Synopsis of Uocal Music: CONTAINING The Rudiments of Singing Rightly any Harmonical Song, DELIVERED In a Method so Solid, Short and Plain, that this ART may now be Learned more Exactly, Speedily and Easily, than ever heretofore. Whereunto are Added Several PSALMS and SONGS of Three Parts. COMPOSED BY English and Italian Authors for the benefit of young Beginners. By A. B. Philo-Mus. LONDON, Printed for Dorman Newman, at the King's Arms in the Poultry, 1680. JOHN LEVER, Bookseller, Stationer and Printseller, at Little Moorgate, near moorfield's. TO ALL Ingenious Lovers of MUSIC. ALthough in this Age Books of all sorts do abound, yet in some Cases there will be still need of writing more. When many Mysteries do remain still undiscovered, no man will doubt, but it is the duty of any Ingenious Lover of a Science, to bring the Truth to Light according to his utmost ability. If any will say, shall we be wise than our Forefathers, to endeavour the discovery of that which they could never find out? The Answer is clear, Truth is the Daughter of Time. A Pigmy upon a Giant's shoulder may see farther than the Giant himself. Even so, one enjoying the Labours of those, that have gone before, may see as far as they did, and by wading into further depths, may go farther than they, Upon this account it doth more peculiarly belong to every Ingenious Lover of an Art or Science, to continue the work, where they 〈◊〉 it, to add to the stock of knowledge to be clear, where they were confused, to turn into the way, where they went out, and to bring those things to light, that have been hidden from them, If they further urge, that they are come to the very Zenith and top of all kind of Learning, and that they know already all what they need to know: daily experience will show the contrary, to wit, that many things are reserved for the industry and diligence of the latter times, and that there will be just occasion of writing new Books, as long as new matter remains to be published to the World. Especially is this more evident in the excellent Art and Science of Music, which transcendeth all others of its rank, because of its profound mysteries, which have many times put the most learned Professors thereof into great admiration. Therefore in this latter Age the most learned and renowned Alstedius, Des Cartes, and Kircherus, have not thought it any disparagement to make a further, clearer and fuller Discovery, both of the Theorical and Practical Parts of this Noble Science, showing such a way of an improvement thereof, that those things which are concealed, may be fully discovered; those which are imperfect, completed; and those which are doubtful, cleared by evident demonstration. But because the Operation and Experience of the Practical Part of Composing, require the study and expense of many years, and so many excellent Tunes for Air, Variety, and Substance are at present Composed by divers eminent Authors, amongst several Nations: to condescend to the meanest Capacity of Beginners, who intent only to spend but a small portion of time, and to reap the benefit of the Works of those eminent Composers, there are in this Treatise delivered so Solid, Short and Plain Principles and Rules, that whosoever desires to learn to Sing any composed harmonical Song, may now more exactly, speedily and easily, than ever heretofore attain thereunto. For, besides the Principles and Rules formerly published by divers other Professors of this Art, here are now delivered and demonstrated out of the foresaid famous Authors, the exact division of all the space, which any Sound can pass, into certain degrees, whereof the Scale of Music doth consist, and the admirable Order of those degrees, their proportional dimensions or intervals, and also the exact agreeableness of the Cliffs and Syllables with them, and the generation of a Diapason or Eighth in b flat: by which means the very beginners will be not only delivered of that toilsome and troublesome torture of mutation of voices or syllables, which hath often caused many of them to despair of ever coming to any perfection; but they will also be very much enlightened, that they may know the transcendent virtue and excellency, that is comprehended in the due proportion of Musical Sounds, and gain a full satisfaction unto their Reason as well as to their Sense. Furthermore here are added twelve most usual Tunes of Psalms in Three Parts, Treble, Mean, and Bass; then twelve selected Tunes of divers English Authors, also in Three Parts; two Trebles and a Bass, with twelve Selected Catches of three Voices; lastly fourteen Italian Tunes composed by Giovanni Giacomo Castoldi de Carrivaggio, also in Three Parts, two Trebles and a Bass, whereby beginners will have a sufficient store of Tunes to exercise themselves by degrees, till they going on further to more difficult Songs at length may come to some perfection, and be able to sing at the first sight any Harmonical Song to their own delightful Divertisement from their more serious Employments. No nobler and more pleasant Satisfaction can be afforded both to Sense and Mind than by this Art, which is known to none but to their own trial and experience, and by how much the more one exerciseth himself herein, and becomes the more skilful, he will find and enjoy the more delight and pleasure. For the improvement then of all ingenious Lovers, these Rules are thus contrived, the certainty whereof hath been experienced by divers, and may likewise be further known unto others, if they please to try, understand and use them. Now not being willing to weary the Readers Patience, I shall only add, that if any shall (as I doubt not but they will) reap benefit hereby, I receive the end of my desires, and so rest Your Servant for the common good, A. B. Reverendissimo in Christo Patri, ac Honoratissimo Domino, D. GUILIELMO, Providentia Divina, Archiepiscopo Cantuariensi, Totius Angliae Primati ac Metropolitano, Regiae Majestati à Sanctioribus Consiliis. VENERANDE VIR, Vltio ne vertatur, quod praefulgentis Tui Nominis minio, hujusce libelli mei frontispicium exornare non erubescam. Etenim licet nostris, quas victuras speramus, chartis, ceu Memoriae Aris, ea praefigamus nomina, quae studemus ad seram posteritatem transmittere, illos mitati, qui chara sibi nomina ab interitu, quantum pote est, vindicaturi, illa Palatiorum marmoribus insculpunt; nunc tamen è contrario, huic libello è musei umbra ad publicum gestianti, Lucem, quam à se non habet, ab illustri Tui Nominis sole foenerari studeo. Hoc deinde Numine Tutelari, à Zoilorum morsibus & Lemorum censuris iniquis, quicquid isthuc est opusculi, immune praestandum plane confido: Tuumque Nomen Venerandum in hoc Vestibulo ei futurum, quod aiunt Romae in quodam sacello fuisse quondam Herculis clavam, quae suo nidore canibus & muscis illud Delubrum maccessum reddebat. Denique hosce meos labores Tuae, Rev. Dign. inscribendo satius duxi, meum nomen inter illos profiteri, quibus eximiae Tuae Virtutes venerationi simul sunt & admirationi, & quos de Tuo Singulari Amore & Favore, praesertim erga literarum meliorum cultor●s perpetim gloriari juvat. Concede, Vir Summe, ut hoc tenui munusculo, cum in praesentiarum nil Te dignius ad manus habeam, in grati & Tibi devoti animi monimentum, Tuis in me litem meritis; idque gratioso at benigno suscipe vultu, non tam aestimato rei oblatae pretio, quam humillimo affectu offerentis, Tibi mansuri, quam diu hic Spiritus hos regit artus Devotissimi & Addictissimi: & donec id Solenniori modo contestandi mihi coelitus affulgeat occasio, Deum Opt. Max. indesinenter venerabor, ut Te quam diutissima Ecclesiae & Rei publicae superstitem esse jubeat, Tibique affatum benedicere pergat. Londini, è museo meo. Prid. Cal. Decemb. Anno M D CLXXX. Amplissimae Dignitatis Tuae Devotissimus & Obsequentissimus Cultor, A. B. Synopsis of Uocal Music. CHAP. I. Of Vocal Music in general. VOcal Music is an Art of expressing rightly things by Voice, for the sweet moving of the affections and the mind. It is an Art, because it is busied about an object, which can be made, and is meet only for every Art. For the formal object of it is Singing, wherein it directeth the understanding. It's form is a right expression of things by voice, either monodically in a simple melody, or Symphonially in a compounded. The end and effect of it is, a sweet moving of the affections and the mind. For exhilarating the animal spirits, it moderateth gratefully the affections, and thus penetrateth the interior of the mind, which it most pleasantly doth affect. The means by which it is acquired are a frequent exercising of the voice, as well according to certain signs by which vocal melodies are represented, as according to the direction, either of a well tuned Instrument, or rather of an experienced Master. The signs whereby vocal melodies are represented, are either of the melodies themselves, or of the Ornaments of them. Signs of melodies themselves are either of sounds, or of things. The signs of Sounds are either of the length, or of the thickness, or of the breadth of a sound. Signs of the length of sounds do note their duration. And are either of the length of sounds itself, or of the touch, by which the length of sounds is measured. The signs of the length of sounds itself, are either of the length of positive or present sounds, or of the length of privative or absent sounds. Signs of the length of positive or present Sounds, are either primary or Secondary. CHAP. II. Of the Notes. THE Primary signs of the length of positive or present sounds are the Notes. Notes are signs which do note the duration of sounds; and are either whole or broken. Whole Notes do note the duration of whole times. And art either Of Eight times, Which are called, Large. And are thus marked. Four times, Long. Two times, Breves. One time. Semibreves. Broken Notes do note the duration of sounds of parts of a time. And are either Of the Second Part of a time which are called Minims, And are thus marked. Fourth Crotchets, Eighth Quavers, Sixteenth Semiquavers, Two and thirtieth. Demiquavers, CHAP. III. Of the Pricks. The Secundary Signs of the length of positive or present sounds are the Pricks. Pricks are Signs which do augment by the half part every Note after which they are placed. Therefore A Large of the length of Eight times thus pricked is of the length of Twelve times. Long Four times Six times. Breve Two times Three times. Semibreve One time One time and an half. Minim Half a time An half time and a 4th. part. Crotchet The fourth part of a time A fourth and an eighth part. Quaver The eight part of a time An eighth and a sixteenth part. CHAP. IU. Of the Pauses. SIgns of the length of privative or absent sounds are the pauses or rests. Pauses are signs which do note the duration of silences; and are either of whole times, or of parts of a time. Pauses of whole times are either of Eight times. Four times. Two times. One time. Marked thus. Pauses of parts of a time are either of Half a time. The fourth part of a time. The eighth part of a time. The sixteenth part of a time. Marked thus. CHAP. V. Of the Signs of the Common Time. SIgns of the tact, touch or time, are by which the length of all Sounds, Notes and Pauses are measured and are either primary or secondary. The primary Signs of the Time are divers, according to the diversity of the Time. Time is a successive motion, depression and elevation, fall and rise of the hand, by which the length of all Sounds, Notes and Pauses is measured: and is either dupla usually called common, or tripla, or sesquiatera. The Common Time is whose parts, depression and elevation are equal, or even long, and by which all Notes and Pauses, according to their proper value are measured. And is either Slower but less usual, marked with an half circle thus— Swifter and most usual, marked with an half circle cut with a perpendicular line thus— CHAP. VI Of the slower Triple. TRiple Time is whose parts are unequal, the depression of the hand twice as long as the elevation and by which Notes and Pauses are measured, not according to their proper value, but according to a certain proportion: and is either slower, or swifter, or swiftest. The Slower Triple consisteth of three Semibreves, or equivalent Notes, and is marked with the numbers 3 and 1, the former being perpendicularly placed above the latter, because it consisteth of three Notes of one Time, according to the common Time. As in Example A Breve serving in respect of his latter half part for the elevation of the hand is commonly blacked, and also for the most part his immediately anteceding Note. As Two or more Breves, the one following immediately the other, are often signed without Pricks or equivalent Notes for a whole time, because then the one perfecteth the other. As The Pauses of this Triple are thus measured. Pauses according to the Common Time of Eight times, Four times, Two times, Two of one time, One time. are in this triple of Four times, Two times, One time, Depression of the hand, Elevation of the hand. CHAP. VII. Of the Swifter Triple. THE Swifter Triple consisteth of three Minims or equivalent Notes, and is marked with the numbers 3 and 2, the former being perpendicularly placed above the latter, because it consisteth of three Notes of half a time, according to the Common Time. As A Semibreve serving in respect of his latter half part, for the elevation of the hand, is for the most part blacked, with his immediately anteceding Note: as also a Breve, serving in respect of his fourth or last part, for the depression of the hand. As Two or more Semibreves also Semibreves and Breves, the one following immediately the other are often signed without Pricks or equivalent Notes, as then the one perfecteth the other, and consequently a Semibreve is of one, and a Breve of two times. As The Pauses of this Triple of whole times are like to the Pauses of the Common Time, but of parts of a Time are differing. Pauses according to the Common Time of Eight times, Four times, Two times, One time, Two half times, One half time, a Fourth part of a time. Are in this Triple of Eight times, Four times, Two times, One time, Depression of the hand, Elevation, A Sixth part of Time, CHAP. VIII. Of the Swiftest Triple. THE Swiftest Triple consisteth of three Crotchets, or equivalent Notes, and is marked with the numbers 3 and 4, the former being perpendicularly placed above the latter, because it consisteth of three Notes of the fourth part of a Time, according to the Common Time. As A Minim in this Triple, serving either for the depression or for the elevation of the hand, is signed, either after his usual manner: As Or is changed into a Semibreve blacked: as The Pauses of this Triple of Whole Times, are like to the Pauses of the Common Time, but of parts of a Time are differing. Pauses according to the Common Time of 8 times, 4 times, 2 times, 1 time, 2 fourth parts of a time, 1 fourth part of a time, an 8 part of a time. Are in this Triple of 8 times, 4 times, 2 times, 1 time, depression of the hand, elevation of the hand, the sixth part of a time. CHAP. IX. Of the slower Sesquial' e. SEsquialtre time is whose parts, the depression and elevation of the hand are equal, or even long, as in Common Time, yet by whom Notes and Pauses are measured, not according to their proper value, as in Common Time, but according to a certain proportion as in Triple: And is either Slower, Swifter, or Swiftest. The Slower Sesquialtre consisteth of six Crotchets or equivalent Notes, and is therefore marked with the numbers 6 and 4, the former being perpendicularly placed above the latter: Asin Example, The Pauses of this Sesquialtre of whole times, are like to the Pauses of the Common Time, but of parts of a Time are differing. Pauses according to the Common Time, of Half a Time, two fourth parts of a Time, one fourth part of a time, an eighth part of a time. Are in this Sesquialtre of Half a Time, two sixth parts of a Time, one sixth part of a Time, a twelfth part of a Time. CHAP. X. Of the Swifter Sesquialtre. THE Swifter Sesquialtre consisteth of six Quavers, or equivalent Notes, and is therefore marked with the numbers 6 and 8, the former being perpindicularly placed above the latter. As in Example The Pauses of this Sesquialtre of whole times are like to the Pauses of the Common Time, but of parts of a time are differing. Pauses according to the Common Time of Half a Time, two fourth parts of a Time, one fourth part of a Time, an eighth part of a Time. Are in this Sesquialtre of Half a Time, two eight parts of a Time, one eighth part of a Time, one sixteenth part of a Time. CHAP. XI. Of the Swiftest Sesquialtre. THE Swiftest Sequialtre consisteth of twelve Quavers or equivaleut Notes, and is therefore marked with the numbers 12 and 8, the former being perpendicularly placed above the latter. As in Example The Pauses of this Sesquialtre of Whole Times are like to the Pauses of the Common Time, but of parts of a Time are differing. Pauses according to the Common Time of Half a time, the fourth part of a time, the eighth part of a time, two eight parts of a time. Are in this Sesquialtre of Half a Time, three twelfth parts of a Time, one twelfth part of a time, two twelfth parts of a Time. The secondary signs of the Tact or Time are certain words used by the Italians, and afterwards also of others, to wit, Adagio, and Presto, signifying, that such a part of a Song where Adagio is written, is to be Sung slower, and where Presto, swifter. CHAP. XII. Of the Systems. THE signs of the thickness of sounds do note their gravity and acuteness, or profundity and altitude. And are either containing, or contained. The containing signs are either primary, or secundary. The primary containing signs are the Systemes, which by their five joined parallel lines, and spaces between them whereof they do consist, assign and afford to the Cliffs their due higher or lower places: according to this Type. But if any Notes of a Melody rise higher or fall lower, exceeding this Systeme of five lines above or below, then there are drawn more small lines, that serve for the placing of them: as appeareth in this Type. CHAP. XIII. Of the Bars, and Repeats. THE secondary containing signs are either Limiting, or Repeating. The Limiting signs are the Bars which are perpendicular lines, and are either single, measuring the distances of one or more times of a Song; or double, marking the strains or stanza's of it: As in Example. The repeating signs are the Repeats, which signify that a part of a Song must be sung over again. And are either of a General part of a Song thus signed, Or of a particular part of it over against a Note thus marked. CHAP. XIV. Of the Cliffs. THE contained signs of the thickness of a Sound, are they which in the Systemes are placed. And are either Primary, or Secondary. The primary contained signs are either principal, or less principal. The principal contained signs are which chiefly do note the profundity and altitude of a Sound. And are either Visible, or Audible. The Visible signs of the thickness of Sounds are the Cliffs or Keys, which being placed in the Systemes, do represent by their Notes the just Altitude and Profundity of every Sound. And are according to the seven Degrees of the Scale of Music, the first seven letters of the Alphabet, as A, B, C, D, E, F, and G; whereof four, as B, C, D, and E, are never noted, but understood and known by those three signed, as G Marked thus. C F These three are distant the one from the other by a fifth, and afford a double use, to wit, in respect of voices, and in respect of Notes. CHAP. XV. Of the Use of Cliffs in respect of Voices. IN respect of voices, the Cliffs discern the voices distinctly the one from the other. For the Cliff F, is proper to the Bass, and signifieth being placed on the fifth line a Lower Bass, on the fourth a Common, on the third an Higher. The Cliff C is for Tenor, Mean, and Lower Treble, and signifieth being placed on the fourth line a Tenor, on the third a Mean, on the second an Higher Mean, on the first a Lower Treble. The Cliff G is proper for the Treble, and signifieth, being placed on the third line a Lower Treble, on the second a Common, on the first an Higher. CHAP. XVI. Of the Use of Cliffs in respect of Notes. IN respect of the Notes, the Cliffs give to all Notes, in regard of their thickness their names, and make that the understood, or not signed Cliffs do that same. The Cliff G nameth all Notes that stand upon that line upon which it is placed: in B sharp, that is, when the Cliff B, is not with a little round b marked— Sol. B flat, that is, when the Cliff B, is with a little round b marked— Re. The Cliff C nameth them in B sharp— Vt. B moll— Sol. The Cliff F nameth them in B sharp— Fa. B moll— Vt. CHAP. XVII. Of the Syllables. THE audible signs of the thickness of Sounds are certain Syllables every where amongst Musicians received, that beginners may by the help of them easily learn to discern exactly the just altitude and profundity of every Sound. And are in number seven, as Vt, Re, Mi, Fa, Sol, Lafoy, and Ci. The former first six of these Syllables are said to be invented, almost seven hundred years ago, by Guido Arerinus otherwise in Music well enough skilled, out of this Hymn of St. John. Ut queant laxis, Mira gestorum, Solve polluti, Resonare fibris, Famuli tuorum, Labii reatum. Sancte Johannes. But because they are not sufficient to express the seven degrees of the Scale of Music, many have had need of divers mutations of them, which (as Experience witnesseth) hath been to Learners, not only a troublesome torture in learning, but also no little hindrance in their going forwards. Therefore later Musicians have added to the six Syllables the seventh Ci, that their number might answer exactly to the seven degrees contained in the Scale of Music, and no mutation might be any more required. CHAP. XVIII. Of the Scale of Music. THE Scale of Music is an order of seven degrees, distant one from another by just intervals, according to which every sound in ascending and descending is to be directed. The degrees of it are certain limits, by which all the space which a sound can pass, is divided so exactly in certain intervals, that a sound may by them be lifted up, or pressed down, in a due proportion, one following another. And these degrees can be by nature neither more nor less in number: moreover, neither can they differ one from another by greater or lesser intervals. For all the space of sounds is first of all by Nature itself divided into consonancies, whereof every one is called an Eighth, or commonly a Diapason. Because Nature itself showeth most evidentiy this division in a Whistle, which being blown with a stronger blast than usually, giveth immediately a sound higher by an eighth. And this sound, as the higher term of the eighth, although it in respect of its altitude differeth from the graver or profounder term of that eighth therein, that it is only its half part, because it's twice contained in it, like a shorter string in a longer, which is very well known by experiment in a monochord; and that it is weaker, because it is moved of a graver, as of a stronger, which appeareth by the strings of a Lute, whereof if any graver is stricken, that which is by an eighth acuter, immediately trembleth and soundeth: yet in respect of its consonancy it doth equisonate with it after the manner of an unison, which also most evidently appeareth out of the singing of a Song of one voice made by two singers, who can sing that same altogether from the beginning to the end, without any dissonancy, yet the one by an vl higher than the other. The eighth therefore is the most perfect consonancy, differing from an unison only therein, that in its terms is the most simple conveniency divers, as between the whole and half. The same reason is of an eighth once compounded, commonly called a disdiapason, a double eighth, or fifteenth; and of a twice compounded, which is called a trisdiapason, a triple eighth or two and twentieth; and also of a thrice compounded called a tetradiapason, a quadrula eighth, or nine and twentieth, whereof the one can in no way differ from the other. Afterwards an eighth is divided into a fifth, and its residue a fourth: this is commonly called a diatessaron, that a diapente. A fifth or diapente is very easily discerned by hearing, because its terms differ between themselves more than they of an eighth, and less than they of a third or ditone, and therefore it soundeth to the hearing not so flatly as an eighth, nor so sharply as a ditone, but most pleasantly of all. For that object is most pleasant to sense, which in its receiving, neither by its easiness wholly filleth the desire of sense, nor by its difficulty doth weary it: because as too much easiness breedeth fullness and loathing, so too much difficulty trouble and weariness. And this fifth is the most perfect amongst consonancies next to the eighth, because it is by itself generated out of the division of an eight, which is certainly known by experiment in the strings of a Lute, that if any of them be stricken, that the strength of that very sound, immediately striketh all the strings, which are acuter by any kind of a fifth. After that a fifth is divided into a greater third, and its residue a lesser third: this is commonly called a Semiditone, that a Ditone. This greater third or Ditone is also very easily discerned by hearing, because it consisteth in a manifold proportion, consonating with the terms, not only of an eighth, but also of a fifth, and is therefore, next to the fifth, a consonancy so perfect, that it, as experience witnesseth, effecteth upon the strings of a Lute a trembling, which may be perceived not only by seeing but also by hearing. Besides, the remaining Semiditone is divided into a greater Semitone, and a greater tone, that the acuter term of the greater Semitone may consonate with the acuter term of the eighth, after the manner of a fifth. Further this fifth generated out of the division of the foresaid Semiditone, is also divided into a Ditone and its residue a Semiditone, whose Ditone's acuter term doth constitute the sixth degree in an eighth. Moreover the Ditone of the first divided fifth, is divided into a lesser and a greater tone, that the acuter term of this lesser tone may consonate with the acuter term of the sixth, after the manner of a fifth. Lastly the Semiditone betwixt the sixth an eighth is divided into a greater tone and greater Semitone, that the acuter term of this grater tone may constitute a fifth, with the acuter term of the first Ditone. CHAP. XIX. Of the Order of the Generation of the Degrees. THE seven Degrees of the Scale of Music are then generated after this order. 1. The first Degree ariseth out of the division of all the space of Sounds into eighths, and is the graver term of an eighth, as the acuter term of that same eighth is likewise the first Degree of the next following ácuter eighth. 2. The fifth Degree ariseth out of the division of an eighth into a fifth, and its residue fourth, and is the acuter term of that fifth. 3. The third Degree ariseth out of the division of a fifth into a Ditone, and its remaining Semiditone, and as the acuter term of that Ditone. 4. The fourth Degree ariseth out of the division of the Semiditone into a greater Semitone and a greater Tone, and is the acuter term of that greater Semitone, which maketh a fifth with the acuter term of the eighth. 5. The sixth Degree ariseth out of the division of this foresaid fifth into a Ditone and Semiditone, and is the acuter term of that Ditone. 6. The second Degree ariseth out of the division of the Ditone of the former fifth into a lesser and greater Tone, and is the term of that lesser Tone, and maketh a fifth with the acuter term of the sixth. 7. The seventh Degree ariseth out of the division of the latter Semiditone into a greater Tone and a greater Semitone, and is the acuter term of that greater Tone, and maketh a fifth with the acuter term of the former Ditone. Therefore an eighth is divided according to the successive order of these Degrees into a fifth and its residue a fourth; that fifth into a Ditone and a Semiditone; the Ditone into a lesser and greater Tone; the Semiditone into a greater Semitone and a greater Tone; that remaining sourth into a lesser Tone and a Semiditone; that Semiditone into a greater Tone and a greater Semitone. CHAP. XX. Of the Intervals of the Degrees. AND these Degrees are distant the one from the other by these Tones or Intervals. For a Tone is a space, distance, or interval between two sounds, a graver and an acuter. Between the first and second Degree is a lesser Tone, containing nine commas: between the second and the third is a greater Tone, exceeding the lesser by its tenth part, which tenth part is commonly called a Comma; between the third and fourth is an half greater Tone, commonly called a greater Semitone; between the fourth and fifth is a greater Tone of ten Commas; between the fifth and sixth is a lesser Tone of nine Commas; between the sixth and seventh is a greater Tone of ten Commas; between the seventh and the first of the next following acuter eighth is a greater Semitone of five Commas. So that Nature itself demonstrateth it most manifestly that there can be in the Scale of Music neither more nor less degrees in number than seven: moreover that they cannot be distant the one from the other by greater or lesser intervals. That all these things may appear more evidently, so is the successive division of all the space of sounds, and also the Scale of Music, together with its degrees and intervals, rolled into a Circle, and represented in the following Figure. CHAP. XXI. Of the agreeableness of the Cliffs and Syllables with the Degrees of the Scale of Music. TO discem rightly these seven Degrees of the Scale of Music, are commonly used the first seven letters of the Alphabet, called Cliffs (as above is said Chap. 14.) which by their Notes do show before ones Eyes, the just altitude and profundity of the sound of every Degree. And because the Cliff b, being by nature sharp, can be changed into a flat, as afterwards shall be demonstrated, so is the first Degree of an eighth represented by the Cliff c, the second by d, the third by e, the fourth by f, the fifth by g, the sixth by a, and the seventh by b: which seventh Degree, because it is the acuter term of a greater Tone, it maketh a sharp sound, and therefore that Cliss b is called b sharp, and the Scale marked with that b, the Scale of b sharp, and also a Song contained in that Scale, a Song in b sharp. Now reason itself also telleth, that like as there be seven Cliffs showing the just altitude and profundity of the sounds of every Degree to the sight, that there also must be used seven voices or syllables, which also may fitly represent the same altitude and profundity of the Sounds to the hearing. And there can be no fitter syllables than the six of the Ancients, now by long use every where received, if to them be added the seventh, to wit, ci, because they make by their letters a sound convenient enough. For ut and fa afford a flat and esseminate sound; re, sol, and lafoy, a natural and middle; but mi and ci a sharp and manlike. Ut agreeth with the first Degree, because this Degree is distant from the seventh Degree of the graver eighth by a greater Semitone, which therefore also maketh a flat sound. Re answereth the second Degree, because this Degree is distant from the first by a lesser Tone, and therefore also affordeth a natural and middle sound. Mi is like to the third Degree, because this Degree is distant from the second by a greater Tone, and therefore also emitteth a sharp and manlike sound. Fa agreeth with the fourth Degree, because this Degree is distant from the third by a greater Semitone, and therefore also maketh an effeminate and flat sound. Sol answereth to the fifth Degree, because this Degree is distant from the fourth, indeed by a greater Tone, but movable into a lesser, as afterwards shall be demonstrated, when b flat shall be treated of, and therefore also affordeth a natural or middle sound. Lafoy is like to the sixth Degree, because this Degree is distant from the fifth by a lesser Tone, and therefore also giveth a natural and middle sound. Lastly Ci doth agree with the seventh Degree, because this Degree is distant from the sixth by a greater Tone, and therefore also maketh a sharp and manlike sound. By these voices or syllables is then the just altitude and profundity of the sounds of every degree also conveniently enough represented to the hearing. CHAP. XXII. Of the generation of an Eighth in b flat. FUrther because there be in an Eighth two greater Semitones, and the acuter term of a greater Semitone be the first Degree of an Eighth, so must then be considered, how an Eighth with every one of his Degrees is exactly to be made out of the acuter term of the latter greater Semitone. The first Degree of that Eighth let be the acuter term of that latter greater Semitone, to wit, the fourth Degree of the former Eighth. The second Degree of an Eighth should be distant from the first by a lesser Tone, and the thiid from the second by a greater, but the fifth Degree of the first Eight is distant from the fourth by a greater Tone, and the sixth from the fifth by a lesser Tone, therefore there must be made a fraction, which is the difference of a greater and lesser Tone, and is commonly called a Schisma or Comma, and that Comma must be taken away from the greater Tone, and be added to the lesser, than the second Degree of this Octave will be distant from the first by a lesser Tone, and the third from the second by a greater Tone which was required. The fourth Degree of an Eighth should be distant from the third by a greater Semitone, and the fifth from a fourth by a greater Tone, but the seventh Degree of the first Eighth is distant from the sixth by a greater Tone, and the first from the seventh by a greater Semitone: therefore must here also be made a fraction by the difference of a greater Semitone, to wit, a greater Semitone must be taken away from the greater Tone, and be added to the greater Semitone; then the fourth Degree of this Eighth will be distant from the third by a greater Semitone, and the fifth from the fourth by a greater Tone, which also was required. The sixth Degree should be distant from the fifth by a lesser Tone, the seventh from the sixth by a greater Tone, and again the first from the seventh by a greater Semitone, now the second Degree of the first Eighth, is distant from the first by a lesser Tone, the third from the second by a greater Tone, and the fourth from the third by a greater Semitone, therefore these Degrees do well agree amongst themselves, and all the latter eighth is perfected. The Scale arising out of this Eighth is called the Scale of b flat, because herein b sharp is turned into b flat; and also a Song contained in this Scale, is called a Song in b flat. And it beginneth in the Cliff f, and is therefore distant from the Scale of b sharp by its gravity, by a fifth, for in so much as a Sound is flatter, in so much it is also graver, and needeth lesser breath, that it may be uttered. Both these Scales, as well of b sharp, as of b flat, together with their Cliffs and Syllables, rolled into a Circle, are exactly represented in the following Figure: the degrees of the Scale of b sharp with continued Lines, but the degrees of the Scale of b flat with lines made of small points. In Plain are the Scales thus represented: In B Sharp, Ut Re Mi Fa Sol La Ci Ut. Ut Ci La Sol Fa Mi Re Ut In B Flat, Sol La Ci Ut Re Mi Fa Sol. Sol Fa Mi Re Ut Ci La Sol. Therefore a Song being proposed, first must be the Cliff consulted what Cliff it be, and whether in B sharp, or in B flat, and accordingly by its Name be called: from thence must be proceeded to the Notes according to the Scale, in ascending and descending to the end of the Song. But if a Song is not concluded in these seven degrees of the Scale, either ascending higher, or descending lower, than the degrees are iterated in order either forward or backward, as far as a Song itself extendeth. CHAP. XXIII. Of the lesser principal and secondary contained signs. THE less principal contained signs, are signs either pressing down the sounds, or lifting them up. Signs which do press down the Sounds is B flat. B flat maketh every Note before which it is placed, by half a Tone graver or lower. As, Signs which lift up the sounds are B sharp, and B canceled. B sharp raiseth every Note, before which it is placed, by half a Tone higher. As, B canceled raiseth also every Note before which it is placed, by half a Tone higher. As, The Secondary contained signs are the Directs. A Direct showeth that in the same Cliff in which it is placed, the first Note of the next following System doth stand. As, CHAP. XXIV. Of the signs of the breadth of sounds, and of things. SIgns of the latitude or breadth of sounds are which ought to show whether a sound must be sung with a clear and full, or with a soft and small spirit, and are by Artists less carefully expressed, who leave that to the text, and to the things themselves which in a Song are to be expressed. Italians only, and some that them do follow, do use these two words, Fort and Piano, signifying that such part of a song must be sung clearer and fuller, under which is written Fort, but softer and smaller, under which is written Piano. Signs of things are either Primary or Secundary. The Primary signs of things, is the Text itself written under a melody. The Secundary signs of things are either Repeats or Ties. A Repeat of things is a sign which signifieth that a part of the Text must be sung over again. As, Vecedetemi pur 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 bel╌la, bel╌la tiranna. A Tye is a crooked line, binding two or more Notes together, which to one Syllable are to be Sung. As, Gather your Rosebuds while you may, old Time is still a flying. CHAP. XXV. Of the signs of the Ornaments of Songs. SIgns of the Ornaments of Songs are also by Artists less carefully expressed, the Art of Singing with Graces and Orntments being left to Beginners, to attain to it by the imitation of those, who are perfect in it. Yet these few directions are commonly given, that the chiefest ornaments do consist in Exclamations, Trillo's, and Gruppo's. An Exclamation is a slacking of the Voice to reinforce it afterwards, and is especially used in Minims and Crotchets with a prick, whom shorter Notes do follow. A Trillo is a shaking of the Uuula on the Throat in one Sound or Note, as the Gruppo is in two Sounds or Notes, the one being by one degree higher than the other, and are commonly used in cadences and closes. These Ornaments are not to be used in Airy Songs, which require only a lively and cheerful kind of Singing, carried by the Air itself: but in Passionate Music, wherein must be kept a command of the breath, by taking heed, that by spending much in one place it do not afterward fail in another when it is needful. Besides the ordinary measure of Time is here less regarded, for many times is the value of 〈◊〉 Notes made less by half, and sometimes more, according to the conceit of the words, with a graceful neglect. CHAP. XXVI. Of the second Mean to attain the Art of Music. HItherto is treated of the frequent exercising of the voice, according to certain signs by which vocal melodies are represented, as the first Mean, whereby the Art of Singing is to be acquired: followeth now the other mean by which it is attained, the often exercising of the Vo●●e also, by the direction either of a well Tuned Instrument, or of an experienced Master. Because a Beginner cannot at first order his Voice, in rising and falling of the Sounds according to the several Degrees of the Scale of Music, he must therefore guide his Voice in unity of the Sounds, either of an Instrument, especially of the Virginals which are well tuned, or of the voice of one, who in this Art is well experienced: a little practice by singing sometimes with, and sometimes without this help, will so estabiish his Voice, that he will be able to express by Voices all the Degrees of the Scale, and any Sounds of any plain Song according to them. But in the exercising of the Voice is this Order to be observed. First of all must a Beginner learn the Scale of Music, that he may be able to express exactly in Or erall the Sounds of every Degree, in Ascending and Descending. After that he must learn to Tune a Third, a Fourth, a Fifth, a Seventh, and an Eighth, in Ascending and Descending from every Degree: which he will speedily attain, by Sounding at the first Tuning by Degrees all the middle Notes, and afterwards by leaving them out, as in Example. From the First Degree, etc. From the Second Degree, etc. After the same manner must they be Tuned from the rest of the Degrees. And being herein also exactly skilled, he must begin with any plain Song, consulting first the Cliffs whether it is in B sharp, or in B flat, naming it by its proper name, and then proceed from the Cliff to the first Note of the Song, giving it its name, and Tuning it so to the pitch of his Voice, that when he cometh to his highest Note, he may reach it without squeaking, and to his lowest without grumbling, so that his Voice may come always clear from the throat. Then he must sing over all the Song first with the syllables, till he can sing exactly: Afterwards leaving the syllables, he must sing it over with the Text or words underwritten, and that so often till he can sing it all, with all readiness. Having thus exercised himself in easier Songs, he must strive continually to exercise himself after this manner, by Degrees further in harder Songs, till he cometh to perfection, and can sing any Harmonical Song at the first sight, using this Art to his own Recreation, and the Glory of God, which are to Vocal Music its subordinate and ultimate end. Twelve Most Usual TUNES OF PSALMS: IN THREE PARTS. TREBLE, MEAN, and BASS. Psalm 1. Cambridge Tune. Tho. Ravenscroft. B. of M CANTUS. THE man is blest that hath not bend, to wicked read his ear Nor led his life as sinners do, Nor sat in scorners chair. BASSUS. THE man is blest that hath not bend, to wicked read his ear, Not led his life as Sinners do, Nor sat in scorners chair. TENOR THE man is blest that hath not bend, to wicked read his ear, Nor led his life as Sinners do, Nor sat in scorners chair. 2. But in the law of God the Lord doth set his whole delight: And in that law doth exercise himself both day and night. 3. He shall be like the tree that groweth, fast by the River side: Which bringeth forth most pleasant fruits, in her due time and tide. Psalm 9 Windsor Tune. Tho. Ravenscroft, B. of M. CANTUS. WITH heart and mouth unto the Lord, Will I sing laud and praise, And speak of all thy wondrous works, And them declare always. BASSUS. BASSUS. WITH heart and mouth unto the Lord, Will I sing laud and praise, And speak of all thy wondrous works, And them declare always. TENOR. WITH heart and mouth unto the Lord, Will I sing laud and praise, And speak of all thy wondrous works, And them declare always. 2. I will be glad and much rejoice, in thee O Lord most high, And make my Songs extol thy name, above the starry sky. 3. For that my foes are driven back, and turned unto flight. They fall down flat and are destroyed, by thy great force and night. Psalm 23. Martyr's Tune. Simon Stubbs. CANTUS. THE Lord is only my support, and he that doth me feed, How can I then lack any thing, Whereof I stand in need. BASSUS. THE Lord is only my support, And he that doth me feed, How can I then lack any thing, Whereof I stand in need. TENOR. THE Lord is only my support, and he that doth me feed, How can I then lack any thing, Whereof I stand in need. 2. He doth me fold in coats most safe, the tender grass fast by: And after drives me to the streams, which run most pleasantly. 3. And when I feel myself near lost, then doth he me home take: Conducting me in the right paths, even for his own names sake. Psalm 45. London Tune. Tho. Ravenscroft, B. of M. CANTUS. MY heart doth take in hand, Some godly Song to sing, the praise that I shall show therein, Pertaineth to the King. BASSUS. MY heart doth take in hhand, Some godly Song to sing: The praise that I shall show therein, Pertaineth to the King. TENOR. MY heart doth take in hand some godly Song to sing: The praise that I shall show therein, Pertaineth to the King. 2. My tongue oeall be as quick, his honour to indite, As is the pen of any Scribe, that useth fast to write. 3. O fairest of all men, thy speech is pleasant pure. For God hath blessed thee with gifts for ever to endure Psalm 34. York Tune. John Milton. CANTUS. I Will give laud and honour both, Unto the Lord always, And eke my mouth for evermore, Shall speak unto his praise. BASSUS. I Will give laud and honour both, Unto the Lord always, And eke my mouth for evermore, Shall speak unto his praise. TENOR. I Will give laud and honour both, Unto the Lord always, And eke my mouth for evermore, Shall speak unto his praise. 2 I do delight to laud the Lord, in soul and ekke in voice: That humble men and mortified, may hear and so rejoice. 3 Therefore see that ye magnify, with me the living Lord, And let us now exhalt his name, together with one accord, Psalm 47. Lincoln Tune. William Harrison. CANTUS. YE People all with one accord, Clap hands and eke rejoice, Be glad and sing unto the Lord, With sweet and pleasant voice. BASSUS. Y E People all with one accord, Clap hands and eke rejoice, Be glad and sing unto the Lord, With sweet and pleasant voice. TENOR. YE People all with one accord, Clap hands and eke rejoye, Be glad and sing unto the Lord, With sweet and pleasant voice. 2. For high the Lord and dreadful is, with wonders manifold: A mighty King he is also, in all the earth extolled. 3. The people he shall make to be, unto our bondage thrall: And underneath our feet he shall the nations make to fall. Psalm 90. Winchester Tune. Tho. Ravenscroft, B. of M CANTUS. MY Soul to God shall give good heed, And him alone attend, For why? my health and hope to speed, Doth whole on him depend. BASSUS. MY Soul to God shall give good heed, And him alone attend, For why? my health and hope to Speed, Doth whole on him depend. TENOR. MY Soul to God shall give good heed, And him alone attend, For why? my health and hope to speed, Doth whole on him depend. 2. For he alone is my defence, my rock, my health and aid: He is my stay, that no pretence shall make me be dismayed. 3. O wicked folk how long will ye use craft! sure ye must fall: For as a rotten hedge you be, and like a tottering wall. Psalm 84. S. David's Tune. CANTUS. HOW pleasant is thy dwelling place, O Lord of hosts to me, The tabernacles of thy grace, How pleasant Lord they be. BASSUS. HOW pleasant is thy dwelling place, O Lord of hosts to me, The Tabernacles of thy grace, How pleasant Lord they be. TENOR. HOW pleasant is thy dwelling place, O Lord of hosts to me, The tabernacles of thy grace, How pleasant Lord they be. Psalm 100 French Tune. J. Dowland, D. M. CANTUS. ALL people that on earth doth dwell, Sing to the Lord with Cheerful voice, Him serve with fear, his praise forth tell, Come ye before him and rejoice. BASSUS. ALL people that on earth doth dwell, Sing to the Lord with cheerful voice, Him serve with fear, his praise forth tell, Come ye be╌fore him and rejoice. TENOR. ALL people that on earth doth dwell, Sing to the Lord with cheerful voice, Him serve with fear, his praise forth tell, Come ye be╌fore him and rejoice. Psalm 119. CANTUS. BLessed are they that perfect are, And pure in mind and heart, Whose lips and conversations, From God's laws never start. 2. Blessed are they that give themselves, his Statutes to observe: Seeking the Lord with all their hearts, And never from him swerve. BASSUS. Blessed are they that perfect are, And pure in mind and heart, Whose lives and conversations, From God's laws never start. 2. Blessed are they that give themselves his Statutes to observe: Seeking TENOR. BLessed are they that perfect are, And pure in mind and heart, Whose lives and conversations, From God's Laws never start, Blessed are they that give themselves, His Statutes to ob╌serve, Seeking the Lord with all their hearts, And never from him swerve. BASSUS. the Lord with all their heart, And never from him Swerve. Psalm 150. Bangor Tune. Tho. Ravenscroft. B. of M. CANTUS. YIeld unto God the mighty Lord praise in his Sanctuary: And praise him in the firmament that shows his power on high, BASSUS. YIeld unto God the mighty Lord, etc. TENOR. YIeld unto God the mighty Lord praise in his Sanctuary: And praise him in the firmament that shows his power on high, Psalm 148. CANTUS. GIve laud unto the Lord, From heaven that is so high: Praise him in deed and word, Above the Starry Sky. And also ye, his Angels all, Armies royal, praise him with glee BASSUS. GIve laud unto the Lord, From heaven that is so high; Praise him in deed and word, Above the Starry Sky. And also, ye his Angels all, army's royal, praise him with glee. TENOR. GIve laud unto the Lord, From heaven that is so high, Praise him in deed and word, Above the Starry Sky, And also ye, his Angels all, army's royal, praise him with glee. Twelve Selected ENGLISH TUNES IN THREE PARTS. TWO TREBLES and a BASS. A. 3. Voc. Mr. William Webb. CANTUS PRIMUS. I wish no more thou shouldst love me, My joys are full in loving thee, My heart's too narrow to contain, My bliss, if thou shouldst love again. BASSUS. I wish no more thou shouldst love me, My joys are full in loving thee, My heart's too narrow to contain My bliss if thou shouldst love again. CANTUS SECUNDUS. I wish no more thou shouldst love me, My joys are full in loving thee, My heart's too narrow to contain, My bliss, if thou shouldst love again. A. 3. Voc. Mr. Matthew Lock, CANTUS PRIMUS. Claris, it is not in your power to say how long our love will last, it may be we within this hour may lose those joys we now may taste. The blessed that im╌mor╌tal be, From change in Love are one╌ly free. BASSUS. Cloris, it is not in your power to say how long our love will last, It may be we within this hour may lose those joys we now may taste. The blessed that immortal be, From CANTUS SECUNDUS. Cloris, it is not in your power to say how long our love will last, it may be we within this hour may lose those joys we now may taste. The blessed that im╌mor╌tal be, From change in Love are one╌ly free. BASSUS. change in Love are only free. And though you now immortal seem, Such is the exactness of your frame, Those that your beauty so esteem, Will find it cannot last the same: Love from your eyes has stolen my fire, As apt to waste, and to expire. A. 3. Voc. Mr. Matthew Lock. CANTUS PRIMUS. 'Tis love and harmony, 'tis Music's melody, At this time joins our hearts, to meet and sing our parts, and sing our parts. Then let no man disturb' our delight, our content, Since we come, we come for merriment. BASSUS. 'Tis love and harmony, 'Tis Music's melody, At this time joins our hearts, To meet and sing our parts, and sing our parts, Then let no man disturb our delight, our content, Since we come, we come for merriment. CANTUS SECUNDUS. 'Tis love and harmony, 'Tis music's melody, At this time joins our hearts, To meet and sing our parts. and sing our parts. Then let no man disturb our delight, our content, Since we come, we come for merriment. A. 3. Voc. Leno. Hodemonte. CANTUS PRIMUS. In my sad thoughts I sat and Sigh╌ed, With which none was delighted. Yet was it still to me, A rejoicing, there to be in good Socie╌ty. Then farewell Sadness now, Then farewell Sadness now, Let's all agree, To join in Harmony, To join in Harmony, To join, to join in Harmony. BASSUS. In my sad thoughts I sat and Sighed, With which none was delighted. Yet was it still to me A rejoicing there to be, in good Society, Then farewell Sadness now, Then farewell Sadness CANTUS SECUNDUS. In my sad thoughts I sat and Sighed, With which none was delighted. Yet was it still to me, A rejoicing, there to be in good Socie╌ty. Then farewell Sadness now, Then farewell Sadness now, Let's all agree, To join in Harmony, To join in Harmony, To join in Harmony. BASSUS. now, Let's all agree, To join in Harmony, To join in Harmony, To join in harmony. A. 3. Voc. Dr. Wilson. CANTUS PRIMUS. In a Season all oppressed, With sad Sorrow; poor distressed, Troilos said unto his Cressida, Yield, O! Yield thee, Sweet! and stay not; O, no, no, no no, no, no, no, no, sweet Love I may not. BASSUS. In a season all oppressed, With sad Sorrow poor distressed Troilos said unto his Cressida, Yield, O! Yield thee, Sweet! and stay not: O! no, no, no, no, no, no, no, no, sweet Love, I may not. CANTUS SECUNDUS. In a season all oppressed, With sad Sorrow, poor distressed Troilos said unto his Cressida, Yield, O! Yield thee, Sweet! and stay not; O! no, no, no, no, no, no, no, no, sweet Love, I may not. A. 3. Voc. Mr. Simon Ives. CANTUS PRIMUS. Now we are met, let's merry merry be, For one half hour with mirth and glee, To recreate our Spirits dull, Let's laugh and sing our bellies full. BASSUS. Now we are met let's merry merry be, For one half hour with mirth and glee, To recreate our Spirits dull, Let's laugh and sing our bellies full. CANTUS SECUNDUS. Now we are met, let's merry merry be, For one half hour with mirth and glee, To recreate our Spirits dull, Let's laugh and sing our bellies full. A. 3. Voc. Dr. Wilson. CANTUS PRIMUS. From the fair Lavenian Shore, I your Markets come to store Muse not though so far I dwell, And my Wares come here to sell. Such is the Sacred hunger of Gold: Then come to my Pack, while I cry, what d'ye lack, what d'ye buy, for here it is to be sold. BASSUS. From the fair Lavenian Shore, I your Markets come to store Muse not though so far I dwell, And my Wares come here to sell. Such is the Sacred hunger of Gold, Then come to my Pack, while I cry, what d'ye lack, what d'ye buy for CANTUS SECUNDUS. From the fair Lavenian Shore, I your Markets come to store, Muse not, though so far I dwell, And my Wares come here to sell. Such is the Sacred hunger of Gold: Then come to my Pack, While I cry, what d'ye lack, what d'ye buy, for here it is to be sold. BASSUS. here it is to be sold. I have Beauty, Honour, Grace, Fortune, Favour, Time and Place, And what else thou wouldst request, Even the thing thou likest best. First let me have but a touch of thy Gold: Then come to me Lad, Thou shalt have, what thy Dad Never gave, for here it is to be sold. A. 3. Voc. CANTUS PRIMUS. Gather your Rosebuds whilst you may, old Time is still a flying, And that same Flower that smiles to day, to╌morrow will be dying. BASSUS. Gather your Rosebuds whilst you may, old time is still a flying, And that same Flower that smiles to day, to╌morrow will be dying. CANTUS SECUNDUS. Gather your Rosebuds whilst you may, old Time is still a flying, And that same Flower that smiles to day, to╌morrow will be dying. That Age is best which is the first, While Youth and Blood is warmer, Expect not then the last and worst, Time still succeeds the former. Then be not coy, but use your time, And whilst you may, go marry: For having once but lost your prime, You may for ever tarry▪ A. 3. Voc. Mr. Nich. Lanneare. CANTUS PRIMUS. Silly Heart forbear, Those are murdering Eves, in the which I swear Cupid lurking lies: See his Quiver, see his Bow too, see his Dart, Fly, O! fly thou foolish Heart. BASSUS. Silly Heart forbear, Those are murdering Eyes, In the which I swear Cupid lurking lies. See his Quiver see his Bow too, see his Dart, Fly, O! fly, thou foolish Heart. CANTUS SECUNDUS. Silly Heart forbear, Those are murdering Eyes, In the which I swear Cupid lurk╌ing lies, See his Quiver, See his Bow too, see his Dart, Fly, O! fly, thou foolish heart. Greedy Eyes take heed, They are scorching Beams, Causing Heart to bleed, and your Eyes spring Streams: Love lies watching, with his Bow bend, and his Dart, For to wound both Eyes and Heart. Think and gaze your fill, foolish Heart and Eyes, Since you love your Ill, And your Good despise. Cupid shooting, Cupid darting, and his Hand Mortal Powers cannot withstand. A. 3. Voc. Mr. Henry Lewis CANTUS PRIMUS. How happy art thou and I, that never knew how to love, there's no such Blessings here beneath, what e'er there is a╌bove: 'Tis liberty, 'tis liber╌ty, that every Wise Man loves. BASSUS. How happy art thou and I, that never knew how to love, there's no such Blessings here beneath, what e'er there is a╌bove: 'Tis li╌ber╌ty, 'tis li╌ber╌ty, that e╌ve╌ry Wise Man loves. CANTUS SECUNDUS. How happy art thou and I, that never knew how to love, there's no such Blessings here beneath, what e'er there is a╌bove: 'Tis li╌ber╌ty, 'tis li╌ber╌ty, that e╌ve╌ry Wise Man loves. A. 3. Voc. Mr. Edw. Coleman. CANTUS PRIMUS. The Glories of our Birth and State, Are Shadows, not substantial things; There is no Armour against our fate, Death lays his I╌cy Hands on Kings. Sceptres and Crowns must tumble down, And in the Dust be equal laid, with the poor crooked Sith and Spade. BASSUS. The Glories of our Birth and State, are Shadows, not substantial things; There is no Armour against our fate, Death lays his I╌cy Hands on Kings. Sceptres and Crowns must tumble down, and in the Dust be CANTUS SECUNDUS. The Glories of our Birth and State, are Shadows, not substantial things; There is no Armour against our fate, Death lays his Icy Hands on Kings. Sceptres and Crowns must tumble down, and in the Dust be equal laid, With the poor crooked Scyth and Spade. equal laid, With the poor crooked Scyth and Spade. Some Men with Swords may reap the Field, And plant fresh Laurels where they killed; But their strong Nerves at last must yield, They tame but one another still. Early or late they bend to Fate, And must give up their murmuring Breath, Whilst the Pale Captive creep to death. A. 3. Voc. Mr. John Savile. CANTUS PRIMUS. Here's a Health unto his Majesty, with a Fa, lafoy, lafoy, etc. Con╌ver╌si╌on to his E╌ne╌mieses, with a Fa, lafoy, lafoy, etc. And he that will not pledge his Health I wish him neither Wit nor Wealth, nor yet a Rope to hang himself, with a Fa, lafoy, lafoy, lafoy, lafoy, lafoy, lafoy, lafoy, lafoy, lafoy, with a Fa, lafoy, lafoy, etc. BASSUS. Here'r a Health unto his Majesty, with a Fa, lafoy, lafoy, lafoy, lafoy, lafoy, lafoy, Con╌ver╌si╌on to his E╌ne╌mieses, with a Fa, lafoy, lafoy, lafoy, lafoy, lafoy, lafoy, And he that will not pledge this Health, I wish him neither Wit nor Wealth, nor yet a Rope to hang himself, with a Fa, lafoy, lafoy, lafoy, CANTUS SECUNDUS. Here's a Health unto his Majesty, with a Fa, lafoy, lafoy, etc. Con╌ver╌si╌on to his E╌ne╌mieses, with a Fa, lafoy, lafoy, etc. And he that will not pledge his Health I wish him neither Wit nor Wealth, nor yet a Rope to hang himself, with a Fa, lafoy, lafoy, lafoy, lafoy, lafoy, lafoy, lafoy, lafoy, with a Fa, lafoy, lafoy, lafoy, etc. BASSUS. la, lafoy, lafoy, with a Fa, lafoy, lafoy, lafoy, lafoy, lafoy, Twelve Selected ENGLISH CATCHES A. 3. Voc. Composed by sundry AUTHORS. A. 3. Voc. Come follow, follow, follow, follow, follow, follow me, Whither shall I follow, follow, follow, whither shall I follow, follow thee, To the Willow, Willow, Willow, to the Willow, Willow tree. Mr. John Hiliou. A. 3. Voc. hay down, down, down, a down, hay down, down derry, shall I go with my true Love now over the Ferry, and kiss her Rosy sweet Lips, until I am weary, with a Mr. Edmund Nelham. A. 3. Voc. A Boat a Boat hast to the Ferry, For we'll go over to be merry, to laugh, and sing, and drink old Sherry. Mr. Thomas Holmes. A. 3. Voc. Come follow me merrily, merrily, Lads, come follow me merrily, Ah! And we will sing Sol, fa, fa, sol, fa, fa, fa, sol, sol, fa, Put sol before la, and fa after mi, sol, lafoy, mi, fa, mi, lafoy, mi, fa Mr, Edmund Nelham. A. 3. Voc. Come, come away, to the Tavern I say, For now at home 'tis washing day; leave your prittle prattle, and fill us a Pottle, You are not so wise as Aristotle: Drawer come away, Let's make it Holy╌day. Anon, anon, anon Sir, what is't you say. Mr. John Hilton. A. 3. Voc. I drink this Cup to you, Sir heartily; and drink your part with a Heart willingly, then so shall we both agree merrily. Mr. Edmund Nelham A. 3. Voc. Ding, ding, ding, dung Bell, Ding, ding, ding, ding, dung Bell; Oh cruel death! that stopped the breath of him I loved so well; A lack and well away, 'tis a heavy day, as ever us befell, Then for his sake, some order let us take, that we may ring his Knell, ding, dung. Mr. Stoner. A. 3. Voc. Fa, lafoy, lafoy, lafoy, lafoy, lafoy, Fa, la la,— Fa, lafoy, lafoy,— liro, Fa, lafoy, lafoy,— Fa, lafoy, lafoy,— Fa, lafoy, lafoy,—— liro, Fa, lafoy, la.— lafoy,— liro. Mr. Simon Ives. A. 3. Voc. Now my lads, now my lads, now let's be merry, Here is old Charingo, Cider and Perry, Then let us dance, and sing, down, down, down, der╌ry. A. 3. Voc. The silver Swan who living had no note, Till Death approached unlocked her silent Throat, Leaning her Breast against the Reedy Shore, Thus sung her first and last, and sung no more: Fare well all Joys, ah! Death come close my Eyes, more Geese than Swans now live, more fools than wise. Mr. John Smith. A. 3. Voc. Come follow, follow me, come follow, follow me, And we will to the Tavern go, with mirth and merry glee, we'll each Man take his Cup, what ever us befall, and we will drink all up, all up, and for another call, Then let us merry be: be merry my noble hearts; For a Cup of old Sherry, will make us merry, And we'll sing well our Parts. Mr. Johu Hilton. A. 3. Voc. Have you any work for a Tinker, Mistress? old Brass, or Pots, or Kettles, I'll mend them all with a tink very tink, and never hurt your Metels: First let me have but a touch of your Ale, 'twill steel me against cold Wether; or Tinkers Freeze, or Vintner's Lees, or Tobacco, choose you whether; But of your Ale, your nappy Ale, I would I had a Ferkin, But I am old, and very, very cold, and never wear a Jer╌kin. Mr. Edm. Nelham. FOURTEEN ITALIAN SONGS COMPOSED BY GIOVANNI GIACOMO CASTOLDI DA CARRAVAGGIO. A. 3. Voc. Di Gio. Giac. Gastoldi. CANTUS PRIMUS. She that loves me for myself, For affections, not base pelf, Only She, only she, yea only she deserves to be beloved of me. BASSUS. She that loves me for myself, For affection, not base pelf, Only She, only She, yea only she, deserves to be beloved of me. CANTUS SECUNDUS. She that loves me for myself, For affection not base pelf, Only She, only She, yea only She, deserves to be beloved of me. She that loves me with resolve, ne'er to alter, till dissolve, Only She, only She, yea only She, Deserves to be beloved of me. A. 3. Voc. Di Gio. Gioc. Castoldi. CANTUS PRIMUS. Wert thou yet fairer than thou art, which lies not in the power of Art, Or hadst thou in thine eyes more darts, Then Cupid ever shot at hearts, Yet if they were not thrown at me, I would not cast a thought on thee. BASSUS. Wert thou yet fairer than thou art, which lies not in the power of Art, Or hadst thou in thine eyes more darts, Then Cupid ever shot at hearts. Yet if they were not thrown at me, I would not cast a thought on thee. CANTUS SECUNDUS. Wert thou yet fairer than thou art, which lies not in the power of Art, Or hadst thou in thine eyes more darts, Then Cupid ever shot at hearts, Yet if they were not thrown at me, I would not cast a thought on thee. I'd rather marry a disease Then court a thing I cannot please, She that would cherish my desires, Must court my flames with equal fires, Would you know what that will be, I'll then love you when you love me. A. 3. Voc. Di Gio. Giac. Gastoldi. CANTUS PRIMUS. Phillis why should we delay, Pleasures shorter than the day, Could we which we never can, Stretch our life beyond three span, Beauty like a shadow flies, And our youth before us dies BASSUS. Phillis why should we delay, Pleasures shorter than the day, Could we which we never can, Stretch our life beyond three span, Beauty like a shadow flies. And our youth before us dies. CANTUS SECUNDUS. Phillis why should we delay, Pleasures shorter than the day, Could we which we never car, Stretch our life beyond three span, Beauty like a shadow flies, And our youth before us dies. Or would Youth and Beauty stay, Love has wings and will away, Love has swifter wings than time, Changing Love too oft does chime, Gods that never change their state, Very oft their love and hate. A. 3. Voc. Di Gio. Giac. Castoldi. CANTUS PRIMUS. Take O take those lips away, That so sweetly were forsworn, And those eyes that break of days Light that do misled the morn, But my kisses bring a ╌gain, Seals of Love though seals in vain: But my kisses my kisses bring again. Seals of Love though seals in vain. BASSUS. Take O take those lips away, That so sweetly were forsworn, And those eyes that break of days, Light that po misled the morn, But my kisses bring a ╌gain, Seals of Love though seals in vain, CANTUS SECUNDUS. Take O take those lips away, That so sweetly were forsworn, And those eyes that break of days Light that do misled the morn, But my kisses bring a ╌gain, Seals of Love though seals in vain: But my kisses my kisses bring again. Seals of Love though seals in vain. BASSUS. But my kisses my kisses bring again. Seals of Love though Seals in vain. Hide, O! hide those hills of snow, That thy frozen blossom bears, On whose tops the pinks that do grow Are yet of those April wears. But first, set my heart free, Bound in icy chains by thee, But first, set my heart, set my heart free, Bound in icy chains by thee. A. 3. Voc. Di Gio, Giac. Gastoldi. CANTUS PRIMUS. Stay, stay, O stay that heart I vow 'tis mine, ravished from hence by her whose parts divine, Enchanted it and sent the wosnl No: which took't away, and filled its place with woe. BASSUS. Stay, stay, O stay that heart I vow 'tis mine, ravished from hence by her whose parts divine Enchanted it, and sent this fatal No: which took't away, and filled its place with woe. CANTUS SECUNDUS. Stay stay, O stay, that heart I vow 'tis mine, Ravished from hence by her whose parts divine Enchanted it, and sent this woeful No: which took't away, and filled its place with woe. O hold it fast, I come, yet let it fly, I cannot move 'tis pity both should die, Farewell, Farewell my heart I've pleased mine eyes, Thou being lost, sees thee her Sacrifice. A. 3. Voc. Di Gio. Giac. Castoldi. CANTUS PRIMUS. Bright Aurelia I do owe, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 All the woe which I do know. To those glorious looks alone, Though y'are unrelenting stone, The quick lightning from your eye, Did with force me Sacrifice, My unweary harmless heart, and now you glory in my smart. BASSUS. Bright Aurelia I do owe, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 All the woe which I do know, To those glorious looks alone, Though y'are unrelenting stone, The quick lightning from your eye, Did with force me CANTUS SECUNDUS. Bright Aurelia I do owe, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 All the woe which I do know. To those glorious looks alone, Though y'are unrelenting stone, The quick lightning from your eye, Did with force me Sacrifice, My unweary harmless heart, and now you glory in my smart. BASSUS. Sacrifice, My unwary harmless heart, and now you glory in my smart. How unjustly you do blame,— That pure flame, which from you came, Vexed with what yourselves made burn, Your Scorns tinder dit it turn, The least Spark now Love can call, That doth fall as on the small Scorched remainder of my heart, Will make it burn in every part. A. 3. Voc. Di Gio. Giac. Gastoldi. CANTUS PRIMUS. Ah! my fair, ah! come behold me, How I pine away for thee, For too hard is me the horrible Smart, which you cause to my poor heart, You force me, you tie me, you wound me you vex me, you kill me, Ah! ah! most cruel fair, Ah! I die in despair, Ah! ah! most cruel fair. BASSUS. Ah! my fair ah! come behold me, How I pine away for thee, For too hard is me the horrible Smart, which you cause to my poor heart. You force me, you tie me, you wound me, you vex me, you CANTUS SECUNDUS. Ah! my fair, Ah! come behold me, How I pine away for thee, For too hard is me the horrible Smart, which you cause to my poor heart, You force me, you tie me, you wound me, you vex me, you kill me, Ah! ah! most cruel fair, Ah I die in despair, Ah▪ ah! most cruel fair. BASSUS. kill me, Ah! ah! most cruel fair, Ah I die in despair, Ah! ah! most cruel fair. A. 3. Voc. Di Gio. Gioc. Castoldi. CANTUS PRIMUS. Bring back my comfort and re╌turn, For well thou knowest that I in such a vigorous passion burn, That missing thee I die, Return, return, insult no more, Return, return, insult no more, Return, return and me restore, To those sequestered joys I had before. BASSUS. Bring back my comfort and return, For well thou knowest that I, in such a vigorous passion burn, That missing thee I die, Return, return, insult no more, return, return, insult no more, CANTUS SECUNDUS. Bring back my comfort and re╌turn, For well thou knowest that I in such a vigorous passion burn, That missing thee I die, Return, return, insult no more, Return, return, insult no more, Return, return and me restore, To those sequestered joys I had before. BASSUS. Return, return and me restore, To those sequestered Joys I had before. Abscnce in most, that quencheth love, And cools this warm desire, The ardour of my heart improve, And makes the flame aspire, The Maxim therefore I deny, The Maxim therefore I deny, And term it though a Tyranny, The Nurse to Faith, to Love, to Constancy. A. 3. Voc. Di Gio. Giac. Gastoldi. CANTUS PRIMUS. Only joy now here you are, Fit to hear and ease my care, Take me to thee, Give thee to me, No, no my dear let be, Let my wisp'ring voice obtain, Sweet reward for sharpest pain, Night hath closed all in her Cloak, Twinkling Stars Loves thoughts provoke, Danger hence good care doth keep, Jealousy itself doth sleep Take me to thee, Give thee to me, No, no, my Dear let be. BASSUS. CANTUS SECUNDUS. Only joy now here you are, Fit to hear and ease my care, Take me to thee, Give thee to me, No, no, my Dear let be, Let my whis'pring voice attain, Sweet reward for sharpest pain Night hath closed all in her Cloak, Twinkling Stars, Love thoughts provokes, Danger hence good care doth keep, Jealousy itself doth sleep, Take me to thee, Give thee to me, No, no, my Dear let be. BASSUS. A. 3. Voc. Gio. Gioc. Castoldi. CANTUS PRIMUS. O Sovereign of my joy, Triumpher of annoy, Star of my desire, And sweet fire, For in whose shining eyes, Are lights of Cupid's skies, And whose voice when it speaks, All sense asunder breaks? Whose heavenly voice is such, That hearts doth touch. BASSUS. O Sovereign of my joy, Triumpher of annoy, Star of my desire, And sweet fire, For in whose shining eves, Are lights of Cupid's skies, And whose voice when it speaks, All sense asunder breaks? Whose heavenly CANTUS SECUNDUS. O Sovereign of my joy, Triumpher of annoy, Star of my desire, And sweet fire, For in whose shining eyes, Are lights of Cupid's skies, And whose voice when it speaks, All sense asunder breaks? Whose heavenly voice is such, That hearts doth touch. BASSUS. voice is such, That hearts doth touch. And in whose body is, Each character of Bliss, Full of true delight, Pure and bright, My Dear when shall it be, That I thine eyes shall see, And that my greedy ear, thy heavenly voice may hear, Let be betwixt thee and me, A harmony. A. 3. Voc. Di Gio. Giac. Gastoldi. CANTUS PRIMUS. In the merry month of May, on a morn by break of day, Forth I walked the Wood so wide, when as May, was in her pride. There I spied all alone, Phillida and Co╌ri╌don, Much ado there was so hot, he did love, but she could not, he said his love was all true, she said none was false to you. BASSUS. In the merry month of May, on a morn by break of day, forth I walked the Wood so wide, as May was in her pride. There I spied all alone Phillida and Co╌ri╌don, Much ado there CANTUS SECUNDUS. In the merry month of May, on a morn by break of day, Forth I walked the Wood so wide when as May was in her pride, There I spied all alone, Phillida and Cor╌ri╌don, Much ado there was so hot, he did love but she could not, he said his love was all true, she said none was false to you. BASSUS. was so hot, he did love but she could not, he said his love was all true, she said none was false to you. He said he had loved her long, She said Love should take no wrong Thereupon he would kiss her, She said Maids must kiss no men Till they kiss for good and all, And for plighting Truth have called, Then with many pretty Oaths, Yea and nay, Faith and Troth, Love which long had been deluded, Was with kisses sweet concluded. A. 3. Voc. Di Gio. Giac. Gastoldi. CANTUS PRIMUS. Since Love hath in thine and my eye kindled a holy flame, What pity 'twere to let it die, What sin to quench the same, The Stars that seem extinct by day, Dis╌close their flames at night, And in a Sable sense, con╌vey, Their Loves in beams of Light. BASSUS. Since Love hath in thine and my eye, klndled a holy flame, What pity 'twere to let it die, What sin to the same, The Stars that seem extinct by day, Dis╌close their flames at night, And in a Sable CANTUS SECUNDUS. Since Love hath in thine and my eye, klndled a holy flame, What pity 'twere to let it die What sin to quench the same, The Stars that seem extinct by day, Dis╌close their flames at night, And in a Sable sense, con╌vey, Their Loves in beams of Light. BASSUS. sense, con╌vey their Loves in beams of Light. If thou perceivest thy flame decay, Come light thine Eyes at mine And when I feel mine waist away, I'll take new fire from thine, Thus white we shall preserve from waist, the flame of our desire, No Vestal: shall maintain more chaste, Or more immortal fire. A. 3. Voc. Di Gio. Giac. Gastoldi. CANTUS PRIMUS. If the quick Spirit of your Eye, Now languish and anon must die, If every sweet and every grace, Must fly from that forsaken face, Then Ce╌li╌a let us reap our joys, ere Time such goodly Fruit destroys. BASSUS. If the quick Spirit of your Eye, Now languish and a╌non must die, If every sweet and every grace Must fly from that forsakee face, Then Ce╌li╌a let us reap our joys, ere Time such good Fruit destroys. CANTUS SECUNDUS. If the quick Spirit of your Eye, Now anguisht and a╌non must die, If every sweet and every grace, Must fly from that forsaken face, Then Ce╌li╌a let us reap our joys, ere Time such goodly Fruit destroys. Or if that golden Fleece must grow, For ever free from aged Snow, If those bright Suns must know no shade, Nor your fresh beauty ever fade, Then Celia fear not to bestow, What still is gathered still must grow. A. 3. Voc. Di Gio. Gioc. Castoldi. CANTUS PRIMUS. Make hast, O! Nymphs and fly, From this bank, though dry, On this River's side, And near those Trees in th'air, To stay forbear, For if you not quickly, not quickly, not quickly are shnnning, And if you not swiftly, not swiftly, not swiftly are running, Cupid hunts in this dale, Be sure he will not fail, To wound your tender heart, But shooting once a dart. BASSUS. CANTUS SECUNDUS. Make hast, O! Nymphs and fly, From this bank, though dry, On this River's side, And near those Trees in th'air, To stay forbear, For if you not quickly, not quickly, not quickly are shnnning, And if you not swiftly, not swiftly, not swiftly are running, Cupid hunts in this dale, Be sure he will not fail, To wound your tender heart, But shooting once a dart. BASSUS. The Contents of this Book. Of the Synopsis of Vocal Music. Chap. 1. Of Vocal Music in general Pag. 1 2. Of the Notes 3 3. Of the Pricks 5 4. Of the Pauses 6 5. Of the Signs of the Common Time 7 6. Of the slower Triple 8 7. Of the swifter Triple 10 8. Of the swiftest Triple 12 9 Of the slower Sesquialtre 14 10. Of the swifter Sesquialtre 16 11. Of the swiftest Sesquialtre 18 12. Of the Systems 20 13. Of the Repeats 21 14. Of the Cliffs 22 15. Of the Cliffs in respect of Voices 24 16. Of the Cliffs in respect of Notes 25 17. Of the Syllables 26 18. Of the Scale of Music 27 19 Of the Order of the Generation of the degrees. 30 20. Of the Intervals of the degrees 32 21. Of the agreeableness of the Cliffs with the degrees of the Scale of Music. 34 22. Of the Generation of an Eighth in b flat 36 23. Of the lesser principal, and secondary contained signs 40 24. Of the signs of the breadth of Sounds of things 42 25. Of the signs of the Ornaments of Songs 43 26. Of the second mean to attain the Art of Music 44 Of Twelve most usual Tunes of Psalms in Three Parts, Treble, Mean and Bass. Psal 1. The Man is blest that hath not bend Pag. 48 9 With heart and mouth unto the Lord 50 23. The Lord is only my support 52 45. My heart doth take in hand 54 34. I will give laud and honour both 56 58. Ye People all with one accord 58 90. My Soul to God shall give good heed 60 84. How pleasant is thy dwelling place 62 100 All people that on Earth do dwell 64 119. Blessed are they that perfect are 66 150. Yield unto God the mighty Lord 68 148. Give laud unto the Lord 70 Of the twelve selected English Tunes, in three Parts, two Trebles and a Bass. Tune. 1. I wish no more thou shouldst love me Pag. 72 2. Cloris, Is it not in your power 74 3. 'Tis Love and Harmony 76 4. In my sad thoughts I sat and sighed 78 5. In a Season all oppressed 80 6. Now we are met, let's merry, merry be 82 7. From the fair Lavenian Shore 84 8. Gather your Rosebuds whilst you may 86 9 Silly heart forbear 88 10. How happy art thou and I 90 11. The glories of our birth and state 92 12. Here's a health unto His Majesty 94 Of the twelve selected Engl. Catch. A. 3. V. Catch, 1. Come follow, follow, follow, etc. Pag. 98 2. hay down, down, down a down 98 3. A boat, a boat hast to the Ferry 99 4. Come follow me merrily 99 5. Come, Come away 100 6. I drink this Cup, Sir, hearty ibid. 7. Ding, ding, ding, dung bell. 101 8. Fa, lafoy, lafoy, lafoy, &c 101 9 Now my Lads 102 10. The Silver Swan who living had no Note 102 11. Come follow, follow me 103 12. Have you any work for a Tinker 104 Of the Fourteen Italian Songs Composed by Giovanni Giacomo Castoldi da Carravaggio, in Three Parts, two Trehles and a Bass. Tune, 1. She that loves me for myself Pag. 108 2. Wert thou yet fairer than thou art 110 3. Phillis why should we delay 112 4. Take, O take those lips away 114 5. Stay, Stay, O Stay, that Heart I vow 'tis mine. 116 6. Bright Aurclia I do owe 118 7. Ab, my fair, Ah! come behold me 120 8. Bring back my comfort and return 122 9 Only joy now here you are 124 10. O! Sovereign of my joy 126 11. In the merry month of May. 128 12. Since Love hath in thine and mine Eyes 130 13. If the quick Spirit of your Eye 132 14. Make haste, O! Nymphs, and fly 134 ERRATA. ALthough the Fate of Books is as that of men Vitiis nemo sine nascitur: optimus ille est Qui minimis urgetur— Yet what 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of any moment have slipped, ought carefully be amended: especially in Music, wherein they in no wise can be tolerated. In the Epist. Dedicat. pag. 2. lin. 2. r. gestienti: lin. 4. Momorum: pag. 3. lin. 6. diutissime, affatim. Pag. 24. Stav. 2. amend the Cliffs 3. and 4. thus Pag. 41. Stav. 1. after the the Notes 5. 13. and 23. put in stead of the b moll. or round, this b sharp, or quadrate ♮. Pag. 66. before the Note 7. and pag. 67. before the Note 17. blot out the b canceled ♯ Also Pag. 92. Stav. 4. after the Note 17. and Pag. 130. Stave 5. after the Note 3. blot out the single Bar. And Pag. 111. Stave 2. blot out this Repeat Add in Pag. 77. after the Note 10. this Note And in Pag. 89. after Note 20. add this Note Correct the Cliffs thus: Pag. Stav. Errat. Correct. 49 2 53 2 62 2. 3. 63 2 72 2 78 4 92 3 101 2 Correct the Notes thus: Pag. Stav. Not. Errat. Correct. 52 2 6 59 1 6 60 1 15 63 2 1 66 4 1 70 1 2 70 2 19 73 1 23 75 1 19 75 2 19 77 1 13 78 3 21 78 5 17 79 5 2 80 2 13 80 2 15 81 2 7 〈◊〉 〈◊〉 〈◊〉 86 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 5 17 〈◊〉 〈◊〉 13 〈◊〉 〈◊〉 〈◊〉 100 〈◊〉 〈◊〉 100 3 10 100 4 16 100 4 21. 22. 101 1 11 101 4 39 110 5 8 110 5 24 111 3 6 115 4 6 120 3 9 121 3 21 124 5 3 125 5 1 128 5 1 128 5 25 129 1 7 129 3 20 130 1 14. 15 130 1 20 FINIS.