bread-street hill. 1631.   

❧ TO THE RIGHT REVEREND FATHER IN GOD, AND MY HOnourable good Lord, the Lord Bishop of GLOUCESTER.  
RIGHT REVEREND,  
AFter much pains taken in the study and art of Music, for these many years last passed, to compose Canons of two & three parts in one upon the Plainsong; have now at length laid down this burden of my mind, the hopeful issue of my tired brain. To the visiting of which Infant, many of my good friends resorting, and those skilful in my profession, persuaded me to expose it to the world, and let try for itself; which I refused to do, until I called to mind, that it might tend to the praise and glory of Almighty God, and to the benefit of my native country: Yet finding, that such exposed Infants might easily perish without the protection of some worthy and powerful Patron, resolved to keep it at home, until I remembered your good Lordship to be a lover and favourer of Music, and unto whom I have been much bound for many favours, for all which, being not able to return worthy compensation, but rather to trench more and more daily upon your benignity, do bequeath this my Infant unto your Lordship's Patronage, whom I know for authority, wisdom, and learning to be able, and for piety and charity will be willing, to protect the same; which if you vouchsafe, you have and always shall have devoted  
To your Lordship's service, ELWAY BEVIN.   

TO THE READER.  
BEing no less true than ancient, that good things common are of more regard, I might not imbrest this talon (the perfection of my long endeavours) and not impart it to the public benefit, lest I should prove myself no Moralist, and so incur their blackest censure, who first did backe me on this enterprise. I doubt not the perusers favour (yet not glory in my little one) if he vouch safe it but a slender trial; for though it be but small in quantity, yet for diversities of examples and difficulties, the quality may seem the greater, and pass the elaborate works of larger volumes. Thine,  
Elway Bevin.   

To Mr Elway Bevin upon his Canons of three parts in one. An EPIGRAM.  

Music breathes heaven, nay more, it doth disclose it,  
If old judicious Bevin do compose it.  
Astronomy stairs high, and doth not fear  
To draw heavens curtain, and unfold a Sphere:  
But Music climbs as high as Jacob's Scale,  
Outvies a Jacob's Staff: it doth unveil  
Three for her one, or rather three in one:  
A mystery that Art ne'er thought upon.  
Three parts in one, are no Trichotomy  
Of one in three, but a sweet Trinity  
Combined in one. This may (with wonder) make  
An Atheist (if he'll lay his ears to stake)  
Sing Trinity in Unity, when he shall  
Hear that (which he thought harsh) prove musical.  
Church Music finds applause, then why not He  
That sets forth Canons of a Trinity?   
Thomas Palmer. Bristol.   

There are nine Concord's of Music, as followeth:  
A Unison, Third, fifth, sixth, Eight, Tenth, Twelfth, Thirteenth, and Fifteenth: Whereof five are called perfect, and four unperfect.  
The five perfect, are, Unison, fifth, Eight, Twelfth and Fifteenth: Of these you may not take two of one sort together, neither rising nor falling, as two Fifts or two Eights.  
The other four, called unperfect, you may take two or three together of one sort, rising or falling, which are, a Third, sixth, Tenth, and Thirteenth.  

These nine Concord's are comprehended in four, viz.  
Unison, Eight, Fifteenth, are counted as one, for every eight is the same.  


So that in effect there are but four Concord's.  
Third, Tenth, likewise.  
fifth, Twelfth, likewise.  
sixth, Thirteenth, in like sort.     
The Discords are, a Second, Fourth, and Seventh, with their Eights; which being sometime mixed with Concord's, make best music, being orderly taken.  
The proportions, as follow.  
Conter point:  
 
Dupla.  
 
Tripla.  
31  
 
Quadrupla.  
41  
 
Quadrupla by three.  
41  
Sextupla.  
61  
Octupla.  
81  
Nonupla.  
91  
Sesq. altera.  
32  
Sesq. tertia. Sesq. tertia.  
43  
Tripla Inductio to Nonupla  
31 91  
Sesq. altera Inductio to 92.  
32 92  

Divers other proportions there are, as Quintupla,  
Septupla, and suchlike, which are out of use.   
Semb. and Mynome.  
Mynome and Crotchet.  
Driving an odd Mynome to the end.  
Driving an odd Crotchet to the end.  
Subdupla Subtripla.  
The manner of maintaining a point.  
Another Example.  
Another of the same.  
Another of Sextupla.  
61  
3. Voces. 2. parts to the plainsong:  
The point reverted.  
The ordinary ways of two parts in one, are as followeth.  

2. in one in the  
Unison.  
Second.  
Third.  
Fourth.  
fifth.  
Sixt.  
Seventh.   
Of these sorts you may make upon one Plainsong a thousand ways, only by altering the Rests, and setting the Plainsong sometime above, sometime below, and sometime in the midst, which causeth great variety, as for example you may partly see, by these that follow.  
Plainsong above. A Crotchet following.  
Canon.  
Plainsong in the midst.  
Canon.  
Plainsong below:  
1 Canon.  
A Crotchet following.  
2 Canon.  
3 Canon.  
 
4 Canon.  
5 Canon  
6 Canon.  
 
7 Canon.  
A Mynome following.  
1 Canon.  
2 Canon.  
 
3 Canon.  
4 Canon.  
5 Canon.  
 
6 Canon.  
7 Canon.  
8 Canon.  
A Semibriefe following.  
1 Canon.  
2 Canon.  
3 Canon.  
 
4 Canon.  
5 Canon.  
6 Canon.  
 
7 Canon.  
Three Mynomes following.  
1 Canon.  
Two Semibriefes following. 4. Voces.  
1 Canon.  
Thus may you increase your Rests, if the Plainsong be of any length, to eight or ten Semibriefes, or more, before the following part cometh in. And in this order might a great number of ways be made: But I will not counsel any to the pursuit thereof; for I hold it better to know the way and means how it may be done, than to take so laborious a work in hand.  
Two parts to the Plainsong maintaining their several points.  
Another example of the same.  
There are divers other ways of two parts in one, which are not so common, but yet more difficult in composing, as two in one per Augmentation, that is, when one part doubleth every Note, making the Crotchet a Mynome, the Mynome a Semibriefe, etc.  
Example.  
Canon per Aug.  
Another example.  
Canon per Aug.  
Also you have two parts in one per Arsin & Thesin, by contrary motions, that when one part ascendeth the other descendeth, which is both difficult, and carrieth more majesty than any other Canon: And are diversely made in any distance.  
Example.  
Canon per Arsin & Thesin.  
Another example.  
Canon per Arsin & Thesin.  
Moreover you have two in one Recte & Retro, when one part singeth forward and the other backward, which is somewhat difficult to be made upon a Plainsong, but without, the easiest of all other. Many other ways there are, and are daily invented by the skilful, as you shall perceive by these examples that follow.  
Canon. Recte and Retro:  
Another below.  
Canon. Recte and Retro.  
Another.  
Canon. Recte and Retro.  
There is also a kind of double discant which is no Canon, but somewhat of the nature of a Canon, and sometime also made in a Canon.  
Double discant.  
The Principal.  
In the Reply the Treble is set eight notes lower and made the Counter, and the Base is set twelve notes higher and made the Treble, the Plainsong set an eight lower and made the Base.  
The reply.  
Double discant in a Canon.  
The principal.  
In the Reply the higher of the principal is set an eight lower and made the Base, and the Base set a fifth higher and made the Counter, and the Plainsong being the Treble set eight notes lower.  
The Reply.  
Diminution by turns per Arsin & Thesin.  
Here are certain Canons of three in one, very difficult, made of the Plainsong itself; every part contrary to other in nature. These are compound Canons, even as the Apothecary maketh his confections of diverse simples, compounded together of sundry ways.  
Recte and Retro, & per Arsin & Thesin.  
Canon. Three in one, per Arsin & Thesin.  
Another example, per Arsin & Thesin.  
Canon. Three in one.  
Per Arsin & Thesin, Recte and Retro.  
I have set them down very brief and short, and have made choice of this Plainsong of purpose, to the intent, the Learner of Practitioner may the better conceive of every particular, being also set down in partition.  
Per Arsin & Thesin. Example.  
Recte and Retro per Arsin & Thesin.  
Canon three in one  
Example.  
Canon three in one, per Arsin & Thesin, making every note a Semibriefe.  
Take one and leave one per Aug. So the Plainsong contained therein.  
Canon three in one.  
Four in two. 4. Voces.  
Canon.  
Canon per Arsin & Thesin.  
Another four in two.  
Canon Recte & Retro & per Arsin & Thesin.  
Canon.  
Canon Diapente. Another four in two.  
Canon Diapente.  
Another of four in two.  
Canon subdiapente.  
Canon subdiapente.  
Per Augmentation, Aliud crescit in Duplo.  
Canon. Three in one.  
These Canons that follow are also very difficult to be made on any Plainsong.  
Three in one of sundry proportions.  
Canon three in one.  
Crescit in Duplo.  
Per Aug. & per Arsin & Thesin.  
Another of like difficulty.  
Canon. per Arsin & Thesin. Aliud per Aug.  
Crescit in duplo, leaving the rest at the beginning.  
Per Arsin & Thesin.  
Canon three in one.  
Five in two, Recte & Retro & per Arsin & Thesin.  
Canon three in one, Recte & Retro.  
Canon two in one, Recte & Retro.  
A Mynome following.  
Canon in diatessaron.  
Ad placitum.  
Canon per Arsin & Thesin.  
Ad placitum.  
A note above.  
Canon. Nota superior.  
Mynome and Crotchet binding one upon another.  
Canon.  
Double discant made in a Canon  
Canon.  
Ad placitum.  
In the Reply the Mean is made the Base, set eight notes lower, the Base is made the Mean, set eight notes higher.  
Canon.  
A note above.  
Canon.  
Canon in the third.  
This Canon singeth only the Crotchets Semibriefes, the other only the Crotchets making them Briefs.  
Canon. Four in two. 4. Voces.  
Canon.  
Four in two.  
Canon.  
Canon.  
Here follow certain Canons of divers and sundry sorts, which are many of them very difficult to be made to any Plainsong.  
This Canon may be sung after the manner of a Round, falling a note at every return, and falling note by note to the end.  
Canon.  
This Canon riseth a note at every return, and riseth note by note to the end.  
Canon three in one, Diapente inferior, making every note a Semibriefe.  
Two parts falling, the third rising, making every note a Semibriefe.  
Canon three in one.  
The third part singeth only the Mynomes making them Semibriefes, per Aug.  
Canon three in one Unison.  
A Canon of three in one, hath resemblance to the holy Trinity, for as they are three distinct persons and but one God, so are the other three distinct parts, comprehended in one. The leading part hath reference to the Father, the following part to the Son, the third to the holy Ghost.  
Diapason. Aliud per Arsin & Thesin making every note a Semibriefe.  
Canon three in one.  
A note above Another.  
Canon three in one.  
Rising a note at every return, a fifth one above another.  
Canon three in one.  
Rising a note at every return.  
Canon three in one.  
O jesu dulcis remissio omnium peccatorum meorum▪ O jesu.  
Four parts in two.  
Canon.  
Canon.  
Five voc. four in two.  
Canon.  
Canon.  
Five Voc.  
Ad placitum.  
Canon three in one per Arsin & Thesin & Unison.  
Canon three in one.  
Four in two.  
Ad placitum.  
Canon.  
Canon.  
This taketh only the Semibriefe.  
Four in two:  
Canon in the third.  
Ad placitum.  
Canon.  
Four in two.  
Canon.  
Canon.  
Four in two.  
Canon.  
Canon.  
Four in two, either part repeating that the other sung before.  
Canon per Arsin & Thesin.  
Canon Unison.  
Canon three in one per Arsin & Thesin.  
Four in two.  
Canon.  
Canon.  
These Canons be of different natures, therefore the more difficult.  
Four in two. Canon per Arsin & Thesin.  
Canon Unison.  
This Canon is very difficult to make upon any plainsong, either part repeating that the other sung before.  
Canon three in one per Arsin & The sin & Unison.  
Canon three in one per Aug. & Unison.  
Per Aug.  
Ad placitum.  
Five Voc. This Canon is to be pricked in two several colours.  
Canon three in one.  
The red is one part, the black another, the third part singeth both colours, leaving all the Rests, as appeareth below.  
The Canon explained.  
Here follow certain Canons, which are most difficult in composition, by reason of the great variety of Canons contained in them.  
This Canon hath a resemblance to the frame of this world, for as this world doth consist of the four Elements, viz. Fire, Air, Water, and the Earth, and in either of them sundry living and movable creatures: So likewise this Canon consisteth and is divided into four several Canons, and to every one belongeth fifteen parts, a certain number for an uncertain.  
The whole sixty parts are contained in these seven. These figures are set to distinguish the parts.  
1 2 3 4 5 6 7  
1 3 5 7  
2 4 6  
1 2 3 4 5 6 7  
1 3 5 7  
2 4 6  
Here is to be noted, that the following parts of every Canon rest two Semibriefes after other, every Canon different in nature.  
You shall understand that in the Canon, which is the red, is divided into four several Canons, and to every of them belongeth fifteen parts, in the whole three score: Two of these Canons are whole, and two are half Canons, because they take only the later part, which is the Semibriefe and Semibriefe Rest, and are to be sung in diverse tunes according to the direction.  

Bis binos capit Canon verosque Canon's:  
Integri duo sunt, dimidiique duo.  
Horum quisque Canon vero terquinque requirit:  
At primo debent caetera cuncta Cani.  
Sed iuncto duplici Basso ponitur infra,  
Vocibus isto novem singularite Canas.   
8 9 10 11 12 13 14 15  
9 11 13 15  
8 10 12 14  
8 9 10 11 12 13 14 15  
9 11 13 15  
8 10 12 14  
Canon sixty in one. Diapente superior 15. Sexto superior Retro. 15.  
Tertio inferior per Arsin & Thesin 15. Diatessaron inferior 15.  
These threescore parts in one are contained in four red notes.  
This Canon is to be sung in all distances, as appeareth in the page following.  
Four Voc.  
Canon Unison.  
He that will look into the depth of this Canon, must take the pains to prick out every one of these at large, for I have set down only the beginning of every part, to save labour: And so likewise in the next that followeth.  
2 3 4 5 6  
Secundo. Tertio. Diatessaron superior. Diapente superior. Sexto.  
three in one.  
7 8 9 10 11 12  
Septimo. Octavo. Nono. Diatessaron inferior. Diapente inferior. Subdiapason.  
The Plainsong never changeth, neither the Base, but only in the fifth way, which is the Canon set eight notes lower.  
The other two parts may easily be pricked according to the directions set down already.  
Three parts to the Plainsong, composed in such sort, as every part is made the Base or ground to the other, which causeth variety of music, by reason of the changing of the parts and is to be sung four several ways, as appeareth.  
Four Voc:  
Either of these Replies are to be pricked out at large.  
The first Reply. The second Reply. The third Reply.  

1 The Treble in the first Reply, is the Tenor of the principal, pricked an eight higher.  
2 The Treble in the second Reply, is the Mean of the principal, pricked a fifth higher.  
3 The Treble in the third Reply, is the Base of the principal, set twelve notes higher.   
 

1 The Mean in the first Reply, is the Treble of the principal.  
2 The Mean in the second Reply, is the Base of the principal, set twelve notes higher.  
3 The Mean in the third Reply, is the Tenor of the principal, set eight notes higher.   
 

1 The Tenor in the first Reply, is the Base of the principal, set eight notes higher.  
2 The Tenor in the second Reply, is the Treble of the principal, set eight notes lower.  
3 The Tenor in the third Reply, is the Mean of the principal, set four notes lower.   
 

1 The Base in the first Reply, is the Mean of the principal, set eight notes lower.  
2 The Base in the second Reply, is the Tenor of the principal.  
3 The Base in the third Reply, is the Treble, set fifteen notes lower.   
xxi. parts. Four parts to the plainsong, every part five in one, resting five Semibriefes after other.  
Canon five in one.  
Canon five in one.  
Canon five in one.  
Canon five in one.  
Whose will take a view of all the parts of this song, must take the pain to prick out every part by itself. The first resteth five Semibriefes, the second ten, the third fifteen, the fourth and last twenty: and so likewise every Canon.  
The Closes that are set here, serve to show where every part endeth: The part that resteth fine Semibriefes, endeth on the last Close save one, that part that resteth ten Semibriefes, endeth on the last Close, save two. So the rest accordingly.  
Five parts in one to the plainsong, resting five Semibriefes after other, in a Round.  
Six Voc. Thrice over.  
Gloria tibi Domi- ne, qui natus es de Virgi-  
Canon five in one.  
Gloria tibi Domine, qui natus es de Virgin, ne, cum Pa- three & Spiri- tui san- cto in sempiter- na sae- cum- la. cum Patre & Spiritui sand- cto in sempiterna saecula.  

Fifteen parts in one, loc here may you see,  
Upon the Plainsong, all contained in three.   

And to this intent, In five notes consist,  
That may represent the five wounds of Christ.   
Canon three in one per Arsin & Thesin, aliud in Diapason.  
Sing this five times over. This last note that standeth by itself, is for the final Close of the first part.  
Tenor. Five voc.  
Bassus.  
Laus Deo.  
Thus much have I thought sufficient for young Practitioners at this present, but if I may perceive any to take profit herein, shall be encouraged hereafter to set out a larger Volume, is it please God to give me life, and enable me thereunto. In the mean season, I wish thee all happiness and good success in thy proceedings. Thy hearty well-willer in Christ jesus, Elway Bevin.  
FINIS.