VARIETY OF LVTE-lessons: Viz. Fantasies, Pavins, Galliards, Almains, Corantoes, and Volts: Selected out of the best approved AUTHORS, as well beyond the Seas as of our own Country. By Robert Douland. Whereunto is annexed certain Observations belonging to LVTE-playing: By john Baptisto Besardo of Visonti. Also a short Treatise thereunto appertaining: By john Douland Bachelor of MUSIC. LONDON: Printed for Thomas Adams. 1610. TO THE RIGHT WORSHIPFUL, WORTHY, AND VIRTUOUS Knight, Sir Thomas Mounson. SIR, the grateful remembrance of your bounty to me, in part of my Education, whilst my Father was absent from England, hath embouldned me to present these my first Labours to your worthiness, assuring myself that they being Musical will be acceptable to the Patron of Music, and being only out of duty Dedicated, you will deign to receive them as a poor Testimony of his gratitude, who acknowledgeth himself for ever unable by his uttermost service to merit your Favours. All that I can is to pray to Almighty God for the health and prosperity of You and Yours, which I will never cease to do. Your Worships in all duty, Robert Douland. To the Readers whosoever. GEntlemen: I am bold to present you with the first fruits of my Skill, which albeit it may seem hereditary unto me, my Father being a Lutenist, and well known amongst you here in England, as in most parts of Christendom beside. I am sure you are not ignorant of that old saying, Labour Deum omnia vendere: And how perfection in any skill cannot be attained unto without the waste of many years, much cost, and excessive labour and industry, which though I cannot attribute to myself, being but young in years, I have adventured like a desperate Soldier to thrust myself into the Vanguard, and to pass the Pikes of the sharpest Censures, but I trust without danger, because we find it true in Nature that those who have loved the Father, will seldom hate the Son. And not unlike in reason that I should distaste all, since my means and helps of attaining what I have, have been extraordinary. Touching this I have done, they are Collections gathered together with much labour out of the most excellent Authors, as well of those beyond the Seas, as out of the works of our own Countrymen. The Treatise of fingering I thought no scorn to borrow of john Baptisto Besardo of Visonti, being a man generally known and honoured for his excellency in this kind. But whatsoever I have here done (until my Father hath finished his greater Work, touching the Art of Lute-playing,) I refer it to your judicious censures, hoping that that love which you all generally have borne unto him in times past, being now grey, and like the Swan, but singing towards his end, you would continued the same to me his Son, who in the mean time will consecrated my best endeavours at the shrine of your favours, and shall ever remain obliged unto you for your courtesies to the uttermost of my power. Robert Douland. Thomas Smith Gent: In Praise of the work. WHere Merit far surmounts the pitch of Praise, The Goodworke there, transcends the reach of Words; This Work is such: then good-words cannot raise Their weight so high as these Heau'n-scaling cords: Than let their virtue their own glory raise, Lest it be said a Smith hath forged their praise. NECESSARY OBSERVATIONS BELONGING TO THE LUTE, AND LVTE-playing, by john Baptisto Besardo of Visonti: with choice variety of LVTE-lessons, partly Invented, and partly Collected out of the best AUTHORS, by Robert Douland, and john Douland Bachelor of MUSIC. Here thou hast (gentle READER) a fashion of practising on the LUTE, such as I could gather out of the Observations of the famous and divine Laurencinus, others, and mine own: comprehended in few rules, which I have here set out with as much care and diligence as I possibly could, by which thou mayest more easily obtain the right practice on the LUTE. Take therefore this work of mine in good part, whosoever thou art that readest it, with a mind to profit thyself: yet think not I set it forth to the end to draw thee away from the lively teaching of thy Master, (whose speech doth far exceed all writing,) or presume to teach those which are Masters in the ART these trivial ways, but I offer help to young beginners, and such as oftentimes want a Teacher, which it will not be unpleasing for them to use, when they find themselves wearied with those difficulties which lightly befall young learners. Neither would I have thee think that in this I detract from the other, differing ways, which other men do use, not unfitly, so that there be reason for them, and an easy gracefulness in them. For a man may come to the same place divers ways; and that sweet Harmony of the LUTE (the habit whereof we do daily affect with so great travail) may strike our ears with an ellegant delight, though the hand be diversly applied. Yet know as I am free from all such ambition, so, that I would with all my heart have given thee the habit and power to play well, rather than the means of learning to play, if it were possible to be had without labour. Whosoever therefore will use these our rules, if he be wholly raw in the Art, above all other things let him persuade himself, that the knowledge of this ART though it be hard, yet it is easily to be obtained by him that is in this sort conditioned. First, if he have no great defect, and have that natural desire towards MUSIC, which hath been the founder of excellency in every ART; Secondly, if he stint himself in his learning with such labour and exercise that is moderate, and continual, not such unreasonable pains as many do weary themselves with: Thirdly, if he be patiented for a good long time, for commonly this brings us whether we will or not to the highest of the SCIENCES. To these if he adjoin the industrious and lively instructions of a Teacher, that is a good Artist, he cannot but hope for a reasonable habit in a short time. If therefore thou shalt be thus qualified and minded, and want a Teacher (whom indeed I would rather wish thee.) To choose a LUTE for a learner. First and foremost choose a LUTE neither great nor small, but a middling one, such as shall fit thine hand in thine own judgement. Yet I had rather thou didst practise at first on a LUTE that were somewhat greater and harder, unless thy hand be very short: because that is good to stretch the sinews, which are in no sort to be slackened. For there are which do sometimes without a LUTE forcibly pull and lengthen their fingers. Others there are that laying their hand on a Table, or some like thing, do spread their fingers as broad as they can possibly. Others there are that oftentimes anoint their fingers with oil of Tartar. Though I know the use thereof is good to make a nimble hand; rather by the often report of many others; then by any approved experience of mine own. Howsoever, it is most necessary at lest for the beginner to handle the LUTE often, yet never but when thy Genius favours thee, that is, when thou feelest thyself inclined to MUSIC: For there is a certain natural disposition, for learning the ARTS naturally infused into us, and showing it in us rather at one time then another, which if one will provoke by immoderate labour, he shall fight against Nature. Therefore when thou shall find thyself aptly disposed, and hast time and opportunity, spare no pains, yet keep this course. What lesson to begin withal. Choose one Lesson thyself according to thy capacity, which give not over by looking over others, or straggling from one to another, till thou have got it reasonably perfect, and do not only begin it by going through it to the end at first sight, but examine each part of it diligently, and stay upon any one point so long (though thou play it over a thousand times) till thou get it in some sort. The like you shall do in all parts of the said Song, till you shall find yourself prettily seen in it. It will not little help you to get it without book: for whilst the mind is busy searching here and there for that which is written, the hand is more unapt to perform the Note, and all the difficulty the LUTE hath, which for the most part is imputed to the fingers, should rather be attributed to the variety of the Rules, which are in this respect to be observed, all which do rather depend upon the mind, then on the hand. And although most men do use themselves at the first to the hardest Lessons, that afterwards they may have the easier passage, yet would I not persuade young beginners so, for fear lest such difficulties should 'cause a loathing in them, and consequently a giving over of their practice: but I had rather an easier Lesson were set them at first, which is not intricate by reason of many Gripe's or stops (as you call them) and in displaying whereof one shall not need to lay his fingers cross the neck of the LUTE. And this I would have used until the hand be a little brought in ure. And in this Lesson I would not have many or divers changes of the Time: for I have known by experience that this hath been more hard to many than all the rest. Wherhfore in taking such Lessons be diligently careful in marking both your hands, which being they are the chief and indeed the instrumental parts of this practice, therefore for the use of them take these precepts hereafter set down: beginning first with the left hand, because that is as it were the mother of the Melody, the other doth unfold the Melody conceived, and so sounds it to our Ears. For using of both hands together. Wherhfore take special heed, jest the right hand touch the Strings before the left hand stop them, and carry your left hand so in holding the neck of the LUTE with a good grace, your thumb must be set upon the midst on the back of the neck, which must likewise with the other fingers as they go up and down upon the LUTE be gently moved and follow them the way they go. Now if you would know with which finger every letter is to be stopped, first inquire diligently whether the letter be itself alone, or joined with other letters: For if it be alone, than this order must absolutely be kept. The first Finger must serve to stop B, the second for C, the third and fourth for D. always, so that the fourth finger serve the fift or fourth string, and the third finger the other strings, as for example: But if the letters be set in Stops lower than D. then keeping the same order with your fingers you must go lower with your hand, and that letter which stands nearest the Bridge must be stopped with the little finger and the other letters which are above with the other fingers, as you may see in these examples: And in this other. Also if such letters singly placed beyond the fret D shall happen to be in more strings than two (as for example in these Diminutions following) and no A put amongst them, A Diminution is a Crotchet, Quaver, etc. they must be stopped with the forefinger laid over half the fret of that letter which is nearest B, Of laying the finger cross fret. or with the forefinger laid over the whole fret. The finger must be laid over half the fret if the Diminution go no farther than three strings: over the whole if you strike more or all the strings. This Rule will seem more plain perhaps out of the examples which follow: An example, wherein the first finger is to be laid over half the fret E. only in the three first strings, where A. is none of the Letters. An example, wherein the forefinger must be laid over all the strings in the fret C. In these examples you see the finger is laid over the letter which is nearest B, the fourth finger stops that letter which is farthest from B, the other fingers stop the middle frets in their order. But if the letter that we doubt of, be placed not alone but with one or more other letters, which conjunction we for this time will call a griffe, than the difficulty is greater, neither can any thing certainly be prescribed in this case, but that which use and custom doth teach us, yet so far as I can I will provide that thou shalt not be destitute of help. For Gripping of stops in B. First, keep this rule, that how often soever two Bs happen to be on two strings which stand close together, let them be stopped together with the top of the finger. Yet understand this only of the first, second or third string: for if two Bs stand together in the other strings (namely the Base strings) than they must be stopped not with the top of the first finger, but with the same finger laid over the whole fret. The second Rule is, that whensoever two Bs are sounded on two Strings, that are not close together, but have the Letter A, betwixt them or more Letters, then let such Bs be stopped with the forefinger, and second finger. The third Rule is, that whensoever the said Bs shall happen to be on two or more strings, betwixt which is no A, but some other Letter, or a line or more vacant: wherein afterward some other Letter than A shall be set, than the forefinger must be laid over the stop B. Let these examples serve for all the parts of this Rule. And because it is impossible to set down in writing particularly all these things, which we shall find by daily use, necessary to concern this Chapter, I have placed here certain of the common griffes or stops, wherein are one B or many, which must be stopped either laying the finger flat over the Fret, or otherwise, which you may easily perceive, if they be written together in more places than two, in such form as you see them here marked. Where mark that the finger must be laid cross the Fret often; nay, very oftentimes, (though you find but one Letter of a kind in that Fret,) that the other may be the swiftlier stopped, which cannot by any certain Rule but only by use be learned. And know beside the same griffes the Letters differ not, yet are not stopped always after the same sort, by reason of former or subsequent stops, which thing thou must diligently mark. For the letter C I think there is no less controversy about it: for some men do stop two Cs in the same Fret: when no Letter but A goes with them, with the second and third finger very elegantly: I always stop it with the first and second finger, unless it happen that B be in the same griffe, for then of necessity must the two Cs be stopped with the second and third fingers. But if the said two Cs, and with them other letters then A, you must lay your finger cross the fret, though not always yet most an end, if those letters be under C which otherwise should according to the Rule be stopped with the second finger, unless it chance that after the griffe wherein it is played, another C follows immediately in some other string: Because to the end the first, namely, the Letter which is set in some Base may the better be held, it must needs be stopped with the first finger. And this shall suffice for the Letter C: more and more certain Rules you shall gather by use and practise, yet have I set down some examples, jest the obscureness of these things I have delivered might hinder thee. And many other besides which must be done in this manner. For the Letter D, I said before it must be stopped with the third and fourth fingers: therefore the Rule will hold in my opinion, whether two Ds being in one stop have no other Letter betwixt them; or have one Letter or more betwixt them: yet thus that the D on the less strings be stopped with the fourth finger, and the D on the great strings, with the third finger: and if happily three Ds come together, you may for the most part use the second, third and fourth fingers, or lay your finger cross the Fret, as those stops which go before or follow will bear it: of this Rule let this also be an example. The same order you may keep in the lower Frets, only in them for the most part (and very often) were use to lay the finger cross the Fret for more easiness. Of Holding. Therefore I will now speak of holding the fingers upon a string, which is in this part very necessary: because nothing is more sweet, then when those parts (the mothers of Harmony) are rightly combined, which cannot be if the fingers be suddenly taken from the strings: for that voice perisheth suddenly, when the stopping thereof is ended. And beside, nothing is more uncomely, then to have the left hand moved up and down often, and by that means to occasion too much motion of the arm, which is with all care to be avoided. Besides, by staying the fingers on a string you shall so easily run up and down upon the neck of your LUTE at your pleasure, that the very handling of it, (after a little labour and time patiently borne) will be no more troublesome to you then a pleasant walk. Therefore keep your fingers in what strings soever you strike, (especially when you strike the Base) whilst the other fingers are stopping other stops, and remove them not till another Note come, which doth immediately fall upon another Base, or some other part. And if you may, hold the Base and the Triple together, if there be certain middle Notes to be expressed: but if you may not for want of more fingers, take away that finger for the most part which stops the Triple: for it were better that Note perish then a Base. Generally take this for a Rule, the fingers must not be taken from the strings, without it be necessary: yet take heed whilst you play Diminutions, that one Note give place to another, and be not held with the Note following. Thus much for the staying of the fingers on a string, and of the usage of the left hand, shall suffice for their use which are merely ignorant, to be slightly spoken, whereof one cannot deliver such plain and certain precepts, as he may of the right hand, the use whereof to my power I will now set down. For the use of the right hand. First, set your little finger on the belly of the LUTE, not towards the Rose, but a little lower, stretch out your Thumb with all the force you can, especially if thy Thumb be short, so that the other fingers may be carried in a manner of a fist, and let the Thumb be held higher than them, this in the beginning will be hard. Yet they which have a short Thumb may imitate those which strike the strings with the Thumb under the other fingers, which though it be nothing so elegant, yet to them it will be more easy. Now choosing one of these kinds, learn first to strike the strings more hard and clear, whether they be one or more that are to be stricken: and that you may strike them with the right fingers, mark whether one string or more strings than one are to be stricken: if more than one, keep this rule, let two strings which stand close together be strooken with the Thumb and forefingers: if two strings be distant one from another so that there be one or two strings betwixt them, strike them with the Thumb and middle finger: strike also three strings, with the Thumb, the forefinger and middle finger: four strings with all the other fingers (excepting the little finger,) if more be to be strooken (as often there be) keeping the same order with your fingers, let the Thumb and the forefinger strike each of them two strings, if so many be to be strooken. To know how to strike single strings, being found amongst full stops. Now that you may know with which finger you must strike those notes which are found alone without the Griffes, examine diligently the measure that each hath to it allotted, and if a letter be set immediately after any Griffe, which letter is of the same measure with the Griffe, then when you have played that Griffe, you must needs begin the Note following with your forefinger at all times, and afterwards use the Thumb if you meet a third note, and so go forwards by degrees, keeping such order with the Thumb and forefinger, so that as long as you play in that measure you begin nothing with the thumb twice together, nor follow with the forefinger twice together, till you come to a letter or Griffe where the measure changes; which letter (if it were alone) must needs be stroke with the Thumb at all times. But if after the griffe you find a Note which hath over it any change of time, then having played that Griffe, begin the Note following with the Thumb, staying a while upon the said Griffe or Note going before, as the nature of the time shall require. Yet fails that rule when the time going before hath a prick put to it: for than it must be precisely observed, that after (which hath a prick adjoined) the Note following though it be measured with a new measure, must be struck with the forefinger, and the other notes with the thumb and forefinger, one after another. Yet is theran exception in this exception: for when you find a Griffe measured with a prick, as for example and there follow it many Notes, the first whereof is , or if you meet with such a one and after it such a one , although the measure with a prick do go before, yet must that which follows, contrary to this rule, begin with the Thumb. For example of this Rule and other things which I have formerly propounded, let this suffice: for the better understanding whereof, note that the letters which you shall find without a prick added to them, must be stroke with the right hand thumb: Wherhfore the numbers before the letters serveth. those which have a prick set by them or under them, with the forefinger, the other numbers do show the application of other letters played together: the number of 2. signifieth the middle finger: the number of 3. the next finger. The Example of the first Rule. Example of the second Rule. Example of the third Rule. Example of the fourth Rule. An Example of an exception from the fourth Rule. These things being well observed, Of playing with the two fingers. know that the two first fingers may be used in Diminutions very well instead of the Thumb and the forefinger, if they be placed with some Bases, so that the middle finger be in place of the Thumb, which Thumb whilst it is occupied in striking at lest the Bases, both the hands will be graced, and that unmanly motion of the Arm (which many cannot so well avoid) shall be shunned. But if with the said Diminutions there be not set Bases which are to be stopped, I will not counsel you to use the two first fingers, but rather the Thumb and the forefinger: neither will I wish you to use the two forefingers, if you be to proceed (that is to run) into the fourth, fift or sixt string with Diminutions set also with some parts. A good Note. Besides you shall know that low letters placed in the Bases, from the fourth Chorus to the ninth, if they be noted with this time may more fitly, nay must all be struck with the Thumb, and most commonly so they are strooken, although this time be put to them, as you shall more easily see in the example following: I could wish you take as much pains in marking the Measures, as in the other former rules, especially if you be a beginner be not too hasty in handling the LUTE, for I dare promise' you faithfully and without deceit, that nothing is more fit to second this business than patience in the beginning: for nothing can be gotten in an instant, and you must not think to play your lessons presently at first fight, for that is impossible. Wherefore take no other care but only to strike all the Griffes and Notes that are in the middle betwixt them well and plainly, though slowly: for within a while, whether you will or not, you will get a habit of swiftness. Neither can you get that clear expressing of Notes, unless you do use yourself to that in the beginning: which clean delivery every man that favours Music, doth far prefer before all the swiftness and unreasonable noise that can be. This more I will tell you, you must be careful when you begin to learn to carry your body comely, and the right hand stedely. Some there be that bind their right hand with a napkin or girdle whilst they play upon the LUTE, that they may seem to move nothing but their fingers & joints, which you must use so that in running they may seem scarcely to be moved: in like sort must you use the Thumb and the forefinger. You should have some rules for the sweet relishes and shakes if they could be expressed here, as they are on the LUTE: but seeing they cannot by speech or writing be expressed, thou wert best to imitate some cunning player, or get them by thine own practice, only take heed, lest in making too many shakes thou hinder the perfection of the Notes. In some, if you affect biting sounds, as some men call them, which may very well be used, yet use them not in your running, and use them not at all but when you judge them decent. Take this for a farewell: that this divine Art, which at this time is by so great men followed, aught to be used by thee with that great gracefulness which is fit for learned men to use, and with a kind of majesty: yea, so that thou have any skill in it be not ashamed at the request of honest friends to show thy cunning: but if thou chancest to get an habit of perfection, profane not the Goddess, with making thyself cheap for a sleight gain. I have set down no rules▪ for transposing out of Music to the Scale of the LUTE, because you have that delivered in the most elegant field of Emanuel Adrianus, an excellent physician, and in many other Books. Therefore take in good part this one Method of practising on the LUTE howsoever it be: composed in such sort as an ingenious man, and one that professeth another Art could attain unto: receive it I say with as kind a heart as I offer it with, and so I shall be ready hereafter to furnish thee with some other work of mine own more serious. Farewell. FINIS. OTHER NECESSARY Observations belonging to the LUTE, By JOHN DOULAND, bachelor of Music. For Choosing of Lute-strings. WHen we take in hand to instruct or teach a man on the LUTE, we do suppose that he knoweth before (be he never so rude) what a String, a Fret, a Stop, a Stroke, etc. meaneth: therefore it were not convenient for a Teacher to stand upon every small point and matter that may be thought appertaining to the Art of Lute-playing, but to leave and let pass over some things, as apparent of themselves, or easy to be discerned of every learner, by Nature, Sense, Reason, or common Experience, and therefore we will only entreat and give resolution of those things which are most needful: of which choosing of Lute-strings is not the lest, Ordinarily therefore we choose Lute-strings by the freshness, or new making: the which appears unto us by their clear and oiliness, as they lie in the Box or bundle; yet herein we are often deceived, for Oil at any time will make strings look clear, and therefore this trick is too too commonly used to them when they are old. Now because Trebles are the principal strings we need to get, choose them of a fair and clear whitish grey, or ash-colour, and take one of the knots in your hand, but let it not be too small, for those give no sound, beside they will be either rotten for lack of substance, or extreme false. Also open the boots of one of the ends of the Knot, and then hold it up against the light, and look that it be round and smooth: but if you discern it to be curlie, as the thread of a curled Cypris, or horse hair, (which you may as well feel as see) then refuse them, although they be both clear and strong, because those strings were not well twisted, and therefore will never be true on the Instrument. For trying the strength of these strings, some do set the top of their fore or middle finger on one of the ends of the Knot, which if they find stiff, they hold them then as good; but if it bend as we say, through a dankish weakness, than they are not strong. Some again do take the end of the string between their teeth, and then pluck it, and thereby if it break faseld at the end, than it is strong, but if it break stubbed than it is weak. This Rule also is holden for the breaking of a string between the hands. The best way, is to pluck out an end of the string (if the seller will suffer you, if he will not assure yourself that those strings which he showeth you are old or mingled,) and then look for the clearness and faults before spoken, as also for faseling with little hairs. And again look amongst the boots, at one end of the Knot, that the string be not parted, I mean one piece great and another small, then draw it hard between your hands, to try the strength, which done, hold it up again against the light between your hands, and mark whether it be clear as before; if it be not but look muddy, as a brown thread, such strings are old, and have been rubbed over with oil to make them clear. This choosing of strings is not alone for Trebles, but also for small and great Means: greater strings though they be old are better to be borne withal, so the colour be good, but if they be fresh and new they will be clear against the light, though their colour be blackish. Now again some old strings will hold well the stretching between your hands, yet when you set them on the Instrument they will stick, (and rise by starts) in the Nut, and there break, even in the tuning: the best remedy when the strings stick so, is to rub the little nicks of the Nut, (in which the string slides) with a little Oil, Wax, or black lead. If you desire to choose strings that are not false, that the maker cannot promise' you; but there is a rule for the knowledge thereof by sight after the string is drawn out, which being it is so ordinary and so well known, I hold it not fit to trouble you with the relation. Some strings there are which are coloured, out of which choose the lightest colours, viz. among green choose the Sea-water, of Read the Carnation, and of Blue the Watcher. Now these strings as they are of two sorts, viz. Great and Small: so either sort is pact up in sundry kinds, to wit, the one sort of smaller strings (which come from Rome and other parts of Italy) are bound up by certain Dozen in bundles; these are very good if they be new, if not, their strength doth soon decay: the other sort are pact up in Boxes, and come out of Germany: of these, those strings which come from Monnekin and Mildorpe, are and continued the best. Likewise there is a kind of strings of a more fuller and larger sort then ordinary (which we call Gansars'.) These strings for the sizes of the great and small Means, are very good, but the Trebles are not strong. Yet also there is another sort of the smaller strings, which are made at Livornia in Tuscanie: these strings are rolled up round together, as if they were a company of horse hairs. These are good if they be new, but they are but half Knots. Note there is some store of these come hither lately, and are here made up, and pass for whole Knots. For the greater sorts or Base strings, some are made at Nurenburge, and also at Straesburge, and bound up only in knots like other strings. These strings are excellent, if they be new, if not, they fall out stark false. The best strings of this kind are double knots joined together, and are made at Bologna in Lombardy, and from thence are sent to Venice: from which place they are transported to the Martes, and therefore commonly called Venice Catlines. The best time for the Merchant is to provide his strings at Michaelmas, for then the string-makers bring their best strings which were made in the Summer to Frankford, and Lypzig Martes. Contrarily at Easter they bring their Winter strings, which are not so good. Of setting the right sizes of Strings upon the Lute. FOR the well ordering and setting on the right sizes of strings upon the Lute, the senses of Seeing and Feeling is required. Wherhfore first have consideration to the greatness or smallness of the Instrument, and thereby proportionably size your strings, appointing for the bigger Lute the greater strings, and for the lesser Lute the smaller strings, which being so thought on, first set on your Trebles, which must be strained neither too stiff not too slack, but of such a reasonable height that they may deliver a pleasant sound, and also (as Musicians call it) play too and fro after the strokes thereon. Secondly, set on your Bases, in that place which you call the sixt string, or Γ ut: these Bases must be both of one bigness, yet it hath been a general custom (although not so much used any where as here in England) to set a small and a great string together, but amongst learned Musicians that custom is left, as irregular to the rules of Music. But to our purpose: these double Bases likewise must neither be stretched too hard, nor too weak, but that they may according to your feeling in striking with your Thumb and finger equally counterpoise the Trebles, yielding from them a low or deep sound, distant from the Trebles an interval called Disdiapason. Now the Base being ordered, proceed to the Tenor, which strings must be so much smaller than the Base, that they may reach a Diatessaron higher, that is, a fourth, or to say better, four Notes higher: that being done, strike the Tenor with your Thumb, and the Triple with your forefinger both together, and you shall hear them sound the interval Diapason cum Diapente. Thus as the sounds increase in height, so the strings must decrease in greatness. Likewise by the contrary, for those Accessories, which are the seventh, eight and ninth string, etc. keeping the former counterpoise, as if they were equal things weighed in an even Balance. Of fretting the Lute. ALthough it may be thought we do not herein keep a good Decorum, because our discourse is first of fretting the Lute, rather than of Tuning, which is most commonly used: yet for that we mean this to Scholars, and not Masters (seeing both these things are so needful) I have rather chosen this subject first, hoping hereby to make the easier induction to Tuning: which part is not the lest, and of most desired, because between Fretting and Tuning there is symphony by Antiphonie, that is to say, through the winding up and letting down of the strings, an Accord riseth from Discord, so as of contrary Notes is composed a sweet Tune, which doth concur and after a sort of meeting together, bring forth by their agreement that sound which pleaseth the Eare. Wherhfore as that famous Master in Music Andreas Ornithoparcus, saith in lib. 1. cap. 3. of his Micrologus: a voice is compact of a Key and a Syllable: even so here the sounds on the Lute, by which a Tenor of Notes may be expressed) are compact of a stop and a stroke; whose distinction is showed by Strings called of the ancient Musicians Pthongos, and also by Frets called Nerui, Glarianus lib. 1. Dedocha. Now these frets of late years were but seven in number, as witnesseth Hans Girl Lutenist, Citizen and Lute-maker of Nurenburge, (for so he styleth himself in his book of Tabulature, printed 1533.) and so the seventh fret (according to the Monochord in the Diatonike order) rested upon the Diapente. Yet presently after there was added an eight fret: for myself was borne but thirty years after Hans Girls book was printed, and all the Lutes which I can remember used eight frets, and so ended at the Semitonium cum Diapente. But yet as Plautus saith, Nature thirsting after knowledge, is always desirous to invent and seek more, by the witty conceit (which I have seen, and not altogether to be disallowed) of our most famous countryman Mr. Mathias Mason Lutenist, and one of the Grooms of his majesties most honourable Privy Chamber, (as it hath been told me,) invented three frets more, the which were made of wood, and glued upon the belly, and from thence about some few years after, by the French Nation, the necks of the Lutes were lengthened, and thereby increased two frets more, so as all those Lutes which are most received and disired, are of ten frets. Now to place these frets aright, whereby we may make use of these various sounds by them caused, there is two ways: the one is the divine sense of Hearing, which those that be skilful do most use, and according to the opinion of the Stoics, is a Spirit reaching from the Understanding to the Ears, and thereby (after the Instrument is tuned open) do set them in their order; yet as Caluisius in the initio & progressu Musicis saith, the sense of Hearing of all others deceiveth most, and cannot discern and judge of the sounds in the smaller intervals. To this agreeth Valla Placentinus in lib. 2. cap. 3. of his Music, wherein he writeth that those sounds must be censured and pondered with natural Instruments, and not by the Ears, whose judgement is dull, but by wit and reason. Now the certainty thereof was first sound out (as Petrus Comester in Historia Scholastica saith) by jubals weighing of his brother Tubals Hammers: but most Authors attribute this unto Pythagoras, (the son of Mnesarchus a Samian born) the first author of the name of Philosophy, who flourished in the time of Cambices king of Persia, scutcheon years after the captivity of Babylon ended: when Tarqvinius superbus the last King of the Romans' reigned: more than six hundred years after the destruction of Troy; and five hundred years before the birth of Christ, and the manner of it was thus. Pythagoras searching after a certain distance of intervals, left the judgement of the Ears, and went to the rules of Reason: for he would not give credit to man's Ears, which are changed partly by Nature, partly by outward accidents: as for example, let a company of Lutenists, Violists, etc. which be skilful, play each after other, and you see every one as the Instrument cometh to him, Tune according to the judgement of his own Eare. Besides, Pythagoras was given to no Instruments, amongst which commonly there groweth much variety and uncertainty, being that even now if you will regard the strings, the Air being moist dulls their sound, or dry, makes them dry, or by some other accident doth change the state of their former constancy. Now being all other Instruments were subject to the same, he accounting all these things to be of no weight nor truth, did with great toil study a long time how he might learn the firm and constant course of Concord's. Mean while (as God would have it) passing by the Smith shops, he heard the beating of their Hammers, and that of divers sounds there was as it were one consent. Wherhfore amazed at this, he set to that work which he had long intented, and pondering long thought that the strength of the strikers did make the diversity of the sounds: which that it might be more evident unto him, he bade them change hammers, but the property of the sounds was not in the Arms of the strikers, but in the hammers which were changed: wherefore marking that, he takes the weight of the hammers, and being by chance there five hammers, they were found to be duple in weight, which answered themselves, according to the concord of a Diapason, and that which was duple to the lest, he found to be a Sesquitertia to another, to whom it sounded a Diatessaron. And again he found that the same duple was a Sesquialter to that, with which it was joined in a Diapente concord. Now those two, to whom the former duple was proved to be a Sesquitertius and Sesquialter, were found to keep a Sesquioctava proportion one with another betwixt themselves: and the fift hammer which was a discord to all of them was rejected. Whereas therefore before Pythagoras his time, the Musical concord's were called partly Diapason, partly Diapente, and partly Diatessaron, which was thought the lest of all Concord's. Wherhfore Pythagoras was the first that by this means found out by what proportion this diversity of sounds was joined together. And to make that which is spoken more plain, let there be for examples sake of hammers four weights, which let be comprehended in the numbers underwritten, 12.9.8. and 6. Those hammers which weigh 12. and 6. pounds, did strike a Diapason, or eight Concord in the duple the hammer that weighed 12. to the hammer of 9 pound weight, and farther the hammer of 8. pound, to the hammer of 6. pound, according to the Sesquitertia proportion, were joined in a Concord of a fourth, or in a Diatessaron: then the 9 pound hammer to that of 6. and of 12. to 8. did mingle a fift or Diapente, in the Sesquialtera proportion. Again, the hammer of 9 to that of 8. did sound in a Sesquioctava proportion. Wherhfore returning back again from hence, and searching by manifold trials, whether the whole nature of Concord's did consist in these proportions, and so fitting the weights (which answered the late found proportions) to strings, he judged of their Concord's by his Eare. Than overseeing the doubleness and half of the strings length, and fitting the other proportions, he got a most true rule out of his manifold experience, and was exceedingly joyed that he had found that which in all things answered with the truth: hitherto are Boetius his words. Thus the intervals being found out by weight and number, we will endeavour to set them down by measure: whereby the ignorant may perceive by this undivided Trinity, that the finger of God framed Music, when his Word made the World. Wherhfore take a thin flat ruler of whitish wood, and make it just as long and strait as from the inward side of the Nut to the inward side of the Bridge, then note that end which you mean to the Bridge with some small mark, and the other end with the letter A. because you may know which belongeth to the one and to the other: then lay the ruler upon a Table, and take a pair of compasses and seek out the just middle of the Ruler: that note with a prick, and set the letter N. upon it, which is a Diapason from the A. as appeareth by the striking of the string open. Secondly, part the distances from N. to D. in three parts, than the first part gives you the seventh fret from the Nut, making a Diapente: in that place also set a prick, and upon it the letter H. Thirdly, divide the distance from the letter H. to the letter A. in eleven parts: two of which parts from A. gives the first fret, note that with a prick, and set the letter B. thereon, which maketh a Semitone. Fourthly, divide the distance from H. to the letter A. in three parts, one of which parts from A. upward showeth the second fret, note that with a prick, and set the letter C. upon it, which maketh a whole Tone from A. Fiftly, divide the distance from N. to A. into two parts, there the first part showeth you the first fret, sounding a Diatessaron: in that place also set a prick, and upon it the letter F. The sixt fret which is a G. must be placed just in the midst betwixt F. and H. which maketh a Semidiapente. Seventhly, divide the distance from the letter B. to A. in three parts, which being done, measure from the B. upwards four times and an half, and that will give you the third fret, sounding a Semiditone: mark that also with a prick, & set thereon the letter D. than set the fourth fret just in the middle, the which will be a perfect ditone: then take one third part from B. to the Bridge, and that third part from B. maketh I which soundeth Semitonium cum Diapente, then take a third part from the Bridge to C. and that third part maketh E. which soundeth Tonus cum diapente, or an Hexachordo maior. Than take one third part from D. to the Bridge, and that third part from D. maketh L. which soundeth Ditonus cum Diapente. Now take your LUTE, and lay it upon a Table upright, and set the Ruler edgewise, between the nut and the bridge, and thereby set little marks upon the neck of the Instrument even with those on the ruler, because those are the places on which your frets must stand. Thus have you the perfect placing of your ten frets, which taketh away that scruple by which many are deceived, when they say the frets are false. Note here also, we do not try the frets, as we try the strings: but (now knowing their places) size them rightly, for which any kind of string will serve, I mean whether they be true or false, new or old, only take heed that you set not a great fret where a small one should be, & so by contrary: for every fret doth serve as a Magade: therefore do this; let the two first frets nearest the head of the Instrument (being the greatest) be of the size of your counter-tenor, than the third and fourth frets must be of the size of your great Means: the fift and sixt frets of the size of your small Means: and all the rest sized with Trebles. These rules serve also for Viols, or any other kind of Instrument whereon frets are tied. Of Tuning the Lute. BEing there is such Symphony by Antiphonie, which proceedeth through the winding up and letting down of the strings, as is abovesaid, and therein affirmed by Plutarch, to be one kind of wisdom, which (saith he) is called MUSIC. I wish those who assume unto themselves the name of Master, (by instructing of others) to provide and find out some good and necessary rules for the tuning of the LUTE, not only for their own ease, but also for the Scholars present good, because it is most needful. Again, though the Master be never so diligent, painful, and industrious, yet three things are required in the Scholar, necessary for the obtaining, thereof, viz. Nature, Reason, and Use: because this Harmony dependeth of Science and human Art, which the understanding retaineth by Musical habit. And from hence it is, that in MUSIC not only the sense, but also understanding is weakened. Wherhfore I exhort all Practitioners on this Instrument to the learning of their Pricksong, also to understand the Elements and Principles of that knowledge, as an especial great help, and excellent worker in this Science, and soon attained, if the Teacher be skilful to instruct aright: for which purpose I did lately set forth the Work of that most learned Andreas Ornithoparcus his Micrologus, in the English tongue Also the duty of the Lute-master is to teach them the Γ ut upon the Instrument, that thereby they may both discern those degrees which are continual, and also those discreet intervals, which belong to the tuning of an Instrument. Now this intellect appeareth unto us commonly by the subtle sense of Hearing (which is of so great price, that Plotinus, the chief of the Platonical family, maketh it like the beauty of the Soul.) For which cause, some have set forth Rules to approve the agreement of Concord's by Vnisons and Octaves, which indeed is true, when the Instrument is tuned, but by what order those strings must be let up or down, to show the finding out thereof, I have not seen declared by any. Therefore according to mine own experience: first, let the Scholar practise to set every one of the pairs in an unison, which being well understood: Secondly, let him tune his Bases and one of his Tenors in the Unison: Thirdly, let him raise the sounds of the Base, by stopping thereon, and then make the Tenor sound open, to that sound which was stopped in the Base: this rule must be followed between the Base and the Tenor until the Tenor be in the Unison with the Base in the letter F: and then tune both the Tenors together, but, suppose you have tuned your Tenor too high, than you shall find it in some of those places above the FLETCHER, as in G, H, etc. Wherhfore let it down again to F. This same course must be kept through out, only excepting between the Contratenor and the great Mean, in which the same course above said must be used, that the great Mean may be in the Unison with E in the Contratenor, and so by this use the LUTE being tuned, you shall hear these intervals or spaces in the table underneath, and very quickly learn to tune the LUTE by your ear, without stopping, and also place the frets according to the general custom. Fantasies for the Lute. Fantasy. 1 Composed by the most famous Diomedes of Venice: Lutenist to the high and mighty Sigismundus, 2ᵒ. King of Poland. Fantasy. 2 Composed by the most famous, the KNIGHT of the Lute. Fantasy. 3 Composed by the most famous jacobus Reis of Augusta: Lutenist to the most mighty and victorious Henricus 4. French King. Fantasy. 4 Composed by the most famous and divine Laurencini of Rome. Fantasy. 5 Composed by the most Artificial and famous, Alfonso Ferrabosco of Bologna. Fantasy. 5 Composed by the most famous Gregorio Huwet of Antwerp: Lutenist to the most high and mighty Henericus julius, Duke of Brunswick, etc. Fantasy. 7 Composed by john Douland, Batchelar of Music. Here endeth the Fantasies. Pavins for the Lute. Pavin. 1 Here beginneth the Pavins: of which the first was made by the most magnificent and famous Prince Mauritius, Landgrave of Hessen, and from him sent to my Father, with this inscription following, and written with his GRACES own hand: Mauritius Landgravius Hessiae fecit in honorem joanni Doulandi Anglorum Orphei. Pavin. 2 Composed by the most famous and perfect Artist Anthony Holborn, Gentleman Usher to the most Sacred Elizabeth, late Queen of England, etc. Pavin. 3 Composed by the most excellent Musician Thomas Morley Bachelor of Music, and Organist in the Chapel of the most Sacred Elizabeth, late Queen of England, etc. Pavin. 4 Composed by the right perfect Musician Daniel Batchelar: one of the Grooms of her majesties Privy Chamber. Pavin. 5 Sir john Langton his Pavin. Composed by john Douland Bachelor of Music. Pavin. 6 Composed by the most Artificial and famous Alfonso Ferrabosco of Bologna. Pavin. 7 Sir Tho. Monson his Pavin. Composed by Robert Douland. Here endeth the Pavins. Galliards for the Lute. Galliard. 1 Here beginneth the Galliards: the first whereof is commonly known by the name of the most high and mighty Christianus the fourth King of Denmark, his Galliard. Galliard. 2 The most sacred Queen Elizabeth, her Galliard. Galliard 3 The Right Honourable Robert Earl of Essex, high Marshal of England, his Galliard. Galliard. 4 The Right Honourable Ferdinando Earl of Derby, his Galliard. Galliard. 5 The Right Honourable the Lady Rich, her Galliard. Galliard. 6 The Right Honourable the Lady Clifton's Spirit. Galliard. 7 Sir Thomas Monson his Galliard. Here endeth the Galliards. Almains for the Lute. Almain. 1 Here beginneth the Almains: the first whereof is commonly known by the name of Mounsiers Almain. Sir Henry Guilforde his Almain. The first of the Queen's Masks. The second of the Queen's Masks. The last of the Queen's Masks. The Witches dance in the Queen's Mask. Sir john Smith his Almain. Here endeth the Almains. Corantoes for the Lute. Coranto. 1 Here beginneth the Corantoes: the first whereof is commonly known by the name of Mounsier Ballard his Coranto. Coranto. 2 john Perrithon his Coranto. Coranto. 3 Mounsier Saman his Coranto. Coranto. 4 Mounsier Saman. Coranto. 5 Coranto. 6 Coranto. 7 Here endeth the Corantoes. Voltes for the Lute. Here beginneth the Voltes. Volt. 1 Volt 2 Volt. 3 Volt. 4 Volt 5 Volt. 6 Volt 7 FINIS.