A VINDICATION OF AN ESSAY To the Advancement of MUSIC, FROM Mr. MATTHEW LOCK'S OBSERVATIONS.  
By enquiring into the real Nature, and most convenient Practice of that SCIENCE.  
By THOMAS SALMON, M. A. of Trin. Col. Oxon.  A senis Notis, ah! qualis mutationum mora, confusio clavium, substitutio vocum? videas plerosque an indigneris, bonam aetatem impendisse huic arti, & exiguum tamen profecisse, perfectos annis prius quam ejus. modi lectione. Erycii Put. Musathena. 
LONDON: Printed by A. Maxwell, and are to be Sold by John Car at the Middle-Temple-Gate, 1672.   

To the READER.  
morefield's, or the Bear-Garden are entertainment only for the Rabble: And, should I spend my time in wrangling, scratching, pulling by the hair, and such like; the Reader would have good reason to think himself but rudely treated. I shall therefore (after I have a little caressed my good Friend, and old Acquaintance, The Observer) inquire into the nature of Music, that we may a little discern what commerce it maintains betwixt its Theory and Practice; and if we can obtain them both to vote in favour of our Hypothesis, we shall have just Encouragement to engage with the Objections.   

To the Eminent and Learned Dr. JOHN WALLIS, Savilian Professor of Geometry in the University of Oxford.  
SIR,  
HAving in a Letter (of Feb. 7.) received your Approbation of my Essay, (than whom, none was better able to judge, whether it was agreeable to the true nature of Music) I was not much solicitous what the less-learned part of the world thought concerning it. But then, that Learned as well as Royal Society, having in their Transactions (published Febr. 1671/2 N. 80) upon their Judgements recommended it to public practice; I must confess it was more than I expected, to be now so killingly convinced, and utterly destroyed by one single, though he was a very grand Observer.  
And indeed, Sir, what ruin may I not expect from such a formidable Encounterer? who, when I hoped to have obtained a little respect by professing myself Graduate of one of the most Noble Universities in the World, at one puff (Observe p. 38.) turns me into a Jack-an-apes, and all those venerable Ancestors we study, into great Bears.  
Now, Sir, for my part, I had never skill enough in my life, to take a Man in pieces, and make him up into a Monkey: Wherefore I must stand staring and gazing upon my Antagonist as the Gigantick-Champion of Music; to which purpose, he is pleased (P. 30.) to call himself the great Goliath; and his small Adversary, little David; though before that (P. 9) it lay in his way to call me Hercules: And so powerful he is, Sir, in this juggle of converting, that I am confident, at the same time he is able to turn me into a Mouse, and an Elephant.  
Well, there are no hopes, but we must be undone: for we may pretend and expect what we will; 'tis impossible there should be any dealing with ' or resistance made against such a mighty man as this. Wherefore I am resolved humbly to request and entreat all manner of men to believe, That I am and do whatever he would have me; for there is nothing in the world does so spoil an ingenious jest, as for some silly people to get a whimsy in their heads, That I am of a sober conversation: Whereas if they will but be so kind to their own diversion, as to grant me a Sot and a Coxcomb, then would they set Ralpho's Lice and Maggots a wriggling, p. 5. Then we should have Burlesque upon Poetry, and Verses upon Burlesque; and that so violently, that if no body will bestow printing them, he'll print them himself; if no body thinks them worth answering, he'll answer them himself: so very careful he is for the recreation of mankind.  
But, Sir, I must remember you of one thing, That when I was supposing myself, I was willing to suppose myself one of the least things I could suppose myself; that when this huge Destroyer came, I might creep into an Augurhole, or behind the Wainscot; but I was afraid even to do that too▪ for if you observed how archly he transposes and perverts my words, (p. 8.) you would take him for a living Mousetrap.  
However, having timely apprehensions of his coming, I was not out of all hopes to escape, did there not go before him a terrible fellow in Buff, an Epigrammatical Poetaster; this man, Sir, (one would think) dealt only with Pen, Ink, and Paper; but alas! he was armed with all the Instruments of Cruelty; and heated with such an implacable Malice, that he sentences me; first, To have my Hide tawed till it was tender; then to have the foresaid intimate Garment, my Skin, to be fleyed off whilst I yet remained alive: nay further, could he have got a Rhyme for defunct (which it seems was the word he designed) I must also have been eaten alive with Pepper and Salt, three days after I had been defunct.  
But 'twas well for us, his Pegasus was jaded; and so, farewel him. Next comes the Observer himself, whose remarks were fitter to be contemned than taken notice of; yet their Author being of so great fame and employment, I shall strictly examine each Page; which trouble I am the more willing to undergo; because after this Observer I suppose none will dare to make Observations; there being few men of greater Skill; of greater Malice, none.  
Observ. p. 1. The Essay is, at first dash, found abusive, false, insignificant, contradictory, and (in some parts) impossible; which to save himself the labour of proving, he supposes; and accordingly to save ourselves the labour of disproving, we suppose is not; and so far we are even.  
But indeed, 'tis no great matter which is true; for the business does not lie in pro & con, but the way of propounding. He has (saith the Observer) been liberal to evince the intricate and difficult way of your proceeding, by an Experiment of his.  
Now, Sir, there is no such rugged uncompliant way of evincing, as that of Experiment; for thereby things will obstinately appear just as they are. And of all other Experiments, those of Arithmetic have lest of congé in them.  
Ha Saucebox! Dare you prove, that we require 81 different alterations (Essay p. 33.)? Now, Sir, these Numbers are so cross-grained, that all the Money and Interest in the world could not bribe 9 times 9 to be 79, they will make 81. And no Musician can deny, but that there may be 9 Cliffs, and that every Cliff sets all the Notes belonging to it in different places, which must at the least be more than Nine. (For though G of the Base, and one G upon the Treble, both stand upon the lower line; yet I am confident, he so far abominates my Octaves, that he will scorn to save Nine by that shift). So that proving them to make 81 alterations of the Notes, and my Notes always to stand in the same place, this is the abusive rugged way.  
Whereas the smooth taking way had been to have invited our angry Observer to the Tavern, filled his belly with a good Fish-dinner, and made it swim again; then might a man have drawn forth an Hypothesis with acceptance; if so be one had been cautious all the while to have acknowledged that the old way was rare, convenient, and indeed best; but it would be an infinite kindness and obligation if they would practise a new one; which the worse it was, the greater kindness it would be to accept it. And this had been the modest way.  
But now, Sir, you know it is the way of us speculative people, if we can but once demonstrate a thing to be easy and plain, we use to accept it without further charges of entertainment. And if this won't agree with the practical, then without doubt there is something more in it than we know of, and must be put among those things which are good in speculation, but not profitable to practise.  
And now, Sir, lest my Reader should be a little drowsy, you must give me leave to change the mood, and be more pleasant upon this subject of recreation.  
P. 2. Do but turn over the leaf, and you will find me indebted to the Observer for a Tale; and indeed, Sir, I was never so indebted to any man in my life; for he hath described himself to be an arrant fool, out of good will to prevent all ventersome young men from being the like.  
There he stands like a frightful Scarecrow stuffed with straw, an old Hat, and a Muckinger, holding forth his arms; See here young men! When I was a Schoolboy, etc. then was I Lucifer-like; which some wicked people say, was as proud and false as the Devil; but I don't believe that was his own meaning of it in this place, though afterwards he tells us plainly, He was wise in his own eyes; that there was more hopes of a fool than of him. Sir, one would long to be acquainted with the Observer, to know what kind of man such an ill-begun boy hath made. But whatsoever he is, we thank him for his good advice, though we cannot admit the force of his Argument, That if he was a fool when he was a young man, therefore all other young men must be so too. Which is all the pertinent application I can dev●ise  
P. 3. And now our errand Observer promises, To keep within compass; where (having just finished his own Character and Education) he is pleased to insert mine: Which I will not examine, because I have already professed myself to be, and do, whatsoever he says, except in the business of my forlorn Fssay.  
I must acquaint you, Sir, That it happened amongst the happening of my life, to have to do with this Observer, wherein I did my do, civilly and kindly (as he himself confesses, Lin. 17.) and several others also, were the favours he received from our Family, which he promises (and we have experienced in these Observations) always to acknowledge. And indeed, such kind inclinations are as natural to him, as 'tis for a stone to tend towards its centre. For how can a sweet Musical Ingenuity, be any way tainted with the least Rudeness or Ingratitude? Especially being terrified in the days of Schoolboy, with that dreadful Apothegm of Lycosthenes, Si ingratum dixeris, omnia dixeris.  
But I did that which was able to cancel all Obligations. Pity! ah pity, Sir, the common fate of Scholars, who are all possessed with one incurable madness, To be ever enquiring into the reasons and nature of things. Hence came the cause of my present ruin! My canting Questions, and my nibblings after Solutions. And here, Sir, I am resolved to lay you something in the blame: for it was you that spoiled me, by letting me know, That the satisfaction an Octave created, did proceed from an exact duple-proportion, which it ever observed, with some other such like heathenish things. And this, by my reading, got such possession of my Pericranium, as you can scarce imagine.  
Particularly, when I was a young trader in Philosophy, Father Galtruchius told me in the first Chapter of his Musical Institutions out of old Boetius and Ptolemy, Quod, voces in Musicâ neque plures neque pauciores esse possunt, quam septem, (i. e.) there could be neither more nor less than seven Voices, which are the seven intervals included in eight Notes.  
Not that Seven were all the variety the Ancients had: for Aristoxenus, who was Contemporary with Alexander the Great, and Scholar to Aristotle, tells us in his first Book, p. 20. Edit. M. Meibomii, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉. That the Notes then in use, especially for humane voice, reached two Eights and a Fifth; which (not counting the Fifth inclusively) is just twenty Notes, the compass of our modern scale from Gamut to Ela.  
But then this vile Aristoxenus did so confirm me in my beloved Octaves (the same page) where he thinks that Notes might upon their account proceed ad infinitum, that I have ever since doted upon them. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉. That an Octave was of such an incomparable good nature, as if you added a greater, or less, or equal consonant to it, it would still be Consonant, which he thought would hold to infinite; but will not come to pass so much as in two Fifths (where the present division of Cliffs is) or any other consonants of the same kind, which being added together, make a most unpleasing discord.  
These Learned men, Sir, were those Midsummer-Moons which influenced my brains to think an Octave to be a complete Cycle of Music; which, in the greatest compass, still enjoyed itself in one and the same Oeconomy. And this, Sir, makes me still so mad as to think, that though my new Scale doth divide itself at every Octave, p. 11. yet it does not divide confusedly, or Tinker-like, instead of mending one hole, make two.  
But, Sir, these uncontrollable Proverbs are able to undo any man living. And then for his Poetry, he is altogether as invincible. From whence you see my misery in dealing with this man of Proverbs! And for Burlesque, if not Twin to Hudibras, yet certainly he is his own younger brother. But I omit these Titles, as (perhaps) only my own private Sentiments.  
Come therefore (as I. Philip's calls thee), Come thou Apollo, thou sign of a Sun-Tavern; come and behold the annual circuit of thy rival Luminary; see the like circulation of the imitating blood. 
[Here insert the Diagram.]   

Or like a Bowl, or like a Wheel,  
Or like the Damask-Rose you see.   
Fie upon it! Observer, I believe thou observest, that they will not Rhyme, which is the only thing necessary to Verses. Therefore (good Hudibras) give me leave to retreat to Prose.  
A Diagramm For the Uniting of Speculative and Practical Music; By rendering the Order and Proportions of the intervals▪ into Practic notes upon their own constant lines & spaces.  
And here I intent to give an account of this Whirligig, because I think it does something turn and hindg Speculative and Practical Knowledge together: so that we will a little look into the grounds of Music, and steer our course accordingly.  
Mr. Morley (otherwise than the Ancients did) in his Introduction, p 3. instructs his Scholar Philomathes, That there were in Music but six Notes, which are called by those several names, Ut. Re, Mi, Fa, Sol La, (And why but Six, I leave the Observer to vindicate.) Now He, and their Nomenclator Guido, being both in a mistake for that, have (as some think) caused a great deal of confusion, by directing men to follow that in practice, which stands upon a false foundation, even against the very nature of the thing.  
Thus they begin at every Tetrachord, and so march up to the Hexachord, and then down to the Tetrachord again; whereas the business is not done by Fourths and Sixths', but by a circulating Octave.  
Which they were something sensible of; and therefore, after the two first Tetrachords, began Ut again at the next Note; that every Octave. Note might have the same denomination as well by its Syllable, as its Capital Letter.  
And this the Observer is so exceedingly angry at (because I take some advantage thereby to plead for my Octaves; and therefore seem to have some reason, why men should involve themselves in my perplexities, as he says p 27) that he thinks it rational, for the future, to take the Alphabet endwise, even to W, X Y, Z; though he add four more Notes to the Scale above Ela.  
But 'tis well for me, All men are not so spiteful: Foreigners, who retain Ut and Re, have generally added the seventh Monosyllable By; and therefore I doubt are something guilty of circulation, which is thereby brought to pass at every Octave.  
But our own Countrymen have much outdone all the Musicians in the world not only by pursuing the same circulation, but in so ordering the Monosyllables, that the same should always signify an interval of the same proportion.  
Which, Sir, was first taken notice of by yourself, in your most ingenious Letter of March 20 1664/5, to the R. Society, representing Musical Harmony to the eye, in one of Mr Henry Laws his airs, rendered in Parallellograms.  
If you please to review my Whirligig, you will find in what order those Monosyllables circulate, and how each of them is assigned to its own proportion: thus to bid one sing from the precedent Note to Sol, is as much as to say, Sing an interval, whose two terms are in the proportion 9/8, and after the same manner to La 10/9 to Fa 16/15, which being repeated, the odd Note There 9/8 comes and completes the Octave; and this was the Note (though in another name) which our good friend Mr. Guido, after he had added together a couple of Tetrachords, wanted to complete his Octave.  
Now the Rations of any of those numbers being continued, return the proportion of the Consonant required to be constituted by them: Thus 9/8 × 10/9 the sum 90/72— 5/4 which is a Practical Third major; three Notes including the two intervals, Sol, Lafoy; and if all seven were continued, the aggregate would be 18662400/9331200— 2/1 a duple proportion.  
This Account will be exact for any intermediate Concord; but that 10/9 × 16/15 will not constitute a true Hemiditonus, as is demonstrated by R Des Cartes in his Musical Compendium, p. 32. where he gives an account of that 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which will accordingly happen, and is most clearly explained by that truly Noble Person of Honour in his Animadversions upon him, p. 76. From whence it comes to pass, as also from the difference of the major and minor Tones▪ that Practical Musicians tune some Notes bearing, that there may be a common respect and intercourse from any one term of the Music, to another. So that we have in that complete Cycle of an Octave, the Mathematical proportions united to the Practical Notes▪ always signifying  
Sol La Mi Fa Sol La Fa, etc. ●/8 10/9 9/8 1●/15 9/8 10/9 16/15 o: ma: To: mi: Tun: ma: Hemito: To▪ ma: To: mi: Hemitonium  
Which do run round, and will run round (in spite of any man's teeth) according to the foresaid detestable circulation; and this we may call naming the Notes according to their proportions  
But the Notes are also allotted to so many Letters of the Alphabet, to show the order of their procession in the Septenary, and the distance of one Note from another, that is more than a single Interval; for from Sol to Sol, may be either a fourth or a fifth wherefore the Alphabetical Letters make the distinction from Sol in G, to Sol in D, a fifth; from Sol in D▪ to Sol in G, a fourth.  
And for this purpose the Letters in the Circle are assigned to the Monosyllables of proportion; which we have in the Diagram conveyed to the Lines and Spaces▪ and rendered in practical Notes, in their most natural posture; the half-Notes being possessed of those Letters, which may properly be called their own homes.  
Thus they are all possessed of their own lines and spaces; and, if we can but withstand the furious Invasions of our Adversary, shall never change their habitations.  
And now, Sir, I can't tell what to think is become of my Observer all this while; either he is fallen asleep by reason of these drowsy Mathematics, or else he is stamping and staring that ever such things as these should be committed in the face of the Sun itself; and ind●ed I should hardly have ventured it, had it not been lately reported, That the Sun appeared with a Circle about it, perhaps in our defence against this Apollo, its new Corrival.  
From whence I take courage to say, That this Circle doth best demonstrate the nature of the Diatonick▪ Scale, exhibits to the eye its half Notes, and shows that two whole ones stand betwixt them on one side, and three on the other, which is a Tritonus; and the former Semicircle (which consisted of two whole, and two half-Notes) a Semidiapente. These being added together, constitute an Octave, as their Rations also do:  
810/576 × 23040/16200 the sum 18662400/9331200— 2/1  
And were it not, Sir, for making my Opposer stark mad with this canting-Philosophy, I would separate the Margin of the Circle from its Radii▪ and by the circular motion thereof demonstrate,  

1. Which are the proper assignments of all regular Flats and Sharps in any position of Mi?  
2. Why Mi keeps that order, to be first in B, next in E, A, D etc. And why if there be but one regular sharp, Mi is there situated, and in what order all the rest?  
3. To transpose a Lesson from any Key given, to any Key required; and show which must be the Sharps and Flats in that Key?  
4. For accommodation, to bring any Key filled with what regular Sharps and Flats soever, into some Key where all the Notes are natural.   
Which thing, though long custom, and a laborious computation, have made some men perfect in; yet even to several expert Masters it has been a very pleasant speculation to behold those numerous Rules which a deep experience had wrought into their judgements, now (by one turn of the Circle) clearly represented to their eye, with all the Reasons and Orders of the Diatonick Scale.  
But these Phaenomena requiring a movable Instrument more than a Diagram, I cannot here any further prosecute them; only assuring the Reader, That I am very ready to communicate this or any other small knowledge I have picked up, to any ingenious person.  
I shall only add this one Corollary; That since in natural Keys we may have all the variety of Thirds, and Sixths, and Sevenths, or what ever else a Composer can either desire or invent with all his regular Flats and Sharps; how happy would it be for the ease of Music, and the exactness of Tuning, if the same proportions were ever fixed to the same places of the Septenary, i. e. There always in B.  
I know the present Make and Compass of Instruments▪ won't kindly comply with this Proposal; but surely, ● were well worth the while for Instruments to be contrived accordingly, both for the excellency of Music, and advantage of its attainment.  
For whereas the Keys of an Harpsichord are now tuned in a common dilured proportion, they may hereby be made capable of the most accurate exactness; and though a vulgar ear may not be able to judge the difference between a Greater or Lesser Tone; a true lesser Third consisting of 9/8 × 16/15 or a false one of 10/9 × 16/15 yet there will be a dissatisfaction, though it be not evident in what particular to complain, as Practical Musicians have experience when they play a Lesson in a forced unnatural Key; which is the same thing as if the Instrument were out of tune.  
The eye is pleased with a concurrence of proportions, the natural casting of a shade, and the exactness of some Oriental Colours, whose just limits it can neither distinguish nor determine, but only satisfy itself in that whole accurate heap of enjoyment. It may not be able to descry every disordered Atom, or give an account of each little unpleasing spot; yet will it have an aversion for that soiled impurity which is thereby caused.  
Thus those little inharmonical relations only in general offend the ear, and make a kind of unaccountable resentment; but if remedied by an accurate tuning, which the stability of proportions would produce, we might justly expect more powerful charms from the more exact harmony. Since therefore Music consists in Proportions, and 'tis by them alone that it has an influence upon the soul; I reckon it a most sure consequence, That by how much the more accurate those Proportions are, the stronger must their influence be.  
But this is only to join Madness to Frenzy: What, add Whimsy to Whirligig! I am guilty; and if the Observer will but forgive me this one digression, I will pardon him every thing that ever he did in his life, or ever shall do, or any of his posterity, an hundred years after his death.  
Nay further, I will give him leave at present to ease his stomach with one Objection.  
Obj. To what purpose are all these Mathematical Contrivances? Will they teach a man to make Air, or maintain the point of a Canon?  
Ans. We are not now discoursing the power of Fancy, or how far it is capable of direction; which without doubt ought to be very much left at liberty to the excellent Masters of it: but here we consider the true reason and scientifical foundation according to which we ought to proceed.  
And truly this is the very Objection I always expected; for our Observer neither understands nor loves these things, any more than a Horse does Nutmegs (You see, Sir, how he has infected me with an ugly Proverb) But though this be his humour, yet there are a great many inquisitive and (as some say) ingenious people, who desire to know the nature and reason of Music; the Proportions wherein it consists, and the Arithmetical Laws which it observes.  
These admire the glorious order of its composure, and the infinite wisdom of him that created it in so great Proportion: To what other purpose does the Astronomer consider the Heavenly Revolutions, and the exact courses of those bright Luminaries? After all his study, he cannot stop the course of the Sun, or add one short day to his fleeting years; yet he looks not upon his time as unprofitably spent, though he only contemplates, and never puts forwards so far as the compiling of an Almanac.  
And I know several learned men who value such a Speculative person far beyond a Practical Collector of Months and Eclipses, etc. who writes himself 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, or a well willer to the Mathematics; when perhaps he has scarce positive knowledge enough to determine, whether we have always the same Moon, or every Month a new one.  
I need not from hence urge, how truly noble it would be for a Practical Musician, to build upon such a Scientifical and steady foundation: nay farther, there is good reason to think, that it will afterwards be of as great advantage, as it is of accomplishment to him.  
For the promoting of which purpose, I should have begun at the very division of an Octave and have given the Proportions of lesser Concord's; have shown how we came by those assigned intervals of Notes and half Notes; but that our Observer is so exceedingly impatient when he is thus tortured with Numbers, that he will not let me tarry so long.  
I will therefore take for granted, that 9/8 is the Proportion of a Major Tone; because if you divide a string into nine equal parts, and stop one of them; the other eight to the string open, will (to any Musicians ear) give that sound which is called a whole Note.  
Which is true of all the other Intervals and Concord's, thus: If you divide a string into three equal parts; stop one, and the other two, to the string open, will be a practical Fifth; as is more at large exactly described by the accurate Mersennus, from the use of an Instrument called the Harmonical Canon: Libro primo de Instrumentis Har. Propos. 4. as also by Guido himself.  
This is evident both to the Ear and Eye; but then adding all the Intervals of the Circle together, they composing an aggregate of a duple proportion (as hath been said) no less demonstrate the just assignment of each of their proportions, according to Mathematical consideration.  
The proportions of which Notes and half-Notes being most incompaably by English Musicians distinguished by particular Names, as Sol always a Major Tone, Fa an Hemitone, etc. (as they are placed in the Cycle of an Octave) and these naturally circulating in a certain order, according as they are assigned to the first seven Letters of the Alphabet; we may by the help of those pointed Segments in the Diagram, unite this Speculative to our Practical knowledge.  
There I find the Sol, Lafoy, etc. the Names of the circulating Proportions in their Alphabetical order landed upon Lines and Spaces; Though originally Notes were only planted upon the Lines, (as now the Letters of Tabulature are) but then the number of them did so distract the Eye, that it was thought convenient every space should also signify the distance of a Note from the Line either above or under it. An account of which we have from the most excellent Gassendus in his Introduction to the Theory of Music, Tom. 5. where he tells us, that Kircher had found at Messane a Song described upon eight Lines (it seems they had some affection to an Octave) which were begun with the first Letters of the Grecian Alphabet.  
But then Guido composing the Scale, did upon the sorementioned reason set the Notes in space also, though even then the time was writ separately over the head of the Notes, as is now in Tabulature; and they used the Alphabetical Letters, which were significative of the Notes, instead of them, (as I have in my Essay to the Base of the Lute, for the help of young beginners) till about Three hundred years ago Jean des Murs of Paris found out those Characters which we now use to express Time and Tune together.  
You may then please to look back upon the foregoing Diagram, and you will find the first Note in the lowest of the four Lines; tract him to G, which is our terminus à quo, from whence to the next Note in space, (which is united to A) is the Interval Lafoy▪ or 10/9; from which to the Note B transfixed by the second Line, is the odd Interval Mi, or 9/8; and these two Intervals of the three including-Notes GAB, added together, constitute in their least terms 5/4, the proportion of a Greater Practical Third, as your ear may experiment if you divide the string into five equal parts; stop one, and the other four, to the string open, will give the sound required.  
After which manner you may proceed, till you have completed an Octave; and then the very reason and nature of the thing will force you to circulate, as my abusive, impertinent, contradictory, impossible Hypothesis doth require; which my Observer doth rather scold at, than either understand or confute.  
As these things are true in Speculation, so will every Practical Musician bear witness to them, That the same order of distances comes about again at every eight Notes, as in a suit of Lessons the regular Flats and Sharps are always the same in every Octave.  
By which discourse I have not only endeavoured to clear my Hypothesis, to vindicate my Reputation for circulating in an impertinent Octave (which, let the Observer say what he will, is the very nature of Music, both to its division, and the return of the Similar Notes into the same places) but also attempted to unite the Theory and Practice.  
From whence those honourable Servants of His Majesty would be esteemed as truly learned, as they are indeed ingenious, in this Science; when their Judgements are as richly laden with the nature and reasons thereof, as their Fancies and Inventions are, with the ravishing pleasures of its performance.  
'Tis impossible to conceive how much so happy an union would conduce both to the glory and advancement of Music, its bonds and fetters would be taken off, when the serious Mathematician could be able to reduce his Speculations to practise; and again the airy composer could render an account of his charms, in a Mathematic Theory.  
And now Sir, I find myself sunk into the tedious stile of my Essay. But that I may a little recover myself, and consider the sentiments of my Observer: If you please to review the North-corner of Magdalen-Colledg-Quadrangle, there he sets hugging himself and grinning; I thought (says he) how our young man would undo himself by doting upon his Philosophy, and tiring his Readers with a heavy story of Proportions; these are the sad effects of Superparticular and Superpartient. Whereas, if he had been at all acquainted with the winning complaisance of the Town, he would have entertained them with Burlesque and Interludes; some tickling raillery intermixed with a sly hint, and a long dash.—  
This Sir, I must confess myself unable to do; and therefore I most earnestly entreat you, as you have any kindness for me, or desire of your own refreshment to read over that awakening peal, that Poetical alarm, to Ralpho▪  
P. 4. Ingenious Ralpho!—  
And then the Observer's own answer to the same.  
P. 5. Thou selfdenying Ordinancer,  
Why—  
And I am the more earnest to obtain this request, hoping hereby absolutely to allay the anger and vengeance wherewith he is inflamed.  
For truly, Sir, if you will believe me (or any friend please to ask the Observer himself, he will find) I never in my life the least disobliged my incensed Antagonist; but by this one thing▪ of not suffering those Verses to be printed before my Essay.  
Of which unkindness I am now so sensible, that I am endeavouring all the satisfaction I can invent; to which purpose I would feign persuade the Stationers, to print them before all the Books that come out next Term: but they grumble at taking up so much paper. Though I am not out of all hopes to have them set at the beginning of the Catalogue of Books, because they will indifferently serve for all sorts of Books in all Arts and Sciences.  
And if this won't satisfy him, I believe there are few people but will think him very unreasonable: but though this may allay him for the future; yet we are still engaged in the past attacks of his fury; especially,  
P. 6. Where he would feign persuade you to believe, the encouragement and reception my Essay hath obtained, proceeded from my diligence to promote it; and this, Sir, I must not dispute, because I have promised to submit to whatsoever he affirms.  
Yet it does so vex his Spleen, that he cannot but immediately vent himself by drolling upon those places of his professed Obligations; which, Sir, you are well acquainted with, and know them to be of such virtue and modesty, that a person of his behaviour must needs quit them, as he hath lately done.  
And this, Sir, I would by no means have written, but to show you, that the most malicious Page in his Book may justly fly in his own face.  
However I must always admire his most noble skill in composition, which almost all people have a just value and esteem of; but that he must thence become so tyrannical, as to think all the Music of the Kingdom depends upon his pleasure, and no man may pretend to be able to write a lesson, otherwise than he will permit him, is something more than comes to his share; especially since there are so many ingenious Gentlemen of this Profession, that never any Prince in the world was served with more than his present Majesty.  
P. 7. It deserves a smile to see how arrogantly he assaults my Publisher (a person who for his knowledge and industry in Music deserved rather his encouragement than envy) for complaining that the ancient and modern Authors were obscure in their Musical writings; so that we ought to believe they were very easy and plain when our Observer read them; and we may safely believe they were: for there is a cross thing, the restraint of Languages, that makes 〈◊〉 believe they may have lain a-bed and slept all their days, for any thing the Observer knows; who is capable of reading few more than Mr. Morley, Mr. Simpson, Mr. greet's instructions for the Flageolet; and above all, his good friend and hirer, Mr. John Playford (who so learnedly styles himself) Philo-music●.  
P. 8. Now, Sir, I must acquaint you that our Observer hath two excellent Eyes: one to see things with, that no body else can see; and one, not to see those things which every body else can see. With this later he can look upon a printed page, like a piece of clean white paper; or else the letters will appear so double that he can't read one word.  
And with this negative eye he read the four first pages of my Essay, where I so largely treated of the divine institution of Music: Which (I said) needed nothing else, nor could have any thing greater to command acceptance, than a challenge of its Institution from divine Providence itself, who had provided a peculiar faculty for its reception. (Which I since find the eminent Dr. Willis place in some peculiar Schematismi of the Cerebellum, Anat. Cer. Cap. 17.) the early use of it in holy Writ by Jubal, and that it was a sacred means to allay Saul evil spirit.  
After all this the Observer comes blinking with his foresaid eye, and admires that, amongst the many advantages of Music, I should not so much as take notice of its divine Use, notwithstanding the many commands and examples recounted in holy Writ to that purpose.  
Now, Sir, though he admired at me, yet I must entreat you not to admire at him; for there is a private reason (which I omit) why the Observer did not know God, Jubal, and Saul to be Scripture names: And the same reason must deserve your Charity, when he attempts a profane jest in Scripture-phrase; because you must suppose he did not know it to be holy Writ.  
But this notseeing Eye being closed, he opens his other, which is his left eye and that looks something a squint; With this he sees such revelations and visions as never appeared. This was but one glance, and then he shuts it; but privately unites them both into one, which, like Polyphemus', is placed at the very top of his forehead. By the advantage whereof,  
P. 9 He looks beyond Sea, where Musicians have much respect, large rewards, (as no body that I know of ever contradicted) and many advantages to enrich themselves (if they please). And at home too etc.  
I must confess, Sir, within the narrow circuit of my progress (as he says) I was scarce so much acquainted with any, as the Observer himself; and, I know not what was the matter, it never yet pleased him to purchase an Estate  
Though I have since been acquainted with several that live very nobly and gently upon this Profession; as they may well do since his present Majesty hath augmented the revenue to the Gentlemen of his Chapel almost double: Yet this being procured by one whom our Observer envies, and hath railed at in print; 'twas a thing that could not possibly be seen with either of his eyes, though it was the just acknowledgement of his Prince's most gracious munisicence▪  
I must here, Sir, most humbly entreat your pardon for troubling you with these late Pages, which are impertinent to my design; and I would not have inserted them, but that I was unwilling to leave any one side unanswered; as also to satisfy the Reader, that what I omit of such stuff for the future, may as well proceed from his ungrounded envy and malice, as what I have at present examined.  
And now after so long an entertainment of his Wit and Drollery, his Burlesque and Battery; The Observer comes to his business and presents you  
P. 10. With the Old Gamut, Sanca Panca's Pudding (as he likens it): and truly, Sir, I am so much a Scholar as to think it sitter to be eaten than learned without Book.  
Which, if you please to review according to the Observer's own delineation, more plainly discovers in every Column that old mistake of making six notes to be the compass of Music; as also the beginning every set of Syllable▪ (when my abusive Octave did not ●●oil their sport) at a Fourth, which ●●s C●r●●s at the end of his 6. Chap. Mus. comp. unkindly calls, a certain monster, or deficient, imperfect product of an Eight.  
Neither is there any thing in those names to express the true nature of Music, but the circulation of the Capital Letters, which is the only thing the Observer thinks fit to be altered, to escape all suspicion of my perplexities.  
I am sure it is false in our present practice to subscribe (as he there does at the bottom of the Scale) B naturalis, when Mi stands in E la mi, which proceeds from that unnatural deduction of Six Notes.  
And that this is an old obsolete mistake, we have the honoured Mr. Simpson of our opinion, Comp. p. 113. For that B naturalis, whose Ut stood in C, being distinguished from B duralis, whose Ut stood in G, (which is an excellent piece of unuseful knowledge, that I believe few men now trouble themselves with) was called Properchant; so that the six Notes did not reach so high, as to touch B either flat or sharp; but in our modern Music we acknowledge no such thing as Properchant, every Song being of its own nature either flat or sharp. So he.  
Which shows, if the Observer had but any kind compliance with the judgement of him whom he pretends to esteem, that he need not think there is so great virtue in those admirable charming words of the Gamut, which I suppose produce their effects by being sealed up, and carried in the pocket; though I would entreat him in his next to open them, and show their operations; for without doubt, Sir, he intends to do something▪ having resolved in his Conclusion, pag. 39 that he will vindicate this old Scale, except he meet with a better; (which I am sure, Sir, you know to be impossible) so long as there is any Paper or Ink in the world; nay so long as he is able write his own Name.  
A Champion so faithful, so trusty to his cause, that I believe all Europe is not able to match either his constancy or valour; a subscription, Sir, worthy to be registered in the Chronicles of the most bloody Warriors to subscribe one's self so long as one is able to subscribe one's self, Sir, your Servant is vastly more courageous than barely to subscribe one's self, Sir, yours till Death.  
Having duly admired the Observer's so brave resolutions; we next consider the Cliffs, and the Lines upon which those powerful words are placed; concerning which I will give you the best account I can find.  
That because it would be too distracting to the eye, to have always before it ten or more Lines and spaces, which the whole Scale did require; Musicians did by assigning a certain Note (which they called the Cliff-note) to one Line in a Staff, show by consequence which five or six Lines they had taken out of the Scale for the use of that part, wherein they were concerned; which caused all those variations and difficulties I have complained of, and must still have been endured, had there been no remedy found.  
But since 'tis the nature of Music to have a circular as well as progressive motion, which former doth so influence all composition, that 'tis impossible to pass seven Notes without considering the next seven to lie in the same posture; I thought it would be worth my while (that I might save so vast a trouble) to fix them, according to their own circular nature, always in the same lines and spaces, as you may see in the preceding Diagram, where C returns naturally into the lower line, and the half notes (though you do suppose regular flats and sharps) stand in the same place in all Octaves.  
And I can at any time take what Notes soever are useful to any part, by those two only Postulata, which you may see are agreeable to the nature of the thing; and in answer to the Objections, will be further evident.  

The Objections Answered.  
Pag. 11. Thus having vindicated my new Scale for confusedly dividing itself at every Octave; I proceed to the Observer's grand Objection. Of making the same note or tone to be in several places at the same time; and this is attended with so great a retinue of Observations, that the Reader may easily perceive, here lies the stress of the controversy, and that too in the Observer's own opinion: immediately adding, and from this I make my exceptions against his whole Book.  
Now, Sir, do I entirely love the Observer, for pointing out this nicking evidence upon which all our business depends: In some loose Writers we might have gone hunting and hawking, and only found some scattering Objections; but here my most kind Antagonist hath brought it to an head.  
Wherefore stand fast Eassayer! methinks I feel thy pillars tremble, and the whole fabric of thy Hypothesis shake; But I'll pull down the Observer in my ruin, and crush him with five times the weight of his own Objection.  
That way which requires an absurdity five times over▪ is much more to be exploded, than that which requires it but once.  
But the Observer's old way does require the same (condemning) absurdity, five times, which the Essayer's new one requires but on●●▪  
Therefore the Observ●●●● old way 〈◊〉 much mo●● to 〈…〉 the Essayer's new one.  
The second Proposition needs only to be proved, which is done in this following Scheam.  
A Scheme To demonstrate, that by the movement of the old Cliffs, G sol re ut, A●la mi re, B▪ fa b mi, C sol fa ut; are in five Different Places at the same time  
The Essay allows them but once Different when they stand irregularly upon their leiger lines out of their own Octaves as the Observer Sherveth in this following Scheme  
Now with all my power I have endeavoured rightly to understand the Observer's chief Objection, laid it down in his own words; and if he gets any thing by it, let him save his Lapis calaminaris, and put it in his eye.  
Here I expected he should have quarrelled me, for placing G sol re ut, in the line, which he does in space: but that appears so natural in the Diagram, and I had so pleaded the justice of it, Essay p. 45. that he takes not the least notice of it.  
If he was angry for setting the same G sol re ut, in the Leaguer space, which would naturally fall in the line; he must be extraordinarily commended for his kindness, who out of mere love and tenderness would not mention one tittle of that chief dislike.  
But those Notes upon the Leaguer lines being exoticks taken in only strangerwise for their trade, and commerce, (as I answered to this almost same Objection, Essay p. 73.) I suppose he was satisfied 'twas not considerable.  
And it seems more compliant with the nature of the thing: for a stranger to wear an unusual Garb in a Foreign Country, does not make him less known but more exposes him to observation.  
That we may take things in a little more dependant order than he has laid them down, I must consider his excellent contrivance of a double relish, as having some affinity to the grand objection; but here our Observer is become inventor, that if he cannot find things ridiculous he may make some.  
P. 15. Which, whosoever reviews will without doubt think the Observer and all the things in the house stood upon their heads, when he found it out, but the best jest is, it positively contradicts, what he said before, so necessary is it for every man that observes truth, to be ever mindful of what he hath once said; as the learned Lily of old advised.  
For if I do allow G sol re ut to stand in two places, why doth he not write the double relish, as 'tis in the Diagram? If I do not, than what becomes of his grand Objection which supposes it.  
P. 12, 13, 14, 16. All that remains is but a small Pickaroon with two Guns, which are so far from doing any execution, that they do but more clearly discover my method to the Readers apprehensions. These I have described as the two only requisites of my Hypothesis, in the second figure of the Diagram; and are so far from being Objections as that they appear most natural Conveniencies.  
The first, which he mentions, (p 12. and 13.), you will find to be according to the very nature of Music; which having concluded one Octave, begins the next, and continues it in the same posture, it did the first. Though there is so great assistance given by the Leaguer lines; that as occasion is given but very seldom thus to alter the Octave in Vocal Music so in instrumental, the Octaves (especially upon the Harpsechord) lie so uniform, that 'tis done without any trouble.  
And as it would be easy to instruct a Scholar, that after he has proceeded to F in the fourth, by the notice of a new Octave letter, he is to go forwards with the first line again, and the notes in their same former distances; so this method would be indeed scientifical, and would make him not only practise according to the right rules, but also give him to understand the true nature of Music, which the old Scale of Gam-ut did in no wise signify.  
The Observer hath been pleased, in this twelfth page, to write his Notes with two ascititious lines underneath; and he might, if he pleased, write them with six: but I never take any more liberty to maintain my Notes in their constant places, than he requires to his alterations, i. e. one line over or under the five, when occasion is.  
If it be requisite to proceed very far into another Octave, we change the ●●tter, and write (that which he calls) the newfound reformed way, but, according to the Diagram, appears to be the most easy and natural method of Music.  
P. 14, 16. The other reputed difficulty, he hath contrived a Canon on purpose to demonstrate (which is no more than I had a particular Cut for to explain Ess. p. 39); and 'tis this, which you may see in the second figure of the Diagram, that, if I rise or fall eight Notes, I continue the second Note in the same place the first stood, only with a different Octave letter.  
And what more natural? than for two Octave notes; which are so much the same, and have the same equivalent respect to all other Notes, should stand in the same place? And what more easy for the Practicioner's eye to apprehend? Certainly 'tis far more easy to be known, when the Octave-Note stands in the same place with the letter prefixed, than when he must count three lines, and three spaces from the first note, where (according to the Observer's way) its-Octave must have been placed.  
And if he contrive a thousand Canons, he can bring me to no other absurdity than these two natural requisites, the conveniency whereof I think more self-evident than any thing in the Guidonian Scale.  
P. 27. For the ten last pages which contained only a Canon to show the necessity of that, which might better be done otherwise. The Observer may now be pleased once more to observe, that, As by the Postulata in the Diagram, we comprehend any part of Music which can be assigned; so by the assistance which the Leiger-lines afford us, it may done without any great incoustancy to the letters of our beloved Octaves.  
For, we may ascend six Notes above our Octave, viz. from F fa ut, to D la sol re, and descend four from Gam ut to double D sol re, without altering the letter; as you may see in the third figure of the Diagram, where every five lines are made capable of two entire Octaves.  
That any man may satisfy himself (however our Observer would gull his implicit Readers) our Method is, not only most facile, but also agreeable to Music of the greatest compass; for in the Lute and Organ which require two systemes of lines, we have before us as many lines and spaces as will contain four entire Diapasons, more notes than are in the whole Scale of Gamut.  
If he still grumbles that Scholars can't tell which is a Contratenor, or Lower mean, or the like; for them that can't understand the nature of the thing, let there be writ over them, This is a Cock, and that is a Bull; which I take to be an easier remedy than to learn all the variety of old Cliffs.  
And about the consinement of Mi, with the avoiding regular flats and sharps, I have already delivered my judgement in the description of my whirligig, which I shall not now repeat.  
P. ●8. The next thing which he confutes, is my argument, for proving the hard names of the Gam ut useless, viz. that they cannot declare any note to be in a different Octave, because those names are not different in every Octave. This is false (saith the Observer) for the Cliffs and Scale distinguish them, by Capital, Single, and Double Italic Letters. Very good! The Cliffs distinguish them, and therefore we must learn without Book, those names which do not distinguish them. Sir, 'tis as excellently argued as if the Observer should prove that all men must wear different shoes, because they are distinguished by their faces.  
Now to allay my hopes of the least success, he here insinuates a Question, so very profound and unaccountable, That there be many hungry Gapers, who remain seekers, and I (saith he) with them. The thing is this, that by beginning my Octave with G, I contradict that Classical Hornbook he learned, which began (when he was a Schoolboy with great A. Now Sir, though this was haled in, only for an opportunity to show his education; yet rather than my worthy neighbour shall suffer for his suggestion of the Dominical Letter, I will insert as much as I know of the matter.  
The reason why I began my Octave with G, was, because the general practice of Musicians is so to do: which I professed never to contradict, but when there were very good advantages to be gained thereby. (Ess p 41.) especially mine being a circular way, it was no matter where I began, so long as the letters went round in their own order.  
But the Original I suppose was this, that Guido in the year 1024. recovering Music out of its dark ruins, (which those unhappy times had caused) compiled that Scale which we are now discoursing about: So that the assignment of the Alphabetical letters being altogether in his power, he began the Tamut with the first great letter of his own name, that he might perpetuate his memory to posterity.  
Which (if we considet the nature of the thing) will appear very reasonable; for though G have the first sound assigned to it, yet A is the first Musical interval; there being nothing of Music, without comparing two sounds together; that G is in truth only the term from which the sound A arises, as F to G, etc. which may be easily perceived, by the circle in the Diagram. I was once tempted to think, that G had been imposed by the Greeks themselves, because of its sound and figure in which 'tis written; that they having assigned the Letters to the Notes; as, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which was a long-time their lowest note; did, when they added the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, impose 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to that, because they would not alter their former assignation. But then Γ being the third letter of their Alphabet, and not the seventh as in ours, could no way suit the Nature and Designs of their Music.  
P. 29, 30. The next business is to show that other design of the Γ am ut words (for he will not now assert them to demonstrate the place of Mi, to which purpose I had proved them insufficient), They consist of Syllables purposely chosen as most proper for opening the mouth, and putting fo●th the voice, etc. Though there is nothing more known, than that Guido took them accidentally out of the hymn for the service of St. John Baptist: And if Dum queant laxis had begun that Hymn, than the very Dum would have been that widening Syllable to have opened the mouth for the first grave tone.  
But to consider them; first of all comes the incomparable Ut; which if I try, abruptly forces my tongue against the roof of my mouth, (as he describes an inconvenient Syllable) but I don't know how 'tis with the Observer; perhaps his tongue is hung with the wrong side upward.  
These (Ut and Re) though some have laid them aside, yet some (says he) have not. But I must confess, I hardly know them used by any, but the North-Country Wagoners, neither do they use them as good to put forth their voice, but to stop their Horses.  
Foreigners do indeed still use some fictitious words composed of them, but they are so sensible, how unfit ours are for to express the nature of Music, that they have altered the composure, and writ F ut fa, G re sol ut, A mi Lare, etc. according to Gassendus. Mersennus, and others. But he says, It is not the Name, but the Thing he contends for; and therefore I would have these insignificant hard names laid aside, that we might the sooner come to the enjoyment of the thing itself.  
P 31 Some unknown misfortune having spoiled our Observer's eyes; He is now resolved for the future to be guided by his seeing▪ feeling, hearing, and understanding Nostrils, which is a most excellent expression to discover a further advancement of his Learning: for had he not been promoted from the foresaid Hornbook to his Accidence, he could never have known those enlightening Epithets of a Noun Substantive.  
And the first thing his united Senses and Understanding discover, is▪ That I begin to learn the Monosyllables from an Hemitone: Strange! Composition begin or end with half a Base! Something must be said, though I have often told him, That those Syllables are not learned for any a●ry pleasantness in themselves, but as Rudiments, whereby we may distinguish Notes and half Notes, both single and united, in greater Intervals.  
For which purpose, there is good reason to think they would be the more serviceable by how much they had the less of▪ airiness in them; they would thereby less affect the Fancy, but make a much deeper impression upon the Judgement, when those Notes must be picked out of the Book by the Understanding; which if they were placed according to his composed order, would flow forth like some common Tune from an airy apprehension.  
Wherefore it seems rational, not only to begin at Mi or Fa, but at any radius of the Circle, that the voice may set loose, and sing an half Note when it pleases, with a flat third, or sharp seventh, or whatsoever comes to pass in the Diatonick Scale: and this will easily be done, if we begin at each Note, and sing the Cycle of an Octave.  
In doing of which, it would be very advantageous to sing Fa more broad (like the Germans) that it may naturally form the mouth to a flatter sound than Lafoy, which is composed of the same Vowel, but is pronounced a whole Note.  
But all of a sudden, our Observer is grown so exceeding jovial and merry, one would wonder what happy occurrence had so revived the Cockles of his heart; nay, and lest the ecstasy should overcome his belief, he says, he is as sure on't as two Twopences make a Groat. Well, the joy is this! Madam There is gone a rambling out of her Apartment, and turned Quean. And as sure as four Twopences make two-Groats, let her ramble into all the Apartments about Town▪ she shall never want a Gentleman-Usher so long as the Observer continues able to man her.  
But hear, O ye Pupils! I have reported, you are obliged to learn the distances backwards and forwards.  
In this (the Observer says) I am so horribly rout, that 'tis impossible for any flesh to sing, play, or compose without it. This I said, and this the Observer says with an impossibility it should be otherwise: so that there is no difference betwixt us, but only he is resolved that I shall be horribly out, though I say the same thing he does. For without doubt a man must be able to count his distances: but the question here is, Which is the most difficult or easy way, and which of these two ways is to be chosen and used.  
P. 32. The Observer can no longer conceal his resentments against any propagating the knowledge of Music; and because I have but transcribed the 75 page of Mr. Simpson's Compendium (where he carefully assists the Invention, and provides against the Lapses of young beginners), the Observer says, I abuse that person whose memory is precious among good and knowing men. Whom indeed I greatly honour, for that double accomplishment of his exemplary life, as well as excellent skill; and know nothing more necessary, than to commend the former to my Observer's imitation; who would not have had him stained his credit by instructing Novices; which was his crime to do, and my abuse to take notice of.  
However, I shall still dare to assert, That because the Chords in different Cliffs were intricate to discern, therefore he interposed the Figures; which are needless, according to my contrivance of Octaves, where all Notes are situated, in all parts, the same.  
And though some men may, by long custom and experience, be excused from that trouble; yet even their apprehension would be much more quick and clear, if they always proceeded in the same united method. But should it not, I have as much as I intended, in the place he citys, viz. That it would be very advantageous for young Composers; which is evident, if it may but be granted, That what remains always the same, is much easier to be known, than what appears in many different positions; as the Notes do according to him, where in every part they are different, and have a different Cliff to distinguish them And this is as much to the purpose to persuade a beginner to learn my way, as (to use his own comparison) if a Mother should teach her Child, that a great black B stands for Blockhead. And so I leave him and his little four-legged School-fellow together at their Books, one a thumbing, and the other a gnawing them.  
P. 33. At length he comes to consider the applying my Essay to Instrumental-Musick. And here 'tis worth the while to read over the Paragraph, that you may see how he holds his foot in his hand, without being able to determine which way he should take.  
Wherefore he once resolves, That I do not understand the French Music; that I mistake their placing G in the lower line, which is only for dancing.  
And indeed, if this was not a mistake enough to make me ridiculous to the whole world, the Observer writ his Book to little purpose. O hold my sides! That ever fellow should write an Essay, and mistake Toes for Fingers! Think that intended for the hand, which was only contrived for the Policy and Government of the foot! Certainly never any man, but he whose brains were sunk into his heels, would ever like this mad dancing method.  
And let this be resolved upon as the Answer for the Violin, though he thinks it fit to strengthen it with one period more; That though the French Musicians have thus debauched their treble-Musick to dancing (as I think our Observer hath done much worse to Ribaldry); yet all other parts they write as we, and the rest of the Musical world. And 'twas well for me this dropped from him, or else he had proved my whole Invention to have been an hundred years old.  
Now, Sir, let us caress the loving kindness of our Observer, who bethinking the storms and hazards of the Sea, will out of his mere goodness contradict himself, that he may save as the labour of a Voyage into 〈◊〉.  
●or that which he just now asserted ●o be done there only for Dancing, has also (as he says) been done at home by Dr. Tavernor and his Contemporaries, so long ago as the very, very time of King Henry the 8th. And Sir, I am apt to think, that all those were not Dancing-Masters, and composers only for the Cat and Fiddle.  
Wherefore if this won't do, he will revenge himself with such a piece of rusty malice, that my reputation must needs fester, gangrene, and be quite cut off after it; for he can produce their compositions with that very individual G in the very same line, where I would make the world believe, I invented it.  
And this cannot but please him, for so long as an impertinent Scholar, a starter of questions, a nibler at solutions, did not invent it, 'tis no matter who did; all's well, and so well, that I believe my Observer can for the future produce some composition in some Cliff, in some King's reign or other, that has any letter of his rational Alphabet in the lowest line.  
But how little this is to the purpose, any one may perceive, who considers my design was the perpetual fixing the same letters always in the same lines and spaces, whatsoever they were, though I was more willing to place G in the lower line because it was so before in the Base, and conveniency had persuaded many to use it in the treble.  
So that this is the invention I pretend to, the dividing of Musical Orthography into Octaves, (which was before parted into Clis●s of five Notes distance) that all the Notes, in all parts, may stand in the same places, to save the trouble of learning their perplexed variations; and to give every Scholar a propriety in all sorts of Music, that he may play from the writing of any instrument, as if it were his own; which I have experienced before several judicious persons, by playing mutually from the same common character, either upon the Lute or Harpsechord.  
And this very thing which our Observer so abominates, I do undertake, he shall (for one Pint of Wine) confess reasonable to be done. For if one that has always learned in G sol re ut Cliff, should beg a dispensation to transcribe some of Mr. Playford's Psalms from the unusual C sol fa ut, into his own domestic G; that reduction of Cliffs (as they call it), would without doubt be granted, upon such a valuable consideration.  
Now all the difference betwixt their reduction of Cliffs and my Essay, is, That my Notes are always ready reduced, and found in the same order, which they are put to the trouble of reducing upon every new occasion; and they grant it to be done, only to help the infirmities of Learners, which I arrogantly deduce from the Principles of Music.  
P. 34. Next comes Madam Viol.: for our Observer will needs have her a distressed Lady, and professes himself able to play nothing, but John come kiss me now; and if she turn away her head, Fortune my foe. For my part, I cannot help his inclinations; If he should fall in love with the top of a Bedstaff; 'tis nothing to me.  
But though he is not able to enlarge his captivated Fancy above those two amorous Airs; yet I know many persons of good repute, that play excellent suits of Lessons, upon this very same ridiculous, plausible, healthy, sickly tuning, as he is pleased to put a parcel of words and likenesses together.  
And I must tell him, that those foresaid persons play every suit entire of Lessons upon the same key (as I suppose also the Observer does upon every Instrument but the Viol, where he is put beside his bias by the coy Lady) so that there is no need of tuning the strings up and down, as he would make his Children and Underlings believe.  
But O sad misfortune, in so great an adventure! The Lady is both pinioned and fettered. Before, she had a fair liberty; now, she is confined to One. Just as if she had all on a sudded married, become honest, and shut the Observer out of doors. O sad misfortune indeed! Heretofore you might play upon all keys alike, (i. e.) well upon none: for the strings were all (except one) tuned fourth's asunder; and whenever struck open, made a horrible discord and jumble. Whereas in the Consort-Lyra tuning proposed, we have the use of those two most eminent Keys G and D; in the former whereof you may naturally have a Greater in the later a Lesser Third, without so much as the least altering any one string; which conspiring harmony will (as I said) with an unstopped freedom, echo forth at the end of every Lesson, that you may, at the same time, enjoy the melody of the Lyra, as well as the intelligence of Notes.  
But I wonder our Observer, who never durst so much as pretend to the Viol, should so boldly fall upon our Publisher, whom he acknowledges a professed Violist, and whom he may justly reverence, both for his years and knowledge. But attend his words: 'Tis strange that he should be ignorant of the impossibility, etc. And I think so too, if there had been any: we may assure ourselves, that a Master of so long experience would never have commended impossibilities to the world.  
Well! 'tis no matter for that: here's an argument, Sir, commands attention. The example he sets down was made for Children, therefore (it seems) the Universal Character can reach no farther.  
Though this Argument had one leg in the Parenthesis, and t'other out; yet I am resolved it shall not escape our consideration. But now, Sir, we have taken care the Argument do not escape us; our next business is to consider, how we shall escape the Argument.  
I first thought to deny the Antecedent, because few men play a greater compass than was contained in that Lesson; but then doubting that cogent Illative (it seems), I thought the Consequence might be a little lame, especially considering the Observer's foresaid Hornbook, in which are contained those very same 24 Letters which constitute the most Learned Books in the World.  
Which being taken notice of, may save us from any such sudden violent Conclusion, as he would make; That because the Rudiments of Octaves are advantageous to young beginners, therefore ever after they must be useless, and an hindrance.  
The next thing is an Appendix to his Objection Le grand, which I have answered in a particular Scheme, that demonstrates his way encumbered with five times the same inconveniency. Only at the end of it, he entails a small surmise of his own: for whereas I never required or used more than one ascititious line over or under the Five; he will have a speedy commission for the raising of three, four, or more; as though he was in all haste making a Ladder to climb the threesquare place of preferment.  
But at last finding he had made only a little wrangle upon the Viol, and being angry the Stationer had already sold more of my Essays, than his durst venture to print Observations upon them; He humbly supposes the Author has bought them all himself.  
Well said Colonel Coker! But though the Author never bought any of his own Books, yet he has several of the Observers and given them to his Friends, that they might see what sort of Arguments th●● great Opposer is forced to use, and how exceeding angry he is, by how much he has the less to say.  
P. ●5. Rattle Bladder rattle. Now co●● Harpsichord, Virginals, Organs; which the Observer asserts to be complete Consort if rightly managed. And therefore 'twas, Sir, I suppose the little Gentleman- Jack anapes allowed them two staves of Lines, which contain four whole Octaves and they are able to fill any blew-bladder in the world.  
But this is only a little Proverbialraillery of the Observer's: We will therefore consider the nature of those Instruments. And here I must lay down, That except a man hath been given very much to Span farthing, he never embraces above eight Notes at a time with one hand, and they may be found in less than the same number of Lines, which the Observer requires. Though by the way I must mention the difference; that sometime his Lines and Spaces signify one thing, and sometimes another; and each hand pestered with a distracting-difference; in mine, they are both and ever the same.  
Ay! but good Sir (says the Observer), you can't carry on your Lesson perhaps, without the hopping and skipping of your humble servants BMT upon all occasions.  
Now for the honest BMT, I have commanded them to signify fopdoodles, fools-caps, saucinesses, or any thing else the Observer pleases to have them, except bawdry; and that, I will in no wise allow them to signify: which if ever out of compliance with the Observer, I should be persuaded to; yet I charge them that they signify so only in his own private meditations.  
Here, Sir, I must acquaint you in favour of the foresaid honest BMT, that t' other day I met with a curious pair of Fanatical Harpsechords made by that Arch Heretic Charles Haward, which were ready cut out into Octaves, (as I am also told he abusively contrives all his) in so much that by the least hint of BMT, all the Notes were easily found, as lying in the same posture, in every one of their Octaves.  
And that, Sir, with this advantage, that so soon as the Scholar had learned one hand, he understood them both, because the position of the Notes were for both the same.  
I must confess that by reason of so great a distance, I have not yet received my Letters from Rome and Vienna, that I cannot positively assert what Signior ●roscobaldi, or Froberger have done; but 'tis generally believed that even their Organs are disposed after the same Heretical manner.  
But for Monsieur Samboneer, as being not so far from home, I am fully assured his Harpsechord did comply with the Octavian BMT; insomuch that he could never be persuaded in all his life to put a Sharp between B and C, or E and F; but just, in the same position as our Whirligig, he runs round with an half-note, and three whole ones; with another half-note, and two whole ones; and then the first circulating half-note again.  
What a base fellow was this Monsieur Samboneer? I am confident this Monsieur Samboneer shall never again be put into the Catalogue of European Organists, when the Observer next musters them, to give me battle; which alas! Sir, how should a feeble Fssayer withstand, especially when Dr. Bull is placed in the front.  
Yet this the Fssayer resolves to assert, and then betake himself to his heels, that these foresaid great men never made any thing in their lives, but might be writ with a clear facility according to the impossible Fssay.  
But perhaps you may look upon this only as a bold assertion; I must therefore acquaint you, that my Stationer, to vindicate us from Mr. Thetcher's childish lessons (as the Observer calls them) does intend this long vacation to print one of the best and most difficult suits of Lessons he can meet with, according to our contradictory Fssay.  
Well, but for all this, the Observer knows a thing will do my business for me; and 'tis a thing, Sir, so pertinent to the matter in hand, that it requires your serious consideration; the Essayer is naturally of a rubical complexion, and was it ever known that a man of a rubical Complexion ever writ good Essays?  
Now, Sir, you see what a malicious Caviller he is, a vile fellow, to endeavour to spoil my Marriage! Perhaps my Mistress might never have seen it; for Love (the Poets say) is blind: Or else she might have taken it for a modest blush, but to the very abyss of envy, he tells all the world, I am not capable of blushing.  
What shall I do in this case? If I quote Dr. Lower de Sanguine, who says, Such persons, by that errancy of the blood, have a greater confluence of spirits to the brains, and therefore may be capable of writing Essays; perhaps he'll contemn him as too much a Scholar, and too little a Musician. Wherefore to save a further trouble, he may even reflect upon himself, and he'll find good reason to pardon me, since nature is much more excusable, than vice.  
P. 36. Comes our Imperial Lute; in which the Observer hath no more reason to be positive, than if he had been treating of the Simick or Epigonium; yet thus he enters,  
Alas poor dumb thing! all that innate sweetness and excellency the Essayer talks of, is but as absolute a tale of a tub as ever wanted bottom. Nay Sir, and this bottom he most maliciously explains to be the very substantial bottom of Truth: Which is in plain terms to call it a Sounder, a flame, or a Cokerisin, or whatsoever else he pleases to call it, when he begins his calling again.  
Now who could expect the poor dumb Lute should receive any kind usage from an Observer that begins so terribly? But let us be content, and we shall hear more presently; for he will open his budget, and draw you forth, That true excellency which is peculiarly hers, which is the making a complete consort with the stop of one hand only, which he, (the Essayer) notwithstanding his gay commendations, has absolutely robbed her of.  
O brave Lute! 'Twas well for thee thou was not dead before the Observer was born, and without doubt this new revealed excellency shall keep thee alive for ever for the future. We will therefore a little understand this treasure of excellency.  
A Lutinist hath commonly upon his left hand four fingers; all these four are upon great and eminent occasions made to stop a complete consort. Hold it fast, here's the excellency, which I doubt is something in danger.  
For the Harpsechord pretends to stop twice as many Notes with both hands, whilst thou poor dumb thing can use but one hand for that purpose, and the thumb too only becomes an insignificant supporter.  
Nay▪ and this prating Harpsechord will pretend to stop and strike these Notes with the same hand, at the same time▪ which the poor dumb Lute cannot do; but making a complete Consort with the stop of one hand only, remains a poor dumb thing, till 'tis struck with the other hand; and than it becomes a speaking thing, like its imitating Guitar, or like the Viol or Violin: but then, Sir, what think you of the Dulcimer, which is a speaking thing▪ without ever being a stopped dumb thing at all?  
And if I don't think the dazzling glory of this new revealed excellency sufficient to confound all my assignment of the Notes to the Lute, instead of the Tabulature, and those incomparable advantages, which I showed to be their consequence (and he hath not the least impeached); then must it be imputed to my blind stupidity in not perceiving the worth of a new revealed excellency.  
Now, Sir, the Essayer having a mind to be cross, I'll tell you what he says. That though the Observer did prove the Harpsechord and Organ to be something a greater compass than the Lute▪ and the Viol or Violin to humour a loud or soft Note▪ which the for●●r were not capable of, the Sagbuts and Cornets to continue a sound: Yet he did not prove, that those Excellencies which were separately the credit of other Instruments, were not here united into one, to consummate the perfection of the Lute: which was my assertion from those various passions it does excite (Essay p. 60.). Nay, and that he may be altogether as ill-natured as the Observer, he suspects that newrevealed excellency to be only a treacherous discovery of its imperfection.  
P. 37. Whatsoever the Lute gets by the shift, 'tis clear the MastersMasters utterly undone. For by my happening upon the pitiful unmasterly Arrons Gigue, for an example to show the sailing or rising of an Octave, the two Notes remaining in the same place with a different Letter (as comes to pass twice in that Lesson). Therefore all people must conclude that same Arrons Gigue to be the supremest Masterpiece which ever the eminent Mr. Rogers played or composed for the Lute; and so Mr. Rogers is abused and undone.  
Well, Sir, but how if people won't conclude so? then I suppose 'tis no abuse, and the Observer concludeth nothing to his purpose.  
But I know something a little more to my purpose; That this very eminent Mr. John Rogers can assure the Observer, or any man else, That he hath seen a suit of Lessons excellent and difficult beyond exception▪ upon that pleasant tuning proposed in the Essay, writ according to the Universal Character, and from thence played upon the Lute. Which looks a little like that paltry argument whereby Zeno confuted the Philosopher, That there might be such a thing as motion.  
Thus, Sir▪ I abused Mr. Rogers, abused the precious memory of Mr. Simpson: nay, in the very first line of his Book, the Observer lays down▪ That the whole Universal Character was Abusiveness in the abstract: but I know one lusty Abuse in the concrete▪ for which I would be loath to exchange all the Abuses in my Book.  
That unparallelled assront committed by the Observer in his Dedication; where he makes those Gentlemen who are employed in the Sacred Service of His Majesty's Chapel, to be Patrons of his Ribaldry and Railing; whereby he has so far libelled their Reputations, as to make the world b●●●●ve th●se Addresses to be most acceptable to them, which were presented in the basest language.  
Certainly it had been more proper for him when he found his stomach so foul, and his gall to overflow, rather to have called for his Basin to ease himself, than his Ink horn to make a Present to persons of such Place and Ingenuity.  
And indeed nothing could have abated that true respect I bear for any person that pretends the least Service to their S. Majesties, but that necessity which now lies upon me in replying to those Observations in which the Author has so basely abused, not so much me, as his own Royal fellow-servants.  
P. 38. That which remains, is only a blind business of translating a Greek Alstedius; which I must confess not to understand, no more than our Observer. Does he mean out of Greek, or into Greek? neither of which has ever been done yet, that I ken off; therefore riddle my Riddle. And then for that stinking story that savours of some old Onion-like Fornicator, with his gray-head and green-tail; I dismiss it as altogether unanswerable.  
But since the Observer hath been so liberal as to bestow two Copies of Verses upon me, I will borrow one to re-pay him, out of that excellent Epigrammatist, Val. Martial, lib. 3. Epigr. 43.  

Mentiris juvenem tinctis, Lentine capillis  
Tam subitò corvus, qui modo cygnus eras.  
Non omnes fallis, scit te Proserpina canum,  
Personam capiti detrahat illa tuo.   
And therefore how unbecoming such things are, will be an easy consequence; which if I had the least inclination to Poetry, I would translate; but at present I shall remit the Observer to his Friend I filips for construction.  
P. 39 To conclude (says he), The experience of those young men (children, long since His Majesty's happy restauration) who have attained to that eminency in Music by our Scale▪ will convince him, there is no necessity of taking up a man's whole life in the drudgery of that Science.  
But Sir, I'll even resolve for once, as the Observer resolves, That I won't be convinced. For these excellent young men before his Majesty's happy return, did (many of them) perfectly understand the Rudiments of Music; and have for these dozen years since, been constantly encouraged by the favours of a gracious Prince's Court, assisted by the lively Instructions of the most excellent Masters, but much more by their own natural ingenies, in that continual employment to which they had dedicated themselves: so that I will not be convinced, however these persons are indeed excellent and incomparable, That therefore Music hath been always of very easy attainment to such as take it up only for a recreation or pleasure; or that there is no drudgery in the Principles of this Science; which was my Assertion, and aught to have been his Consequence, if he would have made his very concluding Conclusion any thing to the purpose.  
There is one scrap of his Argument still behind. These Gentlemen attained to that eminency in Music by our Scale. Therefore, Sir, I suppose this Scale is the causa sine quâ non, of their eminency▪ 'Twere pity but this Scale was cut in Aablaster, and showed amongst the Tombs.  
But I am apt to think, they came no more to be eminent for having learned this Scale, than the Macedonian conquered the Eastern world, because his name was Alexander; or that any man whose Name is Alexander, is now able to conquer the world: though 'tis probable, that dreadful Name is still more like to make the asiatics run, than the uncouth words of the Gamut are to inspire a man with Music.  
Well, Sir, I have stayed so long upon this Argument, till I find it has at last calved a Parenthesis, and this Parenthesis takes after its Dam, and is argumentative too. This Scale is the only Universal Character, by which all People, all Nations, and Religions converse.  
Now, Sir, if it were not for the abusiveness of the thing, Experiment; I would lay a suit of Lessons of the eminent Mr. John Rogers, in the Character he plays them, before the Observer, to be performed upon the Organs. But that's, alas, too abusive. 'Tis long since that the Lute hath abandoned the difficulties of the Scale, and so lost the Observer's favour and knowledge.  
But, Sir, if all men learn the Gamut, than the Gamut is an universal thing, and all men have the Gamut. So if all the Nations of Europe learn ABC▪ etc. then the Alphabet is an universal thing; and so all the Nations in Europe have ABC, etc. And so, and so 'tis impossible to prove, that there ever was any confusion at Babel, or need of any present agreement, because the rudiments of all Nations are the same both for their Languages and Music.  
Now I give the world joy of this happy agreement; for I profess 'twas the first time I was well satisfied in it. Though I still doubt, that the different Nations spell various syllables with those universal Letters, and have got a confounded trick, to call the same thing by different names, that I can't for my life understand them, unless I put myself to the trouble of learning them all without book.  
And I am also a little doubtful, that the Musicians do take out of their Universal Scale five different lines for every different part, and so the Notes stand in different places, that though I should know their situation in the Mean, yet they would all give me the slip, when I came either to the Base or Treble. So that all the universality the Observer can pretend to, is, that all the world is troubled with universal variations.  
Let us consider, All men hitherto play in F fa ut cliff for the Base therefore F fa ut cliff is an universal Character; all men play in C sol fa ut for the Mean, therefore C sol fa ut Cliff is an Universal Character, exactly the same; as, because all English or Frenchmen speak English or French, whether they be in Europe or America, therefore English and French are two Universal Characters.  
But how absurdly he fetters a different Universal Character to each particular part of Music, is apparent to any that understand the nature of the thing. As though 'twas no matter how great the difference and confusion were, so long as they were Universal, and all men agreed them to be Universal.  
Which is one of the most slippery quirks I ever met with in my life, to prove, That an Universal Difference would make an Universal Character, as well as an Universal Agreement.  
That noble design of reconcilin Languages, may something discover our intentions, where to all Nations one thing must have only one and the same Character; that when any person of what speech soever sees it, he may yet apprehend what is intended thereby, though each man will still call it after the custom of his own Country.  
Thus if by one Harmonious writing we place the Notes of every Octave and Part in the same situation, each Voice and Instrument will have a propriety therein; and by being able to play or sing any one part, we shall be able to play or sing in all parts, as you may see more at large in my Essay.  
And there is very good reason it should be so: for as a Tune is the same Tune, whether sung in Base, Mean, or Treble; so in each of them the Notes should be all placed upon the same Lines and Spaces.  
Having now made some particular return to every Argument or Pretence I could find in each page of the Observations, I can't but think how he'll wince and fling at Mathematics for the future, how he'll laugh at the nature and reasons of the thing.  
But the Theory and Practice of Music are fastened together by so strong a Chain of Consequences, that I would advise him to consider these following Propositions, before he make himself ridiculous.  

The Five Propositions.  
I. That Music consists in Proportions, and is subject to Arithmetical Laws. Which all learned Musicians in all Ages of the Would have asserted.  
II. That the first and most natural division of Music is into Octaves, where the Notes and Half-Notes always circulate in the same order: As is demonstrated by Practical Experience as well as Speculative.  
III. That the Rudiments of learning Music ought to be agreeable to the nature of the Science. Wherefore we cast away those insignificant hard words of the Gamut, which proceed according to Sixths and Fourths, retaining only the circular Alphabetical Letters for every Octave, and the Monosyllables Mi, fa, sol, lafoy, to signify the Proportions.  
IV. That 'tis most easy, as well as most natural▪ by one perpetual constancy, to place the same Notes of every Octave, in the same lines and spaces, that the numerous variations of Cliffs may be avoided.  
V. That since in this one Universal Character of Octaves▪ we may comprehend all parts of Music, 'tis needless to engage in those difficulties which increase our trouble, and confine our knowledge to a lesser compass.   
I have exposed these Propositions to the Observer's consideration, out of a grateful requital, because he so generously confessed the one Objection upon which he refused my whole Book; & if he can but confute these Pragmatical propositions, I will be so well satisfied, that he shall not need to answer one word of my Vindication besides.  
But I confess, I do not yet think myself confuted, by his alleging an absurdity, which is five times more considerable his own way; or by showing that I make use of two natural Phoenomena of Music; which is all, with a little scurrilous raillery, he pretends to oppose against my whole Essay; where in the Contents I had summed up so many advantages, which he could not in the least deny to be consequents of it.  
Had I, Sir, sooner understood what thoughts the sober and ingenious part of the world entertained concerning the Observations, I should not have troubled you to read, nor myself to write a Vindication from them; which I have lately received a much better account of from a more Honourable hand, and beg your permission to adjoin it. I am,  
June 1. 1672. SIR, Your most humble and most obliged Servant, THO: SALMON.   
FINIS.   

To Mr. T. S.  
SIR,  
HAving received considerable advantages from your Musical Essay, etc. I was much concerned to see so happy a Design so scurrilously traduced. But the abusiveness of the Language sufficiently bespeaks his spite to your Person, rather than any sober dislike of your Essay; that it is plain his design was not to return an Answer, but a Libel; and when he had barked, and grinned, and showed his teeth, his fear kept him at a distance, so that though he wrote an Answer, yet was afraid to meddle with the Controversy.  
But your Credit is too sacred to be bespattered by all his Ribaldry; and by throwing dirt at a person of so unblemished Fame, he only dirty's his own fingers. I hope you will laugh at, and contemn his malice, and by no means think him worthy a Reply. I am confident, there are few that have read both, that expect one; I am sure they cannot, if they understand either.  
And as for Tapsters and Drawers, the great admirers of your worthy Adversary (who think, he hath utterly baffled all your Musical Essays, out of Hudibras and the Accidence) you need not much care for satisfying them; especially since there is no question, but that a man of an ordinary capacity might so improve himself in one week's time at Billingsgate, as to answer sufficiently his most substantial Objections.  
And, really, some of it is so nasty, that a modest man would be afraid to touch it with a pair of Tongues; and it's nothing but use that hath made himself not ashamed of it; you may see the same page divided betwixt Scripture and Ribaldry; Lust got into Paradise, and the Goat once more upon the Sacred Altar, as if he had meant to droll Religion out of the world, and revive the Worship of Cotytto's Temple.  
His 38th page hath words so nasty, one would have thought he had spoken through a Clyster-pipe, and like the Apocryphal Beast, 2 Esdr. 11. 10. the voice had not come out of his head, but the midst of his body.  
As for his whole Book, he himself confesseth, p. 27. one third part of it to be nothing to the purpose: And of the poor Thirteen Leaves that remain, I find upon just account, That they are stuffed with TWO dull Copies of Verses, XXIX merry Proverbs, III Scraps of Latin, IV Sentences of Scripture, A Bawdy Story, A Sacred Anthem, O bone Jesus, etc. mixed in a general heap of Nastiness. Besides many pretty Quiblets and smart Rhithms, that come in as luckily, as if he would have caped Verses with you.  
He scorns to have one Period depend upon another, but will have every Sentence set up for itself; and truly the Book is nothing but Thrums and Shreds, which being stitched together with blue Thread, look like a tailor's Apron, or a Fool's Coat.  
I find his very first Sentence, line 7 (as well as many other) to be such pitiful Nonsense and false English, that I should have left him, as a very Dunce, to the correction of the Rod and Ferula, had he not told me in the next page, that he understood the degrees of Comparison; yea, and that moreover he had once learned the Syntax; and again, p. 31. that he happily remembered the definition of a Noun, to be either seen, felt, heard, or understood: which 'tis strange he should pretend to, and yet take falsity, insignificancy, and contradictory, for three Noun Substantives, p. 1.  
Which truly may well be, since Music is the only thing, where he can do more than pretend; though herein his Objections are so insignificant, that, were it not for that genuine malice, wherewith he always writes, I should have thought you had hired him to have credited your Essay.  
Some of his Objections only show the natural advantages which Music obtains by your design; others are so contradictory, that they fall together by the ears among themselves, like the fighting-race of Cadmus' Serpent's teeth; and you need only look on, for they naturally destroy one another.  
And really, a short expectation is requisite, and will be sufficient: for, though I scarce know any new thing ever proposed, but it always met with some angry Antagonist; yet the true nature of the thing, and the greatest conveniency, have, in spite of all opposition, at last gained a general acceptance.  
One that has had but a small insight into Music, may easily perceive, how, ever since the days of Guido, 'tis continually altering into a greater ease, as well as excellency. Musicians have not long cast off those perplexed distinctions of Mood, Time, and Prolation, the Ligatures of the long Notes, with the strict observance which way they wagged their tails; and many more troubles they are now unwilling to undergo, which you may read more of in Mr. Morley.  
But I remember particularly in his Second Part, p. 104, he gives a more perspicuous way of pricking Canon: And this (saith he) I thought good to show you, not for any curiosity which is in it, but the easiness and commodity which it hath; because it is better than to prick so, as to make one sit five or six hours beating his brains to find out the following part. But such hath been our manner in many things heretofore, to do things blindly, and to trouble the wits of Practitioners.  
As I know Musicians are now more ingenious than those resolute Blades whom the good old man had just cause to be angry at; so I do not know of any Persian Statute that has be'n since made to forbid them to accept of any thing that shall be proposed for the ease and advancement of Music, which is the present controversy.  
I am a little more concerned in that doughty Objection, where he destroys your Reputation in Music, because you once studied Physic.  
Pretty subtle! Packolet's Horse had a wooden Peg in his head, therefore M. L. must needs have a crack in the place where the Peg should have been. I appeal to any sober man, Whether this be not as rational a conclusion, as can be drawn from the other in disgrace of your Book. For had your Adversary read Plato, or Athenaeus, Porphyry, or Jamblious, the excellent Physician Celsus, or amongst the Moderns, Paracelsus, etc. he would have met with those that studied Music upon the very account of curing Diseases; and that both consist in making and producing Harmony.  
He might have remembered (if he had ever known it) that the Ancients were so sensible of this, as to make the one God Apollo, Patron of both the Sciences. But alas! Don Quixot and Riblais have wrote nothing of the Subject, and therefore I hope you will pardon the mistake.  
So that in good earnest, had this Author any such learned design, as I have met with in a Pamphlet that was wrote in our late Wars, where the Author ingenuously confessed, That he wrote that only to make the number of his Books just Two-dozen; or else had he designed to have begged the pity of the World, by discovering his nastiness and ignorance, as Beggars expose their Ulcers to raise compassion; I say, had either of these been his reason, I should have applauded his design: But for a man, when he raves, to think himself serious and rational; nay, and to be angry with every body else, that will not think so too, is certainly the grand distemper of Bedlam, and too plainly shows, that the poor man wants trepaning in the Peg-place.  
But I'll tell you what is a great design of his, and which most about London are sensible of, That he takes upon him to be a general Confounder of all Musical undertake; in so much as he never wrote any thing in his life, but in contradiction to some other men, who would fain have known something as well as he; but he resolves they sha'ned, and therefore whoever pretends, must justly suffer.  
If any man speak of the Theory of Music, Have at him! In his Epistle to Mr. Simpson's Compend. He is one of our New Lights (of which this Age hath been monstrous fruitful). He is a Speculator how many Hairs-breadths will reach from the top of Paul's Steeple to the Centre of a Fullmoon; and demonstrate, That the thousandth part of a Minute after, there will be so many thousand more Hairs necessary, by reason of the Earth's or Moon's motion. And hereby he thinks that he has so undone all Mathematics, as no Gentleman will ever after study a Science which is so despised and drolled upon.  
And for Practical Musicians, he is also in as great a rage at them too, when ever they lie in his way; witness his Little Consort, and that fury he was in for his unfortunate Music, April 1. 1666. where he is so severe upon those Gentlemen that were performers of it (however it suited best with his occasions to commend them in his Book against you), that he plainly tells them in his printed Vindication, That it was not his business to find Eyes, Ears, or Honesty, for any; or to answer for other men's faults: And then roundly concludes; In fine, this Vindication offers at no more, than denying those to be judges in Science, who are ignorant of its Principles. Thus the Dictator.  
So that whether Speculative, or Practical, no man must judge but himself; though how unfit he is to judge of the nature of Music, who understands nothing of a Proportion wherein it consists, I leave even himself to judge.  
I must again renew my Entreaties, That since all sorts of persons have hitherto despised his Raillery, you would not give him occasion to be proud of an Answer; or have to do with a person who is of such a defiling Fancy, that can turn the bare Letters of the Alphabet into Bawdry, and make the most obliging page in your Book to be an abuse of some deceased Patriot.  
I have read a story of Agamemnon, that he kept his (otherwise lewd) Queen chaste for ten years together, only by the graveness of the Odes, he enjoined her to sing and play till he returned. I have nothing to entreat of your Antagonist, but that he would compose some such Odes for his own use; and that you would let him alone in that most necessary employment, since that all persons are satisfied, His Design has ever been to discourage Music, yours to advance it.  
Norwich, May 28. 1672. Your Friend and Servant, N. E.