BffttA 
 
 ■ 
 
 ■R 
 
 ■ 
 
 1 . /.'-v.: 
 
 % 
 
 I 
 faBMB 
 
 ..'■.-■« 
 
 
 
 •••>-■ 
 
 W£? 
 
 no 
 
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 31 
 
 W^>. 
 
 

ME T fiPOD 
 
 To Learn to 
 
 W HERE Bt 
 
 One ( who hath a good Voice and 
 £> ) may , without Other help , 
 learn; to Sing true by Notes. 
 
 DtfgrPd chiefly for, and applied t o y t he promoting 
 of PSJL MO DT; and fnrmfhed with 
 variety of Pfalm Tunes in Parts , with 
 Directions for that kind of Singing. 
 
 LICENSED, 
 
 Jan. 29. I 6% %. 
 
 Rob. Midgley. 
 
 L N D N< 
 
 Printed for William Roger s$t the iV/^againft 
 St. Dtwftan's Church in FfceuStreet, i6$6. 
 
J* 
 
 ) 
 
To the Ingenious and Hopeful 
 
 THOMAS FOLEY, 
 
 EUeft Son of the Worftipfnl 
 
 Thomas Foley, of WttUy 3 Efq- 
 
 A N <D ALSO 
 
 To the Vercuous Young Ladies 
 
 LETiriA and ANNE, 
 
 Eldefi Daughters of the Worfhipfnl 
 Philip Foley, of Trefiwood, Eiq 3 - 
 
 The AVTHO R (as an Jcknowl dgment 
 
 of hit Obligations to th*t Worthy Fa* 
 
 mily , whereof thefe are Branches) 
 
 HUMBLY DEDICATETH 
 THIS 
 
 ESSAY. 
 
i 
 
 THE 
 
 PREFACE. 
 
 AMONG thofe Human Am 
 that are made ufe of in Di- 
 vine Things, none is more 
 immediately fervkeable than 
 Music, which not only is 
 admitted within the Walls of 
 the Church , but alfo affifis at the mojl Sacred 
 Offices therein performed. Of what EJleem 
 ani Vfe in Divine 1 r hings it was of Old among 
 the Jews, the Scriptures give us account, and 
 largely afford the Subjects and Matter of their 
 Song : The good Kjng y and chief PfalmtJIJbeing 
 therein characterized with the Title of The 
 Sweet Singer of Ifrael. Under the Go/pel, 
 we have both the Example of our Saviour at 
 his lafi Supper , and the Commands of the Apo- 
 files y for Singing ; and accordingly, in all Ages 
 Jince hath it ken pracTifed by Chriftians. The 
 
 A 4 iV4- 
 
The Preface. 
 
 filature and E fells of Muftc, are fuch as com- 
 mend, it to Jo honour able Service ; Motion , 
 Proportion , Concord, and Harmony, being 
 the very Soul of it , and to excite and exprtfs 
 the^ bejt Ajf eft ions , its genuine Effects. 
 ■j 
 Of all kinds of Mufic , that exprefsd by 
 "Human Voice hath the precedence , as being 
 tnojt ancient and natural Nature affords us 
 Organs , both to exprefs and entertain its Me- 
 lody ; y t herein , as in other cafes , Nature is 
 to be perfected by Art and Induflry. A Rujlic, 
 the? he may have Natural Parts, and a Soylfor 
 Learning , is yet , if illiterate , incapable of 
 Converfe with Scholars, or enlarging his know- 
 ledge by Books : In like manner , the? a perfon 
 have naturally a good Voice and Ear, yet without 
 fomething of Art, will he be incapable of Mujlcal 
 Confort or Learning, more than what (as a Par* 
 rot) he gets by rote. 
 
 That fo few per fons (out of Cathedrals) under* 
 fiand Prick- Song, a main reafon *, the Obscu- 
 rity and Confnfion in the Method commonly 
 taught, wherein the following Particulars make 
 it a long Drudgery to attain Proficiency. 
 
 i. As 
 
The Preface. 
 
 I. At firft fight , we have pre fen ted a lo*g 
 Bead-roll of bard and ufelefs Na+es , to be 
 conned backward and forward w the Gam-ur. 
 
 * 2. Whin this Drudgery is over, follows a, 
 worfe , to lam th^ differing Names of the 
 Notes , accord ng to the ftvtral places of Mi, 
 which in each Cliff barb three f ever al S at ions, 
 being one whik in B, another v- bile in F another 
 while in A, the other Names (Fa, SoL, La,) 
 attending its motions. 
 
 3. Wh n you are pa ft thefe tvo , and can 
 name your Notes thre manner of ways, you are 
 
 yet to feek for the chief 
 
 ^1 • +1 1 T„ ; ^ As to the Notes Names, 
 
 thing, the Tuning or aud the cliffs , , e the01 > d 
 
 them, if y9U have not a and Vew way's compared 
 
 Mailer at hand to kadyo* ** ™J at the end of 
 
 \vith bis Voice or lnjiru- 
 
 ment. 
 
 4. A fourth Difficulty arifes from the many 
 Cliffs , which no Lfs than J even ways change the 
 places of the Notes upon the Lines and Spacrs^ 
 and makes it a mofi tedious thing to beptrjtci in 
 fll y or but fome of them. 
 1 
 
 Ik 
 
The Preface. 
 
 The removal of thefe Difficulties, and thereby 
 
 the Encouragement of Learners , is that which 
 
 J have endeavoured, in this EJfay ; What I have 
 
 done in order thereto y l Jhali here give the Reader 
 
 fome account of. 
 
 Firft, as t$ the Gam-ut, omitting the old 
 Names of the Notes as unnecejfary , I retain 
 only the Letters of the Alphabet , by which 
 the Notes are therein exprefs*d : Thefe Letters 
 being feven, A, B, C, D, E, F, G, I affign them 
 as Names for the /even Mufical Notes, taking 
 only the liberty (for better found-fake , and indi- 
 cation of the Half Notes places ) inftead of 
 calling thefe three Letter s, A, E, F, as in the 
 Alphabet, to name them L$, \J&, Jf a, When 
 a Flat or Sh/trp alters the nature of a Note, its 
 Name alfo admits the like alter at ion, yet fo as to 
 keep the Letter belonging to the Line or Space, 
 thereby making the Change to be no trouble to the 
 Memory, but an help to fing the Notes in Tune. 
 So 015 being fometimes /harp , and fometimes 
 fiat , I cdl it 05 when it is (harp, and Tge when 
 it is flat, as in [Begin, Before,] withafofter 
 found, and therefore the more agreeable to a 
 fixt or foft Note , as the other is to a {harp. 
 The like is done by<&. iQ, being a Vowel, hath 
 
 before 
 
The Preface, 
 
 before it, when /harp an L, and when flat an M. 
 Py this means, we have [even difiintt Names 
 for the [even Notes , keeping always the fame 
 places in each Cliff ] and thofe Names fuch as 
 both comply with the Gam-Ut/<? much as is need- 
 ful, and alfo with the Alterations that are made 
 fW Flats and Sharps , without burthen to the 
 
 Memory* 
 
 That there fhould be feven diftinci Names, 
 for the feven Notes , isfo reafonable, that it is 
 jufily to be wondred at , that the Writers of 
 Mufic fhould generally affign no more than four 
 or fix : This fome have complained of, particu- 
 larly our Learned Dr. Wallis , in his Appendix 
 to Ptolemy J s Harmonies, by him publifhed, 
 pag. 288. " Sed omninp deeft vox feptima 
 <c pro fedibus Ff voce deftitutis ; ( nam 
 " quod ibidem habeantur Fa Vt, id eft, 
 
 " alterius fyzygia : ) Quod mirum eft 
 
 " Guidonem non vidiffe & prxcaviffe. Re- 
 " centiores aliqui ( inter quos Merfen- 
 " nus ) fupplent vpcem ft aut huic fimk 
 lC lem. 
 
 The next thing, wherein I have endeavoured 
 to facilitate the Learner's Task, is, by /hewing 
 a way to Twne the Notes aright in any O&ave, 
 or (Cliff, witheut the help of 4 Mafler or In- 
 
 Jirument : 
 
The Preface. 
 
 Jlrument : To which , I require no more in the 
 Learner , but that he have either heard , or 
 can fwg the Notes of SIX BELLS. 
 
 He who hath not Natural Mufic enough to do 
 this, ( efpecially in this Ringing I Hand, as 
 fome have called it ) may he fuppofd not fo 
 defirous of the Art , as to concern himjtlf in 
 this or any other method. 
 
 The reafon why I chufe Six Notes , ra- 
 ther than Five , Eight , or any other Num- 
 ber^ is, becaufe the Half- Note more naturally 
 and eafly falls in its right place in MX, 
 (viz. between the third and fourth Notes ) 
 than in any other number of Notes , it being 
 not eafie to fwg them falfe , as any one th it 
 t ryes will find : The reafon is , becaufe if the 
 Half-Note be mifplaced, it mujl b by Sing- 
 ing three whole Jones fucceilively , which 
 is both unpleafant upon an Inftrument, 
 
 and difficult to the 
 
 * Amiflio autem triplicati * y Q - Js r Qr pj ve 
 
 Tom, em ad per Sciendum J .. . 
 
 ubique Diapafon n-ceiTa.ia, Notes or B lis , the 
 
 dura, um 7i juu cznmibi* . unde Semitone may be ei- 
 
 ad talem duritiem temperan- , f t ' t L p f p 
 
 damArtifices divide tedium thr ^ween tfoe je- 
 ilium ronufn in femkonia (?«?/;- cond and third, or 
 iredi Eiemenra Muhcz inter l tt:Vtmt l )e third and 
 Opuic. Serf. 25. r 1 j r 1 
 
 fourth^ and fo can be 
 
 no 
 
The Preface. 
 
 no certain guide : And for Eight , they con- 
 tain two Semitones , and thofe in no certain 
 places. Taking therefore Six Notes, or the 
 Tune of Six Pells , for the Clue to lead the 
 Learner by , / have applied thtm to the lea- 
 ding him through all the places on the Staff 
 of Lines in each Cliff, both without and with 
 Flats and Sharps. The cenveniency andfuffi- 
 ciency of this Method any one may be fatisfed 
 of \ who a, little conftders it. NotwMJtan- 
 ding that nothing may be wanting that can be 
 up d as an help , / have /hewn how to ex~ 
 prefs the Notes upon a Bafs- Viol. To thefe 
 Directions , they that can procure a Majler , 
 they will be an help both to him and the Lear- 
 ner , in the more fpeedy and ea/ie attaining 
 their Ends. 
 
 The third thing I have taken in hand , k 
 reducing the many Cliffs to as few as might 
 be, or ( which u the fame ) to /hew how to 
 fing true ftfc ^siotes priced in a Cliff one is 
 a fir at as if they were in another bet- 
 
 ter k ";„. To this purpofe , / have made a, 
 Table, by nhich all the other Cliffs are redu- 
 ced to the Treble And Bafs ; fo that he who 
 hath learht in thefe only , may be able to fing 
 hk Notes true , tbo* priced in other Cliffs. 
 
 The 
 
The Preface. 
 
 The courfe I take for effecting this , u by 
 the help of the ufual Flats and Sharps , to 
 bring the Half-Notes into the fame places of 
 a Staff, thd* fign'd with differing Cliffs. By 
 which means , thtfedfe Notes be fung in ano- 
 ther Kfy, anlt0$pre called by other Names ; 
 yjj&fre Semitones being accordingly fet in dm 
 fSm by regular Flats or Sharps, the Tune 
 mil be truly exprefs'd by the Voice. 1 know 
 this way is not wholly practicable upon Inftru* 
 ?nents , efpecially fuck as hive fixed Stops, 
 which will feem out of Tune when Leffons 
 are played in a wrong Kj.y : But the Voice 
 being at liberty , will naturally rectify thofe 
 fmall inequalities of greater and lejfer Tones 
 and Semitones, which on an Inflrnment, being 
 mifpUc*d, diffatisfy the Ear. 
 
 In the Conclufion , For a Praxis, 7 have ad- 
 ded feveral Pfalm Tunes in Three Parts , 
 with Directions how to ftng them, to promote 
 that mojl harmonious and delightful kind of 
 Singing. This requires fomewhat ?rt~>ye Skill 
 than the Common way , yet is eafie enough , at 
 lea [I for a f elect Company of Per f on s , with 
 good Voices to attain unto. It would there- 
 fire be a commendable thing , if Six, Eight, 
 $r more , fober young Men that have good 
 
 Voices, 
 
The Preface. 
 
 Voices , would affociate and form themfelves 
 into a Quire, ferioufly and concordant iy toftng 
 the Praifes of their Creator: Afewfuch in 
 a Congregation ( efpeciaUy if the Clark wake 
 §ne to lead) might in a little time bring into 
 the Church better Singing than is common, 
 and with more variety of good Tunes , as I 
 have known done. 
 
 *Tis pity we have not a better Tranjlation 
 of the Singing Pfalms publickly in ufe . how- 
 ever, for Private families there are feveral 
 weM done , efpeciaUy the lafi by Mr. Patrick, 
 which hath met with a general and deferved 
 EJleem. He hath put more of the Pfalms into 
 the Metre of the Hundredth , than were m 
 the old Tr an flat ion , for the fake both of the 
 Meafure and Tune, which are both good. This 
 Tranjlation, together with ilfr.BartonV Hymns, 
 will abundantly furnifh fuch with apt Matter, 
 whofe Piety and Tunable Voices jhaH difpofe 
 them to Pfalms and Spiritual Songs. Ihe 
 promoting of this ( as to the Tune and Me- 
 lody ) is the chief of my defign in this Effay. 
 If therefore any Reader come with no better 
 ends, than to accomplifh himfelf to bear a Part 
 in a Drunken Catch , a Smutty or Atheifiical 
 *>*£• I *fjurt kim 9 there's not 4 Word here 
 
 deftgjd 
 
The Preface. 
 
 defigtfd for his fervice , V/7/ upon betted 
 thoughts a Penitential Piklm/hou/dfeem more 
 fuitaik, 
 
 I have onh this farther to acquint th? Rea- 
 der with, Ihxt I hue not Unfled wholly to 
 my o.vn Judgment , ( tho* confirmed by Expe* 
 riment mide ) but h we communicated thefe 
 P.tpers to Ptrfons of Sk*ll and Eminencyjvhofe 
 Approbation hath been my Encouragement tp 
 Pwiifb them, with h*prs, that they may be 
 ferviceable to unprejudiced Learners. 
 
 ERRATA. 
 
 PAge 27. in the fecond and thtri Lines, infieid of fc 1 
 nadlB. Vt%e\%. line i9-/or[- in nmrtoa ^cmibreve,]} 
 Jhuldbe Jjs equal in time to a remnr vfi . J The word Equal 
 may be added rv-th a Pen at the beginning )f th fine. Page 62. 
 in the fir (i Staff and fecond Cliff gr there Jhuld be another Flat 
 
 thvA ij~r: AJjd in the fifth Stat) folvvriog, the fourth Cliff gf| 
 [bouldbj.ve another Flat thus S=J? . Pa«e 66. under the biri 
 
 Stiff, tbe{€) in 35e may beflruc^ out with a Pen, Page 89. Up 
 fi< "Sotesof tbsTuncQooullbetbw jj^j^iliisSfeistti 
 
 A New' 
 
L * 1 
 
 ~~~ 
 
 A New and Eafie 
 
 METHOD 
 
 To Learn to 
 
 im 
 
 C HA P. I. 
 
 Of the Scale of Muflc ; and Cliffif; 
 
 I Shall not trouble the Prafttcal Reader 
 with a Mathematical Account of Inter* 
 va/s 9 or how Eights are the fame, and 
 how they differ 4 . It will be fufl^cient 
 to obferve tS him,That there are feven Notes 
 in Muficj which are commonly exprefsM by 
 thefe {even Letters of the Alphabet, J,B 9 C P 
 £>, £; F y G ; if a Voice or Inftrumerit rife or 
 fall gradually more than feven Notes, the 
 
 B foi- 
 
E»] 
 
 following 8th, $th, \oth y &c. will proceed 
 in the fame order, and bear the fame relation 
 each to other as the ist y id y $d, &c. to 
 which they are refpeftively Eighths or 
 Offaves, and that hence every eighth Note 
 being alike in nature, is called by the fame 
 name with that to which it is an Eighth, 
 whether above or below it. 
 
 That the various Muficaf Compofitions 
 out of thefe Notes may (as Languages) be 
 communicated by Books and Writing, cer- 
 tain Lints and Ch>raffers are deviled and 
 made ufe of by Mttjiciam+ot which you have 
 here an Example. 
 
 iipiMiiiriiiiil 
 
 In this Example (till we come to the Par- 
 ticulars) you may obferve thefe things in 
 general Firft, That the Chara&ers at the 
 beginning of the Lines are called Cbfs or 
 Kjys, opening and flgnifying what Part or 
 Pitch of Voice, i//** Treble, Mtan y or 5j/J, 
 the Notes properly belong to, and aifb on 
 what Line or Spice each of the feven Letters 
 is placed. Secondly, That the five Lines and 
 Spa<#s between themferve as Steps whereon 
 
 to 
 
to exprefs the degrees of Sound, or Notes 
 afcending and descending. Thirdly, That 
 the Characters you fee upoti the Lines and 
 Spaces ftand for the Notes themfelves, and 
 their different form expreiTes their Quantity, 
 whether longer or fhorter. 
 
 Your bufinefs therefore in this and the 
 following Chapters will be, Firft, In the 
 (jam-ut td . l£arn the ufe of the Cliffs : 
 Secondly, To learn the names of theJLines 
 and Spaces, that you may feadily; know 
 what to call a Note {landing upon any Of 
 them: Thirdly, To fing thole Notes Jq 
 right Tune, both by degrees and leaps: And 
 laftly, How to give each Note its due Quan- 
 tity of Time, 
 
 Having premifed this in general, to give ; 
 the Learner a profpeft of his^asfe, Iftiall 
 proceed to fay (bmething of the Camera as 
 far as is necenary to niydefign; which is, 
 That you may underftand thereby the ufe of- 
 the Cliffs, and the Order and pittances of 
 the Notts as the Parts lye together ia a 
 Body. •■ • 
 
 t i w 
 
E4l 
 
 \l 
 
 am ut #£z\ 
 
 3$M of MUSK \Q 
 
 
 
 ^Ji la ini re 
 
 £ 
 
 > Ai mi — 
 
 ftlafoire 
 CMfant , 
 
 \A la mt re 
 
 ., Q fol re ut 
 
 
 T fa 
 
 hA 
 
 faut 
 mi — 
 
 re 
 
 Thb Stdt (confiftingof eleven Lines 
 With the intermediate Spaces) contains the 
 places of all the Notes ordinarily made ute 
 8 i i Vocal Mafic. In the firft Column you 
 have the old Names, which I only fet down, 
 Xt you may fee what they are The fecond 
 ColuLn flJws, which of the <^£*« 
 belongs to each Line and Space, The^rd 
 
C 5 3 
 
 Column contains theC////, or Signed fceyt, 
 and fhews how many Degrees or Notes thejr 
 are one above the other ; which being 
 known, the other degrees of Diftance are 
 eafily computed. 
 
 Five of thefe Lines, with their Spaces, are 
 commonly fufficient for the pricking of any 
 Tune, therefore is the Scae divided into 
 three Staves or Parts, compafled in by 
 Arched Lines. Of thefe, the lower Five be- 
 long to the Baft, and are known to do lb by 
 this mark 52 upon the Line of F, commonly 
 called therefore the F fa ut Cliff or Key, 
 opening to us what Letters ftand upon tlie 
 other Lines and Spaces, as will be fhewn ia 
 the next Chapter. 
 
 1 he upper five Lines contain the higheft 
 Notes, and belong to the Treble, or higheft 
 Part: The Key. to thefe Lines is ^, or 
 fbmetimesG/, on the lower Line fave one. 
 The Tenor or Middle Part takes in commonly 
 two of the upper or Trebk Lines, and two 
 of the Bafs Lines , having one only in the 
 middle proper to its felf, on which is ft 
 this mark f for the Cliff \ its proper place 
 is the middle Line, but is oft fet on one or 
 other of the other Lines, which ever the 
 Cliff ftands upon, that Line is the place of C, 
 
 B 1 and 
 
E«3 
 
 and the other Lines are to be reckoned accor- 
 dingly. Sometimes alio the Bafs Cliff is 
 removed to the middje Line, and then that 
 Line is F, &c. This fhifting of the Cliffs is 
 troublefom ; but general ule having made 
 the knowing of them neceffary, you 'muft 
 at leaft under fidnd the manner of them. 
 
 CHAR II. 
 Of the fflames of the Lines and Spaces* 
 
 HAving (hewed you id the Gate*) how 
 the Notes lye together in a Body, I 
 Chall now take them into Parts according to 
 die three Cliffs^ beginning with the upper- 
 tnoft as raoft common, And here your firft 
 bufinefs will be to learn the Karnes of your 
 Lines and Spaces $ whicii the Cliff or I\jy 
 opens to you. 
 
 The Names are [even, expreFs'd in theft 
 ieven Letters, A, B, C, D, £,F, G, which (for 
 better Sound-fake and Reafons hereafter to 
 be given ) you muft call Lflj, $ji Ce, p, 
 LC, jra,<S, pronouncing j?a broad, as in 
 &4H, Falcon, &c. Ihefe or the like Names 
 are given to the Notes , both beraufe the 
 
 Voyce 
 
Voyce is beft put forth in exprefling Tome 
 Syllable , and aLb that the {even Notes 
 might be known by as many diftinft Names. 
 Their r>laces in the three Cliffs are as m thefe 
 Examples. 
 
 ^a 
 
 4- 
 
 S 
 
 -f-f- 
 
 ■H- 
 
 fe^ 
 
 cr±^ 
 
 ■0- 
 
 -t-e 
 
 -e-S- 
 
 \ 
 
 T* 
 
 -^ 
 
 *€- 
 
 3 
 
 4 
 
 d^- 
 
 t± 
 
 &-g- 
 
 4- 
 
 Tt~* 
 
 7* 
 
 It will be convenient that you begin wkh 
 and keep to one Clif only at the firft, wi jch 
 you pleafe, or which belt agrees with your 
 Voice for a pitch high or low ; when you 
 
 B 4 have 
 
C * 3 
 
 have gone through all the Rules, and arc 
 perfeot in that , you may proceed to the 
 other. 
 
 You need not trouble your felf with the 
 Tenor or C Cliff, which keeps no certain 
 place - 7 the ninth Chapter fhews you how 
 to fing any thing you meet with prickM in 
 that 'ClifT" 
 
 Before you proceed any farther* you muft 
 be ready at naming your Lines and Spaces, 
 fb as to tell readily, as foon as you caft your 
 Eye upon any Line or Space, what Letter it 
 is called by. The Cliff leads you to all the 
 reft, for beginning thereat, and afcending, 
 the Letters lye in order ; and defcending, 
 you name them backward. 
 
 The Dafh-lines that you fee above and 
 below are only added, when the Notes afcend 
 above, or defcend below the Staff. 
 
 CHAP. III. 
 
 . Of the diftances Note from Note 3 as 
 ' ' to Sound, 
 
 fTpH E diftances of Notes one from ano- 
 ' I ther/as to found, are not all equal, but 
 
 - * in 
 
C 9 ] 
 
 in the rifing or falling of any eight Not£s ? 
 there be two leffer diftances called Semitones 
 or Half Notes, which muft be well known 
 by their places in the Staff of I ines. 
 
 The better to remember them, take the 
 Rules in thefe Rhimes. 
 
 In ev*ry O&ave half Notts two 
 Then are , the which their Places fhew ; 
 One half Note is from Q5 to <£e, 
 The other lies 'twtxf J 7 a. and L\Q. 
 
 This Rqle (hews the ordinary places 
 where tke half Notes are tQ be fung, when 
 there be no Flats or Sharps let on the Lines, 
 to wit, between 13 and Ce, and between 
 LC and fa. 
 
 What is to be done when you have thefe 
 marks (L) and ($) upon the Lines, fhall be 
 Hie wed in Chap. 6. 
 -_---.- - rc r + _AA£ft_ 
 
 ra=f**=»: 
 
 la thefe Staves you have the Notes gra- 
 dually afcending, of which thofe Pairs mar- 
 lied with Arches are diftant half a Note. 
 This 
 
g. This Figure reprefents to the 
 f. Eye the diftances of the feven 
 * Notes one from another, the 
 \ D ' Letters guiding you to the Paf- 
 C B \ titulars ; where > as you fee 15 
 u Ce, and L(£ jfa, lying nearer 
 '<?. than the reft, fo are their founds 
 to be nearer. 
 That you may with your own Voice ex- 
 prefs, and thereupon obferve the difference 
 between whole and half Note diftances, fing 
 thefe fix words, Oae 9 two y three four, five, fix, 
 diftin&ly in the Tune qf Six Bells, and after 
 you have done fo feveral times fing only 
 J, i, }, 4, and ftop there, repeating j, 4, by 
 themfelves for (they are diftant in found a 
 Semitone, all the reft are a Ttf#e or whole Note 
 diftant each from the next. By a little ob- 
 fervation you will perceive the 3 and 4 Bells 
 or Notes to be lefs diftant in found than the 
 Other. 
 
 1 he Numbers i, 2, 3, 4, J, 6, in the for- 
 mer Figure, fhew to the Eye the feveral di- 
 ftances of the fix Notes, where V& is the 
 firft, <D the fecond, &c. and the third and 
 fourth are Ce, 0?, diftant half a Note or 
 Tone. 
 
 CHAP. 
 
[n] 
 
 CHAP. IV. 
 
 * ■ • 
 
 Of Tuning the Notes. 
 
 Seci.I. rr He readied way to learn to tune 
 A your Notes aright, is by follow- 
 ing either the Voice of one skill'd in Mufc, 
 or fbme tuned Inftrument that hath Frets or 
 Keys, which are the only ways hitherto made 
 ufe of, that of a Matter being moft common ; 
 butbecaufe (in the Country efpecially) oft- 
 times none of thefe can be had, the follow* 
 ing Directions are laid down, which may 
 fuffice for one that hath a Mufical Ear. The 
 only poftulate is, That the Learner hath ever 
 heard, or can fing, the Notes of Six Bell u 
 which Requifite I think few are without, 
 whole Genius inclines them toMufic. 
 
 Suppofing therefore that you can fing 
 i. 2, 3,4, 5,6, right,- 1 fhall proceed by the 
 help of thofe Notes, to lead you to all the 
 reft. 
 
 Obferve, That when you begin to fing the 
 firft Note, on what Line or Space fbever it 
 ftand, you may fing it with what Tone you 
 pLafe, high or low, (as to the pitch of your 
 
 Voice) 
 
Voice) with this Caution, That you count 
 how many Notes you have above or below 
 it, that the pitch of your Voice may be fo as 
 to reach both, without fqueeking or grum- 
 bling. After you have tuned the firft, or 
 any one Note, all the reft follow neceflarily 
 in their due diftances above and below it. 
 
 Example L For applying of the Six Notes. 
 
 Begin with the fir ft Bar, and with your 
 Voice high, fing the fix Notes you fee on the 
 Staff fevcral times, calling them by the 
 Numbers over, viz. 1,2, 3,4,5,6, as you 
 did in the former Chapter ; which when 
 you have done, fing the fame Notes, calling 
 them by their Names, L3,$, ifa > L^2,*D>Ce., 
 in the Tune of Six Bells. 
 
 } 2 3 4 5 6 
 
 illliliiliii^ip 
 
 1 Bir. 2. ?. 
 
C«»] 
 
 +*£ 
 
 4- 5- 
 
 2. In the fecond and third Bars fing the 
 two firft Notes of the fix by themfelves, 
 both forward and backward. In the fourth 
 Bar repeat all fix, and in the fifth and fixth 
 Bars repeat the two laft Notes, 3D, Ce, both 
 forward and backward. Thefe Notes are 
 diftant a whole Tone, which diftance, by 
 often repeating thefe Notes in the fecond, 
 third , fourth , fifth , and fixth Bars , you 
 will the better know and diftinguiih from 
 lefler. 
 
 7- 
 
 In the feventh Bar, after all fix, repeat the 
 three laft often over, firft down, Lvg, g), (£e; 
 Le,D, Ce, &c. and then backward, &t&$ 
 
In the eighth Bar, after all/?*, repeat of- 
 ten the four firft, La,£>, M, L£ ; and in 
 finging them, oblerve efpecially the two 
 Notes jfa, LC, becaufe their diftance is a 
 Semitone ; therefore afterwards' in the ninth 
 Bar, fing them by tWemfelves fo often, 'rili 
 you have fix'd in your fancy their diftance, 
 for this you will find the hardeft thing, to 
 fing true the half Notes in their places. 
 
 IO 
 
 II 
 
 *mmmmmm 
 
 10 
 
 ir 
 
 In the tenth Bar, fing the four firfi: Notes 
 both down and up. 
 
 In the Eleventh Bar,firft fing the fix'Notes 
 ih order , then repeat the four laft, Jfa, L£, 
 
C 15] 
 
 3D, Ce, leaving out the two firft Notes, L<3, 
 ®, and ftill marking the Semitone between 
 f a, L<£> which two Notes fiflg by them- 
 felves in the twelfth Bar. 
 
 A Clofe. 
 
 In the thirteenth Bar Gng f a,L<£, £),£e, 
 down and up aS they are prick'd, and ob- 
 ferve the three lait, jf a, L<£, JFa, becaufe it 
 is a common Clofe, or ending of Tunes. 
 
 Note; If any where you doubt whether 
 you fing right a repeated part of the Six 
 Notes, (as here in the nth and i^ftars) 
 fing over again all fix in order, aaJ then try 
 at the Parts'by themfejves. 
 
 EsAmpk 
 - . 
 
c <n 
 
 txampk II. 
 
 *&±^ & A 123.1234^ 
 
 liilllllliilllliii 
 
 I Bar. 2. 5. 
 
 iltilllillliiiiliiliiiill 
 
 4. 5* Clofe. 
 
 12 j. 12^456 . 
 
 lllliilllilililiiliii 
 
 1. 2. j. 
 
 lilllilillliiliiiiiill 
 
 4. 5. Clofe. 
 
 Sett. II. Having often gone over the 
 former Examples, you may now proceed by 
 the fame Clue of the if/d Notes to defeend 
 three Steps lower* 0£. to <g>, Which is ah 
 QElave to the fecond Note of the firft Six, 
 
 1. In the firft Bar begin with A high pitch 
 of your Voice, and having fung (as in the 
 former Examples) L3 9 $, jfa, LiE,D»'C?, 
 leave out L3, and firig only the five laft; 
 then in the fecond Bar repeat only the three 
 laft, L<$,-£), Ce, but call them not now L<£:, 
 3D, Ce, but One, two, three, altering the 
 Karnes, but not the Tune. This 
 
C »7 3 
 
 m This done, in the third Bar fing the Six 
 Notes from L<& to ^calling them as Bells, 
 One, two, three, four, five, fix ; fb that yout 
 three firft of thefe,be the lame in Tune with 
 the three laft of the former Six : After you 
 lave fung them as Bells, i, 2, j, 4, 5, 6, four 
 *r five times, fing them again as oft, calling 
 ■hem by their Names, LC, D, Ce, ^ 
 1% «. 
 
 Iii the fourth Bar fing the four firft, L^, 
 3D, Ce, TB) three or four times, and then re- 
 peat Ce, 05, by themfelves, pbferving well 
 their diftance or difference, which is a 
 Semitone, like to jfd,LC, above. 
 
 ! In the fifth Bar, after you have lung all 
 fix, repeat the four laft, Ce, 15, L&, <S5, often 
 over^ keeping them in the fame Tune that 
 they had in all fix j fb Khali Ce,/B, be di« 
 ftant half a Note: Then fing them back- 
 ward, <55, L3, % 9 Ce 5 repeating *)$, Ce, at 
 the end, as you did L<£> |f % in the 1 jf£ Bar 
 before!, 
 
 $ 
 
C '8 3 
 — 4— I 4 L-i i 1 * 1 i 
 
 8, 
 
 In the fixth Bar, after you have fung aft 
 fix in order, fing the three firft, L®, £>> Ce, 
 and ftop there j then fing thole three over 
 again in the fame Tune, calling them not 
 Lg, D, Ce, but, Three, four, five, feverat 
 tiroes : Then proceed to the feventh Bar, 
 and adding two Notes above, fing them 
 as five Bells , One , two , three , four , jfoe, 
 three or four times, and then call them by 
 their Names , $, fa, U£, D, Ce, This 
 done, proceed to the eighth Bar, and to the 
 other five, add T$> L$> ®> to make up an 
 
 Octave, 
 
...... Ll O ,.., . 
 
 Oiiave, remembering the Diftances as you 
 fung them in the former Examples ; io have 
 you now a whole Octave, or eight Notes 
 from <J5 to 0, which you muft pra&ice both 
 down and up ; and when you are perfect in 
 it, fo as to fing your Diftances true^ with 
 the Semitones in their right places, the fol- 
 lowing Directions will lead you through the 
 reft of the Notes to fing any other Offtve, 
 beginning at any other Letter/ 
 
 -— — i— -»— .— 
 
 9 10 N *+ ■ 
 
 In fhe ninth Bar begin at L(£ again, and 
 begin the fix Notes,. Li£ ? jSi Ce, 15, L3, @* 
 in order ; which done, repeat the two laft 
 Notes, La, 45, by themfelves : Then proeeed 
 fo the tenth Bar, and fing thefe fix, La, (J?, 
 jf a, Ls£, D, €e, fo that La and $ be the 
 fame in Tune as they were in the former fix^ 
 
 If your Voice will not reach to Ce at 
 the pitch you began the firft Bar, fing as far 
 as you can, or begin L(£ in the ninth Bar 
 higher, finging thefe three laft Bars diftin£fc 
 from the foregoing. 
 
 C i In 
 
[20 ] 
 
 In the eleventh Bar fing your laft fix 
 Notes backward , Ce, D, L£, jfa, <£>, L3, 
 rifing from Ce to La ; then going one Step 
 backward to 0, rife to Ce, (as in the fifth 
 Bar before) wjiich is an Oifave or Eighth to 
 the lower Ce. 
 
 I have omitted thefe three laft Bars in the 
 Ba/s Cliffy becaufe the Notes would run too 
 far below the five Lines. 
 
 Thus are you gone through all the Notes 
 upon the five Lines and their Spaces, with 
 the half Notes in their own places ; in pra- 
 ftifing upon which, make not too much 
 haft, but by often Repetitions fix in your 
 fancy the diftances Note from Note. 
 
 CHAP. 
 
C2I 3 
 
 CHAP. V. 
 
 Of %jfing and Vailing hy Leaps* 
 
 YOur former rifing and falling was by 
 Degrees or Steps of whole and half Notes, 
 your next bufinefs is to learn to rife and fall 
 your Voice by Leaps of Thirds , Fourths, 
 Fifths, Sixths, and Eighths, that is; by skip* 
 ping over one, two, three, or more Notes. 
 
 Having begun with falling the Six Motes 
 by Steps, I ihall proceed the fame way in 
 fetting down the Leaps. 
 
 Note : That in finging theft following 
 Examples, it will be convenient in the pat 
 fage by degrees, to give thoft Notes a longer 
 time of prolation, which are to be repeated 
 in the Leap, that their Tune by themftlves 
 may the better be remembred : Therefore 
 'have I in the Examples pricked the Notes of 
 the Leap in Semibreves , which are longer 
 Notes than the other with Tails, called 
 Minims, 
 
 G | Begin 
 
C n 3 
 
 I. 2. J. 
 
 Z$5.-~~±-X. -i &ZZJkZ.ZZZZ — a -XI — jl-y^-SZXI— n_ — -- it — 
 
 ^r^::±-iT-=2rf3ir;±:J:t3;i-— :i:5— 
 
 lillHlllliiilisii 
 
 I. 2. J. 
 
 lififiliilgpli 
 
 Begin with the firftBar; where, having 
 fung the fix Notes once or twice, begin therii 
 in the fecond Bar,arid ftop at the third Note, 
 Tinging only L<£, &,&€]' after which, it 
 will be eafie to skip over £)* and fing L^ 
 Cc, which diftance ? being two whole Tones, 
 is called a Greater Third. 
 
 In the third Bar, you may firft fing over 
 the fix Notts ,%$ in the firft, and then fing 
 only thefe four, L<£, D, Ce, 05, /lopping 
 at 03 ; this done, fing LC, 15, omitting D 
 andCe: But that you may be fare you tune 
 .them ? right, go often over 2\\fix } and theH 
 
 •<• the 
 i 
 
Cm 3 
 
 the four fir/l by degrees, immediately befofre 
 you try the Leap. 
 
 In like manner you muft do by the other 
 Bars. 
 
 In the fourth Bar you leap from L<£ to 
 L<3, which being a prefeft Concord, ealled 
 a Fifth, is the oftner to be repeated. You 
 may eafily know this Leap y if you take no- 
 tice, That it is always from any Line or 
 Space, to the next Line or Space fave one ; 
 as you may fee in the the fourth Bars of the 
 two Clip. 
 
 6. 7. 
 
 
 :t=~==±z±=r=x=$ = r=fc# 
 
 S=$ 
 
 E|EJE£5E?E"E 
 
 10. 
 
 c 4 
 
 Thefc 
 
Ch] 
 
 6. 7. 
 
 "9." 
 10. 
 
 Thefe four laft Bars lead you to rife xhp 
 fame Diftances or Leaps that you fell before. 
 In the Treble Ctijf, I have repeated the fix 
 Notes y eyery Bar with To many both filing 
 and riftng as contain the Leap. In the other 
 Cliff [have omitted fo doing for brevity. You 
 may fee by the Treble Cliff how to proceed 
 juuhe reft, 
 
 In General , 70 rife or fall by Leaps, firjl 
 
 -proceed flep by ftfp, from the one iyote to the 
 
 and then "pafs ov-'r' the intermediate 
 
 vti 
 
 'Ncie or ; Notes' 7 at you fee done in the Ex- 
 
 T.here 
 
 kmpks 
 
 ;--v 
 
C >5l 
 
 There is yet remaining to be fling att 
 Octave , ( the chief Concord ) for which, 
 fook back to the fixth, feventh, and eighth 
 Bars of the fecond Example of the laft 
 Chapter,- and the Dire&ions belonging to 
 thiol , by which, having fung eight Notes 
 in order, falling by degrees, it will be eafie 
 to leap from the firft to the eighth, and from 
 the eighth to the firft, as here. 
 
 12. H l|.^^ 
 
 
 i$:=$^:r::z 
 
 12. 
 
 In the thirteenth Bar, fing eight Notes, 
 beginning a €e above, (to which you may 
 proceed in the manner you did to the other 
 eight, from <£> to ©,) and then rife and fall 
 the Octaves. The like may be done in other 
 ( cfaves. 
 
 Sect. II. Of thefe Leaps ,a Fourth, Fifth, and 
 Eighth , keep always the fame Diftances in 
 all places ; fb that all Fourths are alike in 
 Tune ; in like manner, all Fifths, and all 
 Eighths ; but as to 1 birds and Sixths x they 
 
 have 
 
C pfr'l 
 
 have a Greater and Lejjer ; •£>/£. a Greater 
 and Lejf/'er TA/W, and a Greater and ie/Je/ 
 67jc/£ ; as will appear in the following Ex- 
 amples. 
 
 
 14. 15, 
 
 16 
 
 illilfiliilSlgll 
 
 17. 18. 
 
 19. 
 
 In the fourteenth Bar, you leap firft from 
 © to D, which is a fourth, whofe diftance 
 is two Tones and an half; viz. from $ to 
 jfd, and from L(£ to D> are each a T'^e ; 
 and from jfa to Log a Semitone. In like 
 manner in the fifteenth Bar, from Jpa to Ce 
 is a Fourth, of equal diftance with the other ; 
 for from Jfa to L(£ is a Semitone ; ancHrom 
 Lig to D, and from jp to Ce, are two 7i#ef 
 more ; and fo will you find the Fifths and 
 Eighths to have the fame diftances, though 
 in different places, if you reckon the inter- 
 mediate Diftaqf es. 
 
 Is 
 
In the end of the fixteenth Bar, you fcave 
 £ greater Third from D to ©, rifing and fal- 
 ling. Thefe Notes D and <Jg, are diftant 
 two whole Tones. 
 
 In the feventeenth Bar you have a lefler 
 Third y viz. from <£e to LSI, they being 
 diftant but a T^e and a half. 
 1 In the eighteenth Bar you have a lefler 
 Sixth, from <£? above to % % they being di- 
 ftant three Tones , and two Semitones, or 
 (which is all one) a Fourth , and a lefTer 
 
 In the nineteenth Bar you have a greater 
 Sixths from Lgg to ® below, which are 
 diftant four Tones and an half; all which 
 you may eafily county and fee reprefented to 
 the Eye in the Scales in the fix th Chapter. 
 
 Of thefe Diftances, an Eighth and Fifth 
 are called Perfect Cords \ two Notes being; 
 diftant an Eighth or Fifth ,and fung or play 'a 
 together, yielding a moft pleafing Harmony 
 to the Ear. A Third and Sixth are called 
 Imperfect Cords, or lefs pleafing ; the other 
 Diftances are Difords ? oi a. harfh and un« 
 pleafant iQtind. 
 
 C H A P, 
 
C 28 ] 
 
 * . " ••••"■—- ■ - 
 
 CHAP. VI. 
 
 Of Flats and Sharps. 
 
 Sect. I. | N the former Examples the two 
 I Semitones fit Half-Note Diftances y 
 were in their proper places , viz,, between 
 15, Ce , and L<£, jfa \ which places they 
 do not always keep,but are fhifted varioufly, 
 fometimes one, and fometimes both. When 
 the Semitones are thus fhifted, is known by 
 thefe marks (t) and (^), called a Flat 
 and a Sharp) or (as in the Latin) a Hard 
 and &/f. 
 
 When you fee this mark (t) fet upon 
 Xine or ^pace at the beginning of the Staff, 
 it denotes, that all the Notes upon that Line 
 or Space through the whole Song, are to be 
 -funghalf a Note lower than otherwife they 
 'fhould have been : But if in the middle of a 
 Tune it be fet before fome one Note, it only 
 flattens that Note. 
 
 There be two places where Flats are com- 
 rtjonly ict, viz. Q3 and L<£ ; and then 05 
 
 is 
 
C'9 1 
 
 is brought nearer to 31, and L(£ to £>. In 
 this cafe, that there may be a correfpondency : 
 between the Names and the Notes, and 
 thereby the Names be a help to the- right 
 tuning of them, I have affigned two diffe- 
 rent Names to each, yet fb, that the Letter 
 it felf is not changed ; and therefore the 
 Names of the Lines and Spaces, both Flat 
 and Sharp, are eafily remembred, without 
 the trouble that arifes from the confuted 
 fhifting of Sol, La, Mi, Fa, in the old 
 way. 
 
 The difference you are to make, is this : 
 That when 15 hath no Flat upon it, you call 
 it T5» as you do in the Alphabet •> but when 
 it is Flat ^ call it T5e, as in Before, Belong, Sec. 
 which is a flatter or lofter found, and fuits the 
 better with a flat Note. 
 
 So for <£, when it hath no Hat upon it, 
 call it Lt£ ; and when it hath, call it M<£ ; 
 fo is the Letter <g preferved in both. You 
 may remember them by this Rhime : 
 
 When 05 * Flat , you call it %z ; 
 When LC "* Flat, then call it M<£, 
 
 The 
 
C 1° ] 
 
 
 The ( § ) Sharp is of a contrary nature 
 to thb f/*f, and makes the Notes before 
 which it is fet, a Semitone higher than their 
 owridiftance; and that through the whole 
 Tune, if it be fet at the beginning of the 
 Lines ; of only one Note v if fet before it in 
 the middle. 
 
 There are two places where Sharps are 
 
 ufually fet , viz. 5F and C, which being of 
 
 their own nature jfoj Notes, are hereby made 
 
 /harpy or a whole Tone diftant from the next 
 
 below them. 
 
 In this cafe, for diftin£tion, when f hath 
 nofbarp upon it, call it jfa, (as hitherto you 
 bave done) founding ( a ) broad and fbft, 
 Which beft agrees with a flat Note; but 
 when it is zfbarp, call it jfa, with a (harper 
 found of (a) as in Famous y Taionr: Like- 
 wife when C hath no (harp, call it Ce, asf 
 in the firft Syllable oiCefar ; but when it is 
 {harpy call it C, as in the Alphabet, which 
 is a fharper Sound , and fo is the fitter 
 Name. 
 
 When Ce is Jharp . then caH it <t ; 
 When fa is Jharp, then $a V mufi be. , 
 
 Here 
 
C ?« ] 
 
 Here let not the Learner think he hath 
 met with any great difficulty by this altera- 
 tion of Diftances , for ftill there will be but 
 two half Notes in every Octave , though in 
 other places ; and thefe their Names will 
 mind you to fing flat or {harp. 
 
 For the better remembrance of the Semi- 
 tones places , take this Rule : 
 
 Vnder each (b) Flat m half Note lies , 
 But o*re a (jj ) Sharp the half doth rife. 
 
 That is, when this mark ( t. ) is fet upon 
 a Line or Space , it is but half a Note to the 
 next degree below ; and when this mark ($) 
 is let upon a Line or Space, it is half a Note 
 to the next degree above. 
 
 That what hath been hitherto laid of the 
 Places of whole and half Notes , with 
 their alteration by Flats and Sharps, may 
 the better be conceived in order to Pra&ice, 
 I have inferred a Figure in the following 
 Page , which reprelents them to the Eye 
 in two O&tvif, beginning below at ©. 
 
 Five 
 
C»« 3 
 
 Tf- 
 
 -&-1 
 
 -$-*% 
 
 
 *-5 
 
 <0 
 
 
 to o^ 
 
 V?iS 
 
 «> 
 
 g 4 1t=^ 
 
 u 
 
 ■ J 1 /' pfiJ^L 
 
 tsLi 
 
 sr* 
 
 r*~ 
 
 -#- 
 
 M-4U- 
 
 
 pf-M 
 
 ^ 
 
 
 — - 
 
 
 > 
 
 r8 1; 
 
 m 
 
 ■■z 
 
 ;ii< 
 
 t btsFigure confifts of Five Saks • In the 
 
 firft, are all the WKi in their proper Order 
 
 and Diftances, 
 
 In 
 
Cm 3 
 
 In the fecond Scale, 05 is Jtf, that is, 
 half a Note nearer to i0 ; the reft keeping 
 their places. 
 
 In the third Scale, 05 and <£ are /fc*/ f 
 and fo the two half Notes are between 
 % 05, and ©, (£. 
 
 In the fourth Scale , $ is /harp , that is , 
 raifed half a Note nearer to & ; the reft 
 keeping their proper places as in the firft. 
 
 In the fifth Scale, jf and C are both 
 fharp, and fo the two Semitones are between 
 €,&, and f, ©. 
 
 In all which you may fee , that ftill there 
 be two Half Note Diftances, neither more 
 . nor fewer in every Otfave. <g>, 3, and ©, 
 keep their places, having feldom either 
 Flats or Sharps on them, except in one fingle 
 Note, or two fometimes in a Tune. 
 
 Note : That when a Flat or £ft*y is fet 
 at the beginning of the Staff, the Ottaves or 
 Eighths muft be marked with the fame, as 
 you will fee in the Examples following. 
 
 D Self. 
 
C h3 
 
 Secf. II. Having Hiewed you the nature of 
 tins and Sharps, i fliall now proceed to ap- 
 ply the jfar Notes to the Staff of Lines, and 
 
 fi'rft with TxFlat. 
 
 illiiiliiiaiiil 
 
 
 iiiHsBmiiiP 
 
 I. 2. 3- ' "$ 
 
 illliiiil!t§iiiit 
 
 In the three firfl: Bars, you have the fi x 
 Nous thrice repeated, in fuch manner, as 
 to bafs through the whole Staff, and lead 
 y u to tune all the Distances aright." In 
 i:;i.:ng theie Examples , begin wirh your 
 Voice at as high a pitch as you can well 
 reach ; and having fling ihe firft Bar as in 
 the former Chapter, proceed to the fix Notes 
 t*» I ■ ■ L ■ i a 
 
C?5] 
 
 in the fecond Bar, of which, the two firft 
 D, Ce, muft be as in Name, fb in Tune, the 
 fame with the two laft Notes of the former 
 fix. 
 
 Repeat this fecoad Bar often > that yoa 
 may know how to fing 05e flat, which now 
 you muft call fb, and not 35, 
 
 In the third Bar, repeat L$, £J, jfa , and 
 make them up fix , by finging down to Ce, 
 (if your Voice will reach fo far.} 
 
 In the fourth Bar, begin the fix Notes 
 at jD> and fing them down and up, 
 
 Then in the fifth Bar , fing the five firft 
 down and up, ftill keeping the Semitone be* 
 tween r ^e and La. 
 
 By thefe two laft Bars , you learn to rife 
 from jf a and © wkh ^tfiat, which are two 
 ufual Keys. 
 
 ii^lililiiliiiiii 
 
 In 
 
£?* 
 
 
 r 8: 
 
 In the fixth Bar , fing the fix Notes^ be- 
 ginning at L3 ; then in the feventh Bar 
 repeat the four laft, jfa, L(£, D> <£e, and 
 going one ftep backward to D > fing on the 
 fix Notes down to jfa ; from thence* rife an 
 Eighth to jfa, in tlie eighth Bar, where it 
 will be eafie, after two or three times fing- 
 ing oVer the foregoing Notes',' to fing the 
 whole Octave orderly, both down and up. 
 
 Note: That this Oc7ave^o£ jfa with 
 *&tjlat, is the fame in Tune with that of 
 Ce , in the laft Bar of Chap. 4. wherein 
 the eight Notes lye in the moft natural and 
 tuneable order. At the end are added Leaps, 
 Which firft you may pace by Degrees or 
 Steps , and then leap. 
 
 Scl 
 
C-ar.-a . 
 
 . Sect. III. When 73 and vE are Both made 
 jh't by this mark (L) , then will your fix 
 Notes lye as in thefe Examples. 
 
 in 
 
 
 i. 
 
 mm& 
 
 
 mim 
 
 tp§§ 
 
 lilliiirtiSHi 
 
 I. 2. 7. 
 
 In the firft three Bars, you have the fix 
 Notes in their fevera! places with T3e and 
 TA-Bjlttt; in finging of which, follbw ths 
 Directions given in the end of the hft Se- 
 ction, efpecialfy noting Migand T5e, which: 
 are tire fLxt Notes; therefore in' the fourdx 
 Bar, after all/*, repeat the. four l'aft frost 
 Mi£ to /Be down and up, as they are pricked, 
 
 A^e • That the fir ft j?x Notes' begin molt 
 conveniently at © above, in the B*/> Cliff. 
 
[** ] 
 
 Sect. IV. jfa(S) Staff. 
 
 When you fee a (f ) Sharp at the begin- 
 ning of any Line or Space , it denotes, that 
 all the Notes thereon, muft be fung half a 
 Note higher than then 4 ordinary place , as 
 is before faid ; when jf a is therefore to be 
 fung fharp 9 the fix Notes lye as in thefe Ex- 
 amples. 
 
 i^lliiiiiiiiiiiiii 
 
 
 ^iillilliliiii 
 
 |pii~ 
 
 
 . I. 2. J.^ *V 
 
 >ir*~"< 
 
: C 39 3 
 
 , In the firft three Ears, you have the fix 
 Notes in their feveral. places, as they lye 
 when jfa is {harp. Begin them with your 
 Voice as high as yon can, and defcend in- 
 die method as is before dire&ed, efpecially 
 marking jfa the (harp Note, which now you 
 muftcail fb, and not jfa, broad, as before. 
 In the fourth Bar , you have the method 
 ufed in SefifJ^to lead you through theQBavc 
 from <& to @ , which is tn Turn the fame 
 with that there, from jja to if a, with 2p£ 
 fiat ; and in Chap. 4. from Ce to Ce. 
 
 Sett. V. jfa and C (I) Sharp. 
 
 When jfa and C are both (harp, the two 
 Semitones are removed a decree higher, fo 
 that now they lye between C, «p, and jf^tf£ 
 in this cafe the fix Notes lye as in thefe Ex- 
 amples, 
 
 
 D 4 I need 
 
C4o] 
 
 ^ I need add no more Drre&ions ; what is 
 faid in the other cafes being fufficient. Sing 
 the Notes as you fee them prick'd. 
 
 The changing of the Names, Ce and f a, 
 into C and jfa, will, when you come to 
 thofe Notes, mind you of finging them 
 fbarf. 
 
 It at any time you meet with two Notes 
 together, upon the fame Line or Space, 
 whereof one is flat , and the other jbarp , 
 you will find it a little difficult at firft to alter 
 your Voice from Flat to Sharp, or the con- 
 trary, in one and the fame Note : If you 
 therefore obferve the method of the follow- 
 ing Examples, it will be fome help to you. 
 
 S'pKSjiffir? 1 
 
 Example i. 
 
 :5|^iJ:r5:S:5^ Suppofeyou 
 
 — ~±:~:zrff were to fing 
 
 i. 2. the Notes of 
 
 the firft Bar, where &(harp follows Ce fi*i: 
 
 In this cafe, firft skip the (harp Note, and 
 
 fing 
 
C 4« 3 
 
 fing the next above it, viz. D, as in the 
 fecond Bar ; and from thence , fall half a 
 Note to the Sharp C under, as if you were 
 going to make a Clofe , like as in the 13/A 
 Bar of Chap. IK Sett % 1. Sing the Notes 
 in the fecond Bar feveral times ; by which 
 means, you will at laft perceive the diffe- 
 rence between (£e)W, and C./W/V and fo 
 may you go back, and fing the Notes of the 
 firft Bar. 
 
 Example 
 
 In 
 
 the firft ^S : ±=5 : ± : xEft rr: 3E ::::: 
 
 #:£:$:: 
 
 Bar of the.fe- §&~2x$:$:$E 
 cond Example i> 2. 
 
 you have jfa, firft with a (1) before it, and 
 then jfa proper, without. That you may 
 fing them true, firft fing the Notes in the 
 fecond Bar, © , jfa ; © , jfa ; (which you 
 are fuppofed able to do by the foregoing 
 Direftions:) And in finging, take notice 
 of the difference between the firft j?ayW/>, 
 and the fecond j[a flat; which when you 
 have done , you will the eafier fing the firft 
 Bar. 
 
 And thus have we gone through all the 
 ufual Varieties of the Tones and Semitone* 
 
 places. 
 
c 4* : 
 
 places. To him that is perfe£t in thefe, an 
 odd irregular Flat or Sharp now and then 
 will not break fquare. 
 
 I have been the larger in thefe three lad 
 Chapters , that I might make all as plain as 
 might be to the meaneft Capacity. The^ 
 who need not lb much, may the fooner pals 
 it over. 
 
 That you may the better know where to 
 begin your Six Notes in all cafes, thefe Five 
 Rules following are eafily committed to me- 
 mory. 
 
 au Pro- 5 When therms no Flat nor Sharpy* may 
 fcr. iBeginyour Six at L\£ and L$ : 
 II. 
 <£?#/ When a Flat is jet on 05 , 
 ^^IBeam the Six at L$ and®. 
 
 III. 
 55s and S When Flats at TB'e andM(£ arefixt, 
 M<£ fiau From $ and <£) defcendyour Six. 
 IV. 
 -fa S^^ a a ^ om I* Sharp, begin 
 Jharp, i From % and L(£ your Notes to frag, 
 V. 
 
 $* ntfjf shar P s hoth f* *** &> a ff e6i 
 € jharp.iWhere to begin ^fa, 05 direct. 
 
 CHAP. 
 
C 4? D 
 
 CHAP. VII. 
 
 Shewing bo% to exprefs the Notes on a 
 Bafs-Viol for guiding of the Voice. 
 
 THo' to an ordinary Capacity the former 
 Dire£tions may fuffice ; yet for the 
 fake of fuch as may have the conveniency 
 of an Inftf ument to help them, I have added 
 this Chapter. 
 
 Firft, it will be convenient, that upon the 
 Neck of the Viol % at each Fret or Stop, you 
 put a Letter with a Pen or Pencil, to diftin- 
 guifh them by. Begin at the end of the 
 Strings next to the Pegs, and there put (a)\ 
 at the firft Fret next to that, put (b) ; at the 
 fecond Fret, put (c) ; and fo on, to the jth 
 Fret, which mufthavef^. 
 
 Having thus done, tune the fifth String 
 (or biggeft fave one) to a convenient pitch 
 for a low Note ; then wind up the fourth 
 String 'till it be Vnifon^ or the fame found 
 with the fifth String ftop'd with your Finger 
 on (h) Fret ; fb will thefe two Strings be in 
 Tune for the exprefling of eight Notes. 
 
 The 
 
C 44 3 
 
 The Strings being in Tune, fit down and! 
 place the Viol between your Legs, and reft- 
 ing the Neck upon your left hand, draw the 
 Bow fb upon the fifth String unftop'd, as to 
 give a clear found , to which, tune your 
 Voice, pronouncing the Note <0 : Then flop 
 the fifth String upon the Fret (c) with a Fin- 
 ger of your left Hand , and drawing the 
 Bow upon the fame String, time your Voice 
 thereto, exprefling L3 a whole Tohe di- 
 stant from <©. 
 
 In like manner proceed to flop the fifth 
 String at (t) and (f) ; then drawing the Bow 
 over the fourth String,firft unftop'd or open, 
 then ftopM at (tf y (d), and (f) x one after ano^ 
 ther , and tune your Voice to the Notes 
 refpettively , calling them in order fro:n 
 ®, L3, 15, Ce, D, LS, |*i ©, as you 
 fee in the firft Example, where you have 
 the Notes rifing and falling on the five Lines; 
 and underneath, two Lines reprefenting the 
 fourth and fifth Strings of the Viol , on 
 which are the Letters , iliewiog where to 
 flop the feveral Notes. 
 
 In the (econd Example^youhavean Octave 
 amending and defcending with 05c and M£ 
 flxt) by which (compared with the firft Ex- 
 ample) you may Jparn how to fing any 
 
 other 
 
C 45 3 
 
 jOthcr Note fat or (harp: You may feealfq, 
 that two Frets or btops make a whole Note, 
 or Tone; and one Fret, an half Note, or 
 Semitone. 
 
 The third Example (hews you how to 
 exprefs Jf zjharp, and C bother zndjharp. 
 
 All Proper, 
 
 
 Example I. g:±J$|;^ 
 
 Fourth String. 
 Fifth String. 
 
 _LUJ_^n?)v£_Ldrdr^a i i u 
 
 % ^d (Q FUt. 
 Example 2. ^^^^^S^^ : 
 
 Fourth String. 
 Fifth String. 
 
 
 
 Fifth String. - 
 
 i i i lar^oFi^^ r) mini 
 ar^vf ^^ h sh^rra 
 
 CHAP- 
 
Ctf ] 
 
 CHAP. VIII. 
 
 Of Time, or the Quantity of Notes, 
 
 BEfides the giving to Notes their right 
 Tune or Sound, there muft be a due 
 obfervation of the Quantity of each Note, 
 as to its Time of Prolation. 
 
 The diverfity of Notes, according to their 
 diftance or difference in Tune, is before trea- 
 ted of, and is known by the feveral Lines 
 and Spaces on which they ftand. Their diffe- 
 rence in Time is known by diverfity of Fi- 
 gure. 
 
 The Names and Figures of the ufual 
 Notes , in refpe£t of Time , and their Rejls, 
 are as follows. 
 
 Large. Long. Breve. Scmibreve.MiiKin.Crotcbct.gutvcr* 
 
 Ni 
 
 
 axpci 
 
 The Strokes or Marks you fee after each 
 Note, are called Panfes, or Refts ; and they 
 denote a ceafin^ or intermiffion of Sound 
 
 for 
 
C47 3 
 
 for the Time of the Notes they are joyned 
 to. 
 
 Their Proportion to each other, you have 
 in the following Scheme. 
 
 For Common Time. 
 
 
 
 t t 
 
 ♦♦♦♦♦♦♦♦ iiiniii 
 
 *\A^> /\A^ (V\y (\A/1 <VA/1«V»»0 f\AS)fVA>t 
 
 HOTjmmm 
 
 It t t 1 
 
 TttTtt nun 
 
 fi fi 8 fj S n ft ft ft If ft ft 
 
 One 
 
One Large (CEj) is equal in Time to 
 two ( D p) Longs \ one ( a ( ) Long, to two 
 (p) Breves; one (p) Breve, to two (q) 
 Semibreves ; and fo on, each Longer being 
 equal in Time to two of the Shorter. Of 
 thefe, the Large and Long are now of no 
 other ufe, than to fhew the Time of the 
 Paufes or Rejfs , fet by them in the firft and 
 fecond Bars of the Example. 
 
 When you fee a ( # ) Prick fet after any 
 Note, it encreafeth its Quantity half as 
 much more : So a prick'd Semibreve ($♦) is 
 m Time to a Semibreve and Minim {$\)\ 
 a prickM Minim (t *) as long as a Minim and 
 Cra/r^e* ($f), or a Minim and a half; and 
 a prickM Crotchtt (f ♦) as much as a Crotchet 
 and Quaver (tt) . You will have Examples 
 afterward. 
 
 By the foregoing Scheme, you have the 
 Proportion of Note to Note; the next 
 thing is to know, how to give every Note 
 its true Time in any Song or Leffon ; for 
 .which purpofe, every Tune is divided into 
 Farcels,called Tmts, by Lines or Bars ftruck 
 acrofs the Staff 
 
 In 
 
C«9] 
 
 In finging,or playing upon an Inftrumenr^ 
 the due Quantity of Time from Bir to Rtr, 
 is kept by an even Motion of the Hand or 
 Foot, up and down. 
 
 This Motion of the Hand, for keeping 
 of Time , is fbmetimes flower , and feme- 
 times quicker, according as the Air of the 
 Tune is grave or light ; therefore are there 
 two ufual forts of 1 ime. 
 
 L Common Time ,» marked thus % at the 
 beginning of the Tune, in which, every 
 Bar contains a Semibreve (\>) in Tirrie, which 
 you may value, by counting, 0#e, tm, three % 
 four, in an ordinary reading time, for its 
 length ; of which, count i, 2, with your 
 Hand up > and }, 4, with it down. By pra- 
 ftifingthus your Hand, you will get a habit 
 of keeping due time. 
 
 E Exawpk 
 
C 50 1 
 
 Example. 
 A i,2,?,4. 1,2,3,4. 1,2,3,4. 1,2,3,4. 
 
 A 1,2,3,4. 1,2, SA- i>2,?i4« 1,2,3,4. 
 
 -U 
 
 
 I 
 
 ,i 1,2,3,4. 1,2,3,4. 1,2,3,4. 
 
 In this Example , you have two Staves of 
 Lines ; in the upper are Semibreves, each of 
 which is a Time, and fills up a Bar : In the 
 lower Staff, you have under each Semibreve 
 four Crotchets, being, together,equal in Time 
 to a Semibreve* Between the Staves, you 
 
 have 
 
L 5» 3 
 
 have the Figures, i, 2, J, 4, in. each Bar, 
 which you are to pronounce in Tune with 
 the Crotchets, for the gaging the motion of 
 your Hand up and down. 
 
 If the mark C for Common Time be rever- 
 ted thus $ , it denotes,that you muff double 
 the fwiftnefs of the ordinary Time, 
 
 It. Tr/pla Time , marked thus £3Yis 
 when the Notes have a light and fwifter 
 motion, as in Jiggs, and Airy Songs. In 
 this Time, the Notes go by Threes , and 
 are fortietimes three, fbmetirnesfix Crotchets 
 to a Meafure or Bar ; the Time-Note there- 
 fore of three Crotchets in a Ear, is f*, and 
 of fix Crotchets to a Bar, <V ; which latter, 
 is mod convenient for the motion of the 
 Hand, in that three Crotchets may be fung 
 with the Hand up , and three witn it down; 
 The like may be done with. Minims when 
 you meet with three of them, or equiva- 
 lent, in a Bar; viz. making two Bars a£ 
 one , fing three Minims (or one Bar ) with 
 the Hand up, and three with it down. 
 
 Note : The Minims in this .kind of Tr/pla, 
 are in Quantity about the length of Crotchets 
 iti Common Time. 
 
 E 2 M 
 
L 5 
 
 3 
 
 An Example of Six Crotchets to a Bar , 
 out of Mr, Simpfon'.r Compendium. 
 
 Example I. 
 
 Hiiiiill 
 
 iig§ISiif= 
 
 Example II. 
 
 Sometimes the longer Notes ( as the Mi- 
 nims in the firfl: Example) are prick'd black, 
 and without Tayls, thus ( * ) , and then the 
 two firfl: Bars will be prickM as in the fecond 
 Example, 
 
 Ano- 
 
C5*3 
 
 Another Exmple <?/Tripla Time, which being 
 a Tune commonly known , may poffibfy the 
 betttr hint the Time and Humour of it to 
 the Reader. 
 
 The Flatteries of Fate. 
 
 iiiiiiiiiiiiifin 
 
 Befides the Notes themfelves, and the 
 narks for their Refts, as before, you will 
 bmetimes meet with thefe following Marks. 
 
 i. Firft , a Diretfer, thys (v) , which is 
 et at the end of the Staff of Lines, to fhew 
 eadily where to go on at the beginning of 
 :he next Staff, as in the laft Example. 
 
 E 3 2. A 
 
I 54 1 
 
 2. A Tye, thus ^-n, over two or more 
 .Notes > fignifying that they muft be fung to 
 one Syllable , or ftruck with one motion of 
 the Bo\v upon an Inftrument. 
 
 3. A Note of Repetition (-£) : This fet 
 over a Note, (hews , that from thence you 
 tnuft repeat the following over again. 
 
 4. A Hold (?.), which fet over any 
 Note, (hews, that it muft be held to a lon- 
 ger Time than is expreft by the Note it felf. 
 
 j. A Double Bar 
 
 This is fet at a 
 
 Clofe, or End of a Strain. If it be prick'd 
 thus g"" , it fignifieSjthat the foregoing Strain 
 muft be repeated. 
 
 6. When you fee an Arch or Crooked, Line 
 ftruck over two Notes that have a Bar be- 
 tween them, it fignifies, that thofe two 
 Notes are to be fung or piayM but as one, 
 equal* in Time' to both; which happens, 
 when the Bar for dividing of Time falls out 
 m tho middle of fame long Note, as in this 
 Example foliowlng* ■ ^ 
 l '" ' *" * •£ The 
 
[5? 3 
 
 The two Crotchets 
 with the ftroke o* 
 ■*—---# verthem, are to bo 
 fung as one Minim , the Hand or Foot ftri- 
 king Time in the middle of it. 
 
 m 
 
 More Examples te exercift the Voice in rising 
 
 And, f titling Thirds, Fourths, and Fifths,. 
 
 in Notes of differing Meafures* 
 
 Thirds falling. 
 
 # 
 
 Ei^liiiiiEiiil 
 
 £4 
 
 fourths. 
 
Fourths. 
 
 JUT IT "17.. 777 I 
 
 Hfths. 
 
 iliililiiiiiiilill I 
 liifliiiililllli 
 
 m 
 
 
 
 
 
 
 '.. 5-J 
 
 
 • %> ■ 
 
 
 
 ■ - L 
 
 If you obferve the Quantities of the Notes 
 in thefe Examples, you will find each Bar 
 to contain fuch Notes, wbofe Time makes 
 up a Spnikrev.e. 
 
 In the fourth Bar of the Fourths^ there-is 
 but one Minim, which is but half a Stmt- 
 prtvt :, the other half of the Time is made 
 up by a Minim Re/}, or Paxfe. The like is 
 in other of the Bars. 
 
 CHAP, 
 
[57] 
 
 CHAP. IX. 
 
 Shewing how to Compare and ^con- 
 cile different Cliffs. 
 
 THe Cliffs , or Signed K^eys , though as 
 to Character or Figure, they are 
 but three, g, 3, ?*', yet as they areufed 
 or fet in feveral places of the Staff' of Lines, 
 they are many more. 
 
 The Tenor Cliff being arbitrarily fet on 
 any of the five Lines , is in effect five diffe- 
 rent Cliffs, in as much as it five feveral ways 
 alters the Names of the Lines and Spaces ; 
 the Bfs Cliff alfb, whofe proper Place is 
 the upper Line fave one , being fometimes 
 fet on the middle Line , is thereby in effe£t 
 two Cliffs ; fb that in all , there be Eight : 
 This , tho'it be done for more convenient 
 pricking, is yet very inconvenient and trou- 
 blefom , both for Voice and Inftrument. A 
 general Remedy , by reducing all the Cliffs 
 to one (or three as one) w 7 as fome years 
 ago ingenioufly contrived, and publilh'd , 
 by Mr. Thomas Salmon , of Trinity-College in 
 Oxford : Of this, I thought to have given a 
 
 brief 
 
C 58 1 
 
 brief account , bat have omitted it , judg- 
 ing the following Dire&ions to be diffident 
 for the Voice. 
 
 Having by Pra£tice perfected your felf in 
 the Rules of the foregoing Chapters, to 
 that you can readily fing what you fee prickt 
 in the Treble and Bafs Cliffs, (or atleaftin 
 one of them ;) your next bufinefs will be, 
 to learn what to do, when you meet with 
 the other Cliffs that you are a Stranger to. 
 In this cafe, that you may the better under- 
 ftand the Grounds I go upon, it will be con- 
 venient, that you well know and remember 
 the Half-Notes places , both with Flats and 
 Sharps , and without, as they are taught, 
 and reprefented to the Eye, in the five Scales 
 of Chap. VL For to name and fing true the 
 Notes priek'd in one Cliff, as if they were 
 in another, the only Requifue is, That the 
 Semitones be either in their natural Order, or 
 by help of Flats and Sharps ; reduced to the 
 lame places of the Staff figned with a known 
 Cliff as they are in the unknown. 
 
 When you meet with any thing priek'd 
 in a ftrange Cliff, take this following Rule: 
 
 Reckon from the Cliff Line the feven 
 Letters places , confidering alio the Flats 
 or Sharps, if any be, and thereby find 
 
 be- 
 
t 99] 
 
 >etween wha^ Lines and Spaces the two 
 Semitones lye in the Tenor Cliff; which , 
 .vhen you have obferved, confider what 
 _etters thofe Lines and Spaces are named by 
 n the Cliff you would reduce to ? and ac- 
 cordingly, whether the Semitones be in the 
 Lame places of the Staff, or not : if they be, 
 ^ou have nothing to dp, but name and fing 
 your Notes, as if they were in yourdcfired 
 Cliff: But if the Semitones, one or both of 
 therp , fall not in the fame places of the 
 Staff that they do in a known Cliff; con- 
 fider what regular FUts or Sharps, placed on 
 the Staff', would reduce them to thole places ; 
 and then fuppofing the Treble or Bafs Cliff 
 let to the Lines with fuch Hats or Sharps, 
 name and fing your Notes accordingly. An 
 Example or t ; wo will make this plainer 
 than many words. Take for inftance, a 
 Tenor and Bafs, as I find them prickM in an 
 old PfalmBook, to the 125 th Pfalm. 
 
 
 
 1. For 
 
r»3 
 
 l!i|8iiil?i^fe-:{iigllS= 
 
 i. For the Tenor, the C Cliff Sj ftanding 
 
 upon the middle Line, that is the place of C, 
 and Tge being flat under it , therefore is one 
 half Note's place between T5e and L<J, that 
 is, between the lower Line fave one, and the 
 Space above it. Now in the Treble Cliff, 
 that Line is Q, and the Space L$ , which 
 are diftant a whole Tone, or Note ; and be- 
 caufe no Flat or Sharp is ufually placed on 
 either of thofe Notes , therefore you cannot 
 reduce and fing them in the Treble Cliff, but 
 in the Bafs only \ wherein the lower Line 
 fave one is TJ, and the Space above it Ce, 
 which two Notes are properly diftant half a 
 Tone. 
 
 Then for the other- Semitone in the Tenor, 
 it is betw T ixt L(£ and jfa ; that is, (recko- 
 ning from the Cliff-Line) betwixt the upper 
 Line fave one,and the Space above it ; which 
 Line, in the JB*/i, is jfa , and the Space @ 9 
 whofe proper diftance i: a whole Tone , but 
 t is 
 
[6i } 
 
 is reducible to a Semitone, by finging jfa 
 fbarp; that is, half a Tone diftant from©. 
 So therefore, if you fuppofe or imagin the 
 Tenor Cliffy with its flats, ftruck out, and 
 
 the Bafs Cliff, with jfa fignedyW/>, thus^~ 
 
 fet inftead of it, and fing your Notes accor* 
 dingly , D, D, Ce, 05; L<£, D, Ce, 15 ; 
 ©, Q5, eK. you will fing them as true, as if 
 you had underftood the Tenor Cliff, and 
 lung them as thfere , calling them, Ce, Ce, 
 15e, La ; DiCe, 015e,L3, ^ 
 
 2. The fecond Tune , being the Bafs to 
 the former, is prick'd in the Bafs Cliff; but 
 the Cliff being fet on the middle Line to 
 take in the upper Notes , alters the Names 
 of all the Lines ,,nd Spaces, and removes 
 the Semitones : That you may therefore fing 
 the Notes true, you muff reduce to the 
 Treble Cliff, by the former Directions ; by 
 which you will find, that they may be fung 
 true in the Treble Cliff, with 05 and (£/&r, 
 and fo they will be called, Qge, 05e, M<£, ; 
 05e, © ; 03e, Ce, © ; $, 03e, &c. 
 
 Obferve , That by whatever Names you 
 call thelites, for the Cliffs fake, you mull 
 in finging of Parts , reckon the Cords in 
 
 which 
 
C#3 
 
 which the Parts begin , by the diftance and 
 true names of the Notes, according to the 
 Cliff they are prick'd in. Thus in the for- 
 mer Example, if you reckon the diftance 
 between the firft Note of the Tenor, and the 
 firft of the Bafs , as they are prick'd, you 
 will find, the Cord is a Fifth ; viz,, from jf 
 in the Bafs, to C in the Tenor. 
 
 When you are perfeQ: in the foregoing 
 Rule, you may your felf reduce, and fing in 
 any Cliff whatever : But 'till then, and to 
 help you therein, here follows , 
 
 A TABLE, therein the feVeral 
 Cliffs are by the foregoing (fiule re- 
 duced to the Treble and Bafs. 
 
 i 
 
 
 r^~zz:5^z::^'fzE: 
 
 II. 
 
 
 IIL 
 
in. 
 
 IV. 
 
 
 -•3rr-w. « — -ft^ — "H -3S — - 
 
 V. 
 
 
 &:: 
 
 VI. 
 
 :^=: 
 
 *. 
 
 =tfe=:r:=t=:i=-=::s~- 
 
 OC 
 
 VII. 
 
 This Table confifting of feven Staves, 
 hath in each of them all thofe Cliffs put toge- 
 ther which have the Semitones in the fame 
 places. The firft Cliff in each Staff is the 
 Treble or Bafs > to which the reft are re- 
 duced. 
 
 Ihe 
 
t HI 
 
 The Vfe of the foregoing Table of Cliffs. 
 
 When you meet with any other Cliff ', be- 
 fides the Treble or Baffin their right places ; 
 Look that Cliff, as it is figned with Flats^&c. 
 in the Table, and in the beginning of the 
 lame Staff, you have the Treble or Bafs Cliff, 
 Chewing how to name and fing your Notes. 
 
 Example. 
 In the former Example, the firft Tune is 
 figned with the Tenor Cliff on the middle 
 
 Line, and aflat on 15, thus If : Look for 
 
 this Cliff in the Table, and you will find it in 
 the feventh Staff, and at the beginning of 
 the fame Staff is the Bafs Cliff, with jfa 
 figned /harp ; which {hews, that the Notes 
 may be fung true, naming them as if they 
 were in the Bafs Cliff, thus : 
 
 ipillilillil 
 
 2>,D,Ce,©,cfcr. 
 
 «— — -— — -X«f-- — + i 1 — --- — i 
 
 After 
 
1^3 
 
 ) Aftfcr this Difcourle of Reconciling the 
 Cliffs , that the convenience of the feven 
 Notes Names made ufe of in thisE(Tay,tniy 
 the better appear, I fhall here infert 
 
 iTABLE, therein the Old Ndmes of 
 the Notes dre compared Tilth the Newi 
 
 La fa fol la mi fa fol la. 
 
 
 lc «a $ La 05 Ce d Le 
 
 Mi /i /#/ /* fa fol U mi. 
 
 L<£ Jfa © L^ 03e Ce © fcC 
 J 7 * /c2 /^ mi fa fol la fa. 
 
 ~M& if! "© La TDe Ce"D M^* 
 &?/ Z* mi /i /a/ /<* /^ /#/. 
 
 F &>/ 
 
Sol la fa fil la mi fa fit. 
 
 jgf. » M 'C 
 
 «S3* 
 
 ■*• 
 
 «= 
 
 $ La 056 €e D L<£ jfa #. 
 
 £4 mi fa fol U fa fol la. 
 tjj La «c Ce £) Me Jfa 0. 
 
 *® L & 05e Ce D U£ tfa $. 
 
 *lbu Cliff U reduced to the Btfs, and the Notes named Accerdirgly. 
 
 The Cliff" figp&d with Sharps. 
 
 La mi /i /?/ /* /i /#/ /*. 
 
 :3z 
 
 be 
 
 bg~T — :t-^f£E~ 
 
 i 
 
 11 
 
 L<£ fa ^ La 15 Ce D L(£. 
 Sol la fa fol la mi fa fol. life 
 
 ~3 
 
 2 
 
 am 
 
 L<£ fa $ La 15 € £> LC.Ii 
 
 In this Table, the old Names being feci jj 
 over the Staff, and the new ones under, itgjj. 
 will by inlpettion appear , i . That™ 
 
1. That the feven Letters, of flew Names 
 Dr the Notes, have but two different places, 
 ♦(with their Ottaves,) <vi&. as in the Trebk 
 ind Bafs Cliffs > to which , all the reft are 
 reduced. ♦ 
 
 i. That Mi (and therewith the other 
 Names ) in the old way , is fhifted into 
 r even different places (marked with black 
 Notes) ; and accordingly, before a perfon 
 in that way can be Matter of all the Cliffs, or 
 mdeed of the Treble and Bafs only, he muft 
 earn to fing Mi in every Line and Space o£ 
 :he Staff. 
 
 3. That if theCliffs have Sharps annexed, 
 >ach Cliff feverally will have five different 
 places ofiW/, if it be placed as it ought, 
 viz. in jf , when f is figned Jharp at the be- 
 ginning of the Staff; and in C, when Jf and 
 C are both/harp * But I never met with any 
 Book that (hewed where to fet Mi in cafe of 
 Sharps , though Tudes are fometimes prick'd 
 that way, as well for Voice as Iriftrument , 
 ] and then, if they alter not the place of Mi y 
 j they muft fing contrary to their own Rule, 
 i, in finging a whoig Note next under Fa. 
 
 fl By what hath been faid, may be under- 
 L^Aood how to transfer Leffons from one Cliff 
 
to another, and (for the Voice) from one 
 Key to another ; the only Requifite being, 
 that the Semitones be in their right places. 
 
 C H A P. X. 
 
 Containing Pfalm Tunes y Vttb $ire- 
 [lions hol> to Sing them. 
 
 i; /*"\F all the Ufes of Mufic , that in 
 \^Jf Divine Things is moft Excellent 
 and Honourable ; whereby it becomes in- 
 ftrumental to the celebrating of the Praifes 
 of Almighty God , the Author of Being , 
 Order, and Harmony. Tis true, the Melody 
 of a devout Heart is that which is moft plea- 
 fant in the Ears of God , without which, all 
 other Mufic is but Jarr and Difcord ; yet 
 when both are well conjoyned, the Confort 
 is more full, and the Affections more cafily 
 excited. Heaven it felf is fet forth to our 
 ApprehenfionS by the joyful Melody of H*l- 
 klttjahs, and Songs of Praife > and 'tis furely 
 one of the moft Heavenly Exercifes on Earth, 
 when good Qhrijli&ns, with Heart and Voice, 
 concordantly Praife their Maker, Redeemer, 
 and Comforter. 
 
 But 
 
C *9 3 
 
 But this Confideration including more 
 things than are proper here to be 1 poken of, 
 I fball therefore in the next place , after a 
 few Direftions , prefent you with a Colle- 
 ction of Tunes fitted to the ufual Metres, 
 wherein Pfabns and Hymns are compofed. 
 
 a . There be two forts of finging, the one 
 is common and ufual in all places, viz. when 
 all the Company fmg in Vnifon, or the lame 
 Tune ; the other kind is, when they fing in 
 Parts, two, three, or more; that is, when 
 the Company is divided into fo many Parts, 
 and each Part fings a diftina Tune ; yet fo 
 compofed in Concordance, that being fung 
 together, they yield a moft delightful Har- 
 mony, moft befitting grave and folemn 
 Matters. This latter kind of finging being 
 
 : not fo commonly underftooJ, is more rarely 
 
 ; ufed : I fhall therefore give fome Examples 
 of it, with Directions how to perform it. 
 In all Tunes or LelTons confifting of Parts, 
 
 • one Part is the Bafs, ( fo called, becaufe it is 
 the B*fts, Foundation, or. Ground- work, to 
 the other Part or Parts, and on which the 
 Harmony is built :) They that fing this Part, 
 
 . muft have deep, ftrong, and big Voices ; in 
 it , the Notes move for the moft part by 
 
 F J Leaps} 
 
Leaps ; but in the upper Part, their Move- 
 ment is more by degrees. 
 
 Here two things muft be obfervM : 
 Firft, That you begin at a convenient pitch 
 of Voice for reaching all the Notes ; for 
 which purpofe, you muft count how many 
 Notes in compafs the Parts take in, that you 
 may ib begin, as to reach them without 
 Iqueeking or grumbling. Secondly , You 
 muft obferve on what Notes the leveral 
 Parts begin, and in what Concords, that 
 you may fet out accordingly. 
 
 3. In Anthems ', and fbme Hymns, where 
 there be Refts, and Notes of different Time, 
 it is alio neceffary to keep Timeby the motion 
 of Hand or Foot ; but this is needlels in the 
 ordinary Pfahn Tunes, becaufe the Motion 
 is flow, and for the moft part the Notes go 
 one for one. 
 
 Ap Example of two Parts, 
 
[7« 3 
 
 : m\\,»i&mm 
 
 wmm 
 
 In this Example, the firft thing to be con- 
 fidercd, is the Compafs of the Notes,which 
 if you reckon from the higheft Note of the 
 7><r£/<?,58e, to the lowefl: of the Bafs, 5fa, 
 is eleven Notes , viz. three above the firft 
 of the Treble, and feven below it ; therefore 
 muft the Treble Part begin jf a high, having 
 but three Degrees higher to go : The Bafs 
 begins at jfa, an Otfave below the Treble. 
 Having begun, they move on Note for Note, 
 in various Concord, to the Clofe. 
 
 Note : That the upper jfa of the Bafs is 
 fuppofed to be in Vnifon the lame Tune with 
 the lower if a on thtTrebk ; and therefore is 
 the Compafs reckoned but eleven Notes , 
 which otherwife would have been eighteen ; 
 too much compafs for the Voice. The like 
 muft be underftood in the Examples follow- 
 ing. 
 
 One thing more to beconfideredinthefe, 
 and all other Tunes, is the Air or Humour of 
 the Key in which they are fet, to wit, whe- 
 
 F 4 ther 
 
C n 3 
 
 ther it be {harp or flat. T he Key in Leffons, 
 if many Parts, is known by the Bap, thd 
 Iaft Note of that Part being always the Key: 
 In other fingle Tunes, thelaftNoteis on the 
 Key. When you know the Key, confider 
 the Third above it, whether it be the greater 
 or leffer Third ; if it be the greater Third, 
 (or two whole Tones) then is the Key /harp ; 
 and if it be the letter Third, (or a Tone and 
 an half) then is the Key flx£ 
 
 The knowledge of this, gives you to 
 underftand fbmething of the Air of a Tune, 
 before you begin to learn it. A Flat Key is 
 foft and/rree* ; aSharp Key is more lively 
 and cbearful ; yet fb, as that to thefe Quali- 
 ties in both , the Movement and Time of the 
 Notes do alfb more or lefs concur. 
 
 When you haveobferv'd the Key, begin 
 thereat, and marking where the Hdf Notes 
 lye, rife with your Voice eight Notes to the 
 Octave above, and by the fame Steps deicend. 
 If you do this heedfully two or three times, 
 before you begin to" learn a Tune , you will 
 be the readier at it: 
 
 : If your Tune rife not more than fix Notes 
 aboVe the Key r iyou then need only to begin 
 your fixsNofes, fo that the Key it felfbe 
 always either the fifth or fixth Note: Tor 
 which, take this R U L E. 
 
RULE. 
 
 Every Sharp Key u the Sixth) or lowe ft of 
 Six Motes ; and every Flat Key is the Fifth 
 Note of the Six. 
 
 Here follow two Examples te apply 
 this Rule. 
 
 Example L 
 
 FirftStaffi ^ 
 
 Second Staff. 
 
 ii^Hgiiiiiiliiiigi 
 
 lililiiligiliillil 
 
 ^ipiiii!! 
 
 Thc.laft Note of the Tune is £>, which is 
 the Key : From © to Jo is two u hale Notes, 
 and therefore is the Keyfedhfi Begin your 
 fx therefore, fo that $-'be im laft, that is,, at 
 
C74 3 
 
 L<£ , and fing, L<£, ©, Ce, % 9 La, <$, and 
 then backward, ©, La, 15, Ce, <D, L<2, two 
 or three times, and then proceed to the 
 Tune. 
 
 In the firft Staff; you have a Pfalm Tunc 
 for an Example, which confuting much of 
 Leaps , I have in the fecond Staff put the 
 intermediate Steps in Quavers , or fhortcr 
 Notes : So that if you fing the fecond Staff 
 firft , giving* the Notes their due time, it 
 will be eafie to fing afterward the Tune in 
 the firft Staff. The like you may do your 
 felf by other. 
 
 Example II. 
 Firft_Staff 
 
 Second Staff. 
 
 rtfOfcfc 
 
 Slllliii^l: 
 
 In 
 
C 75 1 
 
 In this Example, the laft Note is © ; from 
 whence to Ibpflat, is a Note and half, there- 
 fore is the Key flit. Begin your Six at 5D, fo 
 will <S5 be the fifth Note. After you have 
 fung all fix, begin again, and flop at $,which 
 five Notes give you the Air of a flat Key. 
 
 Sing the fecond Staff firft, and then the 
 firft, which is a Pfalm Tune. 
 
 AN EASIE 
 
 PRAXIS 
 
 For Exercife of the 
 
 Foregoing RULES: 
 
 BEING 
 
 A Colle&ion of Pfalm Tunes in Parts,prick'd 
 in feveral/C e >S with the Varieties of Flats 
 and Sharps, for Example fake ; the Com- 
 pafs of the Parts fuch as will not exceed 
 the reach of ordinary Voices. 
 
 The Words are (for the moft part J taken out 
 of Mr. Patrick'/ Vcrflon. 
 
[7* J 
 
 Firft Treble,*/ C.Tune. Pfal.i. Sharp Key. 
 
 ■gg.— - 1« a.~^>».S*> a. — a ..—.. 1.3-.. ■ *--S-tS!3^"2Sl^ 
 
 feS#;l:5:lli:$;!-:iiS=l^|E=E 
 
 He mm U bkfi, mho bath not bent, to wicked read Ik ear - t 
 
 ililliliiiiiijiiall 
 Pliilliiiliiiiill 
 
 %oj lei bit life as fmncrs do , nor [ate in [corners chair. 
 
 5 
 
 SecQnd Treble, or Middle Part. /rs 
 
 I Be mm it blift-, xobo kxtb not bent, to voiced read bis ear ; 
 
 illiiillliliiilll 
 
 nor hi hit life as (inners do, nor fate in fcorntrs cbair. 
 
 
 
 
 
 
 
 * ^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 mmm 
 
 
 
 
 ™ J 
 
 
C 77 1 
 
 Common Tune. Pfalmzj 
 
 EB 
 
 FlatK«y. 
 
 'x& 
 
 Mr Shepherd it the living Lord, nothing therefore I need ; 
 Bafs. 
 
 
 i 
 
 E§r : ±EH±zxE5E2EEJ:5E:xE:±E"iE±3E 
 
 HHiliSiHiiii 
 
 In pa/lures fair, with waters calm 3 he fets me forth to feed. 
 
 Middle Part. ^ 
 
 Mr Shepherd U the living Lord, nothing therefore I neti\ 
 i» pa/lures fair, with voters calm, fe fets me forth to feed. 
 
 ■ ■ in -i n »■ ■ i ■ ■ ■ ■ • '■ i t immim * m ■ ' « i 
 
 » » ii ■■ ■ , ,., .1 I « II . II I ■ ..I i iikHi « I Ml 
 
 IW— I I -<ni i ■ -■■ i " m m . ..mm i ■ «—»■.,. «fc — | ». , ■ , , m , ,,., .. ■ ■ i m ■ » 
 
Common Tune. Pfalm^j. Flat Key. 
 
 giiipiiSiliilz 
 
 jL» none be trw&kd » Sd&o/i, the wicked's prof p' rout f! Ate, 
 Bafs. a 
 
 «cr ^y*r/^/r good fuccefs grow bold t tbebr crimes to i-mi-tate* 
 
 Middle Part. 
 
 LEtnotttbe troubled to behold, the weird's frof?TQttiJt*te\ 
 
 Wmmmmm 
 
 nor by their good fucctfs grov> bold,tbcir crimes t§ i-wii-we. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 m > ii wmm > H 
 
[79] 
 
 Treble. P/a/m^g. 
 
 Lord, teach rrt when my m\ y ini dx)s J have to Uw, I view ; 
 
 Baf^ ■xi-JJux'-. ^ -- 
 
 Bws»»»>a< 
 
 to tyw my [elf and them, bow frail I am, and they are few. 
 
 Middle Part. 
 
 ill^iiiSiiigiil 
 
 Lord,K2ch roe when my end, and days I have to live, lvkw ; 
 j£n gN^< . 
 
 tofyowmyfelf and them Jhm frail I am, and they are few. 
 
 ■» I, ,-■ »— 
 
 «|RM|fMMm«H 
 
 .•»—.- 
 
[ 80 3 
 
 Treble. Pfalm 40. 
 
 Bafs. 
 
 illliiilililliiiilll 
 
 n?I>e« 0t/;tf fuccours fail'djo bim 1 prafd^jjho hard my cry._ 
 
 lElliiliiilllilililli 
 
 Middle Part; 
 
 ili|pi||lii!pill 
 
 J- IS good with patience to attend) and on the Lord rely; 
 
 lliliiipfliiilpl 
 
 vcben other fuccoursfaiVd, to him I prafdjvko heard my cry. 
 Or the Afiddle Tart may be prick'd thn§: 
 
 iPiiiiilililliiii 1 
 
 (Q*.' Begin in Vni'vn w.ith the Common Tune, andfingthe 
 Ntya as if in the Treble Cliff Proper ; L#, L M \ 0, \M» 85V. 
 
[ li ] 
 
 Common Tune, Pfatogt}. 
 
 -A-J-^-f^ 
 
 £±£ 
 
 Lome let ui with u—ni'-tei joys, to Goi our voices raij'e j 
 Bafs... K l A. A A- 
 
 ililliiilliillgl 
 
 vtitb thankful harts before him come, and loudly png his prai 
 
 Middle Part. ^ 
 
 Come let ui roith u~ni-*ted joys % to God our voi ces rati % 
 with [harmful hearts b?jorekimcome y and loudl) ftrg hn fraife* 
 
 c 
 
r q* n 
 
 Common Tune. Pfalm 5 1 . 
 
 lliEiEliiillliiill^ 
 
 BEhold , Lord, my fitful Soul to the for m:ny flies : 
 
 Bafc 
 
 / y _ I . t 1 I I >„ , _ T _ 1 , V~ y^ O O "**""" **"" 
 
 liilliillillilii 
 
 thy mercy boundlefs tt, blot out all mine i — if |g( hVi 
 
 
 Middle Part. 
 
 DEbold, Lird, my fitful Soul to thee for me'cj flies; 
 
 lliiliillifliiiil 
 
 thy mercy boundlefs U, blot cut all mine i-^-ni-qii-ties. 
 
Can 
 
 The former Tune prick'd on £ Cliff, td 
 S exercife Reduction according to Chty. IX, 
 The Bafs is the lime as before* but the 
 other Parts muft be fung in <£> Cliffy with 
 05 e and M(g,flat. The Common Tune be- 
 gins an Eight above the Bafs , and the 
 Middle Pan a -flat Third above the 
 Common Tune. 
 
 ■ 
 
 ^Z3S& 
 
 BEboli, Zordy my finful Soul to thee for mercy files ; 
 3aft.__ _ .. ' ; . .... . . _ 
 
 thy mercy b.undlefs it, blot out all mine i—ni— qui ties 
 
 Middle Part. 
 
 BsboJd, LorJt, my fnful Soul to thee for mercy pies • 
 
 {by mercy btnmtkfs if, blot out all mini i~~nh*J*Hm* 
 G 3 
 
C 84] 
 
 Here follow long Tunes of Eight Lines 
 to a Stdjf, for the Metre of the 
 Firji Tfahth 
 
 Treble. . Ffdm 119. 
 
 iipjiiiiiiiiiiii.il 
 
 ^Ifijk *$* MM&kofe. btimelefs life the hw of God direils •> 
 
 Bafs. tv ' 
 
 
 whokeefs hU precepts , and whofe heart t9 ferve the Lord affetts : 
 
 Tl:ej never iiii-ful-Iy tranfgrefsjuhg to ihoje paths repair ; 
 
 flltiiililltililf 
 
! iiiliiiiiiiiilii! 
 
 thou* Lord, baft charged fa to keep all tby commands with care. 
 
 liiiliiiiiifillFiiii 
 
 Middle Part. 
 
 illiHili^iliiiilElli 
 
 Ble^i U ibe majiyvchofe blamele\s life the law of God directs; 
 
 iiHHiillllilill 
 
 Vfbo kS e P hi* precept s>and voboje heart jofervc the Lord affeiti: 
 They never ml- f hil-lj tranfgrefs, who to thofe paths repair ; 
 
 m 
 
 tbou,Lord,h,'ft charged m to {eep all tby commands with care. 
 
 3 
 
 G 3 
 
Common Tune. Vfdm 84. 
 
 Ho™ beauteom k thepLice^here thou th) preface, Lerd,do/l gram! 
 Bafr. 
 
 Ob ! how I Ion? r'pproah thy courts, impatient of reftrnnt ! 
 
 
 
 ilHiiyilillllli 
 
 v>bofe tru/i U in thine aU t whofe hart devout tjftBioPS f,U. 
 
C§7] 
 Middle Part. 
 
 How beauteous U the place, where thou thy preface >Lord,dofl grant \ 
 
 ■ 
 
 Ob! how I long? Appro tch thy courts, impatient of re fir aim! 
 
 ilfeill 
 
 SESEE- 
 
 
 Ob happy men I that may frequent thine houfe to praife tbeeftiU; 
 jvhoje truft u in thine tid, whofe heart devout affeftions fill. 
 
 p < • » •*■ 
 
 G 4 
 
C 88 ] 
 
 An Hymn taken out of the Revelations: 
 Treble, By Mr. Patrick. 
 
 illliziillliillilil 
 
 Ail ye thai ferve the Lord his nam. 3 , fee that ye re- le-bratc ; 
 Bafs. 
 
 illiPilllilllllll 
 
 ^wij'e */;jt /jir him fog a- -loud, his praife both {mall And great: 
 thou great ruler of the world, thy worlds our roonders raije ; 
 
 fifillilllllfllll 
 
 ilfiiiiliSiiilili 
 
 thou blejftd i\ing of faints J:ow true, and righteous are thy ways ! 
 
 ?':lE±El=iEi;i^Ei;|;i ; E!Ej=|E|i. : $}: 
 
C *9l 
 
 Mean, 
 
 iliirJipsgi iliiiiiiy i 
 
 All ye that ferve the Lord hit name, fee that ye celebrate , 
 
 liiliiiilfliillll 
 
 ami ye that praife himfng aloud , hit praife bothfmall andgreit: 
 
 llillilil tllflill 
 
 O thou great ruler of the world, thy worlds our wonders raife\ 
 
 iilillpiiilililli 
 
 thou biffed King of faints, how true, andrighteom are thy ways ! 
 
 11. (Xante, 
 
 Who would not fear ond praife thy 
 
 Thou only holy one! (whom 
 The world will worjhip thee, to 
 
 Thy judgments are made {nown: 
 Mo ft holy, holy, holy Lord , 
 
 Almighty U thy name ; 
 which was before all ume,and u y 
 
 And (ball be (till ike fame. 
 
 111. 
 
 All glory, powV, and honour, thou 
 
 Art worthy to recede ; (made y 
 For all things by thy pow y r were 
 
 And by thy pleafure live : 
 To thee of right, Limb of God, 
 
 laches and pow'r belong \ 
 Wijdom and honour glory y (irength, 
 
 And ev'ry priifirg Song. 
 
 IV. 
 Thou, as our Saerif.ce, waft fldin > 
 
 And by thy precious blood, 
 From ev'ry Torgue and Nation, hafi 
 
 Xedeyrtd at unto God 
 Bltjfing and honour, glory , pow'r > 
 
 By all in emb and keav'n ; 
 To him that [its upon the Tkroy,r } 
 
 And to th Lmb heg'r/r.. 
 
C9o ] 
 
 An Example of Four Parts. 
 Common Tune, Pfalm i o <; 
 
 Iplliiiiiiiiililill 
 ililiiplpllilllail 
 
 kUgrac'iou and hU mighty voorkj, to all the world proclaim : 
 
 iliiiiliiiiiiiij 
 
 Let m in fongs> andfacred hymns y our great Cre-a-tor blefs ; 
 
 Ipililllilliillill 
 
 find what his powerful hand hath wrote fiur joyful tongues exprefs. 
 
[9* ] 
 
 Firft Mean. 
 
 let m all give lhankjtoGod, and call upon bis narne\ 
 bit gracious and bU mighty wo-\s y to all the world prod aim : 
 
 llilillPi Jlfifpii 
 
 Let us in Songs ,andf acred b)mns y our great Cre a-tov blefs ; 
 *»i what bit powerful bind bath wrote 9 our joyful tongues express. 
 
 Second Mean, 
 
 p III- illlfflllf ill 
 
 O let va all give thxnh to God, and call upon bit name ; 
 
 pfiliflif nil Hill 
 
 hit gracious and bit mighty wor{s, to all the world proclaim : 
 Let m in [ongs y and J acred hym^s^ our great cre-a-tor b'efs ; 
 
 P If iiffilt If Illii 
 
 WX what bit pqw'rjul hard hath wrote,t w ]?;■ {\il tor.gucs ex-trci 
 
C?*3 
 
 Tunes for the Metre of the ioo'* ffalm, 
 Eight Syllables to a Line. 
 
 Another Example of Four Parts. 
 Treble. Pfalm ioo. 
 
 AlI people that on earth do dwelling to the Li. with cbearful votes ) 
 Bafs. , 
 
 tferv with fear, his pr life forth teU>comye kef or him & rej 9yce. 
 
 — x 
 
 Firft Mean. 
 
 M people , &c. 
 
Second Mean, ^ ^ 
 
 i--I£|:i:J:i;±'*:5!5*:i:I:5:I:Jiia:§]j / 
 ii~iI:i:!:f:|:i:i:!Ji;El:S:I:5|5=J^ 
 
 ^// f Wp/ff, &C. 
 
 iltlglfllifilllall 
 
 Treble. Pfalmijg. 
 
 Lord,wben Ihxve to do with thee, in vain J fee^ to be conceaVd ; 
 Bafs. 
 
 iiiiiiiiiiiiiiliiiii 
 
 a=I:I::i::?:±:$:?xj{:|:t:S::?::S::?xi:55 
 
 thou ^now'/l me perfectly, to thee my very thoughts are aSreveaVd* 
 
 K7T*T"T ,, T" , ^"Af*i , "" , "f*T*1""T*T"T'"A'" , 1" - ~"1 
 
 Mean, 
 
 iifStipiliiliiill 
 
 Lord,mben J have to do rvitb thee, in vain I fee^ to be conceal' d ; 
 *Jw t«en»^ me frfrtl)) t9 tier, my very thoughts are all nvetf'd* 
 
C 94 ] 
 Treble. Pf*fa i, 
 
 ifiiliiiiilitiniii 
 
 "Left it the man.tobofi vertuozijleps no mitkii counjeis lead tfidc ; 
 Bais. 
 
 iliiillllllilll 
 
 not (lands in/inners way ,nor fits where God tfgoodnefs wen deride. 
 
 SilMilillllilll 
 
 Middle Part: 
 
 Biefi it ibe man 9 rchofe verxnom Steps no wicl^d couxfets lead aft 'de; 
 
 /-N 
 
 iiiililll!iiiiltll 
 
 norJiandsin/tnn€rs way t norfis where Gcd tfgoodnefs men deride. 
 
 •mmmmm^'* *• m tmm wiw^ti . i w fc 
 
 m \ 
 
Common Tune. Pfalm ioj, 
 
 
 fes 
 
 O let not hit pd/l favours lye for-got-ten in untban^fulnejs / 
 
 Middle Part. ^ 
 
 A£tf/i tfou the Ld.my foul, bit nam J it all lbs potv'rs within mebkfs\ 
 let not his paft favours lye forgotten in untban^fulnefs! 
 
 * * ~ — «» . — — — ■ «»— ~. . - 1 ■—»»■■ ■ » ■ ^ 
 
Treble. The 1 1 ph Pfalm Turn. 
 
 Te ferjxnts oftfreternd k}*£>tQGo&) our chearful praifts fing, 
 Bafs. 
 
 £fcEli:$::t:i::f:^ 
 
 ifpiiliifiliplll 
 
 Iliillilsl-iipf | ii ; f iiil!! 
 
 T*fo/e nimcbdbkftfor evtrmore.Hti goodnsfs over all *t£reat, 
 
 iPiifiiPi^iiifi=S= 
 
 wkr? e'reibefun fyes rife or fit) fitted! trebleftjtt ail adore. 
 
 Iplilliiliiiiiilll 
 i?2illflt§§£iiIPtlfl 
 
 oVe atftfo earth the LJoes reigntf bejv'ns too narrow to certain 
 
 ipiiiiiiilliiiiili 
 
C 97 1 
 
 ililllilllilligl 
 
 bit glories that are infinit?*L$t not poor boretfdgreatfiefsdaro 
 
 HlPiilpilllif 
 
 iwrfc bit perfections to compre^Vfbo ivtcUs in un-crc-A-icd lights 
 
 iaiiiiPiSiiil^l 
 
 Middleware 
 
 ggiiffpiiipgpg! 
 
 Te ServMS&t, 
 
 ii'iiipipippii 
 
 iiiilllipipliil 
 
 illlllliliiiiiiiilll 
 ^||liiiiiiliilfel 
 
In the fo 1 lowing Tune, the Treble and Middle 
 P^rts are prick'd in the C Cliffy and left 
 without Dire£Hons,that the Learner may 
 try his Skill in ReduUion^ by the Rules 
 in the Ninth Chapter. 
 
 Com. Tune. The 148 h Vfdm Tnne. 
 "$■"-"""' *~ - ■+— 
 
 *0 ltd the heavnl] J{irg , Jet ad their fvLes raife; 
 Baft 
 
 It Angels* firji be- -git the great Cre-~d—tofs praife : 
 
 liiiii^ili^^^I 
 
 
 Let Sun and Moon, and evry Starlit Glor) fjero tkifs brighter far. 
 
C 99 3 
 
 Middle Part. 
 
 ISljiilpliiilllii 
 
 J O hud the Heavnly f£f«£ ht all their Voices raife ; 
 
 Te Avgzh, frjl be—gin the gut Cre-a>-tcr's praife: 
 
 
 let Sun atd Moot, mI ei) y -ry c ur , hu Gb—ry jlxw t 
 
 y,,^^,^.,^ — : g — a 
 
 tku's brighter far* 
 
 * ■ — "' r= 
 
 •a ^ ■ * w 
 
 H 
 
C ioo 3 
 
 Treble. To the Metre of Pfalm 2$. 
 
 
 / lift my bem to thee , tny God and guide mofl juft ; 
 Bafs. 
 
 mm 
 
 -••4" "T*""'~~i ~ '"^ Jt" - — "■ ~ — "■ """"v'* "^^ 
 
 »»v>fu';cr me tg take no Jbamtjorinttee da I tru/i. 
 
 Middle Fart. 
 
 / lift my hem to thee, my Cod *nd guide mofl juft •, 
 
 fi0t9 fuffer me to tattf no fame, for in tbee do I trujt, 
 
 — »— t-r» ■ ■■ tmm x ^^^fii p* y « V* 
 
 'W ^m'm y, . 1 -„ 
 
 «*<**«» <*.* 
 
The Nptes of the foregoing Tune are ufu- 
 ally broken or divided, and they are 
 better fo fung , as is here p* ick'd. 
 
 ^UlSIlItllllli 
 
 / lift tnjf heart to tkec , 
 
 
 < — ■ i ~> 
 
 iww fuf — fer me to ta^e no fame, 
 
 
 for in tbee fo 
 
 I truft. 
 
 » ■■ ■ - » ■ ■ ■ " * ' 
 
 'Iwwi m mw iiiw n >«■ 
 
 / 
 
[ 101 } 
 
 r Another Tune for the Metre of Tftlm 25. 
 Treble. A ^ 
 
 Ptlllillflilill 
 
 ~d*V#s y my Soul y lookup! thy hcf *f — fe^ions rrffa 
 
 ; < 
 
 With Hallelujahs ftng dloui^ thereat Jehovah *s praifc. 
 
 Middle Part: 
 
 
 Awat>e t my Scu! y Im% trp! thy brft Af—fc-ftions raife ; 
 
 w/^ Hal-le-Iu-jabs fag aloud, the gnat Jehovah'; \tJfu 
 
 Angels 
 
Angels and Saints all reft , 
 The Heavenly Hofis above I 
 There ceafe not dty and -night toftng 
 The Songs of Praife and Love, 
 
 The Hetv'ns declare tkePow't 
 And Glory of the Lord', 
 Their ufeful light and influence , 
 Large Praifes do afford. 
 
 The Mr and Earth Below , 
 All things that roe behold > 
 Eternal Powr and Godhead fhew, 
 And mfecn things unfold. 
 
 If on great and manifold 
 Are all thy worlds, O Lord! 
 In Wtfdom has! thou made them all, 
 By thy mod powerful mrd. 
 
 Buty Lord, what Tongue of Man 
 Or Angels can declare y 
 The Wonders of thy Love and Grace, 
 which in Chrift fefus are? 
 
 All we, like wand'ring Sheep 9 
 From thee were gone afide ; 
 Tkoufeni'p thy Son to[ee^andfave 9 
 Who came, and for m dy y d. 
 
 Glory to God on high! 
 
 On Earth Good Will and Peace ; 
 Let Heav'n and Emhgivc praije to God P 
 And praiftj?g, never ceafe. 
 
 A Tunc 
 
I io4 ] = 
 
 A Tune for the Long Metre of Ten 
 Syllables to a Line. 
 
 2 Parts. Pfal.6j. Mr.G^r/^^sTrannationb 
 
 Be mtrciful, O God, chafe away night, andblefs u& with the 
 
 
 |S|||liig| 
 
 vifiou of thy Light •, that un-~to all the earth thy way be known, 
 
 i|ii=feiEM:~iEii: 
 
 thy U'-ni—ver'fal glad Sa'*va~u-on. 
 
 g^gsiil 
 
 Moft of tHe Vfdms in this Metre, with 
 more Tunes to them , you may have iti 
 Mr, Gwdridges late Verfton. 
 
 >- FINIS, 
 
I 
 
 s