A WJt. ~A ^H hi •V. WTft i. I *> >>• >' uV/'/ ' /r.j.j \ FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON. D. D. BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY / / Digitized by the Internet Archive in 2013 http://archive.org/details/plaineasyintroduOOmorl N'iA , / P/aifi antlEas) Introduction to Practical MUSIC , Divided into Three Parts . 7'//, Fir/) '/'< Avrton . The Rev. Mr. Allot, of Kirk- heaton, in York/hire The I. Mr. Allot, A. M. of Mr • m Trinity CVllc-, Cambridge Mifs Seckwitl Carey-ftr The Rev. Mr. Awbury, Rector of Brougham, fenr. Efq, CaMe- Stratfield , Hants .. j Thfcod Profeflbr of TheRev.Mr.l i,PublicO - Mufick, Grerti. Coll &c. &c. tor of thc ; Mr. .ton brj Mr. Atwood, Cambrid Thc Rcv< Mr< I; Lj of K Mr. Aldred c ;! Thc SUBSCRIBERS. The Rev. Mr. Buck, of Bideford, Devonfhire The Rev. Dr. Baynton, Re&or of St. Paul's in Halifax, Nova- Scotia The Rev. Mr. Bates, A. M. Fel- low of St. Peter's College, Cam- bridge The P.ev. Mr. Brougham, Fellow of King's College, Cambridge Dr. Beaver, Fellow of All Souls College, Oxford Dr. Wm. Boyce Dr. Burney Dr. Buxton, of Chelmsford, EfTex Mr. Bates, A. M. Fellow of King's College, Cambridge Mr. Baldwin Mr. Bond Mr. John Brooks, of Bath Mr. George Bulkley Mr. Thomas Barrow Mr. Thomas Baker Mr. George Bigg, Printer, Crane- Court, Fleet-ftreet Mr. John Burton Mr. John Bacon Mr. Charles Burney Mr. Jonathan Battifhill Mr. Henry Burgum, of Briftol Mr, Jofeph Baildon Mr. George Berg, Organift of St. Mary at Hill Mr. William Bates Mr. Brown, Organift of Litchfield Mr. Thomas Bennet, Holborn Mr. John Binns, of Leeds Mr. Nathaniel Binns, of Halifax Mr. Robert Bremner, oppofite So- merfet-houle, 6 Books Mr. James Bremner, New Bond- ftreet, 6 Books Mr. Richard Bride, Exeter- Ex- change, 6 Books Mr. William Banks, of Wigan Mils Chick, Weft-Ham, EfTex Thomas Chamberlayne, Efq; James Craney, Efq; The Rev. Mr. Cowley, 2 Books The Rev. Mr. Clack, A. M. of Brazen-Nofe-College, Oxford Mr. Richard Clack, Organift of Hereford Mr. William Cooley Mr. Crofdili Mr. Chapman Mr. William Crofs, of Oxford Mr. Edward Crompton, of Bolton in Lancafhire Mr. John Canon, of Liverpoole Mr. S U B S C R I B E R S. Mr. Cook, Organift of St. Peter's, The Hon. Mr. Fitzpal Weftminfter, and Mailer of the Mr. Jonathan 1 , the ( B »ys Mr. Cahufac, facing St. Clement's Church iii the Strand, 6 Hooks Mr. G. J. Cheeie, Organift of Leominller D ner oi Saliibury-ftrcet, in ind, 6 Books The Right Hon. Earl Donegal Samuel Dyer, Efq; Maurice Drcycr, Efqj John Daniel Drcycr, Efqj Edward Dodwell, Efq; Samuel Dickcnfon, Efqj The Rev. Mr. Davifon, A. M. of Mr. Thomas Greene St. Peter's College, Cambridge Mr. John Groombridge Mr. Dickcnfon Mr. William Gealt, Organill of Dud ley it Mr. William Goodwin Mils Emma Jane Greenland Girdler, Efqj A. M. ot Pem- hroke-hall, Cambridge Mr. Grinfield, L. L. B. of Trini- ty-hall, Cambri Mr. Gardiner, ol Haverfordweft Mr. Garland Mr. Goodilbn Mr. Ciaudry The Rev. Mr. Elmfell Mr. Evans The Singers of Ecclesfield Mifs Elizabeth Ford The Hon. Mr. Fitzwilliams The Hon. Lieut. Gen. Fitz Willi- ams II Iiaac Heaton, junr, Efq; The Rev. Dr. Hindis, Canon of Wind for The Rev. Dr. Ilallifav, Fellow of Trinity-hall, and Arabic I'ro- feflor in the Cnivcrlity of Cam- bridge The Rev. Mr. Howkins, A. M. ■ SUBSCRIBERS. Fellow of Trinity-hall, Cam- Mr. Thomas Jones bridge Mr. Johnfon Dr. Samuel Howard Mr. John Jee Dr. Hayes, Profeffor of Mufick in Mr. Elias Ifaac, Organift of the the Univerfity of Oxford Cathedral of Worcefter Mr. Philip Hayes, M.B. Gentleman Mrs. Johnfon, facing Bow Church of his Majefty's Chapel-Royal Cheapfide, 6 Books Mr. William Howard, Gentleman Mr. John Johnftone, York-ftreet of his Majefty's Band of Mufick Covent-Garden, 6 Books Mr. John Hamilton, Clement's- lane K Mr. William Holden, ofBirming- jyj r> Kenlefide ham Mr. Knyfett Mr. Hill, in the Hay-market Mr> Althur Ke mpland Mr. Hague Mr. Higden L Mr. Hardefty, Bloomfbury ■_, M «.,,; a T . / , The Rev. Mr. Land Mr. Richard Hare, Limenoufe tvt t r i tt • ^ -/r c Mr. Lapnmaudaye Mr. Jofeph Harris, Organift of J _ „ Mr. Lindegrene Ludlow ™ mi xx i r xt i • Mr. Langfhaw Mr. Thomas Haxby, or York, 6 _ . Mr. Thomas Linley, of Bath Mr.H^Jlbn, Gentlemen of his Mr " Ladd ' Gentleman of his Ma- Majefty's Chapel Royal, and of '^ Cha P e| - R °y* ! . «"d of St. Peter's, Weftminfter Meffrs. Longman, Lukey and Co. No. 26, Cheapfide, 12 Books St. Paul's Cathedral Mrs. Johnftone Charles Jennens, Efq; Mrs. Mayne of Kenfington, 2 John Jacob, Efq; Books John Johnftone, Efq; William Mitford, Efq; Mr. Jewell Charlc SUBSCRIBERS. Charles Morris, Efq; The Rev. Mr. Nichols, of Trini- Arnold Mello, Efqj ty-hall, Cambridge The Rev. Mr. Murhall Mr. Nuflcn Mr. Malmc Mr. James Newton Mr. D. ManiforJ Mr. Newfham, of Dewfbury Mr. Mathias Mr. Norris, M. B. Organift of St. Mr. Edward Malbn John's College, Ox lord Mr. William Mathews, of Oxford, 6 Books O Mr. Edward Miller, Organift: of Doncafter Mifs Owen Meflrs. Mercers, at Allerton, near Mr. Thomas Orpin, of Bath Liverpoole The Singers at Ollett Mr. Benjamin Milgrove, of Bath The Choir of the Octagon Chapel The Mufical Society at Sheffield The Mufical Society at Eirming- p ham The Mufical Society at Oxford Mrs. Perry, Carey-llreet The Mufical Society at Saddle- Mifs Powys worth Mils Poyas The Mufical Society at Kirkhca- Samuel Prime, Efq; Fellow of St. ton John's College, Cambridge The Mufical Society at the Old The Rev. Mr. Pindar, A. M. Fel- Cock, in Halifax low of King's College, Cam- The Mufical Society at Blackburn, bridge Lancashire The Rev. Mr. Pickering The Mufical Society at the Plume Mr. Platel of Feathers at Wigan, Lanca- Mr. George Peters lhire Mr. Robert Peck, fenr. Bath Mr. John Potter Mr. Prieftly, of Field Head Frederick Nicolay, Efq; Mr. Thomas Pinto * * SUBSCRIBERS. Mr. John Perkins, Organift of John Spateman, Efq; ofChifwick Finedon, Northamptonmire The Rev. Mr. Swire, Fellow of Mr. Thomas Pierce, Organift of Univerfity College, Oxford Bridge-Town, Barbadoes Meffrs. Sharps, in the Old Jewry Mr. Philpot, Organift of the Mr. Sharp, in the Hay-market Foundling-Hofpital Mr. Stevens, of Cambridge Mr. John Pimblet, in Afhton, Mr. Sheurex near Wigan Mr. Stiegler Mr. Spragg r • Mr. Solinus Mr. Salmon Mifs Molly RadclifTe, at Grotton, Mr. Simpfon Lancashire Mr. Sikes Henry Revely, Efq; Mr. Thomas Stead Dr. John Randall, Organift of Mr. Stevens King's College, and Profeffor of Mr. Storace Mufick in the Univerfity of Mr. Thomas Shaw, fenr. of Bath Cambridge Mr. Saville, Vicar Choral of Litch- Mr. Riley, Long Acre field Mr. Rigden, at Feverfham Mr. John Stable, Bloomfbury- Mr. Francis Roome, of Derby Church-Yard Mr. Richard Randall, Organift of Mr. John Stenfon, of Derby Dulwich-College Meffrs. Simpfons, in Swithin's- Mr. John Reynolds, Gentleman of Alley, Cornhill, 6 Books his Majefty's Chapel Royal, and of St. Peter's, Weftminfter >-p § Mifs Tomkinfon Benjamin Tate, Efq; Mifs Sophia Shard The Rev. Mr. Thornber, of York John Smith, Efq,- of Sydling, in Mr. Toms Dorfetfhire Mr. Thompfon • Mr. S V B S C R I n E R S. Mr. Thomas Tibbs, of Richmond Mr. Henry William* Mcflrs. ThompfoDS, St. Paul's Mr. Aaron Williams Church-yard, 12 B Mr. J >hn Walkden Mr. Robert Thompfon, Lombard- Mr. Jonathan Wheatley flrect Mr. Wyatt Mr. Henry Thorowgoo.l, No. 6, Mr. John We. X >rth-Piazza, Royal Exchange, Mr. C. F. Weideman 6 Ijjoks U Mr. Thomas Underwood, of Bath, 6 Books W Mrs. \V. Wynne The Hon. Mr. Wallop C'hriftopher Whichcote, Efq; Edmund Warren, Efq; Mr. Henry Woodward, of Bath Mr. Whitchurch, Brewer's Hall Matter Charles Wefley, of I Mr. Wharton, of Pembroke-Hall, Cambridge Mr. John Waddington, of II ali Mr. Welcker, Gerrard-ftreet, St. Ann's, Soho, 6 Hooks Mr. John Wynne, Cambridge, 12 Books Mr. Yarncld Arthur Burton, Printer-Compofcr of t bis Book, TO Till'. MOST I XCELL1 NTT MUSK I MAISTER WILLIAM BIRDE, One of the Gentlemen of her Majefties Chappell. THERE be two, wl ' nefites to vs can neu i; ( J, and our parent! : the one for that ' e, the other for that of them we haue our prince, and (as Cicero termeth him) the G< d of the ( ur maifters, as thofe bywhofe directions the faculties of the r< Ic be ftirred vp to enter into contemplate - rthly things: whereby we obtain a fecond being, mi e wifhed and much :n that whicl the w rids creation hath receiued of hi of the \ei I as it v t ration of tl ued me to publifli theie labor vnder your name; both to Ggnifie, vnto th< Id, my thankfull mind: and alfo to notifie vnto your fclfe in fome fort the entii and vii: tion which I beare vnto yon. And feeing we 1 in thofe dayes wherein Enuie raigneth; and that it la neceflaric . him who lhall put to light any fuch th I , to choofc inch a patron, as b< th with 1 t may c . i with authoritie . him from the ra(h res of think they j ffc in condemning others : Accept (I pi tl i that yon may ex< • - fkill, in cenfurin * of ■ i defend what is in it truely fpoken, as that time proceeded from your fell. So (hall y probati to thinke the better oi it; and your name, let in the I re- of, be fufficient to abate the furie ot many infulting Momiftes, w think nothing true but what they doo themfelues. And as th verfes were not efteemed Homers, which 'ill I not auouch, for mine, that which by J condemned. And fo I reft, all lou. THOMAS MORL a ANT, HOLBORNE, in commendation of the Author. TO whom can ye, fweet Mufes, more with right Impart your paines to prayfe his worthy fkill, Then vnto him that taketh fole delight In your fweet art, therewith the world to fill ? Then turne your tunes to Morleyes worthy prayfe, And fing of him that fung of you fo long : His name with laud and with dew honour rayfc, That hath made you the matter of his fong. Like Orpheus fitting on high Thracian hill, That beafts and mountaines to his ditties drew: So doth he draw with his fweete munches Ikill Men to attention of his fcience trew. Wherein it feems that Orpheus he exceedes : For, he wylde bealts j this, men with pleafure feeds. Another by A. B. WHAT former times, through felf refpefting good, Of deepe-hid Muficke clofely kept vnknowen, That in our tongue, of all to b' vnderftoode, Fully and plainly hath our Morley fliowen. Whofe worthy labours on fo fweete a ground (Great to himfelfe, to make thy good the better, If that thy felfe do not thy felfe confound) Will win him prayfe, and make thee ftill his detter. Buy, reade, regard, marke with indifferent eye : More good for Muficke elfe where doth not lie. Another by I. W. ANoyfe did rife like thunder in my hearing, When in the Eaft I faw darke clowds appearing : Where Furies fat in Sable mantles couched, Haughty difdaine with cruell enuie matching, Old Momus and young Zoilus all watching How to difgrace what Morley hath auouched : But lo, the day ftar, with his bright beames mining, Sent forth his aide to muficks arte refining, Which gaue fuch light for him whofe eyes long houered, To finde a part where more lay vndifcouered ; That all his workes, with ayre fo fweet perfumed, Shall liue with fame when foes fhall be confumed. / To the Courteous R E A D E R. I Jo rr... VII ai bl in ti /ear-: .ait of my frit . :o their h. taking in ' ' •' temne . \bt more largely by ot'ier mi Jirt to further the Jludies oj' them, i art deftitu. ■:-e) cat/ft* ■ began it, I :he paines and labc:. it toft met, 1 . b a ttdioui peece of ivirke, I. ■ft : So that at i make an tnd (filing that growl fe bigg r: ought to , in full deter mi nation to haue t off as jhamefull, as it was fcclijhly begun. Butt Icj'e the f rules of the im: . ' fo manie . , and h. ■r-.rted of ignorant prefumptizn, iu taking that in h. I KM arJo: I rejoin . tr, lofftoftimt and ex/: . i toltani : .is fofan j a ebilde I learned, and laying them togilher in or. . an to torn/ ■ •ie kinde, fet d ■frf. Ftr I ■'.: :j ... ' a ■ i ineiv not i.ix: ? Ma. Then mufi you get it perfectly without bode, iofmyit forwards and be Secondly, You tuujl learae tc know, wbtrein /..n tb x ; ai . , whether in rule or in (pace. And thirdly, How man bow matt) notes f.vcw Key con i. What i\o you call tCliefe, and what a Note? Ma. A I is a character let on a rule at the beginning of.i verfe, (hewing 'A ..: a . the height and lownefle of euery note (landing on the lame verfe, or in [pace U. (although vie hath taken it for a general rule rieucr to let any clil pt the h cliefe) and euery fpaceorrule nothauing acliefefetinit, hath one underilood, being only omitted tor not pelleting the verfe, and fauing of labour to the writer: but here it is taken lor a letter beginning the name of cuery key : and are they which you lee here let at the beginning of cuery word. Phi. I take \our meaning lo, that every key hath but one el. lie, except I fa b mi. Ma. You haue quickly and well concerned my meaning. 1 he r- you fee written in fyllables ore tie >>.:>.:es cf tie Notes. Phi. In this likewife I thinke I vndcrftand your meaning. But I fee r.o rca- fon, why you fhould fay the two b b be two fcueral cliefes ; feeing they arc bu: one, twi'e named. Mil. The Herralds fhall anfwere that for me : for if you fliould afke them, why two men of one name ihould not both gnie one Armes ? They will (Ira ar.lwereyou, that they be of leuciall houles, and therefore mult giue diuers coal So thcl'e two b b, though they be both comprehended under one name, jet they are in nature and characler diuers. Phi, 1 his 1 doe not undeilland. Ma. Nor cannot, till you know all the clitfes: and the rifing and falling cf the voyce for the true tuning oi the notes. Phi. 1 Pray you then go forwaids with the tliefes: the definition of them I haue heard before. Ala. There be in all feuen cliefes 'as I told you before) as . /. B. C. D. E. F. G. but in vfe in finging there l>e but foure: that is 10 lay, the /•_/.. v. hich is commonlie in the Bajje or loweft part, being formed or made thus, f)' The C/olfa ut cliefe, which is common to euery part, and is made thus, H ;i.«e of ihc fci. The G fcl re ut cliefe, which is commonly ufed in the Treble or highen* parr, . is made thus, /*y And the b cliefe, which is common to euery part, is n thus /•, or thus t? ; the one (ignifying the half note and fat finging ; the c :ving the whole note or (harpe finging. Pi:. Now that you have told me the clicfes, it fulloweth to fpcake tuning of the notes. 4 THE FIRST PART. The fixe notes Ma. It is fo, and therefore be attentiue and I will be briefe There be in dedXT Muf ; ck r e b " t vi ' ^ otes ' which are called < re > ™> fa K '**, and are corn- monly let down thus : mEE Phi. In this I vnderftand nothing, but that I fee the F fa •on the fourth rule from beneath. >t cliefe {landing How to know wherein euery noteftandtth. Ma. And do you not vnderftand wherein the firft note ftandeth ? Phi. Verily, no. Ma. You muft then reckon downe from the cliefe, as though the verfe were the Scale of Muficke, affignir.g to euery fpace and rule a feueral Key. Phi. This is eafie. And by this meanes I finde that the firft note ftandeth in Gam vt, and the laft in E la mi. Ma. You fay true. Now fing them. Phi. How mall I tearme the firft note ? Ma. If you remember that which before you told me you underftood, you would refolue your felfe of that doubt. But I pray you in Gamut, how many cliefs, and how many notes ? Phi. One cliefe and one note. O I cry you mercy, I was like a potte with a wide mouth, that receiueth quickly, and letteth out as quickly. Ma. Sing then after me till you can tune : for I will lead you in the tuning, and you {hall name the notes yourfelf. Phi. I can name them right till I come to Cfa vt. Now whether {hall I tearme this, fa, orvt? Ma. Take this for a generall rule, that in one dedutlion of the fixe notes, yen Gng'wgotFt. can haue one name but oncevfed, although indeede (if you could keepri^ht tune) it were no matter how you named any note. But this we vfe commonly in finging, that except it be in the lozvefi note of the part we neuer ufe vt. Phi. How then ? Do you neuer fing vt but in Gam vt? Ma. .Notfo: But if either Gamvt, or C fa vt, or F 'fa vt, or G fclrevt, be the loweft note of the part, then we may fing vt there. Phi. Now I conceiue-it. Ma. Then fing your fix notes forward and backward. A note for Phi. w ',; n ° -e- -O-S-e-^-g—-- ---■ a o KJ — -9 Is this right? Vt re mi fa fol Ja la fol fa mi re vt. Ma. Very well. Phi. Now I pray you {hew me all the feuerall Keyes wherein you may begin your fixe notes. Ma. Lo here they be fet downe at length. — e :x »-fi-c zezaz§z^z=: t=z zszsz^zzzz ozb: Phi. THE FIRST PART. 5 .-. Be thele all the waves you may luue thcie nous in the whole Ma. Thde and their eigh ay alio ! in Gfolrei'l, and likeyvilt* in Gfoirevt in alt. And wh alio in Cfelfavti and in Cio. indiwhai may a! 1 i.i /•'/.; ;•/ in alt. ISur thele be the thl | , COAta natures or properties of linking. . Which be the three properties of tinging? :. bquarv, Priptt iul bit:: The ihrte rre. . Ic is a property of fii cs lung in / "£• alwayea when you fing vt i • ./. Phi. What ia Pi / 7 It is a property of tinging, wherein you may fing either ' b fa $ mi according as it (hall be marked b 01 : , and is when the :•: is in C> v/. y i; /. Wh 11 •• /- for the next kcye aboue . is Gfoirevt. fow fing this exa J n _ e rr. Q E£zzz==r=—--=z- rY — = — a — Rut now I am out of mv for I ^ — n — 9 — ■ know not what is aboue rc mi ta fol la. v. in (landeth the nou of vou doubt? : And [ pray you, .:ny notes? ;d"c and two no Which be the two not Pbi. fa aiu! B THE FIRST P A Pv T. What to bee Ma. Now if you remember what I told you before concerning the finu i king the k eyes and their ei hts: foi ii Mathemati ally j to conflder it, it i^ true as well without the compafle or" the Seal . n: and lo may be i Pis, Why th( our Scale d ofxx. notes and no more? ;' was the reach of moil vo) that r wha- ■ feemed Is a kinde oi „, and abouc Ela a kinde of ! conftrained (kri< I oe from the purpofe, and thei to the 1'inging of your enfample. . I i I perceiue, the ii il note ftandeth in F.fa vt vnder Gam vt : a being the lowed n crle I may there Ting i . Hight, or fa if you will : as \ou did in the eight abouc in the othei before. But goe forward. Phi. Then though th no re in ( . norm/in . yet be: a ;hts, I may ling them there alfo. But 1 1 you why do . feeing there is neither in it, nor in E . nor in i , and the b cliefe is onely fet to t there h B CJ there is no note of it felfe either flat or f. tt and (bmetimes fharpe: I not both (harpe and flatt : and ; in D might alio (altering the tune a little) fing/« in E i Muficke, as the • in /ilamit , • I will not ake at tins time, becauie I will not cloy your memoric with \ ; L.nie enough for you to learne I U com< tifedottc .is I will then thinke fufficient till that time: i ' fome other matter. tg you vnderiland continr. icl or abrupt. Phi. In good u ';. 1 kre, fing this verfe. - — — : w 3izzi THE FIRST PART. Howtokeepe right tune in difiunQ de- duction. Phi. Here I knowe where all the notes ftand : but I knowe not how to tune them by reafon of their fkipping. Ma. When you ling EElZZZZ Imagin a note betwixt them thus : "•-——-" ' °=§:§= & _ zzz©:o:§: and fo leauing out the middle note, keeping the tune of the lad note in your minde, you fhall haue the true tune, thus : fing fir ft vt re mi, then fing vt mi, and fo the refidue, thus: .___~_©Z3 3 .____e___Q_____Q_W__._W___ r5 _9_W _ ____Q_W _. 6- -Q And fo downward againe, thus : 3izsz ©___J2___3_ e __ 2 5_©_: BZn OZ E_Q_o ft H_j 2ZSZ /.O... ift.Q zzz©zazzzszzzzzzz§zsz«zzz szszzzzzzzS P/&;. Here is no difficultie but in the tuning : fo that now I thinke I can keepe tune, and fing any thing you can fet downe. Ma. Then fing this verfe. zozzs: i©zz§zz?zzQzzs2: :szz: Phi. zzzBzszzszzzzzazz©zzzzz: fol fol la fol la fa fol fa mi fol la fol. Ma. This is well fung. Now here be diuerfe other examples of plaine fong, which you may fing by your felfe. :ZZZZZZZ~ZZZZZ©ZZZZZSZ©Z?Z§=DZDZiZflZZZZZZZ — e— ©— s -f :ZZZZ©ZZZZZSZ©Z-ZgZQZgZiZI|ZZZZZZZ fo,l fa fa fol fa fa la fol fol fa la la fol fa mi la la fol. Trrr n-rs-e-^-n t » i . - . '■■■ n o P i , .int » a w © s - ^-© — fa fol la fa fol la fol fa fa fol la fa fol la fa fol fol fa. :eZzazzizzzzz?zzgzzo: -e — ©- -©— fa fol fol la fol fa fol fa fa la fa fol fa fa mi fa. -P— r--^ — S 9 p-^-kS © r\ © ©- e © — Q Z5Zl=i fol la la fol fa la fa fol la fol fol fa fol la la fol. 7 b & ' . &• w O - ir ..; * ; ' y. r 7 I la fol fa mi f.t n-1 la ft fol fa fol la fa mi hi f !. --- o- ■O - " fol fol fol mi la fa mi la fol fol la la fol fa mi fol la f ;. r ^ -===— s=E=2=z = : ^p . « • fol fa fol la fol fa fa la fol fa mi la 1 1 fol fa la fol. O w k° Q 1 ■h-e o- r o — e- :cz: •-• — r. — n- fol fol fol :.i la la fol ia la fol fol r.t l.i la fol. n±-ir zc:z; :zz:i:zz^:: be— zr - ■ Q zze:zc:z2ZZ7gzz=:ziJZ= u o ^ .,^rji.,; °„r/'^-.^ j fol L fa l.i fol fa fs fol fa fa la fol lb] fa Definition of ftrokej. Thus for the naming and tuning of the note*: i: ,th to fpeakc of the diuerfitie of timing of thenv, for hitherto they haue all beenc ot len ;:!i or time, euery note making vp a whole llroke. If is ajicceflhtt motion cf the of euery note and tie if f.pin and pn \ ': this they make threefold, more, lejfe, and propori n flrcke ttty . :!* Example. i i 4 I i I i i ii I low if the tayle goe both vpward and downward ? M.i. 1 here is no note To formed, as to haue a tayle ot' one fide to ^o both . ward and downward. . Hue how if it haue a tayle on the right Gde? rhen out ot~ doubt ici^as though it were not in Ligature and is a Loi thus. on ihc :• , IIH ibcrc i 4242 4 4 44 4 And this is true, as well in the laft notes as in the firft. Pit. Now I thinke you haue tolde me all that n ay be Ij oken of the firft not. I pray you proceede to the middle notes, and their nature. Ma. Their nature is eafily knowne : fcr euer) :ding between* t hers A grr.er»:i is a Briefe. as thus. -1^ >. 42222224222222 2 4222224 But if it immediately after another, which had A Semihrieft as I tould you before, and you may lee here in this ELacej Example. 8=5*L 12 I I 2 2 4 I I 2 2 . S ">, now goe to the finall or lafb note*;. finallr... Ligature a isahcng: a!inote« io 1 nple. ■&&&&&*$£&. 14 224 4224 112 2 But how it" it be a hanr>int* or long 1 12 Dotted notes in Ligature. Dotts and their fignifica- tion. THE FIRST PART. Ma. 'Then is it alwayes briefe, except it follow a note which hath the taile vpwarde, as here. J ^>W = 42 2221 1 But if the note be afcending, be it either fquare or long, it is alwaies a briefe if it lacke d tayle, as thus •, 222 222 22222 112 There be alfo Ligatures with Dotts thus : » whereof, the firft is three Minomes, and the laft three. And alfo thus, J|ZSgZ whereof, the firft is three Semibriefes, and the laft two. ~n P* 3 *^ - There bee likewife other Ligatures which I haue feene, but neuer vfed by any approued author, whereof I will ceafe to l'peake further, fetting them onely downe with figures fignifying their value of Semibriefes, whereof if you finde one direflly to bee fet ouer another, the lowed is alvvaies firft fung:. Example. 1 1242 44424 Phi. Now haue you fully declared the Ligatures, all which I perfwade my felfe I vnderftand well enough: but becaufe you fpeake of a dotted Ligature^ I doe not vnderftand that yet perfectly: therefore I pray you fay what Dotts or Poynts fignifie in finging. Ma. For the better inftrucYion here is an example of the Notes with a Doit following euerie one of them. *= ^t And as your refts fignified the whole length of the notes in filence, fo doth the Dott the halfe of the note going before to be h olden out in voice not doubled, as A Dott of (marke me) v vr, ree, mi i, fa a, fo ol, la a : and this Dott is called a Dott of augmentation augmentation. Phi. What, be there any other Dotts ? Ma. Yes, there be other Dotts : whereof wee will fpeake in there owne place. Phi. Hauing learned the formes and value of the notes, reftes and Dotts by THE FIRST V A R T. l 3 by themfelucs, it followcth to I ' ; and there: T -.iy you to proceede to the declaration oithcm. \Lr Thofc who within thefe three hundreth ycares hai '. • MuGeke, haue lei odea 01. then th< . r baue been of air taught i What hath beene the occauon of that ? Although it be hard to affigM the caufe, yet n nv we eoniecture ,! although the greate muficke m died in foretime, no doubt were woiulertully itene in the knowled thw ', aswell in fpecu i yet Cnce their death the knowlt arte 13 decayed, and .1 more 1 ig it or i fii i.ill kno\ that it is< 'trie no v. th.tr, that it they know the common Moode and , they feekc no furtl ig that it is s comn 1 know all, I pray you firfl declare them a> they were let downe by others, and then aa they arc vfed 1 ad iyes. .-. I will, mm.\ then • attend* II be fo auentiue, that except I finde (bme great doubt, I will not difmember your difcourfe till the ende. ■ wh 1 h we now call A I , they tearmed degree of" M l definition they gaue thus: a degree is .1 certaine meane wherebj i 'E re - ofthe| is perceiued by fome figne fet before them, degrees of icke they made three: M and Pro!.-:.. did they tearme a Moode? '.ring of Longs ami Lcrges : and was either greater t did they tearme the great jnoode ? ;>/ s r of Large* b) Longs : and was either . or vnpt . 1 hey tearme the G the I I for in b: 1 time, ; rul prolation, that they tearme I which gocth by three : as, th< : when three Longs go the Large. The leffe M hen 1 go to the . mm\ time is pc: icii thret And his figne is thus, o j. xi- 1J1 1 1 it. /"";. Which Moode did they tearme, the great one imperfect ? That lout to the Large but two Longs. His I thus, c 3 p nu. it. cap. 4 fctcr i 14 THE FIRST.PART. Phi. What did they call the lejfer Moode? Ma. That mood which meafured the Longs by the Breeues, and is either perfect or vnperfedt. The lefle Moode perfect was when the Long contained three Sreeues, and his figne is thus, o 2. h n « 02 s The lefTe Moode vnperfec"t is, when the Long containeth but two Breeves. And his figne is thus, c 2. c 2 p^ Phi. What called they Time? Ma. The dimenfton of the Brief e by Semibrieeues : and is likewife perfect or'vn- perfedl. Perfecl time is> when the Brief e containeth three Semibreeues. His fignes arethefe, ©3, c 3, O. 000 000 The time vnperfect is, when the Brief containeth but two Semibreeues 9 whofe fignes are thefe, 02, c 2, c . Phi. What is Prolation ? Ma. It is the meafuring of Semibriefes by Minoms, and is either more or lefle." The more prolation is y when the Semibrief containeth three Minoms: his fignes be thefe, o C . JJJ JJJ JJJ JJJ JJJ Ihe THE FIRST PART. The kffe protation is ivhen the Semibriefe contjynetb but tVH Minomcs: The figne whereof is the abfence of the dott thus, O C . JJJJJJ J J JJ o o c H c h So that you may gather that the numb ■• vuode, tbt , : he time* and the prefence or abfence of tbe point tbe ; I hauc thought good for your further knowledge to let downe before you the examples <>r all I Moodes, ioyned to their times and prolations: to begin with the great Mooilc perfect. I [ere is his enfample following without any prolation, becaufe in this Moode it is alwayes * vnpcrhfl, .in ! l: tnc pcr- OOO OOO OOO OOO OOO OOO OOO ooo ooo 1 The great Moode vnperfe 41 2 2 3 3 1 o l O 1 o 1 o 1 1 o 3 o 3 o 3 3 o M — 3 «> 3 2 3 a 3 e 2 = 2 H 3 ss 2 H s B e 3 2 3 5 4 •> 41 2 n 2 .9 q 6 H £ q 4 H 6" q 4 q IS 1 12 a 3 2 2 o n 1 27 ^ - ^ 12 ^ 8 =5 12 * 8 =1 3 I 2. J 1 J03 C3 02 C2 o C IOI »7 time «nd . PAi, I pray you explaine this S ind declare the vfe thereof. In tin- there is no difficultie, if you confi< V r, to take away all fcru pie, I will (hew the vfe of it. In thejigius, and iuft ouer them the ilue or . mte in anie . feeke out the Sign* in the lowed pan of the and mit E ouer T! c vfe of the [ ^cJ(.LtTa- i3 T H E F I R S T P A R T, ouer it you fhall finde the note: then at the left hand, you (hall fee a number let euen with it, (hewing the value or how many Semibreeues it containeth. Ouer it you (hall find how many of the next leffer notes belong to it in that figne. As for example, in the great Moode perfecl you doubt how many Breeues the Long containeth: in the lowed part of the 'Table on the left hand, you finde this figne 03, which is the Moode you fought: iuft ouer that figne you finde a Large, ouer that the number 3, and ouer that a Long. Now hauing found your Long you finde hard by it on the left hand the number of 9, fignifying that it is nine Semibreeues in that Moode: ouer it you finde the figure of three, fignifying that there belong three Breeues to the Long in that Moode : and fo foorth with the reft. Phi. This is eafie and verie profitable: therefore feeing you haue fet downe the ancient Moodes (which hereafter may come in requeft, as the fhotten-bellied doublet, and the great breeches,) I pray you come to the declaration of thole which wee vfe now. Ma. I will: but firft you (hall haue an example of the vfe of your Moodes in finging, where alfo you haue an example of augmentation, (of which wee (hall This is im- fpeake another time) in the Trebble and Meane partes. The Tenor part ex- perfe&ion, prelfeth the leffer moode perfecl, that is, three Breeues to the Long : the blacke whereofhere- L 7igs containe but two Breeues. But when a white Breefe or a Breefe reft doetb immediately follow a Long, then the Long is but two Breeues, as in your Tenor ap- peared!. Your Bale exprefieth time perfecl, where euerie Briefe containeth three Semibreeues, except the blacke, which containeth but two. DISCANTUS. T II B FIRST PART. DISCANTUS. Augmentation. ^iigggiiig i • m _rii:±ibbr„:!!:j . u:j i r.j. ii A L T U S. t iifitjpiSi£gii>:.-. : IL 1 I "d I M II [,* H M TENOR. JirHII;^ Time perfeft. Q*i B A S S U S. "i I . h i°Pp«pJ ! a "T i ■ t .U|'l'M„"Jj.L-"l'H,lj.,«Jj,l a iT a? 20 THE FIRST PART. ■ Phi. So much of this fongl vnderftand as the knowledge of the degrees hath fliowen me : the reft I vnderftand not. Ma. The reft of the obferuations belonging to this, you fliall learne, when wee haue fpoken of the Moodesi Phi. You haue declared the Moodes vfed in old times fo plainely, that I long to heare the other fort of the Moodes : and therefore I pray you now explainc them. Exposition of Ma. Although they differ in order of teaching and name, yet are they both thefoure vfu- one thing in effect: and therefore I will be the more briefe in the explaining of all Moodes. them. There be foure Moodes now in common vie : Perfetl cf the more pro- lalion. Perfect of the lejfe prolation. Imperfetl of the more prolation. And Im- perfetl of the lejfe prolation. The moode perfetl of the more is, when all go by three : as three Longs to the Large: three Breeues to the Long: three Semibrieues to the Breefe: three Minomes to the Semibreef. His figne is a whole circle with a dott or point in the center or middle thus, o m ,< n m HH ••? JJJ J J till More. v!y 3 r r i Pefite of the Lcffe. Phi. What is to be obferued in this Moode ? Ma. The obferuation of euerie one, becaufe it doth depend of the know- ledge of them all, we will leaue till you haue heard them all. Phi. Then I pray you go on with the reft. Ma. The Moode perfetl of the lejfe prolation is, when all go by two, except the Se- inibreefe : as two Longes to the Large: two Breeues to the Long: three Se- mibreeues to the Breefe: two Minoms to the Semibreefe. And his figne is a whole circle without any point or dott in the middle, thus. • ol3 ~ VZ i J U U il (=| H « o j> f I Phi. Veriewell. Proceede. Ma. The Moode imperfetl of the more prolation, is when all go by two, except the Minome which goeth by three: as two Longes to the Large, two Breeues to the Long, two Semibreeues to the Briefe, and three Minimes to the Semibriefe: fo that though in this Moode the Briefe be but two Semibriefes, yet you muft vn- derftand that he is fixe Minomes, and euery Semibriefe three Minomes. His THE FIRST PART. 21 | 1 . figne i. a lulfc circle fct M the beginning of the for.-, with a dor he • - Idle, thu ' i c i j ~ i! ~l l j y y <7ay WiwJ trolati** is, - ' a 1 ; two !• tD the Large, two Breeues to the Long, two Semibriefcs to the Briefe, two Minomes to the Semibriefe, two Crotchets to the Minome, cVc. His ne is ;i halfe circle without a dott or point let by him, as thus. ' c HH = = : o J J JJ fj ;; 7 7 T J f r This Moodc is in fuch vie, as wbenfoener there is no Moode fit at the beginning cf the Jong, it is ahoays imagined to be this: and in reipect of it, all the reft are efteemed as llrangers. Phi. This is well. Now I pray you fiiewe mee what is to be obferued in curry one of the Moodes ? Ma. The particular obferuations, becaufe they are befr. concerned by exam- ples, I will let you down one of euerie leuerall Moode. And to begin <■:' »f the Mc*:, take this example of a Duo. Imp? CA N'T r s. 22 THE FIRST PART. A N U S. li^iSggiiiiiiSl^i ffiiilliillgliipiiSifjll o B A S S U S. SICLcv — H L..ZZ oiw :p:t _:_ Q -d: JCg. — org H ^ -^ ^fejjg m r± :dia :_-3:~ccg- JjJ 'ill The value of fome Notes in this Moode. A dire&or, and the vfe thereof. Phi. Now I pray you begin and fliew me how I may keepe right time in this example. Ma. In this Cantus there is no difficultie, if you fing your Semibriefes three Minimes apeece (the blacke excepted, which is alwaies but two) your Bridies- nine, and your black Brieuesfixe. And whereas there is a briefe reft in the be- ginning of the Bafe, that you muft recken nine Minimes. There is alfo in the Bale a Long, which muft be fung nine Semibriefes, which is xxvii. Minimes. Phi. A time for an Atlas or 'Typhceus to hold his breath, and not for mee or any other man now adayes. Ma. True : but I did fet it down of purpofe, to make you vnderftand the nature of the Moode. Phi. You did well. But I pray you, what is that which you haue fet at the end of the verfe, thus : — - Ma. It is called an Index or Direclor: for looke in what place it fiandeth, in that place doth thefirft note of the next verfe Jland. Phi. But is there no other thing to be obferved in this Moode ? Ma. Yes: for though in this Moode, and likewife in the other of this pro- lation, euerie Semibriefe be three Minimes: yet if an odd Minime come immedi- ately either after or before (but moft commonly after) a femi briefe, then is the fe- mibriefe fung but for two minimes, and that other Minime maketh vp the num- ber for the ftroke. But to the intent that the finger may the more eafily per- ceiue T II i: FIRST PARI. cciue when the Mininr is to bee taken in with the Semibriefe, and I to be left out: the maillcis haue deUifcd a certaine dott 2; 1 ■, ,■ ■ i ^ 1 Ad 1 Hon) wbicb being fit betwixt a Sen::: ruff and a M:».:t;u\ thu , : i ~ e ^--^ — ;-—_'. n — 1 — w —- — ; Jbnntb* that tbtSemiirufi ■ twHmmwtxtfm long to another jlrcke. Likcwifc, if tbt &ott of iiuijion cm* it fivnificth, that the F- 1 \f:re is vvferfet!, and thai i/mvfthjt wuikt up the ftroke. Pit. Now I think you luuc fufficiendy declared the nature of this * '■ I pray vou therefore go forward to the licit, o: pel .:t M" l.uion. .'.:. Here h an eolample, pervfc it. N U S. o^wmm r rrnTru Duo. aB^P ^*g* ms -e-p-e- — e~ a -~-w •-e i5i^=i; c 5 f t ' B A S u s. cliiipgiiisii^ii. : [ ---- Da*. *" fc -&—«-*- — ?:_- p Hi'— s — p-pr^t-p — —i — P — 2- T P M i Jojj 1 1 ' n 1 [8 tp p ^ . [j PW. In this Inft alfo I pray you begin with yrir Mi, In th.s Moodc euerie/fwr/7r. ; ; ' '; - tv broke. Fucii- 4/;>/Vthree_ ;;.•■/. , ./////. | /c 24 The value of a Longhau- ir.CT a femi- briefe with a dott of'diuiii- o.i after it. THE FIRST PART. longe is fixe femibriefes^ except it be black, and then it is but foure, cr haue a femibriefe following it noted with a dott of diwfion thus : jft ~fc^^-4J and then it is fiue, and the other femi brief e maketh vp the full time of fixe. And though this hath beene receiued by the compofers, yet haue they but fmall reafon to al-. lowe of it : for of Iufquin they had it in the Tenor part of the Gloria of his Maffe Aue Maris ft ella: but Iufquin in that place vied it for an extremitie, becaule after the longe came two femibriefes and then a brief e : lb that if the firft femi- Iricfe had not beene taken in for one belonging to the longe y the fecond mud haue beene fung in the time of two femibriefes and noted with a dott of al- teration, as in thefe his notes you may fee. £) :33a— si: And tho' (as I fayd) he vfed it vpon an extremitie, yet finde I it io vied of many others without any neceffitie. And amongft the reft mailer Tauerner in his Kyries and Alleluyas, and therefore I haue fet it downe in this place becaufe youfhould not bee ignorant how to fing fuch an example, if you ihould finde any here- after in other fongs. It followeth to fpeake of the thirde Moode which is the Imperfctl of the more prolation : of which, let this be an example. c an t u s. Duo. ♦ h : — — ? =T ^ : B A S S U S. Duo. -.— sv-x— ♦ i — I — ,~P ; -P~ g— yg-fi- And THE FIRST PART. 25 And as we did in the others, to begin with your ftroke and time. Stl fing euerie one of theft briefes fixe minimis, and eueric one of the ftmikrit (except the lall ) three. Phi. And why not the lad" alfo? Ms. If .ou remember that which I told you in the obferuationa of the per- : Moode of this prolation, you would not afk me that qucltion: For, 1 ttlde v eming a minime following § ftmibriefe in ibe v. , /; as will to be underftccd of a minime reft as of a minime it felj Phi. ! trie you mcrcie : tor i.ndecde, if I had remembered the rule of the \i 1 had not doubted of the reft. But I pray you proceedc. M.i. You lee the minime in dlafol marked with a ilott: and if you confider tyminc of the long, you (hall finde that the minime going before that, bc- ginneth the itroke: lb that thofe two minimes mufl make up a full llroke. You mult then knowe, that if you finde a dott fo following a minime in tbii Moode, it A dmt of «!- '.he value thereof and makelb it two Minimes, and then is the dott called twttioa. a dott cf alteration: the black femibriefe is alwayei two minimes in tins Moode, and the black brief e twife fo much, which is toure minimes: and this is all to be bblerued in this Moode. /V.'. Ail that, I thinke, I vnderfland: therefore I pray you come to the de- claration of the fourth and latt. Mb. The lall. which is tearmed the Imperfect of the lefl'e prolation is, when all goe by two: as two longs to the large, two briefes to thcicng, two fmibnefes to the briefe, two minimes to the femibriefe, two crotchets to the minime, two qua- :o the crotchet, and urofemiquauen to ihc quauer, and fo foorth. rple. 26 THE FIRST PART. Example. C A N T U S. Duo. iglliljgl ■■+ ■s 23: -Tfc **£ B=t= £ep£= £ i£§:sni -*-■*•• an ■ a d w SZ^IZ ■©-rs-0- B A S S U S. r-e^P-e- ggggjgj^ I :p!= p=z Duo. -e- iS3 crf,r j Jrcft J ^ j r n 'U^^Jjj^ Thefigne of this Moode fet with a Jlroke parting it thus (V caufeth the fong, lefore which it is fet, to be jo Jung as a brief e or the value of a briefe in other notes, make but one full jlroke, and is proper to motetes, fpcially when the fong is wrote in great notes. CANTUS. THE FIRST PART. 2 7 2 2 2 2 4 B U S. Sis iE§=I^ ^ilSiiiiilils { v p riTrT J 'h'fv rF rTn i r w - l ° o 1 j.i . """""" —————— r- f— — )■ — - , ,. 0*~* ~ ^^ujj.i c i lr ° i '^rfjj l u.uj. i j"^iR.i ^ Although that rule bee not fo generallie kept; but that the compofers fcf the fame figne before longs of the jembfitf time: but this I tnay giue you fo: infallible rule, that if a long of many parts haue this Moodc of the imperfect of thelefle prol uion, let in one parte with a llrokc through it, and in another parte without the llroke; then is that parte whuh bach the lignevuth thcftrokc fodiminithed, as one bruft ftandcth for .1 I the other part which bath the THE FIRST P ART. zaceone. Berrhufius cum alijs. Imperfe&ion. the figne without the ftroke: whereof you fliall fee an euident example, after that we haue fpoken of the proportions. But if the figne bee crofled thus (X\ then is the fong fo noted, fo diminished in his notes, as foure femibriefes are fung but for one: which you fhall morecleerely perceiue heereafter, when wee come to fpeake of diminution. The other fort of fetting the Moode thus C\ belon'geth to Madrigals, Canzonets, andfuchlike. Thus much for the Moodes by themlelues: but before I proceede to the de- claration of the altering of them, I rauft giue you an obferuation to be kept in perfect Moodes. Phi. What is that ? Ma. It is commonly called imperfection. Phi. What is imp erf e Bio n ? Ma. It is the taking away of the third part of a per f eft notes value y and is done three manner of wayes-, By note, rejl, or colour. Imperfection by note, is when before or after any note there cometh a note of the next lefie value, as thus. §E3ES =t -e-2 ,fc4 a-^ „ a& : : SE ±±§^zljz^?^^^53p^:p:l~:Ej 9 18 By reft, when after any note there com- "~- S^5rriSZSI SSZ 5r53J~~ meth a refteof the next lefs value, as thus: -^-^ ~H ~ ^"""r: Alteration. Augmenta- tion. Imperfection by colour, is when notes perfect are wrote blacke, which taketh awaie the third part of their value, thus : 33 : jJgJElE j=e dfc^ -e-*- : \ — — 18 4 The example whereof you had i,n your Tenor part of the fong fet next afcer the former Moodes. But the examples of perfection and imperfection, are io com- mon, fpecially in the Moodes of perfect time and more prolation, that it would be fuperfluous to fee them downe. There is alfo another obferuation akin to this, to beobferued likewile in Moods perfect, and is termed alteration. Phi. What is alteration ? Ma. It is the doubling of the value of any note for the obferuation of the odde num- ber : and that is it which I told you of in the example of the Moode perfect of the More prolation; fo that the note which is to be altered is commonly marked with a dott of alteration. Phi. Now I pray you proceed to the alteration of the Moodes. Ma. Of the altering of the Moodes proceedeth aug-,nentation, or diminution : augmentation proceedeth of fetting the figne of the more prolation in one part of the fong onely, and. not in ethers; and is an increafing of the value of the notes aboue their THE FIRST PART. their common and rfii value, whi< h commeth ro them by flgnei frt be- fore them, or Monies let oucr them, or numbers fc4 by them. Augmentation by numbers, is when proportions < ; th I , rivall- ing that euerie note and reft following are | -en to be multiplied in th fclues, as the lower number contuir.e.h the higher thus, . . the. •;.v to be kjkmihiefo the ftswbtieft t britft &c. but ; in that th. better conceiued by deede than worde, heere i, an example of augmentation the Tenor part. C ESSIES* S N u s. 1^ ir i r d r ^lliliiii | - |!g :fg QlJM^L ' * f Jc • • " " E N O R. B u s. — r i — «_^_ .. ¥ '« = : life 1M11 Mi I con you thanke for this enfample: for indeed without it I had bar conceaued your words : but now proceede to diminution. \Ui. DitriimitiiH is a certain- .}' lie < value c! . notes and rejis, by certain fignes or rules : by fi cutting a whole circle or iemicircic thus, (J) (T (J) (T Rut \ a I toldc you before) a circle or a halfe circle is crofted thus, (T\ (Z it nurion of diminution ; to that wheras a note or" the 6«M once parted u^s the halfe of his owne value: here it is but the quarter. Of a number adde. a circle or femkirde thus, Q 2 Q 2 Q 2 £2. alio I :m- 11 I 3° THE FIRST PART. bers as thus, * dupla, 4 tripla, ± quadrupla, &c. By a femicircle inuerted thus, 2) 3 alK ^ l ^' s ls t ' ie mo ^ v- when two things of vnequall quanutie are compared togithers and is either of 9°r' ,t " - ~ l " the more or Idle inrcqualitie. Proportion' 'of the more inxqualate i., when a dwaye* fif- greater number is let ouer and compared to a Idler, and in M.ifuke doetb alvoaju nifie din ion. Proportion of the Ujfe intcqualitie is, where a Idler number l ' on - is let ouer, and compared to a greater, as -! -and in Muficke doth alwaiiS fignfti n. How manie kindes of Proportions do you commonly vie in Muficke? for I am perfwaded it is a matter impoflible to ling them all, elpecially thole which bee rearmed fupcrpet dents. Ma. You lay true; although there be no proportion fo barde but might b in Muficke : but tbi ■:, bath caufed them to be left o\< therfore there be but tiue in molt common vie with vs ; Dnpla, 7' drup.'.i, $ t fju;a!tera, and Srfptitertia. ■■ What is Dnpla proportion in Muficke? Ma. It is that w tiich taketh halfe the value of euerie note and reft from it, fo that two notes of one kiiule doc but anfwere to the value of one: and it is Dupla. 'en when the vpper number containeth the lower twile, thus \ J But by the the way you mult note that timeout of minde we have tearmed that dupla where we let two Minimes to the Scmibriefe : which if it were true, there 3? A confutation of Dupla in the minime. THE FIRST PART. there fhould bee few fonges but you fhould haue dupla, quadrupla, and ocTu- pla in ir, and then by confequent muft ceafe to bee dupla. But it" they thinke that not inconuenient, I pray them how will they anfwere that which from time to time hath beene fet downe for a generall rule amongfi: all muficians, that proportions of the greater inaqitalitie, do altuayes Jignifie diminution? and if tlHr minimes bediminifhed, I pray you how mail two of them make up the time of a full ftroke ? for in all proportions the vpper number Jigni fie th the femibriefe, and the lower number the ftroke : fo that as the vpper number is to the lower, lb is the femibriefe to the ftroke. Thus if a man would goe feeke to refute their Inueterat opinions, it were much labour fpent in vaine: but this one thing I will adde* that they haue not their opinion confirmed by the teftimony of any, either mu- fician or writer; whereas on the other fide, all who haue beene of any name ire Muficke, haue vfed the other dupla, and fet it downe in their workes: as you may fee in the example following, confirmed by the authorities of Peter Ar on, Franckinus, lordanus, and (nowe of late dayes) learned Glareanus, Lojius, Lif- tenius, Berhujius and a greate number more, all whome it were too tedious to nominate : true it is that 1 was taught the contrarie myfelfe, and haue feene many old written bookes to the fame ende. But yet haue I not ken anie pub* lifhed vnder anie mans name: but if their opinion had beene true, I maruaile that none amongeft fo manie good Muficians haue eyther gone about to prooue the goodneffe of their own waie, or refute the opinions of others, from time to time by generall confentand approbation, taking new ftrength: therefore lee no man cauill at my dooing in that I haue chaunged my opinion and fet downe the proportions otherwife then I was taught them. For I affure them that if any man will giue meftronger reafon to the contrarie, than thofe which I haue brought for my defence, I will not only chaunge this opinion, but acknowledge my felfedebt bound to him, as he that hath brought me out of an error to the waie of truth. Phi. I doubt not but your maifter who taught you would think it as lawefull for you to goe from his opinion, as it was for Arifiotle to dilallow the opinion of Plato with this reafon, that Socrates was his friend, Plato was his friend, bur veritie was his greater friend. Ma. Yet will I (to content others) fet downe the proportions at the ende of this treatife as they are commonly wrote now, to let you fee that in the matter there is no difference betwixt vs, except onely in forme of writing, which they do in great notes and wee in fmall : and to the ende, that if any man like his owne way better than this, hee may vfe his owne difcretion : But wee goe too farre, and therefore perufe your example. CANTUS. 1 THE FIRST PAR I C A N T U S. 31 y , ..ipj.ijpjo,jo , n | 5=5 ^g^^g^ ^g^ 3#S5g|pEEEE= TENOR. zzrszczzz: — ^— v/ Q^±:±gg^:gd' l ^:Q^gg--± r-Q-Q ^ -o O-^ZgZ^z ^zczjzZsZgz: -e^s - « r ^ :c:n: ^e :c: F ;p-e^-yrs C" -' "|3-° Hi "8 flf n D P °.tt D-n n ' .,■ S, °° ot lpQ°ME^ B U S. &_ e _az5zrzc_zs:— ■3t=: 3 — eL_zr_Z-^_._z:xi_zi3Z^z^Iz^z^ Pi>/. Proceede now to Quadrupla. Ma. Quadrupla is a proportion diminifhing tlie value of the notes, to the quarter of that which they were beforr j and it is percciued in Tinging, when a number is fet before the fong, comprehendinganotherfoure i PbL I pray you giuc mc an enlample of that. Ma. Heere is one. C A N I THE FIRST PART. C A N T U S. — "^rz?~ri?p m s m ' _; ."go a"" p-p a e *P ra a 'a — i"""H \ I".'-- TENOR. *pg a - 00, f J ' i J/frifpP|irr Ty^J- ffpf tia P.y r 5= t- , [•S =aj ^-©"3 -e-H-©- IIEli i^ii B A S S U S. H^A-e^fegje^Q; -g-p-^-i^— r tpzzzpz^r- eze: ^i-a^Fdf : E : ~^:*^ : *."i — ZZZZ—~_OZ~ZZf?Zr~\z " 'r~P"~p"p | ~| jj^ Quintupla THE FIRST PART. 2 7 Quintupla and Sextupla, I haue not feene v(t-d by any (I ranger in theii (io fane -is 1 remember) but heerc we vie them, but Dot v(t thcii otl proportions: for we call that fextupla, where wee make lixc black to the fembritfty and quintupla when we haue but liuc, 8tc, But that is more by cuftome than reafon. Phi. 1 pray you giue me an example of that. Ma. You ihall heereafter: but wee will ceafe to fpeake any more o tions of multiplicityi becaule a man may conGder them infinitely. Phi. Come then to Sifquialtcra y what is it? Mi. It is when three notes are lung to two of the fame kinde, anil is knowen -•■ . number containing another once, and his halte | | J the example ot' | you (hall haue amongll the others. Srjjuitertia is when tbure notes are fung to three ot the lame kind, anil is knowen by a number let before him, containing another once, and his third part thus, ' ' ( ';. And thele (lull fuffice at this time: For, knowing thele, the reft: are ealily learned. But if a man would ingulte himlelte to learne to ling, and let down all them which Franchinui Caufurius hath let downe in his booke De prcportiombus muficis, he fhouhl finde it a matter not onely hard, but almolt impolTible. But it you thinke i would be curious in proportions, and exercile your felfe in them at your lea- fure; Heere is a Table where you may learne them at full. A Tabic THE FIRST PART. A Table containing all the vfual Proportions. , I 2 1 3 6 4 1 " 8 ! 5 1 1 10 1 6 I 7 14 8 1 9 10 2 1 4 12 16 1 l8 20 3 1 6 9 1 I 2 '5 1 18 | 21 24 27 30 4 ' 1 8 I 12 1 l6 20 j 24 I 28 32 36 40 <; IO 1 15 | 20 25 | 30 | 35 40 45 50 6 I 2 1 18 I 24 30 1 36 | 42 48 54 60 7 14 2 I | 28 | n 1 42 I 49 56 6^ 70 8 1 16 ! 24 1 27 1 3 2 1 ! ?6 I 40 1 48 1 54 5<> 1 64 | 72 ! 80 9 1 18 45 1 63 I 72 1 81 | 9° IO 20 30 1 40 50 60 | 7° 80 | 90 | ICO THE FIRST PART. 39 As for the vie of dug Table, when you would know what proportion any one number hath to it the two number in the Tabic, then looke rpwarde to the triangle inclofing thole numbers, and in t : concurle, due is where your two lynea rrw ither, I iporcion of your two numbers written: as 1 >r exam] le, let your two numbers be i 24, looke vpwarJ, and in the cop of the trya indole thofe numbers, you fino)< written/ ia: fo likewife 24 and 42 ) finde in the Angle of concurfe written (upeUri 1 ., and foofothei Phi, 1 here is a. Tabl ng more than euer I meane to bcate my brayns about. As for raufick, the principall thi in it, 1 light, the care, which canm I (c bard proportions, as therefore [hereitof your 1 . .i!\ to the ex- ample of thole Proportions which . re. .. I will: but before I giue it yoi . i ...1 (hewe you two 1 I the one out of the workes of" Ittlti , the other out Of becaufe they bee fhort, ami will help you for the vnderitanding of the other, 1 thought good to let fcx fore it. Pbi. I pray you (hew me th< truefingingof caufe euerie part hath afeueral moodc and prolat. . The Trcbb'c container . of the More prolation in I dup'.a proportion: lo that eoeri lacking. an odde : Following it, is three: But if it hauc a following ir, the Janttrieft it felfe is two briefes % and the wuninu one. The Altus and Quintus bee prolation: fo that betwixt them there is no difference, laumg that in the Quinlus the time is perfect, and by that meane cuene briefe three femibrhfes. Your Tenor isthe common Moodc of the imperfect of the Iqffe prolation, d d indupla 1 portion, fo that in it there is no diiticuhie. Laftly y< e cantajnei or diminution in qu* 1 proportion, of that (as 1 Ihewcd you before) tuerie long is but iftM&rufe, and euerie femibritfi is but a crt And to the ende that you may the more eafily Mi'.rrftand the continuing of the parts, and their proportion one to another, I hauc let it downe in partition. I lumg. I ■ ■ — TZf^'Z. Ipmm f-p 1 ■ But if ■ . [ [uficians of .' MMBpta, be would haue let it Oowne ciui-., M folldWM 52 THE FIRST PART. C A N T U S. A 3 voc. Chriftes crofle be my fpeed in all vertue to proceede, A. b. c. d. e. f. g. h. ©"*?! O, O -o , _. _, ._zr::_z zzqzcZ,«zdzzz: zszpzzzzzzi i. k. 1. m. n. o. p. q. r. s. & t. double w. v. x. with y. TTo J j j 1 1 - j j JTH J ~ ■- J p p "■ p-ff 5~g~^* ezod. & per fe. con per fe. tittle tittle eft Amen, When you haue done begin E^jJE^JElEJ ik gEg— -©r -w- again, begin again. Chrifles erofle be my fpeede, in all vertue Vertefoh TENOR. Elgz^^:= ^ : ^^^ ^=p^g^zl^ zrqzz Ifgi^iiliJiSii -0 -e — ©-" "IQJUa l^^Sife^gi^^^^^^i^ THE FIRST PART. -e-o ..rJ.^^HiJff rr.f "f^ 1 ^ B A S S U S. »H ,a 6 TP> B "TJJliii = riZTZ^zz; __e;r3-:-=^rrzzz:z^5E3iz±:3Eiz^r=z^dz:; a ~e-°P^ -°-B -o g-o^^-g-eF- — !:j -^-p- J - — e-n-= — : — I — zzzhzsz-z H*|'-..,l,l""*n J>h|»|' P^ :a: -Q O.^.P.a- _ P- »-jff r .rrf <■ n .,-'THT l ^TH TT g^iEtEEE^rr: m^^jrrf'cre /7r/f ' 54 THE FIRST PART. E^EEE""^ C A N T U S. ~ra: iDz^irdziE^—E^E 2rn=e==n -e IS^v: to proceede, A. b. c. d. e. f. g. h. i. k. I. m. n. o. p. q. r . s. & t. double w. v. x. with y. ezod. & per fe. con per fe. tittle tittle ==t=T=== ^iE^i=^=I^E?i^E, H=ZS= -- — e--s- a: eft Amen, When you have dor © 1 lebeg in againe, begin againe. Chriftes crofte be my ffi d c s — S— tA— cr-e— r; e-=— 5— - In ™ LJ fpeede, in all vertue to proceede, A. b. c. d. e. f. g. NOR. © h-Pr-F»-r r-nsr 1- gg T ftiJjPfJ age 2:d:H r#... g||g^^SiS|gil^i THE FIRST PART. 55 iiilgliiiriSSi^Sg^ |JJrP J f"-rfNfJ^JjjjJJJrrfrJrfiTrf^ p B A S S U S. g:igg§|B^i^aga^gli tz~- ^ « ^ ^ i r ! i| ^ > p»i....Lyj..'f^a ii i|i| T U. D U u n ■ 6'Fg * » 5* THE.F I R ST PAR T, -- s :o_q_ ■fl g" w ' ^ ^ I J ""J.p» ^" jiiiJifl S^gg :2:s:Q:dzrz_zsz2r2rr h. i. k. 1. m. n. o. p. q. r. s. & t. doable w. v. x. with y. ezod. & per fe, con per =i=Sii^i^S^=SE^^—^ fe, tittle tittle, eft Amen. When yoahaue done, "? ■ — : — — — ■ ■ — -- — aegin againe, begin againe. Tm — e- 1 - s o •* — © — c © _ .., i§ ~ — a — © 1 c S_ W u Chriftes croiTe be my (peede, in all ver — tue to proceede, T E N O R. ;2fi -33TE& mimm^mm ^ £ gggj^jgeii -u^ Cf.ci Kcft Jr ^TJWjtflr^is ^ ^ /r#* /rip/^ whole. ; — p ~s p] q — g*~~g~©~F ppg~~ ]~ ~} { ; i 1 ^^* j'ZTpTP'p [ pPrrTpirrpPpP /r«i? /W/)/-. m true dupla in the more prolation. ggsiipiiiisig|iiiiggi 8 ?T T ?ff= ■ -' — — ^— — •»— *-■ — 59 B A S S U S. J.#JIJJi l ^ =iS53£I=3 * fc;° ftMff" f w 4 d f <* iliUtre S^B O" ">" — ^ /rw* quint up la. a- _._e— — e— o-; 3 _ _ 1 3i?:!±r:o- w _. 3 -— s -—-e — - g — er^-^- true jeplupla. iliig!-:iiii?Siilii:iiSii IlSISiiliiili^ii^lS §iiHlSiSiiSii^ And 6 THEFIRSTPART. And to the ende that you may fee how euerie thing hangeth vpon another, and how the proportions follow others. I will fhew you particularly euerie one. The firft change which commeth after the proportion of equalicie, is commonly called fextupla, or lixe to one, fignified by the more prolation, retorted thus : ^2~j^ But, if we confider rightly, that which we call fextupla., is Due true tripla, wrote in blacke notes. But, becaufe I made it to exprefife fextupla, I haue fet it down in femibriefs, allowing fixe for a ftroke, and taking away the re- torted moode. The next proportion is true Dupla : fignified by the time vnperfeet of the lefTe prolation, retorted thus: jBH ^P--— E — ^ which manner of mark- ing Dupla cannot be difallowed : but if the proportion next before had beene fignified by anie mood, then might not this Dupla haue beene fignified by the ivtort, but by proportionate numbers. Thirdly, commeth the lefie pro- lation in the meane part, and that ordinarie Tripla of the three black minims to a ftroke in the bafe : and becaufe thofe three black minims, belling in the time of two white minims, they were marked thus, (^ 32. fignifying three mi- nims to two minims. But if the figne of the prolation had beene lefc out, and all beene wrote in white notes, then had it beene true thus : 5ohs3£zzElE And in this manner mod commonly do the Italians fignifie their three minimes to a ftroke or tripla of three minimes, which is indeede true Sefquialtera. But, becaufe we would here exprefie true tripla, I haue fet it dovvne thus-: p 3: -^--- : -P-™ Therefore to deftroy the proportion follow thefe pro- portionate numbers at the figne of degree thus (~ * which maketh the com- mon time vnperfeet of the lefie prolation. Then followeth true tripla, which they call tripla to the Semibriefe. But, becaufe it is afterwards broken, I thought it better to write it white then blacke; but the matter is come fo farre now adayes, that fome will haue all Se- mibriefs in proportion wrote black: elfe (faie they) the proportion will not be knowne. Bur that is falfe, as being grounded neither vpon reafon nor autho- rise. The tripla broken in the more prolation, maketh nine minimes for one ftroke, which is our common Nonupla:, but in one place of the broken tripla, where a femibriefe and a minime come fucceffiuely that they marked with thefe numbers 92, which is the figne of Quadrupla fefquialtera, if the numbers were perpendicularly placed : but if that were true, why fhould not the reft alio, which were before be fo noted, feeing nine of them were fung to two minimes of the Treble ? Then followeth true Dupla : but for the reafon before faid, I fignified it with numbers and not by the retort: but in the BafTe, becaufe the figne of the lefie prolation went immediately before, I could not with reafon alter it, and there- fore I fufFered the retort to ftand (till, becaufe I thought it as good as the pro- portionate numbers in that place. Then againe followeth true Tripla in the more prolation, afterwarde the contrarie numbers ~ of Sub Tripla deltroying the proportion of the more prolation remaineth, to which the Bafle fingeth. Quintuplaj THE FIRST PART, ' \ Qmntvpla being wrote thus: F^R-^^^- p-p --- ^ 1C ' 1 w - r ' our manner of writing without anie rcafon or almoft common lenle, to make fiue crot< hetl be Quinlu- :o a Semibncfc, feeing fburc of then arc but the proper value of one Semi- briefe. But ir they would nuke fine crotchets to one Icmibncfe, then mult they let d )'.vne Sefqiiiquarla proportion thus ', whereTrl Sue femibriefs or their value make vp the tune of foure femibriefs or Itrokcs. But I am almolt o my purpole: and to returne to Our matter, I hauc altered thole cro'chct > into femibriefs exprcfiing true y^uintupla. Then commeth &uintnpla broken, which is onrconinnn Dtcuplci. But it the other were tyintupln, then is this likewile Qtnittip/ii, becaufe there goeth but the value or fiue femibriefs for a ilroke, and J thinke none of vs but would thinke a man out of his wits, who would con- fefle that two tellers make a milling, and denie that fixe pecces of two pence a peece, or twelue (ingle pence doe likewife make a (hilling. Yet we will tnpartuns ■ tas y or \. Therefore 1 \c< them all downe in femibriefs allowing Irauen or them to a (troke: which ended commeth equalitie, after which rollowcth true Dup'.i in the more prolation, which we fometime call Scxtupla, and fomctime Tnp.'a. After which and lair, of all commeth equality. And let this fuffice for your inltiudton in finging, for I am [x-rfwaded tiiat except praclitc you lacke nothing, to make you a jxrrftct and fure finger. Pli. I pi. iv you then giuc mcfome longs wherein to cxcrchc my lelfe at con- venient leilure. Ma. Here be fome following of two parts, which I haue made of purpofc, that when vou haue any friend to fing with you, you nuv practile together, which will looner make you perfect then if you fhould lludie neuer U> muih by your felfe. Phi. Sir I thanke you, and meane (b diligently to prac?tife till our next meeting, that then 1 thinke 1 fhall be able to render you a full account <>r .-.II which you haue told me: till which time I wifh you luch contentment of mind and eal'c of body as you defireto yourfelfe, or mothers vie to wifh to their chil- dren. Mi. I thanke you: and aiTure yourfelfe it will not be the fmallefi part of my contentment, to fee my ichollers go towardly forward in their lludie*, which I doubt not but you will doe, if you take but realonable paines in pracTife. Ct CANTUS. *2 THE FIRST PART. C A N T U S. TheFirfl/ :^rg_^:o-:e::::E-j: __>:: :!B:"~EEE Pft^ Z)#0. iS^^giffSiilliii&pf 6^ ^gg^aigi^^f^ * L ' » |^^Si:^ii^iiB|p pitiiiijigi fe sasrf »2? p^^^^ sigsj^ijiigiiii iiSiiSll THE FIRST PART. T i; N O R. BSE Duo. gjFg^J^jrgzEBf Biisiiiiiiiffliiias ■pv tffxrrrr H IgiilllpgliiS^iSli^ ;:i& i^iSSISisiiiililiai::_ % l rt i %tl)JJl J,, i^i F¥Sv^J^«1 ffi^^SJ : 3:3»^ : *v - u ^ " — !-»--N — s S^piiiiSliSSilil ipIiSilgfglSill 6 4 THE FIRST PART. C A N T U S. The Second. ^ B^^ifM^^f^j ^^^i Duo. ±z^ ZZgl&GZ-JZ p , .~.~._ s . ^isliii^^ p^^p^gEi^ =S*p$=±z -D^X 1 . \ U ^S :$-i-SE:3:zr= :o§. miiiiiiligi w: Si £ Tf^-^f^ zzt~*z-\—-:z^p\~ :jz^±f:f gni bo j^tygi-iz^zziizrt: ^-w- ^g ^fflra^ gg rrysfrffy^ffe rf-, rnr SIISIIi§ilS^iiiiii0i T — 1~N E^iEi^ g^giiggi^ilgggl| .igip .§_i=bm ffS «--»«— »-■ * r fjJJfJjciJJfrfTfTHf " lligiiiilii THE FIRST PART. «5 TENOR. h.tr a jj^rrrf prr ff^fHrf nTC3^ p «— D:r:. IjfE iliiii^^iggi mm # - gggig! SSP "■"»lj iiSiigSIIIliigiiEiiliii i^smsisii|iiiiiisi IggSlliii^ - 1 R 7 TENOR. i^i^igSigpiiiSiiiir ■ r. Duo. pS§iSiii?iiipiiIIi^ -^ — q 1 1 1 ~ d ■ *- JjJJJ.U.MjJ.ljJJJJJjJ.JJtfJ'JfjiJj jJ g^ffr ta -' U- Ofg iP^ seg^iiggiigiiiPils^ UfpjfJJJj., .lie, itt i yjjj-...j.jfjjjf^ffrrfi *% ^rcft i '^ T rfwrr^ ■yTr 1 — wr mm — +P-F-* Lxcajt I THE FIRST PART. C AN T U S. The Four i „ ' ^^^mW^Wi irrte saag. mz ^^|HiiiHipHi|ps ~a*g5^ S^^iSBg 1 ^S^iililgiSiSii^Sfe pgg^iiiiggipiiigiii pigStiiSiiigiilepft: THE FIRST TART. 69 TENOR. afff'tfV, 1 ...,-:>.i ll> i"r l • |ir Tff m l HiSiiliEipi3^siiii £> s wmw * & ~J- Hr- :-§;a^:gj3^:r-:i_^ §c: ^HSiiiiillilSipiii il^lilgiajgiiiigliiiiiiii mm 3^S~[ t= 7° THE FIRST PART. C A N T U S. The Fife. rg;?-^-*^"** -e- =^^^s^^±DftS I Hi "I I I'l-'flU jTfTl^ i igiiggi|lgiSigiiiii il'-i.i^iip*^ : Si «£ n^e_a =3==^=i==fc== *frx i'^'J J j pi)» J r'r <' J rr [*r°fs^fc^ 3 ^^OJirT^rrHr'"''^ e Tt|..jjjjrc f , rfr , CE ;,j,jjjrrccTTPr > r" s: :• * —l r-»-e '"cm ..ii n THE FIRST PART. C A N T US. The Sixth. §gg m mg&m '■FW- f'V f- fe ^ : i-Fy : ~l : i : ?'i : - .Z3 »*• HSiiSiilii^S^Sp r tu%p J fl^-* | 7f^rJ :3 ps $3* :%gig^ i ^i^ig^-i^i -"50 s 5F ^^ffis^S^^ii^^^^ iSigiSi^«i •w= iiigFi^l^pi^piaa THE FIRST PART. TENOR. IgigiigiiililS^ 1 ; ! g 73 "ixifci |il»gipiiiii£4gilfgi|i|||p iisSiiiiiiiisssiiiiii rrrr" !' " r r ' I " ' TTTj j i | 74 When you fee this f;gne :||: of repe- tition, -you rmril begin again mak- ing the note next before the figne (be it minime, crochet, or wh&t- foever) a femi- briefin the firft finging. At the fecond time you mult fing it as it ilandeth, going forward without any re(pec~ito the dofe. When you come to the end, & find the figne of repetition be- fore the final clofe, you mult fing the note be- fore the figne as it ftandeth, and then begin again at the place where the ftroke parteth all the lines, & fo fing to the finall clofe. But if you find any fong of this kind without the ftroke fo part- ing all the lines, you muft begin at the firft figne of repetition, & fo fing to the end : for in this man- ner (for faving of labour in writing them at length) ^oe they write all their ayres & vil- lanellaes. THE FIRST PART. N U S. A> la. A 3 voices. ■- — -- - - - -P -P — — — £-^— S^ — '"^g " ' ^j-l ^ffi feSppga ^siSsls •fc f&'/tf- ^SESSBSE^^fflE — - ■ — - — •—— : ~ — E N t> fc. ^IHiiiligSiiS SHiiii^^ 3 IPS T I! B SECOND PART OF T II B INTRODUCTION TO MUSICKE, TREATING OF DESCANT. Majitr. Wl lOM doe! fee a farre off 5 ih it not my fchollcr Philomatbcs ? out r,\ doubt it is hcc, and therefore I will falute hrrn. Good morrow fchoi- Phi. God giue you good morrow, and a hundreth: but I maruaile not a lit- tle to fee you \o early, not onely iVirring, but out of doores alio. Ma. It is no maruaile to lee a Snayle after a Rayne to creepc out of his (he?!, and wander all about, feeking the moyfture. P' :. I pray you talk not lo darkly, but let me vnderftand your companion plainely. Ah. Then in plaine tearmes, being ouer-wearied with fhidy, &c taking the opportunity of the fair morning-, I am come to this place to fnatch a mouthful of" this wholclome ayre : which gently breathing vpon thefe fweet fmelling flower*, and making a whifpering noyle amongft thefe tender lcauc>, delightcth with rcfrelhing, and refrefheih, with delight, my ouer-wearicd fenfes. But tell me I pray you the caule or your hither comming : haue you not forgotten ibme part of that which I Chewed you at our laft being together ? Phi. No verily : but by the contrary, I am become fuch a finger as you would wonder to heare me. M.i. How came that to paffe ? Phi. Bee filent, and I will fhewe you. I haue a Brother a great fcholler, and a rcalbnable Mufician for fmging: hec, at my firft comming to you con- ceiued an opinion (I knowe not vpon what reafon grounded) that 1 mould neuer come to any meanc knowledge in muficke : and therefore, when hee heard me practice alone, hee would continually mocke mee ; indecde not without reafon : for, many times { would fing halfc a note too high, other while a? much too low •, fo that hce could not containe himlelfe from laughing: yet now and then hcc would let me right, more to let me fee that he could doit, then that he meant any way to inltruft. mee: which caufed rrrc fo diligently to apply my wrote fong bookc -, that in a manner, I did no other thing but fing; pracufing to 7* Exposition of the name of Defcant. What a Con- cord is. What a per- fect Confo- nant is. How many concords there be. THE SECOND PART. to fkip from one key to another, from flat to fharpe, from fharpe to fiat, from any one place in the fcale to another, fo that there was no fong fo hard, but I would venture upon it; no Moodenor Proportion fo ftrange, but I would poe through, and fing perfectly before I left it: and in the end I came to fuch per- fection, that I might haue beene my brothers maifter: for although he had a little more practice to fing at firft fight then.l had: yet for the Moods, Liga- tures, and other fuch things I might fet him to fchoole. Ma. What then was the caufeof your camming hither at this time ? Phi. Defire to learne, as before. Ma. What would you now learne ? Phi. Beeingthis 1 aft day vpon occafion of fomebufinefle at one of my friends houfes, wee had fome fongs fung: Afterwards falling to difcourfe of Muficke and Muficians, one of the company naming a friend of his owne, tearmed him the beft Defcanter that was to be found. Now fir, I am at this time come to know what Defcant is, and to learne the fame. Ma. I thought you had onely fought to knowe wrote fong, whereby to recre- ate yourfelfe being wearie of other ftudies. Phi. Indeede when I came to you firft, I was of that minde: but the common Prouerb is in me verified, that Much would haue more: And feeing I haue fo far i'cz foot in Muficke, I doe not meane to go backe till I haue gone quite through all: therefore I pray you now (feeing the time and place fitteth fo well) to dif- courfe to me what Defcant is, what parts, and how many it hath, and the reft. Ma. The heate increafeth: and that which you demand, requireth longer difcourfe then you looke for. Let vs therefore go and fit in yonder fhadie Ar- bor, to auoid the vehementnelTe of the Sunne. The name of Defcant is vfurped of the Muficians in diuers fignifications: fometime they take it for the whole harmonic- of many voyces: others fometime for one of thevoyces or parts: and that is, when the whole fong is not pafiing three voyces. Lad of all they take it for finging a part extempore vpon a plaine fong, in which fenfe wee com- monly vfe it: fo that when a man talketh of a Defcanter, it muft be vnderftood of one that can, extempore, fing a part vpon a plaine fong. Phi. What is the meane to ling vpon a plaine fong. Ma. To knowe the diftances, both Concords and Difcords. Phi. What is a Concord? Ma. It is a mixt found compacl of diuers voyces, entring with delight in the care: and is either perfect or vnperfect. Phi. What is a f erf eel confonant ? Ma. It if that which may fiand by itfelfe, and of it felfe maketh a perfeel har- mony, without the mixture of any other. Phi. Which diftances make a Concord or confonant Harmony. Ma. A 'Third, a Fift, a Sixt, and an Eight. Phi. Which be perfect, and which vnperfed ? Ma. Perfect, an Vnifon, a Fift, and their eights. Phi. What do you meane by their eights ? Ma. Thofe notes. which are difl ant from them, eight notes: as from an vnifon, an eighty from a fift, a twelfth. , Phi. I pray you make me vnderftand that, for in common fenfe it appeareth againft THE SECOND PART. 77 again ft lealbn: for, put Eight to One, and all will bee Nine: put Eight to Flue, and ill -a ill bee Thirwene. Ma. 1 fee you doe not coaceiue my meaning in reckoning your diftaOCCfl, for you vnderftbode mec excjufiuely, and I meant inclufiuel] | le, From Gam ut to b mi, is a third : for botb the extremes are taken, fo j I ut to G/ol re ut, is an tight, and j> wttt to D la Jol re is a i althoug feeme in common fenfe but an cleuenth. Got forward with your difcourfe, for I vndcrftand you now. Ma, Then I fay, ■ vniwn, a fife, an tight, a twelfth, a fifteenth, a nine- teenth, and To forth in infinitum, be perfect thordes. Phi. What is an vnferfeEl amor a? Mi. It is that wbitbmakttb not a full found, and needetb the foil " Uftand in the harmonic. Pi:. Whk n oSAancea ^\o make rnpetfcd conlbnants ? .-. A third, a lixr, ami then* eights : a tenth, a thirteenth, & , How«i*nf 1 ..•!. What is a dij'cmrd?. rape ' f .r. /: is a tnixl fund ccmpafl of diners founds, naturally offending tic tart, an., i ibera therefore commonly excluded from MuGcke. .-. Whi h diftancea make difcord or diflonant founds ? u Ala. All fuch as dq not make concord* : as a IcconG, a fourth, a leurnth, and their eight? : a ninth, a Icuenth, a fourteenth, &c. And to the t'-.d that what I hauc (hewed concerning ccmords jniteft and vnpntcCt, and('..i- corda alio, may the more ftrongly fticke to your memoiy, here is a table of them all, which will not a utile helpc you. Concords, perfect, vr.pcrfcel perfect, vnpcrfeift Difcords. 15 if C 8 l 7 T~7 io H- ^H> ■0~* -\W- tf •j.o 12 *-"* -*-*■ 13 zm vnHon. a third, a fift. a fixt. V -s-o- 44 — i V -C_C 111 ■*- -<^-± 14 11 "7" a fecond. u i.'anh. a iwj u Or 7 8 THE SECOND. PART. Or thus more briefly. arifeth And from arifeth Phi. I pray you fliew me the vfe of thofe cords. Ma. The firit way wherein wee fhew the vfe of the cordes, is called Coun- terpoint: that is, when to a note of the plaine fong, there goeth but one note of defcant. Therefore when you would fmg vpon a plaine fong, looke where the firft note of it Hands, and then fing another for it which may be difl ant from it, three* flue, or eight notes* and fo forth with others, but with a fixth we fildome begin or end. Phi. Be there no other rules to be oblerued in finging on a plaine fong than this? Ma. Yes. Phi. Which be they ? Ma. If you be in the vnifon, fift, or eight, from your bafe or plaine fong, if the bafe rife or f all* you mufl not rife and full juji as many notes as y cur bafe did. Phi. I pray you explaine that by an example. Ma. Here is one, wherein the vnifons, fifths, and eights be feuerally fet downe. Conference of perfeft Con- cordes of one kind condem- ned. JSJ^l^gE^gEEg|grgz§^ Vnifons iM-&- — =iro=e: ° a.°,,;- Fiftes. e *o . ,.?;^i =^gz g=§zgg=g^: Eights. -*e To..o.^Q^a X 1 Phi. This is eafie to be difcemed as it is fet downe now : but it will not be fo eafie to be perceiued when they be mingled with other notes. Therefore I pray you {hewe mee howe they may be perceiued amongft other cordes. Ma. There is noway to difcerne them, but by diJigent marking wherein euery note ftandeth, which you cannot do but by continual praclife; and fo by marking where THE SECOND PART. where the notes ftanJ, and how farre euery one is from the next before, JTOU fh.ill eafily know, both what cordes they be, and alio what cordc commctli next. Phi. I pray you explaine this likewife by an example. Ma. Here is one, wherein there be equal] number of true and fjie notes, therefore (if you can) (hew mc now what concord euery note is, and which be tl>e true notes, and wlvich ialle. 70 m i . .i i » Phi. The firft note of the bafc, ftandeth in C Jcl fa x7, and the firft of the treble in Gfolre vt : fo that they two make a 7*7/7, and therefore the firft note is true. The fecond note of the bale flandeth in // la mi re, and the fecond of the treble in E Li mi, which two make alio a fifth, and were true if the bale did not fall two notes, and the treble likewife two notes from the place where they were before. The third note is true, and the laft falle. Ma. You haue concerned very well, and this is the meaning of the rule which faieth, that you mufi not rife nor fall with two perfecl cordes together. PH. What ? may 1 not fall from the fife to the eight thus? 1 mmii hi; Confcqtirnce of perfect con- cordsofii kinds allowed 'fa. Yes, but you mufl take the meaning thereof to be of perfect concordes ©f one kind. PH. Now I pray you let mee a plaine fong, and I will trie how I can fing vpon it. Ma. Set downe any you lift your felfe. Phi. Then here is one: how like you this? IP! ICZSZ :nzDzizOzDzi=©zazirszE i <- u : zo-,«Q.lzflzzrEzzSz§rgzizczit . ■ Mi. h 8o THE SECOND PART! Falling from the tight to the vnifon condemned. Falling from a fixt to a vni- fon condemn- ed in two parts Ma. This is well being your firft proofe. But it is not good to fall jo from tie eight to the vnifon, as you haue done in your firft two notes: for admit, I mould for my pleafure defcend in the plain fong from Gfolrevt to Cfavt, then would your defcant be two eights: and whereas in your feuenth and eighth notes you fell from a fixt to an vnifon, it is indeede true, but not allowed in two parts either attending or defcending, but worfe afcending than defcending: for defcend ing it commeth to an eight, which is much better, and hath farre more fullneHe of found than the vnifon hath. Indeede, in many parts vpon an extremitie, or for the point (or fuge) fake thus : Falling from a fixt to a third both parts de- fcending dif- allowed. i±=ozzz±z:Q=©:=iEs-ii Or in Canon it were tolerable, but moft chiefly in Canon : the reafon whereof you (hall know hereafter, when you haue learned what a Canon is. In the means- time let vs goe forwarde with the reft of your leffon. In your laft two notes, the camming from a fixt to a third is altogither not to be fuffcred in this place :• but if it were in the middle of a fong, and then your B fa b mi being fiat, it were not onely fufferable but commendable: but to come from F fa vt (which of his nature is alwayes fiat) to B fa b mi fharpe, it is againft nature. .But if you would in this place make a flat clofe to your laft note, and fo thinke to atroyde the fault; that could no more bee fufrered than the other, for no clofe: may be flat: but if you had made your way thus, it had beene much, better: 3H2= 21: zzzs±©zir^nzi-::= 4— — 3-_~_e-+-e-? -oz^z±zozzziEzzkzEziz±z®znz Difcords well taken allowed in muficke. What a Ca- dence is. For the fewer parts your fong is of the more exquifile floould your defcant be, and of mofi choife cordes, efpecially fixths and tenths : perfect cordes are not fo much to bee vied in two parts, except palling (that is when one part defcendeth and another alcendeth) or at a clofe or beginning. Phi. Indeed me thinkes this filleth mine eares beter than mine ownedid: but I pray you how do you make you r laft. ooxefauingtveo to ftand in thenar monie, feeing it is a difcord ? Ma. Difcords mingled with -concords nc-t onely aretokraM&^-Itut-^mke-i be defcant: m9 Ve£leqftng if tiny be well taken. Moreouer, there is no comming to a clofe, fpecfaHy wtth-a -C-adenc e, without a dricord, and th"t moft commonly a feuenth bound in with a fixt when your plaine fong defcendeth as it doth in that exam- ple I (hewed you before. Phi. What do you tearme a Cadence ? Ma. T II F, SECOND P A R T. Ma. A Cadence wee call char, when comming to a clof'% two notes lire bound together, and the following note defcendeth thus: Tni7 G ~ ~tfS~^ or in any other keye after the lame manr l pray you then fhew me l'ome wave'; of taking a Difronl well 5 and alio l'ome, where they are not well taken: that comparing the '•■ith the badde, I may the more eafily conmue the natuic of both. 1 leete be all the ways which this ptainc long will allow, wherein a dif- cord may bo taken with a Cadence in Counterpoint. 81 What 1 C«. dcocc U, F.xjrr. - ^ B^= ^ 7T^ U 'i O " H-g-H n Q „ II a Cadence. — rnl w -g— 3 — g- And whereas in the rirfr. of their examples you itght to hind ttfen th' /'■■'. I - - you might bane dmt vpen tte cigbt; or in ttreff^ if yr.tr pbrntfemg bad rifen tbns : 1 z?=§~*2z9z: E zzzz^zzzzzzzjj: r -1 1 r • I **IH ~"T "1 — * -Tf . The fecond of thefe examples clofcth in the fift: and I pray you do you efteem that good? Ma. It is tolerable, though not lb good in the eare, as that before which clofcth in the eight, or that which next followeth it. But if the tail noicot the plaine long afcended to D la fol re thus : -£^- —ZZZHZSZIOZHZJC rr Hr azgizgzzrzzi Si it had beene good, and the belt way of clofing. Phi, Now i pray you giue me lome examples where the difcord is no: taken. Ala. Hcere is one: perufe it. wmmmm^^ 3 A :§z2zazl:tz:z i z3z§zi:z. . H 82 T HE S E C O N D PAR T. Phi. I pray you fliew me a reafon why the Difcord is euil taken here? Ma. Becaufe after the Difcord we do not fet a perfetl concord : for the perfect Concordes doe not fo well beare out the di'icords as the vnperfeft doe, and the reafon is this; When a difcord is taken, it is tocaufe the note following to be the more pleafing to the eare. Now the perfect Concordes of themfelues being. Sufficiently pleafing, need no helpe to make them more agreeable, becaufe they can be no more than of themfelues they were before. Phi. Let vs now come againe to our example, from which wee haue much digreffed. Ma. We will: and therefore as I haue told you of the good and bad taking of a difcord vpon thefe notes, it followeth to fpeake of a formal clofing without a Difcord or Cadence; and heere be fome wayes formally to end in that manner. Examples of formal clofing without a Ca- dence The fchollers fecond lefl'on of Counter- poin. Faults in this JelTon. What hitting the eight on the face is. EoEiE?E!EJ ^ re i ' ~3 f I n f 3~^~"0- zszgEgE|E zEEqz§zq:*5zo:zzzz©zEz§z§zqz: Ma. Ferule it, and fee how you like it your felfe. Phi. I like it fo well, as I think you fhall not find many faults in it. Ma. Youliueina good opinion of yourfelfe: but let vs examine your exam- ple. This is indeede better then your firft: but marke wherein I condemn Tt. In the firft and fecond notes you rife as though it were a clofe, caufing a great informa- litie of clofing, when you fhould but begin. Your third note is good: your, fourth note is tolerable: but in that you goe from it to the twelfth, it maketh it vnpleafing, and that we commonly call hitting the eight on the face, when we come to an eight, and flap vp from it againe to another perfect concord: but THE SECOND PART. it ic hil beene meeting one another, the pUine (bag afccnJing, a;U die Dcf- cant defcending, it had beene verie good thus: ~!5z2zlt • ; mt Lo»°" »n But I pray you where was your memorie when you fet downc this fixt note? Phi. I let it fo of purpofe, not of negligence. Mil. And I pray you what reafon moued you thereunto? . Wherein doe you condemne it? Ma. For two twelfths, or fifths, which was one of the principal caucats I cane you to be auoyded. Phi. But they be not two fifthes. Ma. No? what reafon hauc you to the contrary ? . Becaufe in finging I was taught that the lharp cliff taketh away halfe of lm found lb that it cannot be properly called a fifth. Mil. That ii a new opinion : but 1 truft you will not fay it is a fourth. Pit. No. Ma. Why? Phi. Becaufe it hath halfe a note more than any fourth hath. Ma. And I hope you will not teanne it a fixt. Phi. No. Ma. Then if it bee no fourth, becaufe it is more than a fourth; nor a fix r, becaufe it is leffe than a fixt, what name will you giucit? /'/.'.'. I cannot tell. A womans reafon to maintaine an opinion, and then if fhee be afked why nVe dothfo, will anlwere, becaufe I doe fo. Indeede I haue (eerie the like committed by maiiler sHfonfo y a great mufitian, famous and admired for his works amongft the beft: but his fault was onely in writing: for breaking a note in diuifion, not looking to the reft of the parts, made three fifes in the fame order as you did. But yours came of ignorance, his of Iollitie: and I my felfe haue committed the like fault in my firft workes of three partes, (yet if any one fhould reafon with me) I were not able to defend it : but (no (name to confefie-,) my fault came by negligence: bu r if I had iecne it before it came to the preffe, it fhould not haue pafTed fo-, for I doc utterly condemne it, as be- ing exprefly againft the principles of our art: but of this another time at more ;th. And as for the reft of your leffon, though the cords bee true, yet I much mifhke the forme: for falling downe lb in tenthes i'o long together is odk feeing you haue fo much fhift othcrwile. Likewile in your penult and ante- penult notes, you ftande ftill with your defcant, the plaine long (landing ftill : which is a fault not to be 1 uttered in fofewe as two partes, el; eciallie in eightes. But in defcanting you mull not onely fecke true cordes, but formalitic alio: that - 'perfect no more to be then ol ] : j fong Sit b . o mai be- ing the twen- tieth fong of his fet bo-k of Ma- drigals of f.ue « . a at the vcric q'.u.'c be- tween ( .,1/3 In the third part. Standing witS the plain fong condemned. What forma- litic is. u THE SECOND PART. that is, to make your defcant carrie fome forme of relation to the plaine fong, as thus for example: Binding def- cant. A Fuge. No Fuge can be brought in without a reft. Beginning vpon a fixt in a fuge tolera- ble. — 9--— ssr zzzzumzzz^z: :r§rssr±z®n_~: ~®tdz: :r 3 J" P C 3 T7 :§ro: i ^ EE Q «ft, I '€E J= <~ € tP Phi. You fing two plaine fong notes forone in the defcant, which I thought you might net haue done, except at a clofe. v Ma. That is the beft kinde of defcant, fo it bee not too much vfed in one fong, and itis commonly called binding defcant: but to inftruct you fomewhat more in formalize, the chiefeft point in it is finging with a point or Fuge. Phi. What is a Fuge ? Ma. We call that a Fuge, when one part beginneth and the other fingeth the fame, for fome number of notes (which the firft did fing) as thus for exam- ple : ff r ^ 5 "3""* & $ f~? JTi ' 3 z=z=p=EaziQilia:zz:z±rz=?=±=?z©=iEaz Phi. If I might play the Zoilus with you in this example, I might find much matter to cauill at. Ma. I pray you let me heare what you can fay againft any part of it: for I would be glad that you could not onely fpie an ouerfight, but that you could make one much better. Phi. Firft of all, you let the plaine fong fing two whole notes, for which you fing nothing: fecondly, you begin on a fixt. Ma. You haue the eyes of a Lynx, in fpying faults in my lefibn, and I pray God you may bee fo circumfpecl: in your owne: but one anfwere folueth both thefe obieftions which you lay againft mee. And firft for the reft, there can be no point or Fuge taken without a reft : and in this place, it is vnpoffible in counterpoint fooner to come in with the point in the eight: and as for the be- ginning vpon a fixt, the point likewife compelled me to do fo, although I could haue made the defcant begin it otherwife, as thus : T II E SECOND PAR T. for auoidingof the lixt, altering the loading parti but then would.- It point haue gone through to the ertde, amwering co cuerie note o aiae long, tor that the ninth note of force mult be a fourth as you lee. Hut it J would fing the delcant part fiftcene notes lower, then will it goc well in the eight below the plaint- long; and that note which aboue was a fourth, will fall to be a lift vnder the plaine long thus: *.< ■e— "~ L -o- ro -o-J— &- , zr - «— o- the point likewife doth excufe all the reft of the faultcs which might beobiecled it me, except it be tor falfc default, that is, two perfect cords of a kind rther, or fuch like. . You haue giuen me a competent reafon -, and therefore I pray you fhew me, in what and how many diltances you may begin your point. Ma. In the vnilbn, fourth, fife, lixt an 1 eight : but this you mvift marke Dilanccj by the waie, that when we fpeake of a Fuge or Canon, in the vnilbn, fift, or !* cr * V P°" a eight: it is to be vnderlloocl, from the lirlt note of the leading pare, as my lef- bc-uo. Ion may be called two parts in one in the eighth, although 1 did begin vpon Ron thofe a flXt. ditlancc Phi. Well then, feeing by your wordes I conceiue the formality of following rcc,conc < i - a point with a plaine long, I will try vpon the feme plaine fong what I can do, for the maintenance of this Fuge. But now that 1 haue ieene it, I thinke it impofnble to finde any other way than that which you alreadie haue let downe on thefe notes. Ma. Yes there is another way if you can finde it out. Phi. I fhall neuer leaue breaking my braines till 1 finde it. And loe, here is a way which although it do not dnue the point quite through as yours did, yet I thinke it formall. -o-e-r- -x* -jr (T- £ * -jr 2 j. 3 t -3 Q J M:. You haue rightly concerned the way which I meant. Hut why did you wri:e it of lb much compafle ? Phi. For auoiding the vrilon in the beginning. It is well, and verv hard and almoft mnpoulble to doe nwre for the bringing in of this point aboue the plaine fong than you haue done. Wheie- fore I commend you, in that you haue Itudied fo carndtly for it: but can you do it no otherwiie 3 Y $6 THE SECOND PART. Rifing from the rift to the eight difal- Jow.ed in mu- ficke. Phi. No in truth, for while I ftudied to do that I did, I thought I mould haue gone mad, with calling and deuifing, fo that I thinke it impoflible to tet it any other way. Ma. Take the defcant of your owne way, which was in the eleuenth, or fourth aboue, and fing it as you did begin (but in the fift below vnder the plaine fong) and it will in a manner goe through to the end, whereas yours did keepe report but for fiue notes. dtt o ° I " gil o UflJLfl ir 9 r I ^-,J"°|.n^ |„o L | : °"J"-+ J =i Phi. This rifeth fiue notes, and the plaine fong rifeth but foure. Ma. So did you in your example before, although you could perceiue it in mine, and not in your own : but although it rife fiue notes, yet is it the point. For if it were in Canon, we might not rife one note higher, nor defcend one note lower than the plaine fong did: but in Fuges wee are not fo ftraidy bound. But there is a worfe fault in it which you haue not efpied, which is, the rifing from the fift to the eight in the feuenth and eight notes: but the point excufeth it, although it be not allowed for any of the belt in two parts, but in more parts it might befuffered. Phi. I would not haue thought there had been fuch variety to be vfed vpon fo few notes. Ma. There be many things which happen contrary to mens expectation: therefore yet once againe, try what you can do vpon this plaine fong, though not wich a point, yet with fome formalitie or meaning in your way. Phi. You vfe me as thofe who ride the great horfes : for hauing firft ridden them in a fmall compaffe of ground, they bring them out and ride them abroad at pleafure. But loe here is an example upon the fame notes. e-Q h p§-D- O. a- - (=5 >^ - : T : I Jrf ^ TT- 1 3""xr . 3 3 b§re=d Lo_©J -9J e 3 - )1 | Q— Lor ] pgr^q : - Q -*Q— ,— o~ _2_Q_. — e-e— :zdz: ttzrz— Ma. This is well enough, althogh if I perufe mine own firft leffon of Fuge, I fball finde you a robber. For behold here bee all your owne notes in blacke writing; the reft which be white, be mine: for though you clofe in the eight below, yet is the defcant all one. ♦_*__*_„_ lllllllillliiillfliifl -P-» d 'B THE SECOND PART. n.i. In truth I did not willingly rob you, although by chance I fell in cordes. Ma. I like it all the better. But I would counfel you, that you accufto not yourlelfe to put in pieces of other mens doings I . : your - by that meanes, the diucrfitic of vaines will appeare, and JrOU be iaughc fcorne of the fkilful for your paine . Phi. You fay true, and I will take heed of it hereafter. Hat I think felfe now reasonably inltructed in counterpoint. I pray J >u therefore go I ward to fome other matter. Ma. There remaineth fome things in counterpoint which you mutt ! before you go any further. The fir It is called fliort and n we n one note alone, and then two of the fame kind bound together, and then I ther alone, as you fee in this leflbn, long and fhort. o I » . J „"l °» 1 oo L II S= ^°-G- Pli. Nay by your leaue, I will make oneofeuery fort, and therefore I pray you proceed no further, til I haue made one of thele. Ma. If you thinke it worth the making, do fb; for if you can otherwifc doe any thing vpon a plaine long, this will not bee hard for you: but to d< rwile or thrice vpon one plaine long in feuerall waics, will bee fomewhat harder, becaufe that in thefe waies there is little fhifc. Pit. Somewhat, (laid you?) I had rather haue made twenty leflbns of coun- terpoint, than haue made this one miferable way, which notwithltanding is not to my contentment, but I pray you perule it. zzzzzziHiz— _IzzzozlzQrozizzzzzzL.zzz~zfzzzz:rAzzz±E Jill T^-^ ST n- ^ 7 ; rrrr ~t — ■ T T T T T Tf"~~ — - . : H » ° 1 » & ^^fjfI ^ ^TTT I (a. This is well done. Phi. The riling to the twelfth or fift I do miflike, in the kucnth note, but except 1 ihould haue taken yourdefcanr, I had none other il.ift. Ma. Let il >. Long and fliort, i> when we make two n ites tied to and then another o: the lame kind alone, contrarie to theothi rcxa nplc bci thus : Elzfe?z|£^zzif zzz?z{z D zizf z^z^o- f z zzzz Short 5e 1 Long ft fl.o 88 THE SECOND PART. Defcant com- monly called Dupla. A difcord not to be taken for the firft part of a note except in binding wife. Phi. Seeing I made one of the other fort, I will try if I can make one of this alfo. Ma. You will finde as little fhift in this as in the other. Phi. Here is a way, but I was faine either to begin vpon the fixt, or elfe to haue taken your beginning, for here I may not reft. :J^:§:PE~E::EEEI "F" IT w ■M „ 9 l-"-* - \ u. r ^ 1 „ '" 1 "■'■ > 1 riT fedfcE Ma. Neceflkie hath nohw, and therefore afmall fault in this place: but let this fuffice for counterpoint. Phi. What followeth next to be fpoken of? Ma. The making of two or more notes for one of the plaine fong, which (as I told you before) is falfly tearmed dupla, and is, when for a femibriefe or note of the plaine fong, we make two minimes. Phi. May you not now and then intermingle fome crotchets ? Ma- Yes, as many as you lift, fo you do not make all crotches. Phi. Then I thinke it is no more dupla. Ma. You fay true, although it fhould feeme that this kind of dupla is deriued from the true dupla, and the common quadrupla out of this. But to talke of thele proportions is in this place out of purpofe: therefore wee will leaue them and returne to the matter we haue in hand. Phi. I pray you then fet me downe the generall rules of this kinde of defcant, that fo foone as may be I may put them in practife. Ma. The rules of your cordes, beginning, formality, and fuch like are the fame which you had in counterpoint: yet by the way, one caueat more I muft giue you to obierued here, that is, that you take not a difcord for the firft part of your note, except it be in binding manner, but for the laft part you may. Phi. I pray you make me underftand that by an example. Ma. Here briefly you may fee, that vpon thefe notes you may fing thus. or thus. s not tl/us, nor thus. I : 2 a— i x :o~x± -O—ZII m But in binding defcant, you may take a difcord for the firft. parte of the note, thus : i -G?~ _ - _ — _ p , ■ _. . i In! T fjlfy e • or thus], ' l-s-IEiEEBEzz: mini T T II E SECOND PART. Phi. I will remember this : therefore I pray you fet me a leflun in this kirule of ilc leant, whereby I mayiliiue to mutate you with another of the fame kindc. AIu. Here i. one, tntrkcit: and then make one of your o\snc like ;t. ffi j r . - i s, .-. I pcrceiue by this, th.it it is an eafie matter for one that is well (ccne in counterpoint to attune in (hort tune to the knowledge ot this kimle. Ma. Ic i> to. But there bee many thinges which at the lull light (ceroc cafie. which in practile are found harder then one WOulde tlnnke. But thill much 1 will (bew you, thai > huh this kind of defcanting perfectly, may with fmall trouble, q become a good mulician. /'•. /'. You would then conclude, thai the more paUKJ are to bee taken in :'>• But heere is my way: how do you Like ic? Ullillplil!' " ' Siv : .III Ma. Well for the firft triall of your vnderfranding in rh is kind »f defcanr. But let reexamine particularly cuery note; that you feeing the faultes, i auovde them hercai Phi. 1 pray \ ou due fo, and leaue nothing vntouehed which anic waie n ay be obiecled. ' •. The firlt, fecond, and thirde notes of your lciln ; e tolerable, but your fourth note is not to be fullered, became that and the next rote iag are two eighths. Phi. The fecond part of the note is a Di/c0Pa\ and therefore it :annot bee- two eights, feeing they are not both together. Adifcord Ma. Though they bee not both together, yet is there no concord betweene c ' in:r;r ' them: and this you mul marke, that a Dsfccrd eommuag /■<■;: tbem to bee two eights ft ill. Likewile, if you i not to be two jifts fill. Therefore if j *u will ai yde •» *• the confequeoce ot perfect, cords of one kind, \ou mu i Is, and not difcords. i ore then I would haue beleeued, if another ba I tcld it mee: on with the relt ot the faults. Your feauenth a-ul eighth notes haue a fault, cofin germaine to which ■ .d, though it be not the fame. . 1 ■ ruie you cannot lay tiiac .: of them. th (. V )e two eif for the; . I 90 Afcending or descending to the eight con- demned. Xarlino itiji. tiirif. part, ter- xa cap. 48. Aminimc reft put betwixt two perfect cordes of one kind hindrech not their faul- ty confe- rence. Examples for alowances forbidden in mufick. THE SECOND PART. Ma. Yet it Is verie naught, to afcend or defcend in that manner to the eight r for thofe foure Crotchets bee but the breaking of a femibriefe in Gfolreut%- which if it were fung whole, would make two eights together afcending: or if hee who fingeth the plainefong, would breake it thus, Jlfr"^ : 3^5* (which is a thing in common vfe amongft the fingers,) it would make nue eights to- gether: and as it is, it ought not to bee vfed, efpeciallie, intvvoparts: for ic Is a grpffefault. Your ninth and tenth notes, are two eights with the plain fong: for a minime reft Jet betwixt two eights, keepeth them not from being two eights, becaufe as 1 iaide before, there commeth no other concord betwixt them : but if it were a femibriefe refr, then were it tolerable in more parts, though not in two: for it is an vnartificiall kinde of defcanting, in the middle of a leflon, to let the plaine fong fing alone, except it were for the bringing in, or maintaining of a point precedent. Phi. I pray you giue me fome examples of the bad manner of comming to eights, fifts, or vnifons, that by them I may in time learne to finde out more: for without examples, I fhall many times fall into one and the felfe fame error. Ma. That is true: and therefore here be the groffeft faults. Others, by my instruction and your owne obleruations, you may learne at your leafure. And becaufe they may heereafter ferue you when you come to praclife bafe defcant, I haue fet them downe firft aboue the plaine fong, and then vnder it. 3 a:a 3:1§ :=>:©: :©32: gjjl In the eight z — Tjrr~1 ~~T"i — {"TT~". — r~~3r^ «ca — ZTA IrtlJ— J — qLq — zrnz e« oi l „k iu4 dlcV ^f-Q-a- 32-e-H — ar -3 — B JhldJ. — w^ Jf : 3— : fe : d : ©f : s-- : fi : d"f"roi : In the vnifon In thefift <-<■ U C4. ,- Q - T P-0-r$n— --^, ' . s? zq f 1* p 2- ^EP ism afcending and def- cending to the eight. Phi. THE SECOND PART. Phi. Thefe I will diligently kecpc in minde: but I | >u how might I haue auoided thole faults which I haue committed in my teflon? Mi. Many waves, and principally by lltring the note before that, wherein the fault IJ committed. Phi Then I pray you let down my leffon, corrected after your manntr. Ma. 1 leere u is with your faults amended, and thai of yours which was good retained. 1 i Q E ' to 1 ' ^ f frrrrr i i Phi. This is well: hut I will make another, that all my faultcs rnay comr Out at the lint, and lb I may haue the more time to mend them. Ma. Doe lo: for the rules and pra&ife ioyned together, will make you both certaine and quick in your fight. Pit. Hcieisonc: and as you did in the other, I pray you {Lew mc the faults at length. pSIlii|iiiiigiiSiiii^ v r:-fT Iter* ese} T? JTJ TTT^l Ma. The beginning of your defcant is good, the fecond note is tolerable, but might haue beene made better. /'-';. M iv 1 not touch a difcord, puffing in that order? Ma. You may, and it is vnpollible to alcencl or defcend in continuall de- duction, without a difcord: but the lefle offence you giue in the difcord, the better it is; and the lliortcr while you ltay upon the difcord, the lefle offence you giue. Therefore, if you had fet a dott af cer the minime, and made your two Your next note had the fame faulr, for that you (bayed a whole minime in the fourth, whicli yo-i lee I haue mended; miking I minime of your third note a crotchet, and letting a dott after the firft. Your life, lixt, .\\\d le.iuenth note-, be wilde and ▼nformall, for that informal] tf. is condemned in ►ffinging: but if you had mad.- it thus, it had beene £ ind io;- mall. crotchets, twoquauers, it had beene better, as thus: 9* An o' I fing notcj. Wild . ; ncd mi uct«-i«c 9 2 Staying be- fore the clofe condemned. THE SECOND PART. :g:=i=j:T:zt:: ^:i:r%tr' T :ozzzz; :§=3: -e — d- ::o: Phi. Wherein did you miflike my Clofe? for I fee you haue altered it alfo. Ma. Becaufe you haue flayed in the note before it, a whole femibriefe toge- ther. For, if your defcant mould be flirring in anyplace, it mould bee in the note before the clofe. As for this way, if a Mufician fhould fee it, hee would fay it hangeth too much in the clofe. Alfo you haue rifen to the eight: which is all one, as if you had clofed belowe, in the note from whence you fled. Phi. I pray you before you goe any further, to fet mee fome waies of dif- cords pafTing, afcenaing and defcending, and how they may be allowable, and how difallowable. Ma. Although you might, by the example which I fhewed you before* conceiue the nature of a paffing note: yet to fatisfie your defire, I will fet downe fuch as might occur upon this plaine fong : but in forme of a Fuge, that you may perceiue how it is allowable or difallowable in Fuge. And becaufe wee will haue the bell lad, I will fhewe you two wayes, which, though others haue vfed them, yet are no way tollerable: for it is vnpof- fible to take a difcord worfe, than in them you may heere fee fet downe; Bad taking of difcords in this kind of defcant. SiiiiSiiSiiSiii iriiy^T^ jTSTs-m" Q 8 6 S) which I haue cf purpofe fought out for you, that you may fhunne them and fuch like heereafter. Yet fome, more voon their owne opinion than anie rea- fon, haue not fpared to praife them for excellent. But if they or any man elfe can deuife to make 'hem falfer, then will I yeeld to them, and bee content to bee efleemed ignorant in my profeffion. But 1 pray you perufe them. Phi. It may be there is Art in this which I cannot perceiue: but I thinke it goeth but vnpleafingly to the eare, fpecially in the two notes next before the clofe. Ma. 1 finde no more Art in it, then you perceiued pleafure to the eare. And I doubt not, if you yourfelfe fhould examine it, you would finde matter enough without a Tutor, to condemne it: as for the firft, there are foure notes that might be eafily amended with a dott, altering fome of their length, by the obfeiuation which I gaue you before. But as for the place which you haue already 'cenfured, T II E S E C N D P A R T. cenfurcd, if all the Mfftftal and Schollers in the world mould Liy theii h . together, it were impoilible to make it worlc. But if it had beenc thus j • . i £ r U i - t vi_^. j cQ~;l .... .- • it had beene tolerable: ami you may lee with what little alteration it i n better, from the begin n in t end, nor taking an y my of the former notes, except that vnfbrmall cl !e, which no mans tares could haue endured: yet as I tolde you before, the belt manner of doling is \n Cadence. . In Cadence there is little fhift or variety: and therefore it mould I not fo often to be vied, torauoiding of tecboulnelle. Ma. I linde no better word to lay after a good prayer than 1meit\ nor no bet- ter dole to let after a good peece of defcaur, than a Cadence: \ el if you rrrmke you will not fay as molt voices doe, you may vfe yow discretion, and l\y, So be it, for variety. Hrcrc is alio another way, which for badnehc will giue jl act- to none other. © — lugiiipi Phi. What? Will not the Fuge excufe this, feeing it fingcth in a manner euery note of the plaine long ? Ma. No. . For what caufe? Ma. Becaufe it both taketh fuch bad allowances as are not permuted: and llkewiie the point might luue beene better brought in thus; llllllll; r : lUlilii A1 . - r ^ I a,, l, ., I " ° 1 » o I a „ II But it were better to leaue the point, and follow none at all, than for the pointeslake, to make fuch harfh vnplealant muikk: tor mufick was dcuiltd to content and not offend the eaie. m " "lit, 7 ' f ' a )lh°: ] ' °J ' > jiL* 1 • The formr- plc be O.her f\TD- ■ cuil taken. dilCO'd wt 1 taken. -tin a!l the allow- ances bee v u.r cd. Aa And 94 THE SECOND PART. And as for the other two, as there is no means of euil taking of difcords, which you haue not in them (and therefore becaufe 1 thinke I haue forne authoritie ouer you, I will haue you altogether to abftain from the vfe of them) fo in thefe other two, there is no way of well taking a difcord, lacking, both for Fuge, and for binding defcant; in that it is vnpoiTible to take them truly on this plaine fcng, otherwife than I haue fet them downe for you, for in them be all the allowances : and befides, the firft of them fingeth euery note of the plainfong. Phi. I thanke you hartily for them: and I meane by the grace of God,, to keepe them fo in mtmorie, that whenlbeuer 1 haue any vfe of them, I may haue them ready. Ma. Try then to make another way formall without a Fuge. Phi. Fleere is one, although I be doubtfull how to thinke of it my felfe, and therefore I long to heare your opinion. Falling down with the plain fong dilalow- ed. An odd reft the moft arti- ficial! kind of bringing in a point. fezz?E&Izz§ :qzz:zzzt: Ma. My opinion is, that the halfe of it is tolerable: the other halfe I miflike. Phi. 1 fufpe&ed fo much before, that the latter halfe would pleafe you, though the firft halfe did not. Ma. You are deceiued: for the firft halfe liketh me better than the latter. Phi. How can that be, feeing the latter keepeth point in fome fort with the plaine fong? Ma. But you fall as the plaine fong doth, ftill telling one tale without vari- etie. But if you would maintaine a point, you nuiftgoeto worke thus: ^ o 1 "7T~ Q '_ ■; ? zznz^ ::_©z i: — r T — ::±: -o- But withall you muft take this caueat, that you take not aboueoneMinime reft, or three vpon the greateft extremitie of your point in two parts (for that in long refting, the harmonie feemeth bare) and the odde reft giucrth an vnfpe aka- ble grace to the point (as for an euen number of refts, few or none vfe them in this kinde of defcanting) but it is fuppofed, that when a man keepeth long filence, and then beginneth to fpeake, he will fpeake to the purpofe: fo in refting, you let the other goe before, that you may the better follow him at your eafe and pleafure. Phi. Heere is a way which I haue beaten out, wherein I haue done what I could to maintaine the point. z=:iahzgz:zz:±zz;E Ig^l zgiiozlEgzzz zozzzzsz e— e- :clzi I THE SECOND P A R T. Mm\ You haue maintained your point indeed; but after fuch a manner, as no body will commend: tor the latter half* oi your teflon is the fame that your firft waa, without any alteration, faring thai to make t fill vp the whole tunc of the pkine fo hath two notes more than were before) you haue, let itdownin longer notes. But by caftii from the plaine (one, you may finayqurfirft halfe, twice after one manner, .., example you may lee. g »«» mned. And therefore though this way bee true, yet would I baue you to abflain from the vfe or ir, becaufe in \o lmall bounties and fliort (pace it is odious to repeate one thing twice. Phi. Well then, I will remember not to take the fame deicant twice in one lef- but when I made it, I did not looke into it lo narrowly: yet I thinke by theie waies I doe well enough ▼ndcrftand the nature of this kind of deicant: therefore pnoceede to that which you think moil meet to be learned next. Ms. Before you proceede to any other thin::;, I would haue you make Ibme more IclTons in this kinde, that you may thereby bee the more readie in the practice of your precepts: for that this way of maintaining a point or Fuge, COmmeth as much by vie as by rule. Phi. I may at all times make waies enough, feeing I haue the order how to doe them, and knowe the moft faults which are to be fhunned: therefore if pleale, I pray proceed to lome othcrr matter, which you thinke moft re- quifite. Mj. Now feeing (as you fay) you vnder^and this kin le of deicant, and ve how to follow or mainta.ne a point, it tolloweth to lcarne how to reuert it. Phi. What doe vou call the rtucrt'.ng of a point ? '.-. Thereuerting of a point (which alio we tcrmea reuert, is, when a point u'hat areuC rt is made riling or faHing, and then turned to goe the contrary way, as many \u notes as it did the finft. Phi. That would be better vnderftoode by an example than by words, and therefore I pray you giue me one. .. Hcreisonc, mark ttweU, and tludy to imitate ir. '■» l « Phi. 9 6 Falling from thefixtto the eight con- demned. THE SECOND PART. Phi. This way argueth maifterie : and in my opinion, he who can doe if at the firft fight, needeth not to ftand telling his cordes. Ma. That is true indeede: but doe you fee how the point is reuerted? Phi. Yes, very well: for from your firft note till the midale of your fift, your point is contained •, and then in the middle of your fift note you reuert it, caufing it to afcend as manie notes as it defcended before, andfo defcend where it afcended before. Ma. You haue well perceiued the true making of this way : but I pray make one of your owne, that your practice may ftretch as farre as your fpeculation. Phi. Lo heere is one : How do you like it ? rd: — (i-Tp-irq -z1:3T:r|:p: Q TziJ:ici|±Q.T:^i_ij:J:~ r ^_i_r :oz: ©■ r:_D_:^ 3 _n:_Q: — i :i Q ^ Ma. I thinke it is fatall to you, to haue thefe wilde points of vnformall fkippings (which I pray you learne toleaue) otherwaies your firft fiue notes bee tolerable, in your fift note you begin your reuert well: but in your feauenth and eighth notes, you fall from the thirteenth or fixth, to the eighth or vnifon, which was one of the faults I condemned, in your firft leflbn of Counterpoint: the reft of your defcant is paffable. But I muft admonifh you, that in making reuerts, you choofe fuch points as may bee eafily driven thorough to the end, without wrefting, changing of notes, or points in harlh cordes, which cannot bee done perfe&lie well, without great forefight of the notes which are to come after. Therefore I would wi(h you, before you fet downe anie point, dili- gentlie toconfider your plaine fong, to fee what pointes will aptlieft agree with the nature of it, for that vpon one ground or plaine fong, innumerable waies may bee made, but many better than other. Phi. Then for a triall that I haue rightly conceiued your meaning, I will make another way reuerted, that then we may go forward with other matters. Ma. Dofo, but take heed of forgetting your rules. Phi. lamina better opinion of the goodneffe of mine owne memorie, than to doe fo: but I pray you perufe this way: if there be in it any fenfible groflc fault, mew it mee. \\ o~ Ma, THE SECOND P A R T. 97 M.:. All this is fufYerable, except your feucnth and eighth notes wherein you tall from ftfabmi to fa Vt t and lo vnformally to B fab mi backe againr, thus'. & : 5Zjtx5iZZ which though it be better than that which I condem- ned in tne C lole or your lirll lcllbn of Counterpoinr, yet is it of the fame MM and naught: but you may in continual! deduction, afcend from mi to/.; ^d7|tF : P3i: 1 know you will make the point your excule, but (as I thus: Sf: tolde you before) I would rather hauc begun againc and taken a new point, then I would haue committed lo grade a fault : as for the rell of your teflon it is tolerable. Nowe 1 hope by the pft ctp tfl which I haue alrcadie giuen ,you, in your examples going before, you may concciue the nature of treble del- cant: it followeth to fhew you how to make bale defcant. Phi. What is Bafe defiant t Ala. It is that kind of def canting wbart your fight cf taking and ufir.g yenr tor da mufl be vndcr the plain Jong. Phi. What rules are to be obferued in bale defcant? Ma. The fame which were in treble defcant: but you mull take heed that your cordesdeceiue you noti for that which aboue your plain long was ■ third, will bee vnder your plain long a fixe : and that which aboue your plain long was I fourth, will bee under your plain long a rift: and which aboue was a lift, will vnder the plain long bee a fourth: and laftly, that which aboue your plain fong was a fixt, will vnder it be a third. An lb likewile in your difcords, that which aboue your plain fong was a lecond, will be vnder it a feuenth: and that which aboue the plain fong was a feucnth, will be vndcr the plain long a lecond. Phi. But in defcanting I was taught to reckon my cords from the plain fong or ground. Ma. That is true: but in bafe defcant the bafe is the ground, although wee are bound to fee it vpon the plain long: for your plain long is as it were your theme, and your defcant (cither bale or treble) as it were your decla- mation: and either you may reckon your cordes from your bafe vpwardes, or tiom the plain fong downwarde, which you lift. For as it is twenty miles by account from London to Ware, Co is it t wen tie from Ware to London. Phi. I pray you let me an example of bale defcant. Ma. Heere is one. ffizc: HZlZE *3- n:n -s — e — a- I i •• : • " 3 * * ? c e s ^■U i lj' l 'fMW.rj PpfW s F it. Phi. I thinke it fhall be no hard matter for me to imitate this. Ma. Set downe your way, and then I will tell you how well you haue clone B b ng ftOIB B la h mi ll,.itp to P fa udcmr.cd Bafe defcant. A cauca: tne fight of cord* voder the plainfong Pb:2 9$ THE SECOND PART. Phi. Here it is, and I thinke it (hall neede but little.correction. xjsix&x. — :a :i:=55Ei=iEa3 _J_j3_- A difcord faken for the firft part of a note not in binding wife condemned. Binding with concords not fo good as thit with dif- cords. Ma, Conccite of their owne fufficiencie hath ouerthrowne many, who other- wife woulde haue proued excellent. Therefore in any cafe, neuer thinke fo well of your felfe, but let other men pray fe yon, if you be praifeworthie: then may you juftly take it to yourfelfe, fo it be done with moderation and without arrogancie. Phi. I will: but wherein doe you condemne my way? Ma. In thofe things wherein I did hot thinke you mould haue erred. For in the beginning of your fourth note, you take a difcord for the firft part, and not in binding wife : your other faultes are not fo grofle, and yet mult they be told. Phi. In what notes be they ? Ma. In the foure notes going before the clofe: for there your defcant would haue beene more (lirring: and by reafon it hangs fo much, I do not, nor can? not greatly commend it, although it be true in the cordes. Phi. What ? is not that binding defcant good ? Ma. That kind of binding with concords is not fo good as thofe bindings which are mixt with difcordes : but here is your owne way with a little alteration much better. ; iES:!iiE?EiE":IE5i=i :ozzz~ E!EEElEIEi=^l % <9 l-Z^-Z 14 3 Z -3 u S:Jfa~:Et : F^W:P:^33 ±f~:ra:~t:i:lzzp:|Zz|z:L:z:p:~:ij Phi. This is the courfeof the world, that where wee thinke our felues fureft, there are we further!: off from our purpose. And I thought verely, that if there could haue been anie fault found in my way, it mould haue been fo fmall, that it mould not haue been worth the fpeaking of. But when wee haue a little, we ftraight imagine that we haue all, when God knowes the leaft part of that which we know not, is more than all we know. Therefore I pray you fet me another example-, that confidering it with your other, 1 may more cleerly per- ceiue the -artificial! compofition of the/n both. Ma. T II E SECOND PA R T. rO| choofe which of them you th 99 ztaz^Jz:E:§=:iz=z^Lxz:zzdz±z^-LLz§=:H:rI : =:i±z- " -Y. " ■ % O 1 -"• "-"T l f'J^lp Phi, It is not for mc to iudge or cenfure your work' ; dafhed in my l.iit way (which 1 thought fo exceeding thai I dare oeuer credit tnirte owne iudgemcnt heereafter. Hut yet I praj you wh you left out the (harpe cliflPe before your fixt note in the plain ir fecond v. M.:. Although the deft ant be true (if the (harpe cline were ther pafiable with manie, yet let your eve be iudge, how fane different the aj of" the deicant (the plain long being flat) is from it felfe, when the plain for (harp. And therefore, becaufe I thought it better flat than flurpe, I haue let flat. But if any man like the other way better, let him vie his difcretion. Pin. It is not for me to dilallow your opinion: but what reits {or me to do next ? Ma. By working wc become workemen: therefore once againe let down a way of this kinde of defcant. Phi. That was my intended purpofe before, and therefore here is one, and I pray you cenfure it without anie rlatterie. Hi :czz:3_:— -zzzz: izz: IIH I "-iVii'i3|7r f TiJffi ; ja ppj M :. This is verie well, and now I fee you begin to conceiue the nature bale deicant: wherefore here is yet another way, of which kinde I would h you make one. x m d& 5 ^.rciff^.o r\ 7.re7Ctr. I CO THE SECOND PART. Minime.crot- chet and mi- nime. Phi. This ifc a point reuerted, and (to be plaine) I defpaire for euer doing the like. Ma. Yet try, and I doubt not but with labour you may ouercome greater difficulties. Phi. Here is a way, I pray you how like you it ? ^l^M^^^^ilh^EE^^E^i^ s6 ?-h\*> k n ~J1*^J *2~£. ri J LB i i^Jr \szA 1._. t .,' .iJL.li.t. z. L .__.__ 4 . j j u'l- \ T ft I Y^ Ma. I perceiue by this way, that if you will be carefull and pradtife, cen- furing your owne dooinges with iudgement, you neede few more inftructions for thefe waies: therfore my counfell is, that when you haue made any thinge, you perufe it, and correct it the fecond and third time before you leaue it. But now feeing you knowe the rules of finging one part aboue or vnder the plain long: it followeth, to fhewe you how to make more partes. But before wee come to that, I mult (hew you thofe things which of olde were taught before they came to fing two parts : and it (hall be enough to fet you a waie of euery one of them, that you may fee the manner of making them; for the allowances and defcanting be the fame which were before: fo that hee who can doe that which you haue alreadie done, may eafily do them all. The firft is called crotchet, minime, and crotchet, crotchet, minime and crotchet, becaufe the notes were difpofed fo, as you may fee in this example : Crotchet, mi- "pT nime and crotchet. yji 67c 3 6 ~ }Q ma 50 3 jqj, $6\3 3P7 to ? ^ t> -e— f—z :*s-i-2-— L 21 -e- zEEEJlE§z3:-ij This way in euery note commeth cuen, in time of ftroke. The fecond is called Minime and Crotchet, becaufe there come a minime and a crotchet fucceffiuely through to the end : this after two notes commeth euen in the ftroke, and in the third likewife, and fo in courfe againe to the end, as here you may fee. SpgpSagJ w r6- r ^L> ? S > 6 ^ -|— l -K---Bjg---fT— |H-g — px — p*P;t~;t3 The THE SECOND PART. The third is a drilling way in two crotchets and a minime, but oJJcd by a red, lb that it ncuer commcth cuen till the dole, tbui : Uf Inl I . <* . ' I ( minimc. -.. i ° i " i o \ ~. ■ T ... V,. "I"" i ° + a— 4 =5— fe+i The fourth waic driueth a crotchet reft throughout a whole lclTon all of minim-, lb that it neuercommetheucn till the end, thus: aiiiiigiiiiliiiii C€ 7&J AC r 7fc/" 63 &^G.~ z:zz£zzi=5z±Elz±zQzi:^3-l-o-tE 2r:~ Z3Z. zr 9Z±Z2Z±D1 And in thefe waies you may make infinite varietie, altering fome note, or driu- ing it thorough others, or by Ibme reft driuen, or making your plain fong figuration. Phi. What is Figuration? Mj. When you fing one note of the plain fong long, and another Inorr, and yet both wrote in one forme. Or making your plain long as your defcant notes, and fo making vpon it, or then driuing ibme note or reft through your plain fong, making it two long, three long, &c. Or three minimes, fiue mi- nimes, or lb foorth, two minimes and a crotchet, three minimes and a crotcher, fiue'minimes and a crotchet, &c. with infinite more, as mens inuentions frull belt like: for, as fo manie men fo many mindes, fo their inuentions will bee diuers, and diuerfly inclined. The fift way is called Triple, when for one note of the plainfong, they make three blacke minimes thus: Driuingof a crotchet re I to the end. Figaratiorit Cc 102 THE SECOND PART. Tripla in the »iinnne. *9— J In the firft part. Though (as I tolde you before) this bee not the true tripla, yet haue I fet it downe vnto you in this place, that you might knowe not only that which is right, but alio that which others efteemed right. And therefore likewife haue I letdown the proportions following, not according as it ought to bee in reafon, but to content wranglers, who I know will at euerie little ouerfight, take occa- fion to backebite and detract from that which they cannot difproue. I knowe they will excufe themfelues with that new inuention of Tripla to the femibriefe, and tripla to the minime, and that that kinde of tripla which is tripla to the minime, muft be wrote in minimes, and the other in femibriefes. But in that inuention they ouerfhoote themfelues, feeing it is grounded vpon cuftome, and not vpon reafon. They will replie and faie, the Italians haue vfed it: that I graunt, but not in that order as wee doe. For when they make tripla of three minimes for a ftroke, they doe moft vfually fet thefe numbers before it ■£, which is the true marking of Sefquialtera, and thefe three minimes are true Sef- quialtera it felfe. But you mail neuer finde in any of their workes a minime fet downe for the time of a blacke femibriefe and a crotchet, or three blacke mi- nimes, which all our compofers both for voyces and ioftruments doe moll com- monlie vfe. It is true that Zaccone in the fecond book and 38. chapter of prac- tife of muficke, doth allow a minime for a ftroke in the more prolation, and proueth it out of Palejlina, but that is not when the fong is marked with pro- portionate numbers, but when all the partes haue the lefle prolation, and one onely part hath the more, in which cafe the part fo marked, containeth Aug- mentation as I faide before : and fo is euerie minime of the more prolation worth a femibriefe of thelefle. But let euerie one vfe his difcretion-, it is enough for mee to let you fee that I haue fayde nothing without reafon, and that it hath, beene no fmall toyle for mee to feeke out the authorities of fo manie famous and excellent men, for the confirmation of that, which fome will thinke fcarce worth the making mention of. Quadrupla and Qiiintupla, they denominated after the number of blacke minimes fet for a note of the plain fong, as in thefe examples you may fee. THE SECOND PART. j.Tiifi^rJitfiiijJ^ ^ fftfrfr i friif i r^r >°3 Quae- mmm&m im ■ i „ i „ i ^^ iliilglSlll^iiSIii^IIiil * »Q- ±±±tt ^JJ| r JJjJ|JJJJJ| r JJjJ|JiJj ,J|«H :zz: :az: :z:§z:zzi=§z==icii3 And lb foorth Sextup'a^ Stplttpls, and infinite more which it will bee fuperflu- ous to fctte downe in mis place. But it you thinke you would confuler of them alio, sou may finde them in my C iriftea Croflc let downe before : term and Sefquttertis, they denominated after the number of blackefemibrieis let for one note of the plain long, as in thefe two following. =fcd_=Z=3l s -.'": l£lp Sefqi. J* 92 H ■■ — - — |p, — o- B - W ^ ta- CJ ci « H IE iHSiH 3330 I ZZl Hew io4 Indudlions Sc what they be. THE SECOND' PART. Here they fet downe certain obferuations, which they termed Inclusions, as here you fee in the firft two barres Sefquialtra perfect: that they called the in- duction to nine, to two, which is Quadruplet Sefquialtra. In the third barre you haue broken Sefquialtra, and the reft to the ende is Quadruplet Sefquialtra, or as they termed it, nine to two, and euerie proportion whole, is called the In- duction to that which it maketh being broken. As tripla being broken in the more prolation, will make Nonupla, and fo is Tripla the Induction to Nonupla: Or in the lerTe prolation will make Sextupla, and fo is the induction to Sextupla: but let this fuffice. It followeth to fhew you Sefquiterlia, whereof here is an example. itertia. ===ZZZ=ZZ=^a^^^j^^ ^^ * ±ai^ Scfquitertia 43 ^ =!EEfell^zifeiiiil Two parts vpon a plain long. There be many other proportions (whereof you haue examples in my Chriftes Crofie before) which here be not fet downe, and many you may fee elfewhere. Alfoyou your felfe may deuife infinite more, which may be both artificiall and delightfull: and therefore I willleaue to fpeake any more of them at this time: for there be manie other thinges which men haue deuifed vpon thefe wayes, which if one would particulate deduce, hee might write all his life time and neuer make an end, as Iohn Spataro of Bologna did, who wrote a whole great booke, containing nothing elfe but the manner of finging Sefquialtra proportion. But to returne to our interrupted purpofe, of making more partes than one vpon a plain fong: Take any of the wayes of bafe defcant which you made, and make another part, which may ferue for a trebble to it aboue the plain fong, being true to both. Phi. Yours be better and more formall than mine, and therefore I will take one of yours. Ma. If you lift do fo. Phi. Here is a way which I thinke is true. -Q Q, ~AJ 2 $y §=DZnT5I iiPI ~£y~7in THE SECOND PART. Ma. This is much, and fo much as one fhall hardly lindc anic other way to bee (bag in this aumnef vpon this ground: for I can fee but one other waie be- fidflS that, whu !i is tftil ; — n a_ i — 3-ri — I ~ _ n _ m 6 G 6> '"T>" ==== = :za~ =3 ' I In 1 t ' " "" 1 fj tor "3 e \ Ar€ . . [ 3 " ^D=£:i=E:" : ^E=a=V but I did not mcane that you fhoul.l haue nude your trebbk in counterpoint, but indefcant manner, as your ball- dv leant was thus: J-JcV ya""^ ;' — g~ — o- mmmmm _0_ a 3" !] M 1 Phi. I did not conceitie your meaning, till now that you haue explained it by an example: .md therefore [will fee what I can doc to counterfeit it, although in my opinion it be hard to make. M.i It is no hard m.utcr: for you are not tied when your bile fingeth a ferr.i- briefe or any other nore to ling one or" the lame length; but you may brrake, your notes at your pleafurc and fing what you Hit, fo it be in true cordes to the other two parts; but especially litres and thirties intermingled with fixes, which of all other bee the Iweerclt and molt lit tor three partes. For in foure or liue parrs you mult haue more fcope, tvcaule there be more parts to be fuppl And therefore the ci_rht mult of" force be the oftencrv;ed. Phi. Well then here is a way, correft it, and fhew me the faults I pray you. C ? $ 7 :rz^zzn:3: tfrflrjl 3 — %}> :_3L r Y Mi "'35 — T J I F?=^ :z:: &- much in fight. Therefore hereafter take heed of euer touching i (harpe eight, except it be naturally in E la mi or Bfakm$ t (for thele (harpes in Ff* Cfolfavt^ and fuch like, bee wrefted out of their properties: and although they be true and may be lufered, yet would I wiffa you to fhunnc them much as you may, tor that it is hoc altogether lb pleating in the eare, a that v, ich cornmeth in his owne nature) or at a clofe betwixt two middle partes, and flldome I). Fourthly your going from b fa Vl to B fa bmt, in the eighth note: in which fault, you haue beene now tnnle taken, l.altly, your olde fault, (landing fo long before the dole: all thefe be grofie faults: but here is your owne way altered in ihofe places which I told you did miflike tnee, and which you your kite might hauc made much better, if you had beene atten- tate to your matter in hand. But fuch is the nature of you khollcrs, that lb you do much, you care not how it be done; though it be better to make one point wed, than twentie naughtic ones, needing correction almolt in euerie place. zz:a: ~c: -*a- >: , rf] 9 3 ~ H i : ! I WM >U blamed my beginning, yet hauc you altered it nothing, fauing that e let it eight notes higher than it was before. indeede refcrued your beginning, to lette you lee, that by alter- ing but balfe a note in the plain long, it might hauc becne made true as I hauc fcuc it downe. ; vp the I aitJ ing Condemned". I IOg .. : } ' i I ; lu.. cJ. I I ' om 1 !a 9% a;p to I! 1.1 b mi Qurpc c.ul- luwcd. oS THE SECOND PART. Better to break the plain fong than diffolue a point. Meeting of the fiat and Iharp eight condemned. Definition of two parts in one. Phi. What? may you alter the plain fong fo at your pleafure? Ma. You may breake the plain fong at your pleafure 'as you fhall knowe heereafter) but in this place I altered that note, becaufe I would not diflblue your point which was good with the bafe. Phi. But vpon what confederations, and in what order may you break the plain fong ? - . • Ma. It would bee out of purpofe to difpute that matter in this place: but you ihall know it afterward at full, when I fhall fet you downe a rule of break- ing any plain fong whatfoeuer. Phi. I will then ceafe at this time to be more inquifitiue thereof: but I will fee if I can make another way which may content you, feeing my laft prooued fo bad: but now that I fee it, I thinke it vnpoffible to finde another way vpon this bafe, anfwering in the Fuge. Ma. No? Here is one, wherein you haue the point reuerted; 6>3it\G&£f\? e f l~>~4. ^ 3 £ 5 but in the endeof the twelfth note I haue fet downe a kinde of clofing (becaufe of your felfe you coulde not haue difcerned it) from which I would haue you al- together abftaine, for it is an vnpleafant harfh muficke. And though it hath much pleafed diuers of our defcanters in times paft, and beene recejuedas cur- rant amongft others of latter time: yet hath it euer beene condemned of the mod fkilfull here in England, and fcoffed at amongft flrangers. For as they faie, there can be nothing falfer (and their opinion feemeth to mee to b:e grounded vpon good reafon) how euer it contenteth others. It followeth now to fpeak of two partes in one. Phi. What do you tearme two parts in one? Ma. It is when two parts are fo made, as one fingeth euery note and reft, in the fame length and order which the leading part did fing before: But becaufe I promifed you to fet downe a way of breaking the plain long; before 1 come to fpeake of two partes in one, I will giue you an example out of the workes of M. Per/ley (wherewith we will content our felues at this prefent, becaufe it had. beene a thing verie tedious, to haue fette down fo many examples of this mat- ter, as are euerie where to be found in the works of M. Redfcrd, M, TalliSy Preftotiy Hcdgis, Thome, Selbie, and diuers others : where you fhall find fuch varietie of breaking of plain fongs, as one not verie well (killed in muficke, fhould fcarce difcerne any plain fong at all) whereby you may learn to break any plain fong whatfoeuer. Phi. Whatgenerall rules haue you for that? Ma, THE SECOND PART. Ma. One rule, which is, eucr to keepe the Jubilance of the note of the | fong. Phi. What do you call keeping the lubllance of a note? Ma. When in breaking it, you ling cither your lull 01 kill note in the key wherein it flandeth, or in his eij I pray you explains that by an example. Ma. Here be three plain long notes, ES czzS^rc: I WhiJi you may breake thus: Thus: ihfrrrrrfff " :o: Or thus: EaiEEESS W= And infinite more wayes which you may dcuife to fitte your Cannon: for thefe I haue onely let downe to fhewe you what the keeping the Jubilance of your note is. Phi, I vnderftand your meaning: arjd therefore I pray you fet down that ex- ample which you promiled. Ma. Mere it is fet downe in partition, becaufe you (hould the more cafily per- ceiue the conueiance of the parts. 1 ]0 The plain ZZZ". fong of the ■ inp Hymne Sal- -W- uator mundi, THE SECOND PART. :_i — 9_E:p:ji3: e broken in di- . ; J "~T~ "~j 1" il uifion, and rOl^OIp^lSoi^ brought in a Canon of three parts in ~ r - \ '" |~ ~ one, by Of- — q:ce: —i — :i:z bjert Perfly. — — _J_ — — - Li. 2Zt:aD:; gptai ■ ~ ~! — -r— • ■"— m^ i-a---^- : ©iili : - : 2: SS i >w z=^rf^f(ELeE3Etczrqr±dit5l ::t£rtL_£g iii 3953 fc^jx_ £== ifi ^ ^:^..^ :E5Bj!= ^ JH •-\\t -^ ^^^^'gB ^^= S^^S b: ^ C-wt 5 =1 HI 22:^ ^eISE £ieM :§=c: 11 -rs-e-rr-r-i-!-=-rr-e- :_: e :o: e . Q . e __z:-e-E:e_s_2_o_ e _oz e 35_s: e .— ..— ^%t Saluator mundi domine. THE SECOND PAR T. 1 1 1 I haue likcwile let downe the plain font?, thai {lis of euerie note, and not that you (hould ling i( for a pari with the reft: for the reft are made out fjf it And as cor' ; the del although I cannot commend it tor the belt in the mulicke, yet is it prayfe • thie: and though in Ibmc places it bee harlh to the eare, tt more toi ble in this way, then in two parts in one vpon a plain Cong, becaufe that vj>on a plain fong there is more (but then in this kinde. Pbt. I perceioe that this example win feme me to more purpofe hereaftei I (hall come to trie maifteries, then at this time to learne defeat t. I I I will paffe it, and pray you to go forward with jrour begun purpofe Of two bartes in one, the definition whereof 1 haue hadb I Mi. Then it followeth to declare the kindes thcreofi which w« juifh no other waves, then by the diltance of the lull note ot the tolluwing parr, ii the firft of the leading: which if it be a Fourth, the ' i ia called two panes in one in the fourth j if a Kifr, in the lift, and lo roorth in other diftances. But if the Canpn bee in the eight of thefe, as in the tenth, twelfth, or lo, then commonlie is the plain ton:; in the middle betwixt the leading and following part: yet is not that rule fo generall, but that you may let the plain long either aboue or below at your plcalurc. And bccaule he who can perfectly make two parrs vpon a plain long, may the more eafier b.nde himlclfe to a rule when lie lift, I will only let you downe an example or the molt vfuall waies, that you may by your fclfc put them in practile. Phi. What? bee there no rules to be oblerued in the making of two parts in one vpon a plain long? Ma. No verilie, in that the forme of making the Canons is fo many and di- ners wayes altered, that no generall rule maybe gathered: yet in the making of two parts in one in the fourth, if you would haue your following part in the Wale of counterpoint to followe within one note arter the other, you mult not aliend two, nor defcend three. But if you defcend two* and afcend three, it will be well: as in this example ^which bccaule you fhould the better concciuc, 1 haue let downe both plain anddiuidcdy you may fee. • ■ the I I inul.' . iilO Tbit ivay/emt ttrmt m Fuge :n ip-.JiateJJaron, that it in the fc I brut. But if tbt had- ing fart ivert bightji, teenn BO it in i.f:d:atfJ/dron, which it tbt jourtb I I And ft Liexviif in tht ctber d:;;ar.eti, diafen- ti, lubtcb it tot fy't : and J ap j i .«, -u biib it tht tig lib. Thus p. '.. rrzzaz -"-e — - — ;--e-e Q_ ^ o . c 'fiuo f zz: 3Stf ^-yrryrr -* — n nr in tbrjsurtb. Hzaz^z 1 :^ |rs: zazzzzrbrz zzz LLLL°JZZ J" $ zfzz=grhgzzzzarzzbg=— ~zzz^-ozzr—z ■Q . Q-j— £5-1— =EEiEE Tbm 112 THE SECOND Thus diuided. PART. — e- Invo m zr.cn Q>5 &B -s — * parts in one in ? in the BH \\^ZZ\'J2'M^Z o:c§z:z: E5E o , : qZ ^3Si Jba/th?% 35 ~a:=r: 3 3 a r ? -e CL. ""B 1 " -H — x feme. And by the contrarie in two partes in one in the fift, you may go as many downe togither as you will, but not vp: and generally or moft commonly that which was true in two parts in one in the fourth, the contrarie will bee true in two partes in one in the fift; an example whereof you haue in this Canon fol- lowing : wherein alfo I haue broken the plain fong of purpofe, and caufed it to anfwere in Fuge as a third part to the others : {q that you may at your plea- fure, fing it broken or whole ; for both the wayes. m lis: e » =3 S:b^ -e- -e 1 izo: partes in - ~ - Q T ne in thi zzzsz Thus plaine. z E5zdE^ 35^ fift. z^zsn Utt -2 '«- n &~&r^~ zzzz£z:zzzz%pz 3 J 'J-tTJTf _r e ^-=— a: -e-r rggrigz: ilzzrzzz: 3 «- — e- 3 :oz: Thus diuided. Phi. I pray you (if I may be fo bold as to interrupt your purpofe) that you will let me trie what I could doe to make two parts in one in the fift in coun- terpoint. Ma. I am contented: for by making of that, you fhall prepare the way for -jour ielfe to the better making of the reft. Phi. T II £ SECOND PART. Here is then a I pray p ! but I I ?mr.e it, ■!>. < ai.L- 1 luue caufi traiie. ; ; P"o^r^"p~j-y-*- LzIItt . • -11- • i^= 1W _v~ • . < A/.;. I: is not material u hit h part u , ;; you were inioyned to the contrary : ami i h.iuj done this Jo welt plaine, let mee Ice h"bw yoil can diui l« it. '. Thus: and I pray you penile it, tint I may hear your opinion of it. ->:e, in thefift. EEEk --ozz — •. ~±z-az£o;EEo Aft. Thi I broken: and now I will glue you tome other <■ in the tifr, whereto you haue your plain long chanced H in the trebble, next in the tenor, hilly in th J\.:. I pray you yet gtoe me leaue to interrupt your purpofc-, that feeing I haue made a way in the tifr, I may make one in the fourth atlo : and | 1 will interrupt yo ;h no n. Ma. Do f r mind feme you. Phi. Mere it is in defcant-wife without counterpoint : for I thought it much trouble, firft to make it plain, and then breake it. Two parts in one^ in the fourth. mm H^zU r±gzj=zp&lgz3j z 1zzdz5r — {V— jK|- _ - - - _ - - 9.Z.. - _ - — f-f- —3 — en™; rziizzzHzzzrzz: — : -o— j — g— a- t il— F r sdrer 53 *<3 ' . ■ U4J THE SECOND PART. Ma. This way is fo well, as I perceiue no fenfible fault in it. Phi. I am the better contented : and therefore (if you pleafe) you may pro- ceeds to thofe wayes which you would haue let downe before. Ma. Here th<:y be. As for the other waies, becaufe they be done by plaine fight without rule, I will fet them downe without fpeaking any more of them : only this by the waie you mud note ; that if, your Canon be in the fourth, and the lower part lead, if you fing the leading part an eight higher, your Canon will be in Hypodyapente^ whidi is the lift below : and by the contrarie, if your Canon be in the rift, the lower part leading, if you fing the leading part" an eight higher, your Canon will bee in J.ypodiatejfarcn, or in the fourth below. ' g [5— e Two partes in one in the fift \ the plaine Jong in the trelble. t " S 3 : m T~T' rs^; E^se; fzSE :§=s: L 3 ~&"b W ■ H+T G i> - 3-.— — H-0- mmmm ? — w\ -©— TFT TTTf- iS35 l m iiia Another example in the fift t the plain fong in the middefl. Another example of two parts in one in thefift, the plain fong in the lafe. liiilSif T II E SECOND PAR T. Two parts u: one in tl t fixU * This way in thefixt 'if you fing the lower part eight n her, and the higher parte eight no i r) will he in the third or tenth] and by the ( traiy, it' the Canon be in the tenth, if you fing the lower ptrt eight i, higher, at. J the higher part eight notes lower, then wnl jroui Canon he in the fixt, either ahoue or below, according as the leading part ill al 1 be. Two parts in one, in the /event b. li^llgillii^: 'y'6T o.^.' j ? • Z I ,r i 7 c 5 a - . iSZ" rJif-«] I Q iiiil £ HHI If vour Canon bee in the feuenth, the lower part being fung an eight higher, and the higher part an eigh: lower, it will be in the ninth : and by the con- ,e, if the Canon be in the ninth, the lower part fung eight notes higher, And the higher p-irt eight notes lower, will make it in the feuenth. Two ports in cne> in tb aprr °tfe r ^7- 3t :qz ■ " o ^3m ^^^ _1 rsse^: tig: 'ofk 1 S ~r=lMU EEo3 4^ da : - . v . € r The plain long in the third bar I haue broken, to (hun a little harfhnefle in the defcant : if any man like it better whole, hee m it as it was in the Canon before : for though it bec fomewha: 11 5 1 1 6 THE SECOND PART. Tivo parts in one, in the ninth. rvffi d:3^dd;a:^-3±H: frwo parts in one,, in the tenth. u: j e— rs- m z:U :-:d: "J^Ixr C>0£\ 9-i f zi^EEE :zraz — e 3 .3 tt :§z:e zzzazzp -e- :ozz :zqz|:^:: 5 ^ £ a, ^ -e — -- Heere is alfo another way in the tenth, which the Maifters call per arfin & thefin, that is by rifing and falling : for, when the higher part afcendeth, the lower part defcendeth •, and when the lower part afcendeth, the higher part defcendeth. And though I haue heere fet it down in the tenth, yet may it be made in any other diftance you pleafe. _p_i-p-e__ * Dust 3finr_1p4 i ti <7ttr/7. fifir 1 nrft ' 'pat lei in or Inferiore. But to fhun the labour ot writing thofe words, the cliffes and reftes haue beene deuifed, {hewing the fame thing. And to the ententyou may the better conceiue it, here is another, example wherein the trebble beginneth, and the meane followeth within a le- mibriefe after in the Hypodiapente or fift below. -a- :or-©— s= e— - : And THE S E C O N n V A R T. r i And this I thought good to flew you, not for any curiofitie, \ in it, but for the eafinefii rmmodirie which it hath, becauie it is bei i r then to write 4b as to make one lit Bueor Gx hourei beatin >o:e alio, thai if. you will dole wil >u mufl effitic 120 THE SECOND PART. necefiitie end either your principal or replie, in the fift or twelfth, which alfo happeneth in the Cadences, in what place ibeuer of the iong they bee, and betweene the parts will be heard the, relation of a Tritonus or falfe fourth: but that will bee a fmall matter, if the reft of the compofuion bee duely or- dered, as you may perceiue in this example. z-g-9 -d — a--* — rn — *-** - ^- d-r-i ♦** — ztzfc" s- izZ3izi§!zzzz[irzjzz_:*JE The higher part of the principal!. iili w~ ]^§E:§:":t~E:^:i£P:iij:iJ=]z^i 5i3s:-f:g=E:§:-:^ =sa>&. ™**~ -M SSig3|p: = S:e: IE:^§ s9t^ S ssgiS=ig5 fT/fo /lyw^r _p<2r/ 0/ /£ s called double defcani inthetwdfc: buc if •■ ■• in the fecond kind (that is in ir, which in t : 'th the fame motion*. CiUCa,, f or i 11 ii i petitions but nor the lame names wl.ki, m r!i prim ipali] we mull npt put in .my ltl (f ;. , cafe two (ordes of one kinde togither in the principall : as w i third* , or two fortofi fixes, and fuch like, although tit one ' arpe, and the other fin ' Jo «- 01 Sat: nor may wee put Ctdtnces without a difcord. I I . • likewifc in r 1< . ^ bIeJc:L - kinde may bee vied, a is I faide before) you jv.: not I ici : alio if you lift, the parti m.iy i^oe aboufl the higher, and the high r the lower, I'' I uear, that when tiit y bee (b mingled, you make them no furtl thirde, becauiic t!i.u when tiny rennaine in t: ne bounded, tl diftant a twelfth one from another. Indeede wee mi but though we did make them to farre diftant, yet migl not m any i put a thirteenth, for it vv.il bee falfe in the ; the twelfth, and to Lrepe the rules which 1 baue giuen, and lik*. ciule the muficke f(b far as poll'iblie we may) p r occcdc by degrees, and Ihunne that motion of leaping (becaufe th.it leaping Of the fourth and the fift, may in lome [ l.ucs of the replie, ingender a dilcommodme) which obferuatlOOS being exactly k.ept, will caule our defrant to go well and iounablic, in this manner ; K tbe higher pert cf the print ipali of the fecond fort of the firfl kind of double defiant. iiigiiiiigiiii 'gig | IliiiiiiiiM J _ ^.- ^ , - - " ' . ^ ' -L— ^- w-^-- "H i 1_ 1 - I I _ M _" * w 77v ion of the fecond fort of th: firfl kind of double defcant. j ^b-J eTj ""^ E : F jJ JpPrTTJ, I F" ' ~ lot; __L^%a:r r*^^r:z^t±:gntg33^J I : - - - -_ And changing it is, letting the trrbble lower by a tenth, and the lower part higher by an eight, wee lhali haue I y thus. H n 122 THE SECOND PART. . e The higher part of the replie ;-s : 7b- 5:§Stfl TT'^ft g ^ f ff i P • g JF fl f T* ?^rh l TgT r P' a pP' f j *> ■ I L er g* And this is called double defcant in the tenth. You may alfo make the trebble parte of the principal an eighth lower, and the bafe a tenth higher, which will doe verie well, becauie the nature of the tune wil fo bee better obferued, as here you may perceiue. M l /| r1' r ffrffJ|'ll | :i %ffrrr i y.*f ffi 'The high part of the fecond replie. ^m^^^ ^^^^^^== E^iJJ?iSi|^3g|:|fe| ilPi The l owe pari of the fecond replie. :s:q:«:q: *PfTP -? igsigp Alfo thefe conTpofitions might be fung of three voices, if you fing a part a tenth aboue the lowe part of the principal), and in the reply a feuenth vnder the high part. It is true that the defcant will not be fo pure as it ought to be: and THE SECOND PAR T. anJ though it wil be true from falfe defcant, vet will there bee vnifons nail other allowances winch in other muGcke would fcarce be fufferable. but bc- caufe it is fomewlut hard to compote in this kind, and to h.uie it come well in the replie, I will let you ilowne the principal! rules how to d > it, leaning the letfe necrflarie obleruations to your owne ltudie. You mult not then in anie Cafe put a third or a tenth after an eighth, when the part-, or' the fong defi together*: and when the parts al'ccnd you mull not put a fixt aft< ' nor a tenth after a twelfth^ 1 efpecially when the high part qoeth not proceedc by grees ; which motion is a little more tolerable than that whndi is nude by leaping. Likewitc yon mnll not gOC from an eight to I Sat tenth, except when the high part mooueth by I whole note, and the lower part by a halfe note'* (nor yet from a third or iil'r, to a flat tenth by contrarie motions). Alio you Qiall not make the trebble part go from I fift to a lharpe third, the bale Hand- ing dill) nor the bale to go from a lift to a flat third, or from a twelfth to a flac tenth, the trebble Handing (till, becaufe the replie will thereby go againlt the rule. In this kind of defcant eueric tenth of the principal wil be in the ic- plie an eight, and euery third ot the principal in the reply wil be a fifteenth but the compoler mutt make both the principal! and the reply together •, and fo he thai commit the fcwelt errors, by which means your defcant will go in this order. The high part of the pt:nar The third part added to the other t'jeo. iigig^gisiiiiiiiiiiii iHiiiSSiiiilgiilgf The lower part cf the pri>;,;pall. ^ii^^p^^^PI^ Role* for fingic doable Id X. JdU* cai.t. / UK /C 124 THE SECOND PART. By negligence of not think. ing vpon a ihird part in the composi- tion of the principal!, the fault of too much diftance in the replie was commit- ted ; which othervvife might eafily haue been auoided, and the example brought in lefle compafs. Notes to be cbferued in the fecond kind of dou- ble defcant. BEg 5L^s£l^ ^gg jOTpfe p-w- The higher part of the replie. ^llilillill H =ffi~ r:i_: sSfelife ^iziijffr^feE The lower part of the replie. „-& — zsn £ztt~-±±z AV=- !:§iprr I l ' ^"i.C TP WV ff^tf fld ^V Tu g fH§iii3:iSiig§ii T^ r//V 0/ //£>£ //&/Vdf />#r/ which was added to the principall. 7L2.L In the fecond kinde of double defcant, where the replie hath contrarie mo- tions to thofe which were in the principall, keeping in the partes the feme diftances, if you put any Cadences in the principall, they muft be without any difcorde : and then may you put them in what manner you lift. But if they hane any diffonance, in the replie, they will produce hard effecls. In this you may vfe the fixt in the principall : but in anie cafe fet not a tenth immediatelie before an eight, not a third before an vnifon, when the parts defcend toge- ther, becaufe it will bee naught: but obferuing the rules, your defcant wil go well in this manner. THE SECOND TART. liiiipl Tie high fart of the principal! in the fecond kinde of double defcant. &.Z ZIP?! ing 'isgiiiii^- 1 %m J<; faff part of the fn ond iiply. ii: M ,papJ f ^ sisiiggiy The high part cf the third reply, being per arfm o tbrftn to the lotce part of the principal!. lil^^iSlSS^gii: - :— Irt of the third reply, being per arfm ij the/in to the high part of the =fcS : prin.ipall. AnJ 128 THE SECOND PART. And that you may the more clearly perceiue the great varietie of this kinde ; if you ioine to the lowe part of the principall, or of the third reply, a high part diftant from it a tenth, or third : Or if you make the lowe part higher by an eight, and put to a part lower than the high part by a tenth (becaufe it will come better) euery one of thofe wayes may by themfelues be fung of three voyces, as you faw before in the example of the fecond way of the firft kinde of double defcant. There be alfo (befides thefe which I haue Ihowen you) manie other wayes of double defcant, which it were too long and tedious to fet downe in this place, and you your felfe may hereafter by your own ftudy finde out. Therefore I will only let you fee one way Per arjin & the/in, and fo an ende of double defcant. If therefore you make a Canon per arjin df? thcfiriy without any difcord in binding manner in it, you fhall haue a compofi- tion in fuch fort, as it may haue a reply, wherein that which in the principall was the following part, may be the leading : as here you fee in this example. in: ifm The principall. rr„ „.m ^ •,yfi»rrp-g~ e±:±p:£=r ~-F- «F iliSiSMIS -.S-. - HO ' siia mm The reply. -e- gaip^gj^iai^P ■d- ? P^e- Thus you fee that thefe wayes of double defcant carrie fome difficultie, and that the harden: of them all is the Canon. But if the Canon were made in that manner vpon a plaine fong (I meane a plaine fong not made of purpofe for the defcant, but a common plaine fong or hymne, fuch as heeretofore haue beene vfed in Churches) it would be much harder to doe. But becaufe thefe wayes ferue rather for curiofitie, than for your prefent inftrucYion, I would counfaile you to leaue to pradice them, till you bee perfect in your defcant, and in thofe plaine THE SECOND PART. raj pl.iinc wayes of Canon which I haue fer downe -, which will 'a» it a ade you by the hand to a further knowledge : and when you ran at the hrlt 1: Gftfi tWO n.inrs in one in thole kin n a plaine !■ g : then may POII p' tiec other hard wayes and tpeciallie t'lote per arfin L" tl.rjhi ; which of all o: Canons curie both mutt diliicultir, and molt ir.aielhr: lo that I thinkr, : whol'o canne vpon anie plaine Ion;; whatloeuer, nuke In h another way as that of M. BnJ, which 1 Ihewed you before, may with great realon bee te.irmed a great maiitcr in mufick. But arhofbeuer can ling foch a one at the Vpon aground, may boldly undertake to make any Canon which in B be made. And for your further encouragement, thus much I may boldly affirme, that wholoeuer will exeic ilc himlclfe dilicently in that kin< , • in Ihort time become an excellent Mufician, becaufe that hee wh I in ll may almofl at the firft Gght fee what may be done vpon any j laii An.! thefe few wayei which you haue already feene, (hal be fui this time for your prefent inlt ruction in two parts in one, vpon a plaine fong. F r if a man Qi >uld think tofct downe euery way, and doe nothing all but daily inuent variety, hee fliould lolc his labour : for any other n after him, and inuent as many others as he hath clone. But il you thil imp) making of thole, I would counfell you diligent!) thou which my I Mai(rer(neuer without reuerence 1 the Mulicians) M. Bird, and M tlpbonfo in a vertuous contention in l< twixt themlelues, made vpon the plaine long of Miferere j but a :;on, as I (aide, in loue: which caufed them to ftriuc euery one to furmount another, without malice, enuie, or back-biting : but by great labour, iludie, and pai:. , each making other Cenibr of that which they had done. Which contention S (fpecially without enuie) caufed them both to become excellent in tha: kinde, and winne fuch a name, and gaine fuch credit, as will net:-, h fo long as Mufick endureth. Therefore, there is no way readier to caufe J to become perfect, then to contend with fame one or other, not in malice lo is your contention vpon pafBon, not for loue of vertue) but in loue fli your aduerfarie your worke, and not fcorning to bee corrected of him, amend your rault if he fpeake with realon : but of this enough. To return to M. Bird, and M . though either of them to the nun fortie waves and could haue made infinite more at their pleafure, yet hath one man, my friend and fellow M George Waterbouft, vpon the lame plaine 1 of Miferere, for variety furpaflld all who euer laboured in that kinde of fti For, he hath already made a thouland waves (yea and though I lTiould talk of halfe as many more, I lhould not be farre wide of the truth) euery one different and leuerall from another. But becaufe I doe hope very fhortly, that the lame fhall bee publilhed for the benefit of the world, and his owne perpetual gloi 1 '• 11 ceafe to Ipeake any more of them, but onely to admonifh you, that wh will be excellent, mull both fpend much time in practice, and lookc ouer the doings of other men. And as for thole who Hand fo much in opinion of tl iencie, as in relpect of themfelvea they contemnc all other, men, I will leaue them to their foohlh opinions : being allured that euery man but I f meane dilcretion, will laugh then, to fcorne as fooles: imagining that all the gifts of God lhould die in themlelues, if they lhould be taken out of the world. K k And 130 THE SECOND PART. And as for foure parts in two, fixe in three, and fuch like, you may hereafter make them vpon a plain fong, when you fhall haue learned to make them without it. Phi. I will then take my leaue of you for this time, till my next leifure : at which time I meane to learne of you that part of muficke which refteth. And now, becaufe 1 thinke my felfe nothing inferiour in knowledge to my brother, I meane to bring him with me to learn that which he hath not yet heard. Ma. At your pleafure. But I cannot ceafe to pray you diligently to prac- tice : for, that only is fufficient to make a perfed Mufician. THE 1 3 1 T II B THIRD PART OF THE INTRODUCTION TO MUSICKE, TREATING OF COMPOSING OR SETTING OF SON* '.swathes the Schollcr. Pohvmthes. Pbilowathes. WHAT new and vnaccuftomed paffion, what ftrange humour or minde-changing opinion tookeyou this morning (Brother Pclymc: caofing you without making mee acquainted, lo early to bee gone out or" your chamber ? was it iome fit or" a feauer ? or (which I rather belecue] it the fight of fome of thofe faire faces, ("which you [pied in your yeftcr nights walke) which haue banifhed all other thoughts out ol your mirule, caufir.o- vou to thinke the nigh: long, and wifh the day-light, that thereby you might find fome OCCafionof feeing your millris? or any thing eUe, I pray you hide it not from mee: for as hitherto I haue beene the fecretarie (as you lay) of your very- thoughts: fo if you COnceale this, I mull think that either your affection to- wards me, doth decreale, or ell'e you begin to fufpeCl my iecrecie. Pel. You are too lealous : for I protell I neucr hid any thing from you con- cerning either you cr my felfe: and whereas you talke of pafiions .. mindc changing humours, thofe fcldome trouble men of my coniticution : .. as for a feauer, 1 knowe not what it is : and as for loue which you won] i ne to thrult vpon me, 1 efteeme it as a toolilh paflion entering in empty . and nouriined with idle thoughts : and as of all other thing, 1 molt temne it; lb doc I efteeme them the greatcit fooles, who bee therewith troubled. P: . (brother) you goe to farre : the pureft complexions arc foonelt inrc. ( >nrft caught in loue. An 1 to lcauc out infinite mples of , I could Jet before you thofe whom you efteemed entered ', Plato, si- _ and the very dogge himlclfe, all fnarcd in 132 THETHIRDPART. in loue : but this is out of our purpofe, fhew mee the occafion of this your timely departure. Pol. I was informed yefternight, that Maifter Polybius did, for his recreation euerie morning priuately in his owne houfe, reade a lecture of Ptclomey his great confiruclion : and remembring that, this morning (thinking the day far- ther fpent then in deede it was) I hied mee our, thinking that if I had flayed for you, I fhould haue come fhort: But to my no fmall griefe I haue learned ac his houfe, that he is gone to the Vniuerfitie to commence Doctor in medicine. Phi. I am forry for that: but we will repaire that damage another way. Pel. As how ? Phi. Employing thofe houres, which wee would haue bellowed in hearing of him, in learning of mufick. Pol. A good motion : for you haue fo well profited in fo fhort fpace in that art, that the world may fee that both you haue a good maifter, and a quick conceit. Phi. If my wit were fo quick as my maifter is fkilfull, I fhould quickly be- come excellent : but the day runneth away, fhallwegoe? Pol. With a good will: what a goodly morning is this, how fweete is this funne-fhine? clearing the ayre, and banifhing the vapours which threatened raine. Phi. You fay true, but I feare me I haue flept fo long, that my Maifter will either be gone about fome bufinelfe, or then will be fo troubled with other fchollers, that wee fhall hardly haue time to learne any thing of him. But in good time, I fee him comming from home with a bundle of papers in his bo- fome: I will falute him. Good morrow Maifter. Ma. Scholler Philomathes ! God giue you good morrow: I meruailed that fince our laft meeting (which was fo long agoe) I neuer heard any thing of you. Phi. The precepts which at that time you gaue me, were fo many and di- uerfe, that they required long time to put them in practice: and that hath beene the caufe of my fo long abfence from you : but now I am come to learne that which refteth, and haue brought my brother to be my fchoole-fellow. Ma. He is hartily welcome; and now will I breake off my intended walke, and returne to the houfe with you. But hath your brother proceeded fo farre as you haue done ? Phi. I pray you afke himfelfe : for I knowe not what he hath ; but before I knew what defcant was, I haue heard him fing vpon a plaine fong. Pol. I could haue both fung vpon a plaine fong, and began to fet three or foure parts : but to no purpofe, becaufe 1 was taken from it by other ftudies ; fo that I haue forgotten thofe rules which I had giuen mee for fetting, though I haue not altogether forgotten my defcant. Ma. Who taught you ? Pol. One maifter Bouldie. Ma. I haue heard much talke of that man, and becaufe I would knowe the tree by the fruit, I pray you let me heare you fing a leffon of defcant. Pol. 1 will if it pleafe you to giue me a plaine fong. Ma. T ft 1 T HI R I) PAR T. Ma. Here is one: ling vp^n it. »>1 ™ lilies! liggiii t a v 1 ' « d » . o ' 3 * p " ; a r y * » * "■ I I PA/'. Brot!»cr, if your defcanf.ng bee no better then that, you willgaine but fn ull credit by it. Pol. I was lb taught: »'.d this khi le of defcaniing, was by my maifter al- lowed, and efteemed as the bell of ali default. Phi. Whoeucr gauc htm his name, hath cither foreknow en his diliinic, then hath well and MlfhtHf! xci&PtJtc bis Oj.'y.'.vj. p.:. \v; lv u. ? "PH. Becaule there bf fuch bolde taking of allowance:, as I durfr not haue taken, if I h.ul feared my Mailters difplralure. Mi. Why? wtlEldU doc you dilallcw them? Pbi. I'irlt of all, in the feconduote is t.iken a difcord for the full part oi' : note, and not in the bell manner, nor in binding: the like fault n in the lift note. And as for the two notes before the clofe, the end of the firft is a difenrd to the ground, and the beginning of the next likew'rfe a difcord : but I remember when I was practicing with you, you did fet nee a clofe thu. : Irli 8 9 A * l 1 & t r Ux 4l? v T» -> dif-^r^ « k)\ jC together cor- t drained. ■9 1 rs: -§z==izzzzcEii which you did lb farre condemne as chat (as you faide) there could not readily bee a worfe made. And though my brothers bec not the verie fame, yet i-. ic Colin germaine to it: for this ^klct.ideth where his aficndeth, and lus delccn- dctb where this afcendeth, that in etk-ctthey bee both •nc. Pol. Do you then tinde fault with the firlt part of the fecond note? PH. Yea, and julUy. Pol. It is the fuge of the plaine long, and the point will excufc the harfhnc.Te, and lo likt-v, ile in the fift note : for lo my MaiiUr taught me. Phi. But I was taught othcrwile : and rather then I would haue committed fogroflc ouerlight, I would haue left out the point; although here both the }K>int might haue bcene brought in ocherwife, and thole otTcnces left out. L 1 Mm. 1 Urfti rrrJr* I I to be tik- I I th« pointci fAc. *34 THE THIRD PART. Ma. I pray you (good Maifter Polymathes) fing another leflbn. Proportions Pol. I& II£ are not ridi- culofly to be taken. "" 6' m =5 -2a I — e — :l s — "j:x_: e :_i — ©: 61 r-w* ■ — 5 G 33 : i_zz; e ■cv' BE XZZZZZLZZ _A_Q- I P£/. I promife you (brother) you are much beholding to Sellingers round, for that beginning of yours, and your ending you haue taken Sefqui-paltry very right. Ma. You mud not be fo ready to condemne him for that, feeing it was the fault of the time, not of his fufficiencie, which caufeth him to fing after that manner: for I my felfe being a childe, haue heard him highly commended who could vpon a plaine fong fing hard proportions, harfh allowances, and Country dances •, and he who could bring in manieft of them, was counted the iollieft fellowe : but I would faine fee you (who haue thofe Argus eies in fpying faults in others) make a way of your owne; for, perchance there might likewife be a hole (as they fay) found in your owne coat. Phi. I would be afhamed of that, fpecially hauing had fo many good pre- cepts, and practicing them fo long. Pol. I pray you then fet down one, that we may fee it. Phi. Here it is, and Ifeare not your cenfure* Ma; THE THIRD PAR T. '35 \v\" :^u.£ 1 .:.CCI. — b PUP S1III: Pc/. You neede not: buc I pray you Maifter help me, for I can fpie no fault in it. Ma. Nor T, and by this leflbn (fcholler Pl.Ucmatles) I perceiue that you hauc not bcenc idle at home. PM, Indeede now that I haue perufcd it, I cannot but commend it: for the point of the plamc long is euc:y way maintained, and without any taking ot harfh amies. Ma. That is the beft manner of defcanting: but (hall I heare you fing a ieffon of baft delcant ? P .'. As many as you lift, fo you will haue them after my fafhion. M.:. It was for that I requefted it: therefore fing one. - |» qo { n o | om | "° " | o" | ° ta | "o{g ■ * - ^ • ' ■ The firft part of your leffon is tolerable and good, but the ending is not fo good: for the end of'your ninth note is a difcord, and vpon another dilcord you haue begun the tenth •, breaking Prifcians head to the very braine: but I knoweyou will goe about to excufe the beginning of your tenth note, in that it is in binding wife: but though it be bound, it is in fetters of rully yron, nor in the chaines of gold-, for no eare hearing it, but will at the firlt hearing loathe it : and though it bee the poinr, yet might the point hauc bcenc as Binding no neerely followed in this place, not caufing fuch offence to the earc. And to amfcrartwo let you fee with what little alteration, you might haue auoided fo great an in- icord» ugr- conuenience : here be all your owne notes of the fift barre in the very lame lub- llance as vou had them, though altered fomewhat in :';:: e and ronne: therefore ther. ij6 THE THIR D PART. • That name in derifion they haue giucn, tliis quadrant pa- uan, becaufe it walketh mongit the Barbars and Fidlers, more common then any other. therefore if you meane to follow Mufick any further, I would wifh you to leaue thofe harlh allowances : but I pray you how did you becom fo ready in this kinde of finging ? Pol. It would require a long difcourfe to (hew you all. Ma. I pray you t ruffe vp that long difcourfe in fo fewe wordes as you may, and 1ft vs heare it Pel. Be then attentiue. When I learned defcant of my maifter Bould, hee feeing mee fo toward and willing to learne, euer had mee in his company, and becaufe hee continually carried a ptaine-fong-booke in his pocket, he caufed mee to doe the like : and fo walking in the fields, hee would fing the plaine long, and caufe me te ling the defcant, and when I fung not to his content- ment, hee would fhew me wherein I had erred. There was alfo another de- fcanter, a companion of my Maifters, who neoer came in my Maifters compa- nie (though they were much converfant together) but they fell to contention, ftriuing who fhould bring in the point fooneft, and make hardeft proportions, io that they thought they had wonne great glory, if they had brought in a point fooner, or lung harder proportions, the one then the other : but it was a workle to heare them wrangle, euerie one defending his owne for the beft. What? (frith the one; you keepe not time in your proportions: you fing them falfe (faith the other) what proportion is this ? (faith hee) Sefqui-paltery faith the other : nay (would the other fay) you fing you know not what, it fhould feeme you came latelie from a Barbers fhop, where you had * Gregory Walker y or a Currant a plaide in the newe proportions by them lately found out, called Sefquiblitula, and Sefqui barken after; fo that if one vnacquainted with muficke, had ftoode in a corner and heard them, hee would haue fworn they had beene out of their wittes, fo earneftlie did they wrangle for a trifle : and in truth I my felfe haue thought fometime that they would haue gone to round buffers with the matter, for the defcant bookes were made Angels, but yet fiftes were no vifiters of eares, and therefore all parted friends : but to fay the very truth, this Polyphemus had a verie good fight (fpeciallie for trebble defcant) but very bad vtterance, for that his voice was the worft that euer I heard, and though cf others hee were efteemed verie good in that kinde, yet did none thinke better of him then hee did of himfelfe : for if one had named and afked his opinion of the beft compofers liuing at this time, hee would fay in a vaine glorie of his owne fufficiencie -, tufa, tufh (for thefe were his vfuall wordes) hee is a proper man, but hee is ho defcanter, hee is no defcanter, there is no ftuffe in him, I will not giue two pinnes for him except hee hath defcant. Phi. What ? can a compofer be without defcant ? Ma. No : but it fhould feeme by his fpeech, that except a man befo drownd in defcant, that hee can doe nothing elfe in Muficke, but wreft and wring in hard points vpon a plaine fong, they would not efteeme him a defcanter : but though that be the Cyclops his opinion, he muft giue us leaue to follow it if we lift : for, we muft not thinke but he, that can formally and artificially put three, foure, Hue, fixe, or more parts together, may at his eafe fing one part vpon a ground without great ftudy -, for that finging extempore vpon a plain fong, is indeed a peece of cunning, and very necelTarie to bee perfectly prac- ticed of him, who meaneth to be a compofer for bringing of a quick fight : yet THE THIRD P A R I . vrr is it .1 great abfurdity fa to feeke for t fi^ht, ltud lying it to no othervlc a knife 01 other inftrumeni not I lied to the end tor which i .< tocut isvnj lot no vie, euca id is defcant i which bang vied fight in fectiog of parts, is profitable : but nut being applied to that end, is oi itl like a pone of winde, which being p.ill, commeth not againe. Winch I been the rcaton tlut the excellent Mu Brians haue difcontinued it, although it be vnpoll'ible tor them to compote without it: but they rather employ their time in making of Jongs, which remain tor the pofterity, then to fti ant; which is no longer knowen than the lin^cr>> mouth is open exprcfling it, for the moll pare cannot be twile repeated in one manner. Pi '■:. That is true : but I pray you brother procccdc with the caul'e of your lin^im' of defcant in that order. Pel. This 1 trying luch name for defcant, I thought it bell imitate him: lo that euery lelfon which I made, u.h a counterfeit of lone of his ; for at all time'- and at euerie OCCafion, 1 would foift in fome ot his points which I had lo perfectly in my head as my l\itrr ncjltr : and becaule my Mai himfelfe did not diflike tlut courfe, I continued flill therein: but what laid I 3 diflike it! he did fo much like it, as euer where he knew or found any luch ex- ample, he would write it out for me to imitate it. Alii. I pray you let down two or three of thole examples. Pol. Mere be fome which he gaue me, as authorities wherewith to defend mine owne. **tfle confefir on Q- -e- -9 G- A courf-- if it had been done m ith iudgmei.c. Hjmu. Q- t O^.____ ^ d ' d J..I".J". B > "»»«M ' = >^ l ,.rritrf | frfTrl"* l l JF^rTTnjf l rr f r J rf l jijW .Jii J. i l §=z±— .::: M m '33 THE THIRD PART. ffi :zo: -e — e- zaz ~-; s:§:: azz^ :«:d: EC -0 — \\£- In mufick both the eare is to be pleaf- ed and art ihewed. Faults In tills lclTon. h zo: zezZz; O:, — » xzEzzQzSz§zczDz:QZiZDZzgzizDz:?r: d£:tgfcEfi±:ftzz -& i b-- p:s:z!:±j:z:zzt:z: ieio: TTf^" F^FF ££: M?. Such lippes, fuchlettife: fuch authoritie, fueh imitation: but is this maifter Boulds own dcfcant ? Pol. The firft is his owne, the fecond hee wrote out of a verfe of two partes of an Agnus Dei, of one Henry Ryjbie, and recommended it to mee for a Angu- lar good one ; the third is of one Piggot ; but the two laft I haue forgotten whole they be, but I haue heard them highly commended by many, who bore the name of great defcanters. Ma. The Authors were flkilfull men for the time wherein they liued : but as for the examples, hee might haue kept them all to himfelfe: for they bee all of one mould, and the beil ftarke naught: therefore leaue imitating of them and fuch like, and in your muficke feeke to pleafe the eare as much as mew cunning, although it bee greater cunning both to pleafe the eare and exprelfe the point, then to maintaine the point alone with offence to the eare. Pol. That is true indeede: but feeing that fuch mens workes are thus cen- fured, I cannot hope any good of mine owne: and therefore before you pro- ceede to any other purpofe, I mud craue your iudgment of a leflbn of defcant which I made long agoe, and in my conceite at that time, I thought it excel- lent: but now I feare it will be found fcarce palfable. Phi. I pray you let vs heare it, and then you fhall quickly heare mine opi- nion of it. Pol. It was not your opinion which I craned, but our Maifters iudgement. Ma. Then fhew it me. Pol. Here it is: and I pray you declare all the faults which you finde in it. iffTT'TTtw^-r^ T^J ^=^^ S ^=^=^ B ^^^^^^^^^^ THE T II I R D PAR T. Ma. Firft, that difcord taken for the firfl part of ths fecon 1 . not good afcending in that manner: fecondly, the difcord taken for the laft part of the fifl not^fcand another difcord lor the beginning of the very harfh and naught: thirdly, the difcord taken for th aning of the tenth note is naught, it and all the other notes following are the lame thing which were in the beginning without any difference, fauing that they I re lour.- higher: lalllv, your clofc you haue taken thrice before in the lame lcli'on •, a grolle fault, in (ixteene notes, to ling one thing foure times oucr. Phi. I would not haue tiled fuch ceremonies to anatomife euery thing parti- cularly : but at a word I would haue llungit away, and laid it was Itark naught. . Sot't fwift : you who arc lb ready to funic faults, I pray you let v how you can mend them, maintaining the point in euery note of the plaine long as I haue done ? Pit. Many waves without thefugeand with the fuge, eafily thus. T t= OT _ vj m^mmmmmm ^nifiiiilgigggli aim Pol. But you haue remoued the plain fong into the trebble, and caufed it to reft two whole lemibriefes. Phi. You cannot blame mee for that, feeing I haue neither added to it, nor paired from it : and I truit when I fing upon a plainc fong, I may chufe whe- ther 1 wil fing trebble or bafedelcant. Pol. You fay true. . But why haue you made it in a manner all counterpoint ? feeing there was enough of other fhift. Becaufe I law none other way toexpreffe euery note of the plaine fong. . But there is another way to cxprelfe euery note of the plaine fong, breaking it but very little, anil therefore finde it out. . If 1 can finde it out before you, 1 will thinke myfelfe the better dci- canter. Pit. Doe Co. I',!. Faith, I wil leaue further feeking for it, for I cannot finde it. phi. Nor I. I am glad of that: for it would haue grieved mee if you (hould found it out and not I. . You be like unto thofe who reioice at the aduerfity of other - •loe not any thing profit themlclues. I'ul. Not lb : but I am glad that you can fee n') further into a milftone then myfelfe, and therefore I will pluck up my fpirits (which be: re fo much dulled, not by mine owne fault, but by the faul tri altqutd brcuibus gyris rfu- ,P J |i :- i ""[Pt.J*|f^iiUi^ you may alio upon this plain fong make a way wherein the defeant may fing euery note of the ground twice: which though it {hew fome fight and maiftry, yet will it not be fo fweet in the eare as others. Phi. I pray you fir fatisfie my curiofity in that point and mew it vs. Ma. Heere it is : wnnz^^^T^ ■-o- 11 5 — "cd*©— o: — b-; — •2*^ T . z?Ef wr^ e II MM Pr r^y 3. 8. 10. £2. or 15. to the lowed ot them : but if the piainc longs be dittan: by a lecond or ninth, then mult your deica:u be a 6. or a 1 j. to the lowed of them: morcouer, if your plainc longs (land Hill in feronds Of ninther-, then of force mu.t your delcant Itand (till in fixts, bccaufc there is no other (Lifts of concord to be h^l: if your plainc longs bee diliant by a third, then m.«y your de-leant be a 5. 8. 10. t2. or 15. to the lowed: and if your plainc longs be didant by a fourth, then may your delcant be a lixt, 8. 1 3. or 1 ;. to the lowclt of thcrn: likewile if vour plainc ! ~>ngs be a lift one to another, your delcant may be a j. or 5. to the lowed of ihcm: but if your 1 lain frngs be ;n the N n lixt, H 2 THE THIRD PART. fixr, then may your defcant be an 8. 10. 15. or 17. to the lowed of them: laftly, if your plaine fongs be diftant a feuenth, then may your defcant be only a twelfth: alfo you muft note, that if the plaine fongs come from a fife to a fecond, the lower part afcending two notes, and the higher falling one (a$ you may fee in the laftnote of the ft&t barre, andfirft of the feuenth of the ex- ample; then of force muft your defcant fall from the tenth to the fixr, with tbe lower plaine fong, and from the hxt to the fift with the higher : and though that falling from the fixt to the fife,, both partes defcending, be not tolerable in other mufick-, yet in this we muft make a vertue of neceffity, and take luch allowances as the rule will afford. Phi. This is well : but our comming hither at this time was not for defcant: and as for you (brother) it will be an eafie matter for you to leaue the vfe of iuch harfh cordes in your defcant, fo you wil but haue a little more care not to take that which firft commeth in your head. Pol. I will auoide them fo much as I can heereafter: but I pray you maifter before wee proceede to any other matter, fhall I heare you ling a lelTon of bafe defcant ? Ma. If it pleafe you, fing the plaine fong. zz^.— 3: IqZ—zo: ■w A.-/ .— fey-g— g: :x: ~—±=zjs =E rj-i-*-^" 1 --*-* ■* — J ■*-— © JJ Phi. Here is an inftrucYion for vs (brother) to caufe our bafe defcant to be ftirring. Pol. I would I could fo eafily imitate it as marke it. Pit. But now (Maifter) you haue fuffkiently examined my brother Polyma- tbes, and you fee he hath fight enough : fo that it will be needieffe to infift any longer in teaching him defcant, therefore I pray you proceede to the declaration of the rules of letting. Ala. They be fewe, and eafie to them that haue defcant; for the fame al- lowances are to be taken : and the fame faults which are to be fhunned in def- cant, muft be auoided in letting alfo. And becaufe the fetting of two parts is not very farre diftant from finging of defcant, we will leaue to fpeake of it, and goeto three parts: and although thefe precepts of fetting of three parts, will bee in^a manner fuperfluous to you (Philcmathes) becaufe to make two parts vpon a plaine fong, is more hard then to make three parts into voluntaries yet becaufe • • your THE T 1UIRD P V R T. your brother cither hath not pra&ifed that kin Jc of dclcanr, or : ~...th not lu enc might how i | ice ir, I will letdown thuic rol i •••.;,, . rnay I him both tor uVleanr moA vttkluatarie. A. Table, wherein you may Ike all the way. « | • | j •• i let to- gether in three pari .ii^k 1 doc in it I J \ut "> -.ths, yet aic tlicil- cordea fi idomfi to bee lalcea in three part., except oi f'i will; but the belt manner of coir pbfiftg three voice*, or how man) it to cauk the pans logoc dole. A T A P» L E cont.-.viin. t! Col w>hicfi arc to bec vfed in the compoiition of for Three Vo\ =ai r ' r is , S 4J If yom' Hi . .^J If your bale bec an n mfen or 8.- to the tenor, then maie your Alto be a 3. -;. 6. S. io 12. or j j. to the bale. i Kll 7T-CS '4 1 iBllgiq-:: : \ =§ : J If yoin ' urd vml> r > < 'youMcnor I Altiumiy bee a - ; - . jj. 6. 12.0 aboue the bale. I i!.e^ T - - 1 And if yourBafe bee a fifth to the tenor,your. . maie bee a . I I fir 1 j. to the bale. Ul--:g:§:-:l L: a : T>r : z QXE 3 . 2 - z z: .;] Rut if your bafe bee a fix* to the tenor, then mull yoQr Altu bee a 7,. A 10. or' 15. to the bale. P . I pray you giuc me an example which I may imitate. Mi. Let this lutTicc for one at this time: •;• : : m jmi • • ' .'V / 3S82 ..<*.•- \m -us.. % M N3 144 'T HE THIRD PAR T. and when you come to practice, let the third, fift, and fixe (fometimes alfo an eight) be your vfual cords, becaufe they bee the fweeteit and bring mofc vari- eties the eight is in three parts feldome to be vfed, except in palling manner or at a clofe. And foecaule of all other ciofes the Cadence is the moft vfuall (for without a Cadence iivfome one of the partes, either with a difcord or with- out it, it r is vnpoflible formallie to clofe) if you carrie your Cadence in the te- nor part, yon may clofe all thefe wayes following and many others. And as for tli ofe way es winch here you fee marked with a ftane thus*, they be paffing ciofes, which we commonly call falfe ciofes, being deuifed to fhun a final end and go on with Tome-other -pur.pofe. And thefe paffing ciofes be of two kinds in the bale part, that is, either afcending, or descending. If the pafling clofe defcend in the-bafe, it commeth to the fixt: if it afcend it commeth to the .tenth or third, as in lome of thefe examples you may fee. #;rf::;==:na:$#;dn;: II M_ _j _j ' | l-Lfti I __ _| — . roizlrijirj; P 'pJJfJ p i ttzz^tz — pz — 3 Ji — + m ^£m Hr=r — : i :: 3 =: a :a: c~z r - M jrvg L£ZZZgJ3a ~: ~~q ■ -9- SiSHiiill [:dza:^gz=yz=jJ3^jD|Jiiz3: *— #m :ai :d:arij:a:: If THE T JI I R D PART. If you carric your Cad:nce in the bafe part, you may dole with any of thefe way es following { the marlce ftill fhewtns that which it did before: and as concerning the rule which I tould you bit before of palling clofes, it your I tJfMft(ti your ten or wis before, n tt going rnder the bale) then svdl the rule bee contrarie : tor whereas before \<>ur bale in your fa lie clofing did deicend to the lixt, now mult your Alius or Tenor (becaule lometr. I c- nor is aboue the Alius) afcend to the lixt or thirteenth and deicend to the tenth or third, as lieere following you may percciue. ; llIi?I-S:rIIllilSfllIiyil '45 Wz z " r - • ". : _: :tIE ::: z RH Tij g "*Ff : But if yourCadence be in the Alio, then may you choofe any of theft waies following for your e id) the fi »ne ftill fl ewing the falfe dole, which may not bevfed at a final or full clofe. And though it hath beene o ir .: • in times paft to end vpon the (ivt with the bale in our fongs, and fpecially in our Canons: vet i> it not tobee vied but vpon an eat re mi ie or' Canon, but by the contrarie to be Ihunned as much as may be: and becaufe it is aimolt euery where out of vie, I will ceaft to fpeake any more againft it at this time, but turne you to the perufingof thefe examples following. <- - 1: - HSH | | liplIiEl: j I iiiigiiilii liliiliilll^illiijllll^i] Thus much for the compofition of three parts, ir followeth to {]:■ how to makefoure: therefore here be two partes, make-in two other middle partes to them, and make them foure. Phi. Nay, feeing you haue giucn vs a table of three, I pray you giue vs one of foure alio. . Then (-hat I may difcharge myferfe of giuing you any more tables) he e isone which will fcrue you tor the compofition not only or foure parts, but of how many file it Iliad piealeyou: tor when fOU compoft more then foure parts, vou do not put-to anv other part, but double l^mc of thole foure-, that Oo :. 146 THETHIRDPART. is, vou either make two trebbles or two meanes, or two tenors, or two bafes : and I haue kept in the table this order; Firft to fet downe the cord which the trebble maketh with the tenor, next how far the bafe may be diftant from the tenor: fo that thefe three parts being fo ordained, I fet downe what cordes the Alto mull be to them to make vp the harmony perfect. «You mufc alfo note that fometimes you finde fet downe, for the Alto, more then one cord : in which cafe the cordes may ferue not only for the Alto, but alfo for fuch other parts as may be added to the foure: nor (hall you find the Alto fet in an vnifon or eighth with any of the other parts, except in foure places; becaufe that when the other parts haue amonglt themfelues the fift and thirde, or their eights, of neceffitje fuch parts as fhall be added to them (let them bee neuer fo many) mud be in the eighth or vnifon, witli fome of the three afore named: therefore take itandperufe it diligently. A TABLE containing the vfuall cordes for the compofition of foure or more partes. OF THE V N I S O N. If the trebble be and the bafe your Alto or meane (hal be an vnifon with the tenor, a third under the tenor, a fife or fixt abouethe bafe. But it the bafe be the Alio (hall be a fitt vnder the tenor, a third or tenth aboue the bafe. Likewiie it the bale be then the Alto may be a fixt vnder the tenor. a 3. or tenth aboue the bafe And if the bale be the other parts may be an eight vnder the tenor, a 3. 5. 6. 10. or 12. aboue the bafe. But if the bale be che meane fhall be a tenth vnder the tenor, a fift or twelfth aboue the bafe. But if the bale be the Alto may be made a twelfth vnder ihe tenor, a 3. or 10. abouethe bafe. Alio the Dale being he other parts may be a fifteenth vnder the tenor, a 3. 5. 6. 10. 12. and 13. aboue the bafe OF THE THIRD. if the trebble be and the bafe the Alto may be a third with the tenor a third vnder it an vnifon or 8. with the parts. If the bafe be the Altus may be a fixe vnder the tenor, a third or tenth aboue the bafe. But if the bate be then the Altus fhall be an eight vnder the tenor, a fift or fixt aboue the bafe. And the bale being then the parts may be a tenth vnder the tenor, in the vnifon or 8 to the tenor or bafe. THE T M I R D P A R T. >4< O F T H E F O V R T H. ►Wc Hull be and the bale then ine Hi. ill be a toui in to iiu tenor a fift vn ler the tenor a }. or 10. aboue the bale. B it il the bale be the Altus (hall be a i r the tenor a 10. aboue the ba i O F T H E F I f r. But it the trcbblc Hull be and [lie bale he / ) mav be a nit aboue the ten an cigfu vndcr it a ;. or tenth aboue the b . And if the bale be the AltUS lb all be a lixt vnJer the ten an vnifon or If. with the pa O F T H E SIX T. It the ere bole be and the bale the Alius mav be a lixt wr.h ihc tenor a lift vndcr the tenor an vniibn or cigh: with the parrs But it the Bale be die Alius fhall be a tntid viulcr the tcnui" a fift aboue the bale. Likcwile it the bale be che meane likcwile fhall be a tenth vndcf the tenor a htt or 12. aboue the bafe. O F T H E E I G H T. It the trebble be and the bale che other parts fhall be an 8. wun the tenor a 3. vnder the tenor a } . 5. 6. 10. 12. 1 2. aboue the bafe So alio when the bale lhall bee the other parts may bee a 5. vndcr the tenor a \, aboue the bafe. A:id it the bale be che other parts lhall be an eight vndcr the tenor a 3. 5. 10. 12. aboue the bafe. Laltly it the bale be the parts fhall make a 1 2. vndcr the tenor a 10. or 17. aboue the bafe. Here be alfo cerraine examples whereby you may perceiue, your bafe (land- ing in any key, how the rell of the parts (being but foure) may ltand vnto it j both going dole and in wider diftances. J 48 THE THIRD PART. o:§- cl«._ : § :::::_3: — :I:_: :L e :©:i:_:_ J 9 : :±: : :_:: :: :pCLoiEB:_ ES — o'o Co Co Co "Co Co ©-©-i-s-s-i-©^©!©-©--- gixllEziEzizExzzE^ ::=:zzizzizzie zf-z±D§tzziz .■S5X©°t ~ce± ssszzss:: ee j. X J. :dz: — ©■ =#t9-t r=:o?: ZZCQ±QQ±DQ±DQ±a2XDDa±±ZZ® § --93- ©©■ ©e :zz:oo":cd odd: z-ie^x^i^^^^T^-T^T^-Tz?!!^!? 1 !!??!^ 11 ^ iszizzx — ©■ a — t-«tAQ ^EEI^xrz -© DzizarzQ Q -rr -1— ©T©© IdzzIIz; ±zz§±±q: ^,,_ + zz::z§ T _, T Q.Q T __ 1 _-_QI |P- §z±z:z±z?i±Q: i-ZT-aTD?x?ziz-x-zziiz:zT-§x^-- Q-Q— i OO t-i Izi • Hi- - © 1 :s — — -^EsfE g P--^ : iZizxozizQiizi: : e §xz:_i S QH Q ai_a: : ~§®i :®§: i§®: ~®§ : : ®®~ ~®§§ : :: zzztz^xzzxzzT : zz ©-© ■ee-i ca: T FI E THIRD PA R T. I ftlf, Iiecr" i.- examples of . fixe i .icm vo'.i Diufl note, due factual : with this auric ferae for middle doles, fuch .is arc commonly t .. the en lc • (uf.i long: the other bee fi nail cloie*, whereol fu we properly to light rouficke, . ' , • ■ . P*mntnni\G i a lemibriefe will be enough to C >n: but it you i;\ y »u may / out your Cadena or qlofe to what 1 As I |nd Other graue mulicke, you mult in them Illiberal ngs, and long not-. 3, to the cloie. 19 I'll ~H r'.~o* to" ~t^T""-y^-4-+— -*-*^^-~ "f i r-T^X -2 - 3 , gJiiippliEifpF j iillg^I] llillllllllilll^i ; Si i'r j 5 o THE THIRD PART. ZClB^EZPZ % -B — -^- ii S liljg giigiii^^i :::^e=:s: i~ : iz„i°^ izaaipid^ — zd~: iilE®^d:§i±"iE*si?ito:5Ei: ^j^jsaigjg lozozoq felfel ■■■T f,"? . »bW ?— W"-wo eil r - tt r t-^ 3EIEEEEE — (5 — e — az - go- ^tf ^^^P-^ff ^ F^^TTipr-^^F^TFi^rP^^f fljE=55E£ is t^rf 2^ l O i O O t p:g^-gE lp 5j5||^: p^| i^i^iimiiig pigzjEQgzo: ■a z±M e:p:i=EX THE T H I R D PART. '5' j.'Tf" ,l H" I - "'iirJrj-ii = [hznz:: lililillJi • i : fliiPHilli lilSpSISIilllpl z:od l^sieipz^zgzigz^i^^ii^^r^rSzHiaz^—g^r] -j ,4~:*p:©:*a:©; ! u -p»j . — _ TT J 5* THE THIRD PART. -*s~ -m e- Clofes of Fiue Voyces. S^IEIEI JEEjSfelB "? : ff : P-pi : e"3 : jpg— ^d— "zzrzpiz:: ] ±~ 5— sit— © — s-D-Sn-c"P-^E-£ : S : §a; e iJ-3ifc:3^^=)^zfcii — r •d u>_ O IS"Z_EZ_ _ZZ " ~\—~ iZZCTZ - ' — 1 — Ti«~7"j~I — r I I 'd"! — r~1 — """I j zEoHSEa i »S§Era ; iEElzEiJEdEEEa:: :: zzEzzizzzzEEEIzzj] « l^gg ^ip g^^jEyE^^rj^aggi-^; i ^^gj^ iiEgigj p^f gg piEJE^ 8j§|§HBS§B| g * " nitg-d-Oi 1 ^ Jar; -cT^ i -d- Sffi ==5S^EIB3i§=i=: :B===dttg=^=S5=-fe THE THIRD PAR T. 'S3 ra^ i^!iSSI^Si/;^:""E^ I ^^^^^^^^^^^^^^^^^^^^i^S EE r^zczlztl:. iE^Ml^EiP :. z-t^-a n illllilill^iizlll -e-- — 51zlzin&lz:±=idi : 3;$3zr : EE3F^ : e»E^a lzzzzzJtz:z£r.iz:±zzr:z:l:^J^2:lffl5ztebtEfl BhiT^; jp ■iiT7 y r * 'iti^ sg j e-e — !1 I:zliillii!iiilliiii Q.q *54 THE THIRD PART. tnt ~ i™ -Qt s±©± :o_e— e-e- : ^e'-P [TlTTl "(Tr tSZE i^^^i=g|ii fcjfE^fj pj ESjg^lt i I i ■ ■ . — :a^:g2nzrz4tlBf^rz2±: e .g — ^ a .tt_^2zgr Q i iJiggiiiiliillBil^p^^ ^FP^FS 1 ^ "ozzd^zp 2: z_ _t :zzzz±zp:c3:: : irTjrrrpb g— tf— gg gjgiipaiiPig iSi i i^^i ^^SmMBiMMM^^m^ .... q -a^-d — Hs-gi—Qit .p: Q Jj — dz2i 9-a THE THIRD PART. *55 -©-a iE ^Ee;-E p ^|ElE^ ^^ | | =EL^ -pg| li-;i^^#S=IIpil^] 3=i -T -a S :zo: iEia^iss; :z:t 3j f]Ml"- P n ~' llH'' iHffp l1 n ll oz^r© gr ISiili -G iHfl "-lit ".. I I j ". I. J ^"..1 ^ 3--' iz2z *5 6 THE T H I R D PAR T\ 1 T=#tC=ES=©= * E^i=§ll^^^^^iiiilli _£g:gzgg^znz^ e :pzi e: Q ii:g:p.-9 — jg — g : flV^ — y ±— ^. e . e :n iglli z tr .ipITT'pu., zfcf ^e^idzlzzziz ^fei^^^^fefe: ,^^ !^^^^^:^^;:^^^ L iiliiiig 321-112 -s~ -e — e it s— z a Q — — -si fzr£ g^iiigggii =acs :czizzz2£z£z;^ u— ^ -©-- Z12±^tZ. 1 -;— P~ j—pi-lILk©., _ Zfc3ZE~k~ izzHzz!*®: :: qz23zz pz: : illE iqzzzzzzz: zazzn-zzzo: S" : zzz^~ii?Ezz^ : lJi:Szi^l' hi tog-pr— --t — H — l_J S*t t!§zzzd£§zz^tfi§^±±z?sd§± — 1 - ^ ^^= =jll^^E^si|llg| THE THIRD I' A R T. Clofes of Sixc Voycc ,. m°jp " " i i- w p »q »"H = 3^ rf H=ii ~U ~U J- '* ^ ■ ■> M/d ll o||- l |J j 3 i|a || ii D j Jl7 Hhp 57 fe51E n-S- D ---P- a -°^~ r-^r>-»-r W^-^- azza: :: z^zzn^zc: trr-i ff /rJ>ihifir"iiQ^ .N-r^ti arte ;|£5=frj^e3}i ?3j^o: iLJI — 8--S-S-G- n *f,i. j|»r."r i m.o j j J J ,ij,;'N|f''oiiiF^r^ ^ ^ o -i 1 ZZ ZZZgZr^ZZZ: =Z razz: :zza: ^P ~ n R r '55 THE THIRD PART. -|gg i:g 5 ^^P^:ig^g^i; g ggg^^5 ^ 5 i33EHHr sn: ^iEdE=Q : IS i5 fe3i = 3ifi =::: i : ttEf : fe- : ~B SlUSI :s ? r PbQ m , zrsra -e-he-^ — e-g-ji — i I H 01 :S||gj^|ggi|:; *=±sE$=3 : . ©3d -o — O — ! — : :_: ti :_:_:g_ e _ e :n_§§:_dr G _ e _ e ;ii — :_bbp:_zif_ i?^ : j o J^ QjffJ-j^ p l ^-p ^ 1 ^^^^^*^ ^ : j^4^ f 5 =^g^^f ^ f ■ ^ ■ ^ Tf = y T g pp3|] u ; p ft -' ; i _- H -- ©^P'g TT — ^"FTp"^"^ e TT"P"~Z e " r Po^ l"fe— z=o— ^ = pP e: g|JM:F"^ : rfe=_ «3 — ^--yee T - fc*®: rznz 5te Hi ""D.Vl JZEC E^ggfJfeEjij] -Qie-K-e- iSlzzTZZzzzz: :=z±±zzbi=P-F:gg:±i=^— gdjjz±rzz ij zy — g ir ~r H • — T" : -e- II ,KU,1J 4: Hi THE THIRD PA R T. *S9 ^Ie" :*£E~^Q33e- spz.9- -\ — • , — S- — r — -M — -r'.* f ■ ' • » a »o-r i f i pug E T " "Ml " 'h'^J «-*■#■♦ --^- ■ fcg^io^ ■■ H -.1 nm 1 V' J I "V.J'- . z:c:: ff — „f | ■"fffgff * - ° E nrrr H— p— * — »•— - je» g i -i ^«P^ 5: -^p^=i:zzr^:::— rr3=rf I _z. =eP ' y i - g -~ p • II — — -i - '- i- ' .e - _^ _^ -r- : t- a I EE £ SHIi 1 i6o THE THIRD PART. ©eneral rules for Tetting. And though you haue here fome of euerie forte of clofes, yet will not I fay that heere is the tenth part of thofe which either you your felf may deuife here- after, or may finde in the workes of . other men, when you fhall come to pe- ruie them. For if a man would go about to fet downe euerie clofe, hee mio-ht compofe infinite volumes without hitting the marke which he fhot at: but let thefe fuffice for your prefent inftru&ion, for that by thefe you may finde out an infinity of other which may be particular toyourfelfe. Phi. Now feeing you haue aboundantlie fatisfied my defire in mewing vs fuch profitable tables and clofes, I pray you goe forwarde with that difcourfe of yours which I interrupted. Ma. Then (to goe to the matter roundly without circumftances) here be two parts, make in two middle parts to them, and make them foure, and of all other cordes leaue not out the fift, the eight, and the tenth, and looke which of thofe two (that is the eight or the tenth) commeth next to the trebble that fet vppermoft : A caueat fcr the fixt. How the fift and fixt may be both vfed together. but when you put in a fixt, then of courfe muft the fift be left out, except at a Cadence or clofe where a difcorde is taken thus ; which is the beft manner of clofing, and the onely waie of taking the fift and fixt together. ZOZG Phi. I thinke I vnderftand that : for proofe whereof heere bee two other parts to thofe which you haue fet down. THE THIRD PART. ' '.' P ° "'-•h"-^ ^P"T"fr ™zT : I) 161 :-e-r-- 1_. z=zzzzrzzz:az:-z^zzjzzz:zz|zz -zozJzz=?zJzOzzz|]zzzzzz A/.;. Indeed you haue taken great paines about them: for in the fecon third notes you haue taken two eiehtes betwixt the tenor and bafe parr, which <- f a ul tc is committed by leading out the tenth in your fecond note in the tenor, "■ for the eight you had before betwixt the bale and trebble, in your third note you haue a fat Cadence in your countertenor, which is a thing againlt nature ; for cuery Cadence is fharpe : but lome may replie that all tiiele three following z—kzpzaz^zsziT^pzDZaZQZTTzpzoizzczjizzzzzzzzz: 111 gfrgj ivrrn ,6' rj F'"'p ""• M P " P a \ (the firit whereof hath onclie one Cadence, in the trebble, the ath two Cadences together, the one in the trebble, the other in the coun: . I the third, the meane counter and tenor Cadence all at once) bee Bat Cadences: which thing though it might require long difpu ration for folut'on of man; guments, which to diuerfe purpofes might bee brought, yet will I leaue to Ipeake any more of it at this time, but onely that they be all three palling doles, and not of the nature of yours, which is a kind of full or final! clofe, although it be commonly vfed both in pafling manner in diners places of your compofuion, and finally at the clofe : but if your I hall a note thus: szlis: 'ZZI-ZZTZ*" _ any ot the other parts making Sinccpation (which wee call a Cadence] then of courle muit your Stnccpaticu be in that order, as the firfl: of the af fliewed examples is: the other two not hauing that Deceflide bee not in fuch S f common 162 THE THIRD PART. common vfe, though being aptly taken, they might in fome places be both vfed and allowed : but of this too much. Therefore to returne to the other faults of your leflbn, in your fift and fixt notes, your bafe and counter make two eights, and the bafe and tenor two fifts, likewife in the ninth note you haue in your tenor part afharpe eight, which fault I gaue you in your defcant tobeauoided: but if you had made the tenor part an- eight to the trebble, it hadbeene farre better: Lad of all, your eleuenth and twelfth notes be two nfts in the tenor and bafe. Pol. Brother, me thinketh your fetting is no better then my defcanting. Phi. It were well if it were fo good, for then could I in a moment make it better : but Ipray you (Matter) fhew me how thefe faults may be auoided here- after, for that I haue obferued your rule euery where fauing in the fecond and rwelfth notes in the tenor part. : : e-g-T- g -e- -e-i oz§z z±©z53E^5z|zdz§zHzzi:= U _ e - e _ g _ 6 . G _ _Q_Q_ g_g_ e _ e - g _ e _ , - p-0- y. g Q-t ? -j-u---T 7 ----j-U-to-j-U-^-j^o-fe;-T--r - ZQz§zizazozizazeZiz§ZQZiZDZ®zizszaz:iz:azazT:rzzzzz: =E3^=]==|j^g=jEE=j =g5 — e- ; Obiefllon. Ma. In this example you may fee all your ouerfights mended. Pol. But when your bafe and trebble doe afcend in tenths, as in the fift and fixt note of this example, if you muft not leaue out the fift and the eight, I fee no other but it will fall out to be two eights betwixt the bafe and counter, and likewife two fifts betwixt the bafe and tenor. Solution.wnh Ma. Then for auoyding of that fault, take this, for a generall rule, that rules for true w hen the bafe and trebble afcend fo in tenthes, then mull: the tenor bee the dcfcendin ^ e '8 nt t0 ^ e trebble in the fecond note, as for example: T~3 -S DZZI m 4 if ~~f J? ezzozz: zzte 7zzih~~szz§zz: :zf _zzzzzt: zz ~t^^- T-rr :i= zazzi: SEE ^=* T—& e — f~ e — a — tf~ = T~V THE T II I R I) P A R T. but by the contrarie, if the bale and trebble deliend in tentlu-s, then tnufl tenor be the eight to the trebble in the firit of them. Example : — M— :n — e — I — o — z — x — " — Q — i ■ ■ -^- ■ ■ ■ — -■ ■ -^- ' ' m ■■ ■— * * ■ rbi. Thcfe bee ncceiTarie good rules, and eafic to bee vnderftood: bu: you carrie your tenor part higher then your counter, as you haue irune in )our example of tenths aicending ? Ma. You may. But what needed ic? feeing you might haue c.uifed the counter to fing (Hole notes which the tenor did, and contrane the tenor thole which the COU did. Ala. No: for if I had placed the fourth note of the tenor in the counter, and the fourth note of the counter in the tenor, then had the third and fourth notes been two litt.es betwixt the counter and the trebble, and the fourth and fitt notes beene two eightes betweene the tenor and trebble. PbL You lay true, and 1 was a foole who could not conceiuc the rea therof before you told it me: but why did you not let the fourth note or the tenor in Cfolfa •;■;, feeing it is a lift and good in theeare? Ma. B aufe (although it were lufferable" it were not good to fkip vp to the fift in that manner: but if it were taken defending, then were it vcric good • : ffl ' P : 3. 3 P ^^ — — ff? :== — = — j--- ' -r-T— B- ._ — e m ^* . _ — ^m i — - zzz_. c ^rrziz=:-zz'~i -.:=-= The miJdle < nc ibi ■ another. (on i ; winch the not. " > n g fron- - i Phi, 1 64 T H E T H I R I> P A R T. Phi. Thrs example I like verie well for thefe reafons: for (brother) if you marke the artifice of the compofition you fliall fee that as the trebble afcendeth fiue notes, fo the tenor defcendeth Hue notes likewife, the binding of the third and fourth notes in the tenor, the bafe attending from a -frx-t -to a fift, caufeth that fharpe .fift to fh-ew verie well in the eare, trrrd it mtrft needes bee better then if it had beene taken afcending in the firft way as I defired to haue had it: laft of all the counter in the laft foure notes doth anfwere the bafe in fuge from the fecond note to the fift, but now I will trie to make foure partes all of mine owne inuention. Pol. Take heed of breaking Prifcians head: for if you do, I afTure you (if I perceiue it) I wil laugh .as hartily .at it.as you did at my Sellengers round. Phi. I feare you nor, but maifter how like you this ? ^35 T~° T^g ©_: :_ e : ~~r Hzzzizoz2ZTZQ£e ITS ^zaz: TT :=e= T ^ ^ g=e-e=T=g^ zjzigzsziizgzgzrrezccx _ 7 — 1-y-^ZZL ^ ^ T _^ r _. 3 ^.l_ r >_ z ^I_ rP _ g> _3ZZ^-y _X 'J' 25Z.§Z — --—- r— G-e — r-©— © — r-e-S-rrTr-n- ^_s_q:_®_e in _SZD- Dzszzzr xzgzgzxzezezii :cE:a di±.—:: ^SeI ==EE=iE2^3=SEi=5 Ma. Well for your firft triall : but why did you not put the fixt, feuenth and eight notes of the tenor eight notes higher, and fet them in the counter- part, feeing they would haue gone neerer to the trebble then that counter which you haue fet downe. Phi. Becaufe I mould haue gone out of the compafle of my lines. Ma. I like you well for that reafon : but if you hadde liked the other way fo well, you might haue altered your cliffes thus : r 3 zs- e z- zs-ozi-©z=z : zzrzzzizzzzzzt-zz:z™I~"§zzz: : J: T~J p $ -e- — — =— r-©-e— r— =- :r23rszzz±zr:zaz±zz:r e TZQZZZT lifllilfll whereby THE THIRD PART. 165 whereby you fhould both haue had fcope enough to bring vp your partes, and caufed them to come clofer together, which would fo much the more haue graced your example : for the clofer the partes goe, the better is the harmony, tad Tfce pa when they Hand far re afunder the harmony vanifheth, therefore hereafter lludie mofl \n 1 i'o much as you can to make your partes p,oe clofe together, for fo (lull you ,(> that no both (hew mod art, and make your compolitions fitted for the fin&tng ol all l cr ' companies. thcm . Phi. I will : but why do you fmile ? Ma. Let your brother Polymathcs looke to that. Pol. If you haue peruled his leflbn fufhcientlie, I pray you fhew it me. Ma. Here it is, and looke what you can fpie in it. Phi. I do not thinke there be a fault fo fenfible in it as that hee may fpie it. Pol. But either my fight is dueled, or there brother I haue you by the backc, and therefore 1 pray you be not offended if 1 ferue you with the lame meafure you ferued me. Phi. What is the matter ? Pol. Do you fee the lift note of the tenor part ? Phi. I doe. Pol. What corde is it to the bafe ? Phi. An eight: but how then? Pol. Ergo, I conclude that the next is an eight likewife with the bale, both defcending, and fo that you haue broken Prifctans head: wherefore I may / talionis laugh at incongruity as well as you might at vnformalitie : but now I cry quittance with you. Phi. Indecdc I confeffe you haue ouertaken me: bur matter do you find no other thing difcommenxlable in my leflbn ? Ma. Yes : for you haue in theclofing gone out of your key, which is one of ihegrofielt faults which may be committed. Phi. What do you call going out of the key 3 Ma. The leauing of that key wherein you did begin, and ending in another. Phi. What fault is in that? Ma. A great fault: for euery key hath a peculiar ayrc proper vnto it (life: Goii ■ fo that if you goe into another then tint wherein you begun, you change the ibeke/agreai aire of the long, which is as much as to wreft a thing out of his nature, making '*' the AfTe lrapc rpon his Mailler, and the Spanicll hearc the loadi. The per- fect knowledge of thrle aires (which the antiquity termed was in luch eftimation amongft the learned, as therein the] ! the perfection of muf as you may perceiue at large in the fourth bo >k iui his n ficke : and Giarf/rmrsiizsh <*rmen a ka n td bodke, which iiee tooke in hand onely tor th. arion of thole moodes ; and thou gh I - • rf euery I lv different one from the other, yet lome loue (by a wonder to be . d to other* ; 1 \ou begin your for. .conclude it either in C fa ul or D fol r<, and from thciu H you: (ong in } , vou HM] to /) Pi - you no general ruk- to be g ngpf thek t r 166 THE THIRD PART. Ma. No, for it muft proceed only of the iudgement of the Compofer : yet the Churchmen for keeping their keyes, haue deuifed certain notes commonly called the eight tunes, fo that according to the tune which is to be obferued, at that time if it begin in fuch a key,, it may end in fuch and fuch others, as you fhall immediately knowe. And thefe be (although not the true fubftance, yet) ibme fliadow of the ancient modi, whereof Boetius and Glareanus haue written fo much. Phi. I pray you fet down thofe eight tunes : for the ancient modi, I meane by the grace of God to ftudy hereafter. Ma. Here they be in foure parts, the tenor ft 111 keeping the plaine fong. The' EIGHT- TUNES. The Firft Tune. The Second Tune. - Q±:zi±z:§;_:_iz:§:D:o:o^e= s tZD^EBZ§±±^Z====J ±1 < \h--n-e-e-G-3-e-e-e-3---i3---- : -57e«e^ :g:g - : e :g: e|] U_Qj.i. -e-w- e - Lzz^ e "n — s~"czziiiz:^z^:~ 9 ~z:~"r: e " 9 : e :s"a~:-xj ■©"CO — a The Third Tune. The Fourth Tune. r QJQ Q-o-Q ~-r-r Q -°- Q -©-« _Q-OJ2.a.Q. G . e f— e 9-e-~S---e-e-e- g -g^e-gTT|rjT- — —-• D » e - Q : — EzEEIIr gpe- g -es : e-e~ -6-e-e^-p-e-e--T : [ : l5pe-e-e-e-e-e-- -eie^-e-e-e-e-e H T II B T II I R D P A R T. The Fifl Tune. The Sixt Tunc. f ..„ „Q tibeBHBU " = - - - - -e-c - :z---/ t~Q~— — -_-— ~ [" "0*0* - » - Trff'lfll — . O OQO Q ■ "oq S : 3ZT] [ oo»Qo"oy l l : B l ^ n 000 uo oo »Qco f^J : G-e -- o - - o - o -e- -—Q'-F-FrE — : - : — ~- s oo^ — : — 7 " 3 "0"2 3"3" Thc Scuenth Tunc. The Eighth Tunc. :mxd gpo o o u -"-e- u yg ya -e-g-e- ■6G- iilliliiiilif] "OgOOBpOt - — -r-r-lM- Snz*^ r -e-^e-^-e-e^-G; PI Ezomc Zeta a:a:a:~Hz_zHzr:z:Qz:a — n— rr© ■©■ 3-G---^ — — Q °n n * II r- '.-. I will infift no further to craue the vie of ihem .it this time, but becaufr the day is far fpent, I will pray you to go forward with Come other matter. A/.;. Then leave counterpoint, and make toure parts of mingled DOI 1 will. Pol. I thinke you will now beware of letting mce take you tardie in cord;. You Hi all not by my good will. Perufe your lefibn after that you have made it, ar often commit fuch faults a% procecdi I : ouerfight* This is true i: Pht. I pray you (mailUr) perufi: this I For J find n^ vou lhew it met I OU (hew it \o our mai pane cenfurca by degrees. i68 THE THIRD PART. Phi. I will, fo you will play the Ariftarchus cunningly.. Pol. Yea, a Diogenes if you will. Phi. On that condition you fhal haue it. . Ma. And what haue you fpied in it ? Pol. As much as he did, which is iuft nothing. Ma. Then let me haue it. Pol. Here it is, and it may bee that you may fpie fome informalitie in it, but I will aunfwere for the true compofition. P- f 3 J* - r 2 n, .<" 1 ggjgfpp^fpFgfg v^S-i Pi F 3 iTfjT -fig J-isrB i 5> -e — llffiOrll Ski p'ng fiom ihe tenth to the eight both parti afcend- + Faults to be auoyced in imitation. A note for taking of vr.i- ion. Ma. This leflbn is tolerable, but yet there bee fome things In it, which I very much diflike, and firft that fkipping from the tenth, to the eight in the laft note of the firft bar, and firft note of the fecond in the counter and bafe part, not being injoyned thereunto by any necefiltie, either of fuge or Canon, but in plaine counterpoint where enough of other fhift was to be had : I know you might defend your felfe with the Authorities of almoft all the compofers, who at all times, and almoft in euerie fong of their Madrigals and Canzonets haue fome fuch quiditie : and though it cannot be difproued as falfe defcant, yet would not 1 vfe ir, no more then many other things which are to be found in their workes, as fkipping from the fixt to the eighth, from the fixth to the vnifon, from a tenth to an eight afcending or defcending, and infinite more faultes, which you (hall finde by excellent men committed, fpecially in taking of vnifons which are feldome to be vfed but in paffing wife afcending or de- fcending : or then for the firft or latter part of a note, and fo away, not Hand- ing long vpon ir, whereas they by the contrarie will fkip vp to it from a fixt, third orfisft, which (as I told you before) wee call hitting an- vnifon or other cord on the face : but they before they wil break the are of the wanton amorous humor wil chofe to runne into any inconuenient in mufick whatfoeuer, and yet they haue gotten the name of muficke matters through the world by their Ma- drigals and quicke inuentions : for you muft vnderftand that few of them com- poie Mottets, whereas bv the contrary they mnke infinite volumes of Madrigals ', ■Canzonets, and other fuch ayreable muficke, yea though he were a Prieft, hee would T II E T II I R D P A R T. iGj would rather choofo to exccll in tint wanton and pleafing muficke, then in that which properly belongcth to his profclhon : lo much be they by nature inclined to loue, and (herein are they to be commended, for one MuQcian amongfl them will honour and reuerence another, whereas by the contrary, we (if two of V3 be of one profefTion) wil ncucr ctale to backbite one another lo much as we can. Pel. You play vpon the Ihmsnymie of the word Lone: for in that they DC inclined to lull, therein I fee no rcalon why they fliould be commended: but whereas one mulician amongfl them will reuerence and loue another, that is indeede praileworthie : and whereas you juftly complaine ot the hate and back" biting arnongft the muficians of our countrey, that 1 lenowe to bee moll true, and fpecially in theft young fellowes, who hauing no more fkill then to li.. part of along perfectly, aiul (carfely that, will take vpon them to cenlure excellent men, and to backbite them too: but 1 would not wilh to hue lo long as to lee a Set of bookes of one of thole \ong yonkcrs compofitions, who are lo ready to conJemne others. Ma. I perceiue you arc cholericke, but let vs rcturne to your brothers leflon, though imitation be an excellent thing, yet would 1 wilh no man lo to imitate as to take whatibeuer his author faith, be it good or bad, and as for t: •.hough in Qi they be quickly i committed in • . and fuch like light mulickc an J in lmall notes) yet tiiey occafion to the ignorant of committing the fame in longer notes, a MottCU where the fault would be more olVcnliue and fooner fpicd. ^nd eucn as one with a quicke hand playing vpon an inllrument, (hewing in volunt the agilitie of his fingers, will by the hall of his conuciancc cloke many faults, which if they were flood e vpon would mightily offend the eare: lb thole mu- ina becaufethe faults art quickly ouerpall, as being in fhort notes, tin them no faults : but yet we mull learne to diflinguilh betwixt an inllrument playing diuifion, and a voice exprefling a dittie. And as for the going from the tenth to the eight in this place afcending, if the bale had descended to Gamut, where it attended to Gfolrgiit, then had it bcene better, but thole fvric (pirits from whence you had it, would rather choole to make a whole tl long, then to correct one which is already made, although ncucr lb little .. ration would haue auoided that inconuenience, die would they not fuller lo many fiftes and eightes palle in their workes, yea Crcce himlelfc hath let fiue fiftes together flip in one ot his * fonges, and in many ot them you fhall finde *T \ two (which with him is no fault as it lhould feem by his vfe of them) altho*. the eall wind haue not yet blown that cullome on this fide of the Alpe-. I though Crcce and diuerfc others haue made no fcruple of taking thole fiftes . yet will leaue to imitate him in that, nor yet will I take vpon me to laic lb n much as Zr.> h, though 1 thfnke as much, who in the aab third part of his i vf Mitjick, difcourfingof taking of thole cords to- gether writeth thus . >/ ft dee bauer riguardo cbe alcn uto fare oi ?^ c , U tontrarioy : \o per prefuntione, annual loro compofitiom ; conn: ntra li buoni coftumi, & buoni i fimz* • - U u i 7 o THE THIRD PART. Jiatl obferuatori del buoni pracetti, &? accojlarfi aloro £s? abbracciarli come buom maejlri : lafciando fempre il trijlo, & pigliando tl buono : £sf quefio dico per che ft comme il videre vna pittura, chefia dipinta con varij color i, magicrmente diletta Voc- chio, di quello che nonfarebbefe fujfe dipinta con vn folo colore : cofi I'udito maggior- mentefi diletta & piglia piacere ddle confonanze & delle modulationi variate, pofte dal diligentiffimo ccmpofitore nelle fue compofitioni, che delli Jemplici & non variate : Which is in Englifh; Nor ought wee to haue any regard though others haue done the contrary, rather vpon a prefumption then any reafon which they haue had to doe fo, as wee may lee in their compofitions : although wee ought not to imitate them, who doe without any fhame goe againft the good rules and precepts of an Art and a Science, without giuing any reafon for their doings : but wee ought to imitate thofe who haue beene obferuers of thofe precepts, ioine vs to them, and embrace them as good Maifters, euer leauing the bad and taking the good : and this 1 fay, becaufe that euen as a picture painted with diuers colours doth more delight the eye to beholde it, then if it were done with but one colour alone : fo the eare is more delighted, and taketh more pleafureof the confonants by the diligent Mufician placed in his compofitions with varietie, then of the fimple concords put together without any varietie at all. This much Zarlino: yet doe not I fpeake this nor feeke this opinion of his, for derogation from Croce or any of thofe excellent men, but wifti as they take great pains to compofe, fo they will not thinke much to take a little to correct : and though fome of them doe boldly take thofe fifts and eights, yet (hall you hardly finde either in Mafter Alfonjo (except in that place which I cited to you before) Orlando, Striggio } Clemens nonpapa^ or any before them, nor lhall you readily finde it in the workes of anie of thofe famous Englifh-men, who haue beene nothing inferiour in Art to any of the afore named, as Farefax, 1'auerner > Shepberde, Mundy, White, Perfons, M. Birde, and diuers others, who neuer thought it greater facriledge to fpurne againft the Image of a Saint, then to take two perfect cordes of one kinde together; but if you chance to finde any fuch thing in their workes, you may bee bolde to impute it to the ouerfight of thecopyers: for, copies pafiing from hand to hand, a fmall ouerfight com- mitted by the firft Writer, by the fecond will be made worfe, which will giue occafion to the third to alter much both in the words and notes, according as fhall feeme beft to his owne iudgemenr, though (God knowes) it will be farre enough from the meaning of the Author : fo that errors pafiing from hand to hand in written copies, be eafily augmented: but for fuch of their works as be in print, I dare bee bolde to affirme that in them no fuch thing is to be found. Phi. You haue giuen vs a good caueat how to behaue our felues in perufing the works of other men, and likewife you haue giuen vs a good obferuation for comming into a vnifon, therefore now goe forward with the reft of the faults of my lefibn. Ma. The fecond fault which I difiike in it, is in the latter end of the fift bar and beginning of the next, where you ftand in eights; for the counter is an eight to the bafe, and the tenor an eight to the trebble, which fault is commit- ted by leauing out the tenth, but if you had caufed the counter to rife in thirds with the trebble, it had beene good. thus: gpFp E: jll^Ipi; The third fault of your lefibn is in the laft note of your feuenth bar, comming from Bfa b mi THE THIRD PART. #»«, to Ffa »/, afcending in the tenor parti of which fault I told you enough in your delcant: the like fault of vnformall (kipping is in the fame i I fame bar in the counterpart : and lallly, in the fame cjintcrpait fmu liaue left out the Cadence at theclolc Pit. That vnformall lift was committed, becaufe I would not come from the fixt to the rift, ak ending betwecne the tenor and the trcl ; 1 i but it I hail con- fuiered where the note ftoode, 1 would rather haue COOK from the lixt to the lift, then haue made it as it is. Mi. That is no excufe for you : for if your part' do not come to your liking) but be forced to (kip in that order, you may alter the other parts (as being tied to nothing) for the altering of the leading part will much help the thins; : lo that tomctime one part may lead, and lomtime another, according as the nature of the mulkk or of the point is, for all points will not be brought in alike, pet alwaics the mufick is fo to be caft as the point be not ofTenfiue, being compel- led to runne into vnifons. And therefore when the parts haue fcope enough, the mulicke goeth well: but when they be [o fcattered, as though they lay alo )fe, fearing to come neereone to another, then is not the harmonie fo Pbi. That is very true indecde : but is not the dole of the counter a ( dence? ALi. No, for a Cadence mud alwaies bee bound or then odde, driuing afmall note through a greater, which the Latincs and thole who haue of late da.es written the Art of mulicke, call Sincopation: for all binding and hanging vpon notes, is called Sinccpaticn, as this and fuch like : 17* ■-ZZ-^^±a:e>-, ~~ 7 . "~ Example; of iK-.fatt.t, 1 . F'Jl* ^^T ^^^dv^y^^ i H - ;__ _}j $/ j r ^^^^l-^j^^\^\\\XiAl\^ Here be alio other examples of Since} 1 three parts : which if you corifi- der diligently, you mall Bride (betide the S » laudable and com- mendable manner of caufing your parts to driue odde, either afcending or cc. 17a T B E T H I R D P A R T. fcending: and if you caufe three parts to afcend or defcend driuing, you fhall not poffibly doe it after any other manner than heere is let down. It is true that you may do it in longer or fhorter notes at your pleafure, but that will alter nothing of the fubftanceof the matter. Alfo thefe driuings you fhall finde in many fongs of the moft approued authors, yet fhall you not fee them other- wife corded, either in mufiek for voices or iuftrumenta, then here you- may fee. Other exam- ples of Smco- fation. a. — ^XJ ^p^' a^^ Tcy ' i L "-^s£ IEE ft g^e^ 3 3^' 7~T - r~4 ~T~ » w rrr£c£r?"T 5 5«fSTb&Cs SEEE 351 ,fe„ _ m siEE!EF3E}^=i5»5S^E --e- P£/. This I will both diligently marke, and carefully keeper but now I pray you let down my lelTon corrected after your manner, that I may the better re- member the correction of the faults committed in it. M.i. Here it is, according as you might haue made it without thofe faults. THE THIRD PART. '75 frfff if[ ! ir J fiff*i j 4f4p 111 +/ " ' ' iiiiiiiiisiir' 7 " pi ° n i'Urirnrrr I 'tfrirr :'JJ[' i u ^= » ■ : Phi. I will perufe this at leafure : but now (brother) I pray you nul: leflbn as I haue done, anil ioine practice with your (peculation. Pol. I am contented, fo you will not laugh at my errors if you fir.de any : but rather fhew me how they may be corrected. Phi, I will if I can : but if I cannot, here is one who thall fupply that want. Pol. I pray you then be filenr, fori mull luue deliberation and quictn: alio, elle lhail I neuerdoeany thing. . You (hall rather th'mke vs Hones then men. Pol. But (Maifter) before I begin, I remember a peece of compop.tion of rbure* parts of Maifter fatunur in one of his Kiries, which Maifter Bould and all his companions did highly commend for exceeding good, and I would gladly haue your opinion ot it. r, Shew it me. F:!. Here it is. Mr r JCJPrJ J Jf Vt P - 1 n " r f ir dJi rrrif:cx[.rr"H HH ? 3 r i ? %i - ' >? . 9 *?? «4 3B^ =33 -a l _^ r, 9-^X o- ==t==te Xx i74 Faults in this leiibn. The former leflbn be acr- ed- THE THIRD PART. Ma. Although Maifter 'Tauerncr did it, I would not imitate it. Pol. For what reafons ? Ma. Firftofall, the beginning is neither pleafing nor artificial, becaufe of that ninth taken for the laft part of the firft note, and firft of the next, which is a thing ^intolerable, except there was a fixt to beare it out : for diicords are not to be taken, except they haue vnperfect cordes to beare them out : like- wife betwixt the trebble and counter parts, another might eafily be placed. All the reft of the mufick is harfh, and the clofe in the counter part is both- naught and ftale, like vnto a' garment of a flrange fafhion, which being new put on for a day or two, will pleafe becaufe of the nouelty ; but being worne thread bare, will growe in contempt: and ib this point when the leflbn was made being a new fafhion, was admitted for the raritie, although the defcant was naught, as being onely deuifed to bee foifted in at a clofe amongft many parts, for lack of other fhift: for though the fong were of ten or more parts, yet would that point ferue for one, not troubling any of the reft: but now adaies it is growne in fuch common vfe, as dtuers wil make no fcruple to vfe it in few parts, whereas it might well enough be left out, though it be very vfuall with our Organifrs. Pol. That is very true: for if you will but once walke to Paules Church, you fhall heare it three or foure times at the leaft, in one feruice, if not in one verfe. Ma. But if you marke the beginning of if, you fhall find a fault which euen now I condemned in your brothers leflbn. For the counter is an eight te» the trebble, and the bafe an eight to the tenor: and as the counter commeth in after the trebble, fb in the fame manner without variety, the bafe commeth into the tenor. Pol. Thefe be fufficient reafons indeede : but how might the point hauc otherwife been brought in ? Ma. Many waies, : and thus for one r=« 1 :e:i: yyiiii "Hf-,4 — j— ij iiiililiiiplPiiia Pol. I would I could fet downe fuch another. Phi. Wifhing will not anaile ; but fabricando fabri Jimus : therefore neuer leaue practifmg: for that is in my opinion the readieft way to make fuch ano- ther. Pol. .THE THIRD PART. Vol. You fay true, and therefore I will trie to bring in the fame point atK>» I u.iy. Phi. I fee not whit you can make worth the hearing vpon thai point, bail- ing fuch two going before you. . Be not by hu words terrified, but hold forward your determinai fur by fuch like contenti >ns you (hall profit mure then you looke . 1 low like you this way ? *75 fl ■ i - J J J i j ,1 - \ r-rrr P H - r ;-;- . Veras ill. Pok I pray you (hew me particulate euerie fault. /.;. !• it tl of all ymi begin vpon a difcorde : fecondly, the part"; be vn formal, and lalllie the bale is brought in out of the keye : which fault is committed bc- c ante of not cauiing the bale to anfwere to the counter in the eight, or at lead to the tenor: but Ixcaul'e the : in the lowe key, it were too lowe to caufe the bale to anfwerc it in the eight, and therfore it had been better in this place to haue brought in the bale in D v bringing it in Cfa Vt, the coun- ter being in D lajcl ;.-, you baae.chan .1 made it quite vnformal : lor you mull caule your f'uge to anfwere you:- leading part either in the fifr, in the fourth, or in the eight, and fa 1 euerie part ;d anfwere the other. Althou h this rule bee not general, yet i-> it the belt manner of main tail ites, for thole waies of bringing in of fuges in the third, fixt and eu fuch Is!., cordes, though they Qiew great fight, yet are they vnpleafant feldom vfedt Pol. ^o 1 perceiue, that if I had iludied of purpofe to rrukc an euill lcff I could not haue made a worfe then this: therefore once acraine 1 will trie if t can make one which may in fome fort content you. Take heede that your lall be not the woril. Pol. 1 would not haue it lo : but tattikm . . ., how like you 176 THE THIRD PART, ? - r A»V j* rf> ? /O * k r ?f>s- . o-fcE:o:c:3::iQ:i:B gg^jjBllig JVfo. The muficke is indeede true.: but you haue fet it in fuch a key as no man would haue done, except it had beene to haue plaide it on the Organes with a quier of Tinging men: for indeede fuch fhifces the Organiftes are many times compelled to make for eafe of the fingers. But fome haue brought it from the Organe, and haue gone about to bring it in common vfe of finging with bad fuccefTe if they refpect their credite: for take me any of their fonges, (0 fet downe and you mall not finde a mufictati (how perfect foeuer hee be) able tofolfa it right, becaufe he mall either fing a note in fuch a key as it is not naturally, as la in Cfolfa vt, fol in B fa b my, fa in Ala mi re, or then he Dial be compelled to fing one note to two feuerall keyes in continual deduction, as fa in Bfa b mi, and fa in A la mi re immediately one after another, which is again ft our verie firft: rule of the finging our fixe notes or tuninges. And as for them who haue not practifed that kinde of fonges, the verie fight of thofe flat cliffes (which ftande at the beginning of the verfe or line like a paire of ftaires, with great offence to the eie, but more to the amafing of the yong finger) make them miftearme their notes and fo go out of tune; whereas by the contrarie if your fong were wrote in another key, any young fcholler might cafily and perfectly fing it.: and what can they poflibly do with fuch a number of fiat b b\ which I could not as well bring to pafle by writing the fong a note higher? Laftly in the laft notes of your third bar and firft of the next, and like- wife in your laft bar you haue committed a grofie ouerfighr, of leauing out the Cadence, firft in your Alto, and laftly in the tenor at the verie clofe: and as for thole notes which you haue put in the tenor part in fteede of the Cadence, though they be true vnto the partes, yet would your Cadence in this place haue beene farre better, for that you cannot formally clofe without a Cadence in fome one of the partes, as for the other it is an old ftale faftiion of clofing commonlie. vfed in the fife part to thefe foure (as you fhall know more at large when 1 mail fhewe you the practife of flue partes) but if you would fet downe of purpofe to ftudie for the finding outof a bad clofe, you could not readily light vpon a worfe then this. Pol. Then I pray you correct thofe faults, retaining that which is fufferable. Ma. THE THIRD PART. Alt. Here is your ownc waic altered in nothing but in the Cadences a key : [b |?,J t l|npp| a_g_|il 7 t. r&z- T~^TiT7 —b- ii'Tnrri F- - «T-' £ gg^ JTTr =>-&- - :aT-p- -s-q - .' <» 3 tf ; j-t .S^iiSS=S: Hi But here you muft note that your fong beeing goucrncd with flats it is as vn- rormall to touch a fharpe eight in Elami, as in this key to touch it in F fa ./, and in both places the fixt would haue beene much better, which would haue beenc an eight to the trcbble, befldes (which I had almoft forgotten) when they make their fonges with thole Bats, they not onely pefter the beginning ct euerie verfe with them, but alio when a note commeth in any place where they mould bee vied they will let another flat before if, fo that of neceffitic it mult in one of the places be fuperlluous: like wife I haue fcene diners ionges with thole three flats at the beginning of euerie verfe, and notwithllanding not one note in ibme of the places where the flat is fet frcm the beginning of the fong to the ende. But the Grangers neuer peftcr their Verfe with thole fiats : but if the fong bee naturally flat they will let one b, at the beginning of the vcrfes of euerie parr, and if there happen anie extraordinarie flat or fharpe they will fet the figne before it, which may (erue for the note ami no more: like- wile if the fong be (harp if their happen any extraordinarie flat or (harp they will fignifie it ta before, the figne Hill icruing but for that note before which it ftandeth and for no more. Pet. This I will remember, but once againe I will fee if I can with a k-flbn flcafe you anie better, and for that effect 1 praie you gtuc me fome point which may maintaine. Phi. I will (hew you that peece of fauour, if you will promife to requite mc with the like fauour. Pel. I promife you that you fhall haue the hardeft in all my budget. Phi. 1 Will deale more gently with you : for here is DJK which in my opinion is familiar enough, and cafie to bee maintained* 177 ' h'P'.n .»/ ■ BEEFEggEjL:- Yy Pel i;3 THE THIRD PART, Pel. Doubt not but my defcant will be as familiar and as eafie to bee amend- ed, but I pray you keepe filence for a little while: elfe fhall I neuer doe anie good. Phi. I pray God it be good when it comes: for you hauc alreadie made it long enough. Pol. Becaufe you faie fo, I will proceede no further, and now let me heare your opinion of it: hereafter I will ihew it to our matter. <, a ^ See: i§n 1HIH F"T'y"0~o"T~P"r'P='~g'T"g"« FTTHT -c 573 ~ 3 "> V s^jsls -e — T ~ 3 s Sfesii± — -r- I ' i Li I - i i -r I n ■ j i i ■ ii ' ■■ i ■ ■ ■ i I -i — . — i -j — Lm^m— — m ? 1 1 Ujfi^ •zi^z:::zi :zo: — e-r- £_.. T"T*"frj"Q" i » aT 7""l I ~Zll _ZL_I_ZE -i__ _XZ3ha_« +-Z £ iHbzizt t§zPE±±±§^d=: EEgEEztlzpEzE: r "£"f7?" J]FfiT^ sh"FF7 ^V«»7 ^""^"? : 3H : e--i — * ^ ^>7TF" Egjg^i EjgiiiaEgia^EEig Ei re 1

> ^ - c ^ 323 3n -e 4- Q. I Ms. We will firft heare what your brother faith to it, and then will I declare mine opinion. Phi. If he be the examiner, I am not afraide of condemnation. Pol. What ? doe you thinke I will fpare you ? Phi. Not fo: but I doubt of your fufficiencie to fpie and examine the faults, for they will bee verie grofle if you finde them. Pol. It may bee that before I haue done, you will thinke them grofle enough. Ma. Go then roundly to worke, and (hew vs what you millike in the Ieffon. Pol Then, Imprimis, I millike the beginning vpon an vnilbn ; Item, I mif- like two difcordes (that is a fecond and a fourth) taken both together after the vnifon in the fecond bar betwixt the tenor and counter: Item, Tertio, I con- demne, as naught, the (landing in the fixt a whole briefe together in the third bar in the counter and tenor parts, for though it be true and withall other fhifc enough THE THIRD PART. 1S1 enough to be had, yet be thole vn; corda i< I.Uh.v vied of - cept when lome perfeift commeth immediately :t t - 1 r tlx-m : and ing taken but to fwceten the mufick, though they nvike great vr ■ mult not be hoklen out in length and Hood vpotl fo long as othi touched and fb awif.* Befides, in many parts it the fixt br lo Jtontl v , will be the harder to make good parts to them. /:::;:, %£ '■•.'., I the (landing in the vnifon a whole femibriefe in the lail r; > bar in the trebble and counterparts: where vou mult note that the lault i the trebble and not in the counter.^ Lafllv, I condemne two fifes in the penulte and hit notes of the tenth bar in the trebble and tenor p.ut^\ likewile, that dole of the tenor is of the ancient block, which is now growne out or i becaufe it is thought better, and more commendable to come to a dofe deli- berately with drawing and binding defiant, then lo fudJainly to clofe, except you had an j-uoiuox Amen to ling after it. I low fay you (Mailtcr) haue I not (aid pretty well to my young mailtcrs leflbn ? Ma. Indeedeyou haue fpied well,, but yet there be two thingrs which i.aue tfcaped your light. Pol. It may be, it is paft my fkill to perceiue them : but I pray you which thole two ? M*. The taking of a Cadence in the end of the lift barre, and beginning of Morefas the next, which might cither haue becne below in the tenor, or aboue in ■neieiionprc- trebble, and is fuch a thing in all muficke, as of all other things muft not bee left out, cfpeciallie in clofing either palTing in the mideft of a long or endir for though it were but in two parts, yet would it grace the muficke; and the oftener it were vied, the better the long or lc-flbn would bee: much more in many pans : and in this place it had beene farrc better to haue left out any cords whatfoeuer, then the Cadence: and though you woulde keepc all the foure parts as they be, yet if you fing it in Gjolreut, either in the trebble or tenor, it would make a true lift part to them. The Cadence likewile is fceft out, where it might haue beene taken in the nindi bar and counter part, which if it had beene taken, would haue caufed the tenor to come vp merer to the counter, and the counter to the trebble, and thereby fo much the more haue graced the mufick. Phi. It grieues me that he mould haue found fo many holes in my coate : but it may be that he hath beene taken with fome of thole faults himlelfe in his Ialt lelTon, and Co might the more ealily lindc them in mine. M.i. You may perufe his lelTon, and fee that. Pol. But (fir) feeing both wee haue tried our (kill vpon one point, I pray you take the fame point, and make fomething of it which we may imitate : for I am lure my brother will be as willing to fee it as I. Phi. And more willing (if mo r e may be) therefore let vs intreat you to doe it. Ala, Little intceatie will ferue for fuch a matter, and therefore here it is. Z z i8z THE THIRD PART. §5 3 g f — 3|~f~ Fp—^thF— 55EL "Try 7 j- 5~ £ %%~tpyf s> -pf^i £"# z 9 — ^ ° ft — TZZE :ZZ32! 3F=2: P-Q--- jjglgji ~vA Iffl i ? ? T3 ^ ? w f^T? yirW' ' "Jri ? ^g r-=~v/ BiiilSl 5=p e — h iH^ib&'-l?? ~t -# - V 3 s ^?- -J> r^^xr^ - ^ feslPS^ipifiiii c^ 3; Sl^iilligilll! ^c ■w irnr mmBgm^MmMim *p<«-$ 2 rbf 3-Tg* NH 6 $3 l 3 x?A£ GCG^JtZZ s6& € € -* Q -: THE THIRD PART. l iT^TirinjfiiliiiiriiriliririT'r I ! ~^~p' u ?ii\ «*" ' "". . " " " — ^ r? 5 ! '■! ' niirf fL ii i rfrH- i^. i m-c [ u ; I* I, iffi;T l f fl UJJ | .. ;j'.l; l M-M|;- l ff|" | -| ,0 l|MJJjl Hn^ llill^iiglp^lppiiiipl^ q*' '' y/ '' ■ / _Q- g _p_: ::c. — •£ — e — &: r p: — y /y ',.../ ess ^ffls^^ lilliillliSllfl ?? /7z i' ^"""iLi ; " I'jrMl « ti-l- - d jf "I ^"J-" wu.^li • '.. ( : .,{ ■-." Ma. You haue wrelted it out in deedc : as for the faults they be not to be corrected. Phi. What ? is the leflbn fo excellent well contriued ? Ma. No: but except you change it all, you cannot correct the fault; w! like vnto an hereditaria leprofic in a mans bodie is vncurablc without the dif- lolutton of the whole ? PH. I praie you what a the fault. Ma. Thecompnife: $br-t9 it ftandeth vou fliall hardly finde fiue ordiiurie voices to fing it: and is it not a fhame for you, being tould of that fault lb manic times before, to fall into it now againc ? For if you markc your life bar, A a a you i86 THE THIRD PART. you may eafily put three partes betwixt your meane and tenor, and in the eight bar you may put likewife three partes betweene your trebble and meane; groffe faults and only committed by negligence: your laft notes of the ninth bar and firft of the next are two fifes in the trebble, and meane parts, and your two laft barres you haue rob'd out of the capcafe of fome olde Organift: but that clofe though it fit the finger as that the deformitie whereof may be hidden by flourifh, yet is it not fufferable in compofitions for voices, feeing there be fuch harm difcordes taken as are flatagainft the rules of muficke.. Phi. As how ? Ma. Difcorde againft difcorde, that is, the trebble and tenor are a difcorde,.. and the bafe and tenor likewife a difcorde in the latter part of the firft femibriefe of the laft barre •, and this fault is committed by breaking the notes in diuifion:; but that and many other fuch clofings haue beene in too much eftimation here- tofore amongft the verie chiefeft of our muficians, whereof amongft manie euills this is one of the w.orft.. *i fe~ Phi. Wherein do ye condemne this clofe ? feeing it is both in long notes and likewife a Cadence. Ma. No man can condemne it in the trebble, counter, or bafe partes: but the tenor is a blemifh to the other, and fuch a blemifh as if you will fludie of purpofe to make a bad part to any others, you could not poffibly make a worfe : therefore in any cafe abftVtrie from it and fuch like. Phi. Seeing the other parts be good,, how might the tenor be altered and- made better. Ma. Thus, Q.iJ -- : Now let your eare be iudge in the finging, and you yourfelfe will not denie but that you finde much better ayre and more fulnefle then was before: you may replie and fay the other was fuller,, becaufe it did more offende the eare, but by that reafon you might likewife argue that a fong full of falfe defeant is fuller th«n. that which. is made of true cords. But (as Itoldeyou before) the beft comming to a clofe is in binding wife in long drawing notes (as you lee in the firft of thefe examples following) and molt chiefely when a fuge which hath beene in the fame fong handled is drawne out to make the clofe in binding wife r as imagine that this point hath in your fong beene maintained, you may draw it out to make the clofe as you fee in the laft of thefe examples: THE T H I II D V A R T. T - r^e , It. i i ' : o : ,1 < <> **& j ^-r p y f P ;:zgz±rg-^jTti-z:z= *™ '?"?"f"f" "^"""r- 3?~> H^5T "57T>" T™?~ : I izEiEzzz: ' ^ ■ ^ •^"t T -,-__j — .-..—.——i—,-, — ———j — w — g — i-a ___ wr^rvrw'YWfw^^ S ^^^^^^^il~^ ^^S^^| ^^ C ^ P£i. You haue caufed two fundrie partes to fmg the fame notes in one and the felfe fame keye. Ma. That is no fault, for you may make your fong either of two Trebbles or two Means in the high key or low key, as you lift. Phi. What do you meane by the high key ? Ala, All fonges made by the Muficians, who make fongs by difcretion, are either in the high key or in the lowe key. For if you make your fong in the high key, here is the compalfe of your muficke, with the forme of fetting the cliffes for euerie part. Canio. . Q_„ . ,<2_ —1 *^ : - «— *— 1 ^ fc •* * g- 3E-EEE: Alto-. Tenor & Quint o. £afe. But if you would make your fong of two trebbles, you may make the two higheft parts both with one cliffe, in which cafe one of them is called Quint o. if the fong bee not of two trebbks, then is the Quinto alwayes of the fame pitch with the tenor: your Alto or meane you may make high or lowe as you lift, fetting the cliffe on the loweft or fecond rule. If you make your fong in the low key, or for meanes, then muft you keepe the compaffe and fet your cliffe as you fee here : --€>■ Q_. e- ipSlilMpli 'The high Meane. The low Meane. Alto. Zhzzi -e Tenor. Bajfo. The THE THIRD PART. 189 The muficians alfo vfc to make fome compofitions for men onely to fing, in which cafe they ncuer parte this compafle : Aha. 7 em,r fnmui. 'Itnor JtcunJuj. Bu^ Now mutt you diligently mark, that in which of all thefe compaffes you make your muficke, you mud not fuffer any part to goe without the compafic of his rules, except one note at the moft aboue or below, without it be vpon an extremicie for the ditties fake, or in notes taken for Diapafcns in the bale. It is true that the high and lowe keyes come both to one pitch, or rather com- pafle: but you mult vnderltand that thofe fonges which are made for the high key be made for more life, the other in the low key with more grauity and iteatlinclfe, fo that if you ling them in contrarie kcye3, they will lole their grace and will be wrelted as it were out of their nature: for take an inftrumenr, as a Lute, Orpbdrior., P.:;:Jora, or iuch like, being- in the natural pitch, and let it a note or two lower, it will go much heauicr and duller, and far from that fpirit which it had before: much more being fourc notes lower then the naturall pitch. Likewile take a voice being neuer logood, and caulc it to fing aboue the natural reach, it will make an vrpleafini; and vnfweetc noyfe, difpleaiing both the finger becaule of the ltraining, and the hearer becaule of the wildenes of the found : cucn fo, if longes of the high key be lung in the low pitch, and they of the low key lung in the high pitch, though it will not be lo olfenliue as the other, yet will it not breede fo much contentment in the hearer as otherwife it would do. Likewile, in what key foeuer you compole, let not your parts be lo farre afunder as that you may put in any other betwixt them, (as you haue done i:i your la ft lcflbn; but keep them dole together: and if it happen that the point caulc them to goe an eight one from the other (as in the beginning of my exam- ple you may lee) yet let them come dole together againe, and aboue all thinges ke-pe the ayre of your key (be it in the full tune, fecond tune, or other) ex- cept you bee by the wordes forced to brare it : for the Dittie (as you mail know hereafter; will compel the author manic times to admit great abfurdities in h., muficke, altering both time, tune, colour, ayre and what-foeuer eile, whit l is commendable, lo heecan cunningly come into his former avre againe. PLh. I will by the grace of God diligently obferue thefe rules: therefore I pray you giue vs fome more examples which we iruy imitate : for how can a workman worke, who hath had no patterne to inftruct him. .'-. If you would compole well, the beft patterncs for that effect are the works of excellent men, wherein you may petceiue how points are brought in: the beft: way of which is when either the ibng beginiv. th two leuerall puin: t.vo leuerall partes at once, or one poini foreright and reuerted. And though yout iorenght fuges be veric good, yet are they fuch as any man of (kill may ID a manner at the firft light bring in, if hee doe but heare tiie leading ; lung : but tins way of two or three feuerall points going together is the molt artihciall kinde of compoling which hitherto hath beene inuentcd, either for Motets or J&ubrigals, fpecially when it is mingled with rcuerrcs-, becaule lb it maketh the muikkc fecnie more ltrange: whereof let this be an example. bbb if* T H E THIRD T A R T. :!e^J ^v- is ?5K -■v"*- M ^ 7 ?■& 7- A e-p H3-- ** 0> " s/ii % 7'Zy §$j & I 3 % 67 d%0 see iizr !—._-_ 1 ^gz|z=gzz:zzE|==:--- s_5ii e^ :zz:d: i-:=rrzzy £ B^*™^. -M-J-9-^ =-^ -e*~ grrrs: iSiSiSi e-\^ 3=* £^x $l w THE THIRD PART. : » : i -- T -Q-F-FiF^-pT-p-^-P" -e- a: -?=too; TwTbBtis T$2& 3 .«*: ? i ~:dzr±z £73 7 3 3 .r iriE § i : r3F3 : r^^ * 3 yzrr K= i qzns: j^EpgE p orfc rh-L «-TT- ---zzrrbsgp:^ ^ S S fl p 'fill P 1 rL IL-Hnl - -ps fc r9- 3^EES r F£+- 1— 1 1 — zpEzpiispsxpj: £ : : /< ^f3 *&HT7 6>j v Sr " ^SiiiiiiiSill ,? T" 3 3 3 "jr ^ ^' 8 ' V «P - * J y^TT, ■JT^ 1T 7 7 JT s - F^ Po/. Brother, here is a lefibn worthie the noting, for euerie partgoeth a con- trarie way: fo that it may be called a reuert reuerted. Phi. Ic is eafie to be vnderftood, but I am afraid it will carry great difficulty in the praclife. Pol. The more paines mult be taken in learning of it: but the time pafTeth away, therfore I pray you (Sir) giue vs another example of a foreright point without any reuerting. Ma. Here is one, perufe it : for thefe maintaining of long points, either foreright or reuert are verie good in Motets, and all other kinds of graue muficke. THE THIRD PART. iflV | ' | ' | ' 1 ' | L4- !L^ ; w ^'P l ' I. : i '"\J 1 ' f 1 ^ : tt j — x ± x v-^rwvgv>£^ — *-" — •r tf% i ''"V"H:rrirr] i """ W IB "ST" jj pp^^J njkzaiTzIr-zprE ■■•'" 6. ~~ T~ S| "j ® tr ~»7 Q~7~T' — ^' ■ "! t i • ."" i^=§=£ ■e.-r §ipiigggiiiiiii:i P£/. Here be good inflrucYions: but in the ninth bar there is a difcord fo taken, and \'o mixed with flats and fharps, as I haue not iccne any taken in the like o'tier. Pc. ¥ou mufl: not think but that our mafler hath fome one fecretin con-; fition which is not common to euerie fchollcr : and though this fee me abiuid in our dul & weak iudgement, yet out of doubt our mailer hath not let it downc to vs without judgement. Pit. Vet if it were lawfull tor mc to declare mine opinion, it is leant tolerable. Ma, I.: not onely tolerable but commendable, and to much the more com- mendable as it h tar from the common and vulgar vaine of doling: but if you come to pcruic the v.u; kes of excellent mulicians, you fhall finde many luch lings i tiie itrangcncflc of the inuention of which, clucfely caufed them to be had in ellimation amon^lt the fkilfull. Ccc Pol. •93 194 THETHIRDPART. Pol. You haue hetherto giuen vs all our examples in Motets maner : there- . fore I pray you giue vs now feme in forme of a Madrigale, that we may per- ceiue the nature of that muficke as well as that of the other. Ala. The time is almoft fpent; therfore that you may perceiue the manner of compofition in fixe partes, and the nature of a Madrigak both at once •, here is an example of that kind of mufick in fixe parts : 5S - : f-f--j.-. T^ ? -Fff [: prf-^Fp--f^JTg^jir3 : rr rg n • - • t- r~ — pi — —r^~ ~ i — — 'T|^^~fT"j~ r* ^ m ^IPiil-siiSn^ i 1 1 .. _ i £l=z=£=z31 — r 'arT~P t~ — — — t — " i — t — P"rVr^ i &*.**. m m m ■w here is the rcfolution of the beginning of eucrie part. — 6: ^■u. ;, , n , ,,.s=Bgi — i — sujm_^, 1 -^ji — i ^i, -t fill — ox Cantus. Alius. Temr. Batfus* Ofthiskinde and Rich like, you mall finde many both of 2* a, 4, 5, and 6 parts, euery where in the works of tufquin, Pctras Plater.fis, Brutncl % and in our time, in the Introductions of Bafelius and Calui/ius, with their relblutions and rules how to make them. Therfore I will ceafe to fpeake any more of them : but many other Canons there be with sr.igmalicall words fet by them, which not only ftrangers haue vfed, but alfo many Englifhmen, and I myfelfe (being as your Maro fayth audax inuenta) tor exercifc did make this crolfc without any clifles, with thefc wordes let by it t Ddil J 98 THE THIRD PART. ^ ! I ' t_ ' 1 1 1 1 Kb I N ' 1 1 1 TF?i •ffl! rf; J here may you nade, be fure of this : Within this crone Foure partes in two : But firfl feeke out TTfj to knowe my minde, Or els this Cannon ---Jj you may mifle. I(D! I THE THIRD PART. Which is indeed fo obfeure that no man without the Rtfolution wil find out how it may be lung. Therefore you mult note that the 7) U or IMItl the crofle containe a Canon in the twelfth, aboue which linget'i iote of the bale a clotted minime till you come tu this figne where it endeth. The Radius or llaffe of the crofie coniaincth likewile two parts in On*, ih the twelfth vnder the trebble, linking euerie note of it a femibriefe til) it come to this figne as before Ti likewile you mult note that all the parti begin together without any relting, as in this Rtfolution you may Ice. 199 j^lSPIl The RESOLUTION. C A N T U S. ±»ZH*t* igigiiiSis^i ALTO. ;-p7C^:=— g—-—^—s—s— ^—3—^—^—3— a — r — g — --1 TENOR. n.hp-J.ipf : F'.l.frJ.g fiJ.p^^^J^4-- g f] B O. piigiigggiiigs There be alio fomc compofitions which at the firft fight will feem very hard to be done, yet hauing the rules of the compolitbn of them deliueied vntoyou, th« v wil feem uerie ealie to be made : as to make two parts in one, to be repeated asortas you will, and at euery repetition to fall a note : which though it fceme ltrange, yet it is performed by taking your final! Cadence one note lower then your hid note was, making your fir it the dole, as in this example by the di- rector you may pcrceiue. Canon :n * id|M - | i. l |fcj g £jBE| ::>. L;ke- 200 THE THIRD PART. Likewife you may make eight' parts in foure (or fewer or more as you lift) which may be fung backward and forward, that is, one beginning at the be- ginning of euery part, and another at the ending, and fo fing it quite through, and the rules to make itbethefe: Make how many parts you lift, making two of akinde (as two trebbles, two tenors, two counters, and two bafes) but this •caueat you muft haue, that at the beginning of the fong alL the parts muft be- gin together full, and that you muft not fet any dott in all the fong, for though in finging the part forward it will goe well, yet when the other commeth back- ward, it will make a difturbance in the muficke, becaufe the finger will be in a doubt to which note the dott belongeth. For if he fliould hold it out with the note which it foltoweth, it would make an odde number, or then he muft hold it in that tune wherein the following note is, making it of that time, as if ic followed that note, which would be a great abfurdity to fet a dott before the note, of which it taketh the time: hauing fo made your fong, you muft fet one part at the end of the other of the fame kinde (as trebble after trebble, bale after bafe, &c.) fo that the end of the one be ioined to the end of the other : fo Xhall your muficke goe right, forward and backward, as thus for example : Canto retro ic retro. Alto retro & retro. Tenor retro & retro. Baflb retro tc retro. Canon 8 parts in 4. retro 6c retro* SSSHil^^BSiB ^:z3J^ RESO= THE THIRD PART. iOI RESOLUTION. i b (i ,,v iiTipprpiHi j nTrr n n illilPilPi;ii=Pi h n"."ii i HPp |ti 7f"rrr- o ii t,^6« H»l( j p B lP'.Ucl[ "jgj 9===±JJcfP-$i43^ »»f!o Q ^gn: :zdzzoz I; you defirc more ex- amples of this kiiul, you may find one of MailUr the Lift long of chole Latine Motets, which vnder his & Mail- ter Talks his name were publilhed. lliiliiiiiliiiPl ^blWPjIll lol JjP I jJ | J| ',. nj| In this "a "^^" 3 3 d a thecatc ing how — o 5 ^ e ~r^ t r — n-F-*-|;7- t -Z7T:tl »fttt one, thus : M manner alio be lies maile, mak- ing how many [arts you hem all 111 J-E?°i"I3 i.urt parts The RESOLUTION. Jj/, -Mjjj jr r rJr r/j c/:f /« the . «' EE 35 ifei B e c 202 T H ' B THIRD PAR T. Now hauing difcourfed unto you the compofition of three, foure, fiue, and fixe parts, with thefe fewe' waies of Canons and catches : Rules to be ft followeth to fliew you how to difpofe your muficke, according to the na- obferued in ture f tne W ords which you are therein to exprefle : as whatfoeuer matter it bee dittoing. A vhich you haue in hand, fuch a kinde of muficke muft you frame to it. You mull therefore if you haue a graue matter, apply a graue kinde ofnfuficke to it: if a merry fubject, you mull make your muficke alfo merrie. For, it will bee a great abfurditie to vie a fad harmonie to a merrie matter, or a merrie harmonie to a fad lamentable or tragicall Dittie. You muft then when you would ex- prefie any word fignifying hardneffe, cruelty, bitterneffe, and other fuch like, make the harmonie like vino it, that is, fomewhat harfh and hard, but yet lb that it offend not. Likewife, when any of your words fhall expreffe complaint, dolor, repentance, fighs, tears, and fuch like, let your harmonie be fad and dolefull: lb that if you would haue your muficke to fignifie hardneffe, cruelty, or other fuch affects, you muft caufe the parts to proceed in their motions without the half note, that is, you muft caufe them to proceede by whole notes, iharpe thirdes, Iharpe fixes, and fuch like, (when I fpeake of fharpe or flat thirds, and fixes, you muft vnderftand that they ought to be fo to the bafe) you may alfo vfe Cadences bound.with the fourth, or feuenth, which being in long notes, will exafperate the harmonie: but when you would expreffe a la- mentable paffion, then muft you vfe motions proceeding by halfe notes. Flat thirds and flat fixes, which of their nature are fweete, fpecially being taken in the true tune and natural! aire, with dilcretion and Judgement: but thofe qordsfo taken as I haue laid before, are not the fole and onely caufe of expreffing thofe pafiions; but alio the motions which the parts make in linging doe greatly helpe, which motions are either naturall or accidental). The naturall motions are thofe which are naturally made betwixt the keyes, without the mixture of any accidentall figne or cord, bee it either flat or fharpe: and thefe motions be more mafculine, caufing in the long more virilitie then thofe accidentall cords which are marked with thefe fignes * b. which be indeede accidental], and make the fong as it were more- effeminate and languilhing then the other motions, which make the fong rude and founding: fo that thofe naturall motions may ferue to expreffe thofe effects of cruelty, tyrannie, bitterneffe, and fuch others: and thofe accidentall motions fitly expreffe the paffions of griefe, weeping, fighes, forrowes, fobs, and fuch like. Alfo, if the fubiect be light, you muft caufe your mufick to go in motions, which carry with them a celeritie or quicknes of time, as minimes, crotchets and quauers : if it be lamentable, the note muft goe in flow and heauy motions, as femibriefs, briefs, and fuch like, andof all this you fhall finde examples euery where in the workes of the good muficians. Moreouer, you muft haue a care that when your matter fignifieth afeending, high, heauen, and fuch like, you make your mufick afcend: and by the contrarie where your dittie fpeaketh of defcending, lowenes, depth, htll, and others fuch, you muft make your mu- fick defcend. For as it will bee thought a great abfurditie to talke of heauen and point downward to the earth: fo it will be counted great incongruity, if a I mufician vpon the words he afcended into heauen fhould caufe his mufick to defcend, or by the contrarie vpon the defcenfion fhould caufe his mufick to afcend. We muft alfo haue a care fo to applie the notes to the wordes, as in finging THE THIRD P A R T. ?o* finging there be nr> barbarifme committed : that is, that w raufc no fyllal h is By nature morr, be exprefled by manic no* no U>ng fy liable bee cxprefled with a fhort note: but irl this rlujt I rat ticioners erre more grollely, the/1 ip any Other, for you (hall nndl few wherein the penult fyllablfes of the! ■ , Dvu:>:iis, r, .mil Inch like arc not cxpreiTcd with a yea manic .i whole doflVn of" notes, and though one Ihoul 1 ' f fbrtie he (hould I fay much amine: which is a grofti barb.uii-n.-, and yet mighl h c i. \\Y mult alfo take he • any part ot' a word bom atli a reft, as ibm dunces haue noi to 9b: yea ont whofc Dun I in ancient Knglifh author) hath not only dluided the fen tehee, bur, in the vene middle of a word hath made two long reds thus in a foi batts vp>n thele words, A utk. z ^- jEpi ; 1= ruin (o — la vir-go lafta — Lat. For thele be hi^ own notes and words, which is one of the grcateft a ties which I haue leene committed in the dittving of mulick : but to fliew foil word the vie of the tells in the dime, you may let a crotchet or rftthirrie about* a comma or colon, but a longer reft then that of a minimc you may not make tdl the fentence be peifect, and then at a full point yen may let v. number of relU you will. Alto when you would exprcile fighs, you rharV the crotchet or minime red at the moll : but a longer then a minimc reft you may n >t vie, becaufe it will rather feeme a breatii taking then a figh, an exam- ple wherof you may lee in a veric good long of Stipbam F&nfuri to fu; vpon this ditty quell, aura -wnio a PaUra nUaf for comming to the word fofpiri (that is fighs) he giueth itfuch a natural grace by breaking a minime into I crotchet reft and a crotchet, that the excellency of Ids judgment in cxprclTing and gracing his dittie, doth therein manifeftly appear?. Laftly, you mull not make a clofe (efpecially a full dole) til the full lenfe of the words be peri Co that keeping thele rules you flvall haue a perfect agreement, and as it were an harmonical confent betwixt the matter and the mulick: and I ike wife \ou be perfectly vnderlloode ot the auditor what you fing, which is one of the higheft degrees of praife, which a mufician in dirtying can attain vnto or • for. Many other petty obferuations there be, which of force muft be left out in this place, a;rd : I tp the difcretion and good judgment of the fl. com pole r. /' ■ >u haue fo largely dilcbUffW of framing a fit muficke •o the nature of a dirt iuft earnellly mtrear you, (if it be not a thin-.; iblefome) to irfe vntovs at large all the kinds of muficke, wi:h the ob- \tiOT.< which are to bee kept incompofing ofeuery one of them. Although by that which I haue already fhewed vou, you might ftudie collect the nature of all ki rules of muficke, yet to eafe you of that paine, ' jour requdr though no: at ful, yet with fo many kinds as I can cal to 204 THE THIRDPART. Divifion of to memory: foritwil be a hard matter vpon the fuddain to remember them Muficke. all : and therfore (to go to the matter roundly, and without circumftances) I fay that all mufick for voices (for only of that kinde haue we hitherto fpoken) is made either for a ditty or without a ditty : if it be with a ditty, it is either graue or light: the graue ditties they haue ftil kept in one kind, lb that what- foeuer mufick be made vpon it, is comprehended vnder the name of Motet : a A Motet. Motet is properly a fong made for the Church, either vpon fome hymne or An- theme, or luch like, and that name I take to haue been giuen to that kind of mufick, in oppofition to the other which they called Canto fermo, and we do commonly call plain fong: for as nothing is more oppofite to Handing and firmnes then motion, fo did they giue the Motet that name of mouing, be- caufe it is in a manner quight contrarie to the other, which after fome fort, and in refpect of the other ftandethftill. This kind of all others which are made oa a ditty, requireth moft art, and moueth and caufeth moil ftrange effects in the hearer, being aptly framed for the dittie and wel exprefTed by the finger : for it wil draw the auditor (and efpecially the fkilful auditor; into a deuout and re- uerent kind of confideration of him for whole prayfe it was made. But I fee not whatpaflions or motions it can ftir vp, being lung as moft men doe com- monlie fing it : that is, leauing out the ditty, and finging onely the bare note, as it were a mufick made onely for inftruments, which will indeede fhew the nature of the mufick, but neuer carry the fpirit and (as it were) thatliuely foule which the ditty giueth : but of this enough. And to return to the expreffing of the ditty, the matter is now come to that ftate that though a fong be neuer fo well made and neuer fo aptly applyed to the words, yet fhall you hardly find fingers to exprefle it as it ought to be: for moft of our Church men, (fo they can crie louder in the quier then their fellowes) care for no more; whereas by the contrarie, they ought to ftudy how to vowel and fing cleane, expreffing their words with deuotion and paflion, whereby to draw the hearer as it were in chaines of gold by the eares to the confideration of holy things. But this, for the moft part, you fhal find amongft them, that let them continue neuer fa long in the church yea though it were twentie years, they wil neuer ftudy to fing better then they did the firft day of their preferment to that place: fo that it fhould feeme that hauing obtained the liuing which they fought for, they haue little or no care at all either of their owne credit, or wel discharging of that duty whereby they haue their maintenance. But to returne to our Motets,, if you compofe in this kind, you muft caufe your harmonie to carrie a maiefty, taking difcords and bindings fo often as you can : but let it be in long notes,, for the nature of it wil not beare fhort notes and quicke motions,, which de- note a kind of wantonnefle. This mufick (a lamentable cafe) being the chiefeft both for art and virilitie,, is notwithftanding little efteemed, and in fmall requeft with the greateft num- ber of thofe who moft highly feeme to fauor art, which is the caufe that the compofers of mufick, who otherwife would follow the depth of their Ikill, in this kinde, are compelled for lacke of Mecanates to put on another humor, and follow that kind whereunto they haue neither been brought vp,. nor yet (except fo much as they can learne by feeing other mens works in an unknown tongue) doe perfectly vnderftand the nature of it : fuch be the new fangled opinions T II K T II I R D P A R T. I | opinions of our countrymen, who - unmet!) fi >nd the Teas, an.l fpecially from .' , contemi th.ir which is done at hom i that fault ofefteeming fo highly the , but ■r.il thn i Id: m h is the cau he muG un- , haue imp. in it : ---| -ii a learned m i ' I that the muficians of thi •, indeed Hderatioh of hea en and heauenlj -I the gates of hell, cauflng fuch as delight in the exei hea >n. This much for Motets, vnder which I comprehend all . ficke. 1 lie light muluke hath beene to, 10 e is no vanitie which in it hath i but the b kind of it is termed M. , a word tor the eq noreafon: yet vfe flieweth that it is .i kind of muficke n fonnets, fuch as i and manic Poets of oui • excelled In. i kind of mufick. were not lb much difallowable, if the Poets duties would abftaine from feme ities, which all It and fome times from blafphemies to fuch as this, ■ "f" which no man (at leaft who hath any hope of faluation blin + for the mufick it is next vnjo the the mod: artiikial, men ot vnderftanding moll delightfull. If tl you will compofe in kind, you mu! 1 yourlelf with an amorous hum in no com; ihal you proue admirable except you put on, and poflefleyour felfwhol that vein wherein you compofe] fo that y I in your mufick li- the wind, fomtime wanton, : >mtime d otherwh ninat, you may maintaine points and reuert them, • and (hew the verie vttermoft of your varier, ie, an-: you ftiew the better lliall you pleafe. In this kind our ape excelled you would imitate any, 1 would appoint you thefe for guide-- : . ep fkil, tor good ayre and fine inuentioti, II tri t Rurgie . Crecr, with din who arc % 1, but not lb generally good as thefe. The fecpn in this light muficke is giuen to Canzonets, that is little fhorre longs (wherin little air i \u\ be (hewed being made in (trains, the beginning of which is in lorn. lightly touched, and euery (train r ept t'.ie middle) which is in co ■on of the mufick a counterfeit of th Of the nature of thefe are the f '• rent from them in nothing failing in na that whofoeuer knoweth the natu ■ know the other alio-, an J it youthinke them worthie of your paines to c them, you haue a pattern of them in / is it mould leem hath imploied molt of all his ftudy that ■ The hit dej they haue any at all) is giuen to the h ^ ■ are made onlv for the ditties lake: lor, lo they be aptly fet I fife the na- ture of the ditty, the compofer though he were neuer fo excellent will not (tick to jrds of one kind together, for ra this kind they think. 1 it .o6 THE THIRD PART. Ballet to. Vinate. Riftinianes. Paflorelh paf- Jamifos with ditties, Fan- tasies.. Fauanj, Galliards. it no fault (as being a kind of keeping decorum) to make a clowniih mufick to a clownifli matter: and though many times the ditty be fine enough, yet be- caufe it carrieth that name Villanella they take thofe difallowances, as being good enough for plow and cart. There is alfo another kind more light then this, which they tearm Ballete or daunces; and are fongs, which being fung to a dittie may likewife be danced: thefe and all other kinds of light mufick failing the Madrigal arc by a general name called aires. There be alfo another kind of Ballets, commonly called fa las: the firft fet of that kind which I haue feen was made by Gajlaldi: if others haue labored in the fame field, I know.not: but a flight kind of mufick it is, and as I take it deuifed to be danced to voices. The flighted kind of mufick (if they deferue the name of mufick) are the vinate or drinking Ibnges: for as Ifaid before, there is no kind of vanitie whereunto they haue not applied fome mufick or other, as they haue framed this to be fung in their drinking: but that vice being fo rare among the Italians and Spa- niards, I rather think that mufick to haue bin deuiied by or for the Germains (who in fwarmes do flock to the Vniuerfity of Italy) rather then for the Italians themfelues. There is likewife a kind of fongs (which I had almoft forgotten), called Iujlinianas, and are all written in the Bergamafca language : a wanton and rude kinde of mufickeit is, and like enough to carrie the name of fome notable Curtifan of the Citie of Bergama, for no man will deny that lujliniana is the name of a woman. There be alio manie other kinds of fongs which the Italians make; as Pajlorellas and Pajfamefos with a dittie and fuch like, which it would be both tedious and fuperfluous to dilate vnto you in words, therfore I wil leaue to fpeak any more of them and begin to declare vnto you thofe kinds which they make without ditties. The molt principall and chiefeft kind of muficke which is made without a dittie is the fantafie, that is, when a mufician taketh a point at his pleafure, and wrefteth and turneth it as he lift", making either much or little of it according as fhal feem bell in his own conceit. In this may more art be fhewn then in any other muficke, -becaufe the compofer is tied to nothing but that he may adde, diminifb, and alter at his pleafure. And this kind will bear any allowances whatfoeuer tolerable in other mufick, except changing the ayre and leauing the key, which in fantafie may neuer be fuffered. Other things you may vie at your pleafure, as bindings with dif- cordes, quick motions, flow motions, proportions, and what you lift. Like- wife, this kind of muficke is with them who practife instruments of parts in gi eateft vfe : but for voices it is but fildom vfed. The nexr in grauitie ant. goodnes vnto this is called a pauan,a kind of ftaide mufick, ordained for graue dauncing, and mod commonly made of three ftraines, whereof euerie ftrain is plaid or fung twice: a ftraine they make to contain 8. 12. or 16 femibriefs as they lift,, yet fewer then eight I haue not feene in any pauan. In this you may noi fo much infift in following the point as in a fantafie : but it fhal be enough to touch it once and fo away to fome clofe. Alfo in this you. muft caft your muficke by foure: fo that if you keepe that rule it is no matter how manie foures you put in your ftraine: for it wil fall out wel enough in the end; the art of dancing being come to that perfection that euerie reafonable dancer wil make meafure of no meafure, fo that it is no great matter of what number you make your ftraine. After euery pauan we vfually fet a galliard (that is, a kind of THE THIRD PAR T. 2C 7 of mufkk made out of the other) caufing it to go by a meafure, i rn " C i Cal trochaic.'.m rationcm, COflOfting Of a long and lhort llroke facccfliuely : tor as the foot trocb.tus conlitteth of one !\ liable of two times, and another or one time, fo is the firtt of thefe two tlrokes double to the latter -, the firfl being m time of alemibriefe, and the latter of a min.me. XTlia il .>. lighl I liming kind of dauncing then the pauan coniilting of the fame ot ilraincs: and looke how many foure 1 , of lemibnefs jou put in the drain i I vour pauan, l"o nuny times fixe minims mult you put in the Itrain of your The Italians nuke their galhards (v. hi. h they tearm fal'a rci!) ) plain, and f.\. dittie-) to them, which in their m m they ling and dance, and manic times without anv inftromeim ar all, but inftead ot instruments tiians difguifec) in (new apparell, u.i,) i'iu_; and dauno* to their own ion The J. man is a more heauie daunce then this (fitlie reprelentin 5 the narur the people, whole name it carried)) lb that no txtraordinarie morions are \ in dauncing of it. It is made of drains, fomtimes two, fomtimes thee, and euerie itrain is made by foure: but you mult mark that the foure ot' the pauan meafure ib in dupla proportion to the foure ot the Aiman mealure-, lb that U the vfuall Pauane concaincth in a Itrain the time of fixteene femi Oriels, lo the viual A'man containeth the time of eight, and molt commonly in fhort notes. J vnto this is the French branjk (which they cal branjle fmplc) which goetii : what rounder in time then this: otherwile the meafure is al one. The branfle de pciitou or branjle double is more quick in time, (as being In a roundc Tr: but the itrain is longer, containing mod vlually twelue whole itrokes. Like unto this ;but more light; be the voltes and courantts^ which being both of a mea- fure, are notwithftanding danced after fundrie fafhions; the voile rifing and leaping, the courant rrauifing and running, in which mealure alio our countrey dance is made, though it be danced alter another forme tlten any of the former. AH thelebe made in ltraines, either two or three as Ihal ft em belt to the maker: but the nursni h.uh twice lo much in a (train, as the Fnglim country dance. There be alio many other kindes of dances (as Mit n e pypi s, fygget an 1 infinite more) which I cannot nominate vnto you: but knowing thele, the relt can not but be vnderftood, as being one with tome of thefe which I haue already told you. And as there b« diuers kinds of mufick, (b will lome mens humors be more inclined to one kind then to another. As fome will be good deilanters, and excel in defcant, and vet will be but bad compolcrs-, others will be good compolcrs and but bad delcanters extempore vpon a plaine long: fome will excell in compofition of Motets, and being let or inioyned to make a XlaAri*al will be verie fartrom the nature ot it, likewife fome will be to po He fled with the Madrigal humor, as no man may be compared with them in that kind, and being inioyned to compole a Motet or lome fad and heauie mufick, will be fitf from the exccllencie which they had in their own veine. L.allly, tome will lb excellent in points of votuntarie vpon an inltrument, as o.ie would think i: vnpoflible for him not to be a good compofer ; and vet being inioyned to make a long, will do it lo limplie as one would thinke a Lholler of one yeares j Tac- tile might eafily compole a better. And I dare boldly arfirme, that !< which is hec who thinketh himlelfc the belt dekanter of all his neighbors ir.~ H teach mufick, noc eloquence •, alfo that the (choller wil enter in • ing of it for the matter, i or forth Moreouer, there is no man of lion but wil think him foolifli who in the precepts of an art wil Ipeech, rhetorical! fentences-, that being of all matters which a man can intrcat of, tl \ humble and with mod (implicate and finceritie 1 andled, to deckea lowly matter with lofty and fwelling fpeech, will b e to put fim- plicitie in plunu-s of fe ithei - and a Carter in cloth of golde. But if any man of lkill (tor by fuch I loue to be cenfured, contemning the iniuries of the ignorant, and making as little account of th emoonedoth of the barking of ad lhall thinke me either defcctuOUS or faulty in the neceflarie precepts, let him boldly let downe in print fuch things as I hauc either left out or falfely let ■ :h* : which if it be done without railing or biting words againft me, 1 not only take for no difgrace, but by the contrarie elleeme of it as ot' good turne; as one as willing to learne that which I know not, as to infti others ot* that which 1 know: tor I am not of their mind who enuie the glorie ot' other men, but by the contrarie giuc them free COUrfe to run in the fame field of praiie which 1 haue done, r. I ning to bo taught, or make my profit of r works lb it be without their pnviudice, thinking it praife enough for me, ■ 1 haue bin the iirll who in our tongue haue put the practife of mufick in . and that I may fay with Horace, / ra / rce for others. And if any man (hall cauill at mv • f the authorities* of other men, and thinke thereby to difcredit the ke, I .i n lb far from thinking, that any difparagemrnt to me, that I rather thinke it a greater credit. Foi if in diuinitie, law, and other (ciences it be not only tolerable but commendable to cite the autlv -s for con- firmation of their opinions, why Ihould it not be lav. full forme to doe that in mine Arte which they COmmonlie vfe in theirs, a id conrirmc my opi- nion by the authorities of thole who hauebeene no K ,u% in muficke I either / ; . i ! .:;.'.'<;, J . who haue ma. ie lb manie aflfes on foote clothes) haue beene in law. As for the ea be all n owne: but fuch of them as be in controuerted matters, I I was coi to take them of other-, yet to auoid the wran my felfe, confirmed by the authorities of the bell author lumc may object that in the firft paci beene handled by fomc < then, if they would .ere thcmfrlues with this I : the comicall 1' : and in th.is matter thovi . a bart 210 P E R R A T I 0. yet could I not haue been iuftly blamed, feeing I haue fet downe fuch matters" as hauebeene hetherto vnknowne to many, who otherwife are reafonable good muficians : but fuch as know lead will be readied: to condemne. And though the firft part of the book bee of that nature that it could not haue been fet down but with that which others haue done before, yet fliallyou not finde in any one book all thofe things which there be handled : but I haue had fuch an efpecial care in collecting them, that the mod common things, which euerie where are to be had be but ilenderly touched. Other things which are as neceiTa- rie and not ib common are more largely handled, and all fo plainly and after fo familiar a fort deliuered, as none (how ignorant foeuer) can iuftly complaine of obfcuritie. But fome haue bcene fo foolifh as to fay that I haue employed much trauell in vain in feeking out the depth of thofe moocles and other things which I haue explained, and haue not ftucke to fay that they be in no vfe, and that I can write no more then they know alreadie. Surely what they know alreadie I know not: but if they account the moodes, ligatures, dots of diuifion and al- teration, augmentation, diminution and proportions, thinges of no vfe, they may as well account the whole arte of mufick of no vfe, feeing that in the knowledge of them confifteth the whole cr greateft part of the knowledge of, wrote fong. And although it be true that the proportions haue not fuch vfe in muficke in that forme as they bee now vfed, but that the practice may be perfect without them, yet feeing they haue beene in common vfe with the muficians of former time, it is neceffarie for vs to know them, if we meane to make any profit of their woiks. But thofe men who think they know enough alreadie, when (God knoweth) they can fcarce fing their part with the wordes, bee like vnto thofe who hauing once fupetficially read the Tenors of* Littleton or Iujlinians iii/litutes, th'inke that they haue perfectly learned the whole ■law; and then being inioyned to difcuiTe a cafe, do at length perceiue their owne ignorance, and beare the lhame of their falfely concerned opinions. But to fuch kinde of men do I not write: for as a man hauing brought a horfe to the water cannot compell him to drink except he lift, fo may I write a booke to fuch a man but cannot compell him to reade it : But this difference is betwixt the horfe and the man, that the horfe though hee drinke not will notwithstand- ing returne quietly with his keeper to the ftable, and not kicke at him for bringing him foorth : our man by the contrarie will not onely not reade that which might inlfruct him, but alio will backebite and maligne him, who hath for his and other mens benefit vndertaken great labor and endured much paine, more then for any priuat gain or commoditie in particular redounding to him- felf. And though in the firft part I haue boldiie taken that which in parti- cular I cannot challenge to bee mine owne, yet in the iecond part I haue ab- stained from it as much as is poffible : for except the cords of defcant, and that common rule of prohibited confequence of perfect cordes, there is nothing in it which I haue feene fet downe in writing by others. And if in the Canons I fhall feeme to haue too much affected breuity, you muft know that I haue pur- pofely left that part but ilenderly handled, both becaufe the fcholler may by his own ftudie become an accomplished mufician, hauing perfectly practifed thofe fewe rules which be there fet downe, as alfo becaufe I do ihortly looke for the publication in print, of thofe neuer enough pray fed trauailes of Matter Wa- terhoufe P E R O R A T I O. 21 1 terhoufe, whofe flowing and mofl fweet fprings in that kind may he fufHcient to Quench the third of the moll infati i iller whatfoeuer. But it" mine o may beinany eftimation with him, I won 1,1 counfaile him that when I jmblilh his labours, he would fct I • .ill waj the i rciueit to be a Canon, and how one i I if them which I haue feene be fo inti wrote in feuerall bookes one ilnll hardlj iue it to be any Canon at alb (hall he by his labours both mofl benefit his countrey" in fli th<- intfeni . and ' coramendati ie the lii it who hath inuented it. And as for the: I aft | there in i r . which is n >r min ■ in that place 1 hi . ■ : . but m iy at the firfl re Lie the true meaning of the wo ds : and this haue 1 fo mu h al ..it part will be both moll vfual and m >ft profitable to the young pi ticioners, who mod part) know no more learning then to write • names. Thus haft thou the whole forme of my booke, which ii pt in that good meaning wherein it was written, I haue hit the ma which 1 [hoi at: if otherwile accept m II, who would haue done bet- i i ifl could. But if thou thiuke the whole arte no: d witte or learning, though 1 might an Us, \on did to one ot hi^ courtiers, (who faying that the knowledge of the fcici • . not requifite in a noble nun, the king gaue him onlie this anfwere \ iun bue • ) Yet wil not 1 take vpon me to fay lbj bt rc- mouing of that opinion, let downe the authorities of l'onie ol of auncient time: and to begin with Plato, he in the feuentl :c of his common wealth doth lo admire muficke as that he calleth it J t i heauenly thing, x«i mpt iiv ;»' *.? - *5* fVw/» ible for the Seeking out of that which is good and honeft. All > in th • or his lawes he faith that muficke cannot be intreated or taught w; th >ut the kn ledge of all Other fciences: winch it* it be true-, how far hath i ick or' i ent from ours ? which by i ;ligence of the profeflbrs i> al- ien into the nature of a mechanicall arte, rather then reckoned in a- Igft other fcien res. The next authoritie I may take from . igh he many times fcoffe at other fciences, yet teanr.ed he muficke i- • «r«*rf for a perfect knowledge of all fciences and difciplines. But th ties of A . •' - wiio haue painef liuered r be fufficient to caufe the bc-it wits to thinke it h -.heir trauel, fpecially of S ssho being by birth noble a:-:d moll ex- ;u well i Diu ie, Philofophy, 1 :icks, Poetry, :, did notwithstanding write more of muficke then of all the other mathematical : fo that it may be iuftly faid, that if it had not him the knowledge of mufick had not yet come into our W of the ■' i ek tongue lying as it were dead vnder the bat , and muficke buried in the bowels of the Grecke : : the one of which as yet hath ncuer come to light, but lies in written copies in lb me Bibliothekes of Italy, the other I out in prior, but the copies, a;. .arcc and hard to come bv. 212 PERORATIO. by, that many doubt if hee haue been jfet out or no. And thefe few authorities -will ferue todiffwade the difcreet from the afore named opinion, (becaufe few difcreet men will hold it) as for others many will be fo fclfe willed in their opi- nions, that though a man fhall bring all the arguments and authorities in the world againft it, yet mould he not perfwade them to leaue it. But if any man fhall thinke me prolix and tedious in this place, I mult for that point craue pardon, and will here make an end, wifhing vnto all men that difcretion as to meafure fo to other men as they would be meafured themfelucs. I N I S. btot i i i i i i !¥! ! ! KJLLLI I I I I I I ITT© I I I I.I Irlii HI 11 til 1 1 1 1 1 I 1 1 i ,, I ITT© rrrw i i i i TTTDI ■ i i r TTD( | ! il I I *l I I I I I SI I I I TT© TTTJ ■ i i i 1 1 m Tin !7T? o I ■ 1 1 1 I O I I I I I ma i 1 1 1 1 ITRD f i i » TTTDI i i i i TTTDI TTTJ! I I r i I I* TTTJ ifttf) I I i i i i TTW II I I I I Or! I IJDI1_ I I I I 3JB a. o i. 5° c 3 imi mi Mil I 1 = •114 11 f I = Id - I |

a en BASIS. Quatuor voc. Heu •heu fuftulerunt dominum meum Efc e^a^p ^J J : o * irv ^M^ ^j f^ r ^V j ■ —=z me— am me- •um fu — ftuk-runt do— minum meum |: -iq.\ opjajyj tq a opj'Vj z«rsc: iq a opj3\[ uin — d juruanjod n uin d ^JJ^^-tUUIJ.:!- :lj: Uin 3 }ub.j:ijqJ w ^iS^iiifi|ii#giif=^if^ii uinaui uin- -om oinutuiop uinsui uinuiur p jufuainynj uinoui tunutiuip tunou! uinup Siilsilgpiiii&i uitmu uinaiuiop uinuiuiop iunij[nynj noi^.f noq- ■3 :ll : "H •ooa jonjrnt) v *s n x a v -Jill o a o > i-. o 3 # 19441 I ULLi II I I HI I I CD I I ©I rii _TP*I i i ■ i mil J n ffi I I I n 3 tH>! (DM £ I *LU LwTi i iul i iiti mi e B Snr§ " i i i i -3 H& £W ■ iqHT JM I ffffl =£ . tOP! M o i r j i i I CULL I § © a 11 Oil _ i I I I i •«• I i im I l(j)l I a i i i I IT" "ml - II? 1, 1 [It] i i i i -all z ii i -+S 1 f CLLL I v i I I I I {'ILL IIMI a III U 8 All I I I I I « I OJLL o I I M | ii mi wh«JH - ■| j jjvii 1 444-1 1 JjLll tin - u " i B A I 12531 -- c - fifctH ct pofuerunt cum ' -hi | 1 .l^iliiiiil rbi :|: Hhfa 2i.; 214 •3JSA UOU BnbsB — -rsx-*r 3s -ea aou untos joprs t nj &e*-4 ji iauSadj eg; : U ; :||: 3[ BAUOUBnbDB liipiilSSiiiiiPis;^ :||:jopjB ( nj jt jguSadjE^ :|j: : j|: spiJOUI 3 UOU'JOUI^p 030J J^ip ll|y — -J-*-© — — — ~3 : ||." 3J0UI UOU IBUJ 3 3J- ii-^sQ^^^^±^t$^-E§ OUT UOU IBUI 3 Oj JE[ •^w- ,^T-:^-^za-J:z:=:-^~^:ffs-i-3:^: JOD Jt =fe ^ f^j^Tf 1 EJOIJ u3o,pJ\f '3JOUI UOU IBUI 3 3JOUI UOU tBUI 3 !— ■-jj-^-e'-x-^-**- 5 *— — :||: [isJOUiuouiBtH 3 °J J B I JODU :J: 3J01U uou teui 3 oj — E[ J03 II BJoquSo^jy *' - j~r srsr *o X 1 V 'IJOClfy 'VfJPUOZUVJ Canzonetta. A 4 voct. *&= — -*-*M Ard'ognhora i! cor la- CANTO. -fo e mai non mo' asasF^f re c mai non more ±££±£ i~Jjn:z:ij:=:: **- z?f Ard'ong hora il cor laf— - fo e mai non more :||: il:| il cor lai- "7=*= uF>. uT. —10 e mai non more e mai non more Ahi ch'il ±fcs=±E==Z3acp: il.? ^_:*i::^i::^:_:^-fr:»:e:e:«£:p:f:s::fr: c --^:ij:^: r -y:e~ none mortale. Eafpegneril fu 'ardor :||: -1 ■" - ,.}■ 1 » foco d'amornonemortale :|[: Ea fpegner il fu'ardor :|j: acquanon va- acqua non va— le. life! ojtA uou mbje ' 9 * ■lif^ailip.. -p- ' : I JOUI d UOU iOlUl'.p OJK'j n mrm^t-^ I in UOU ICUI 3O0V| J03 |I 3J QUI IBM 3 OJ ) v \ joj [« :||: tioq 3uo,pj\f 'Di oiu uou irm 3 OJ|r| J03 J! :||: a-i-oui uou ieiu a oj )r.\ jod tt EJOIJ Sao, Canzonetta, 4 Fba, **I O K 'J >L BASSO. • / -^ •*// Ard'ogn hora '±±^qq~ 11 cor laf (o cmtinonmorc 11 I iSiiiiiSF^¥|giipiS' laf V> c mai non mo re e mai non moreArdo'gn hora ilcor iiliii- OTfttrrWjfrn fl *- Lf fo c mai non m il cor laf fo c mai non mo re ■v Ahich'il mi J. J ^ J 1 7 1 p J r l ~f l *y~i*# Q d' ' 1 1 : -jjJJ 2 [ 3n e morule none morcalc. £a fpes;ncr il fu'aruor as • • r rpri i j'L ffrrrp- . i i b=5 f '| I I I'll f j E3: ES^EpilEi foco .one morule : hi acqua non vale acquanonva lc J: *-_ — . Ea Ipcgncr i! fu'ardor :|: I UM I' lr 'ifff rf r ffffnH acqua noa vale acquanonva lc ?I J 2l6 •91—03 JI up— •— U333B ^ UOU _-. -— _ '^z~^z~ r ^S^^^^^^^^^ O}} 03JBU3J UIBlJ ( t|3 91- -03 JI rpU3DDB 4 J UOU — -4 -|33i* : - : S^ : : $& i oyosjeu aj ureq.to sios ji sp- U33DB ,3 UOU 31- z&zm: 03 JI EpU3 30B ,J UOU O^ £^- 03JBU ajuiBij^^ajosiiBpuassB,] uou oyoaiEusjuii^q^s.rop.rejsipJsd sipjsd bj 07 'OIJ iil^lll^lSS^^iiliii :J|: oijqo u; o[jei3je[ J3C ^ °! tu J0D I! ] w JOJ SipiSJ -0I[ qo |i :j|: oqqo ut o[jei3je[ J3d oitu J03 ji im joj sip-isj -oi[ -qo ui :||: oi|qo ui 0[JBJ3jbi lad oitu jos ji iui ::5:^,:fc^:=] -JOJ 31J3J3J 'O X N V D 7^ i 7 F" 'vwuozupji Canzonetta. A 4 7W.. ALTO. Perch e tor- mi il cor mio cor mi— — o per lafciarloin obliooblio per lafci — -fc-fv^-- ■ — 1 — I — _i - P-S-f* — f-p-vr—zz ~- vP^f^PP — I gzmgg&gm arloinoblio pejche tor mi il cor mio cormi- -0 per lafciarloin oblio oblio 1—4 — I __^. . ^xm-Q-xp-jf. 1.-1 k_ Lo fa perche perche l'ardore, Ch'hain fe nafco fto 1tl1tT1i!Ttf4f1"FT"-hf^T9f) T"^7^ — -+- h— non t'accendailco- -re Ch'hain fe nafco — fto non t'accendail co re ^£:EiE:l>:s±iE:E:Ei -ft-iH-tP-er- ■' ■ * 3 -tj®'" «UI-I . C -P-P — P — Ch'hain fenafcofto non t'accenda core Ch'hain fe nafco fto non t'ac — cenda il co- re non t'accen- : 6 kb: — da il core. 2 17 •jjoo [i 3t — 03 |tepuj3je 4 j uou oy— co;eu jj uiti^u;} 3J03 tiepusa P — ©-• ■ - H'-'nTjJllJKli • i S «-3c 4 l uou oy- -COJ«U 3J UICU.U-) 3J03 |! 3J03 |n»pU333r,1 UOU O'J 9r»jBU 3J at wMdjuim i 9J-— 00 [lepujOOB,! UOU OJJ- •03JBU oj uicij.u^ .iJopif,[ sqDJod 343J*d vj c/j iSiSiiiSiililiil^ -4- :|: criiqo ut oijcojcj joJ oi|qo ui ojivojt[ J»,J Hi:giigl^liH°ili' - f H 'o s s v a % toOji \ y -vi;:uo\ ^ Canzonet ta. A 4 Voci. TENOR. ei=g|giipigi^iiiiiiip|ii£ Pcrche tor- mi il cor mio cor mio per lafciarlo in ob!io in ob- _i_ — 1 <— U»-b cU"*~ — ' ' b >■ "* — ii -o pcrche tor nr.i il cor mio cor mio per lafciarlo in oblio in rHrtrrrrff-TfMyjIIjkg j gum obli- -o Lo fa pcrche perche l'ardo — re Ch'hainfcnafco- -fto !^^iiii|i|i;gii^iil Ji — ! I an <^4- ,"!! HI Cu 3 o 3 ST w CL, OTQ ii ! f TTO I i i i "TO I /! ■toi rrw I ■ WILL TT*! TTIDl ?• irhbi in a H . Ctrl I 10)1 10)1 I I II I I I I I Pr'l I I El i lOiLL fro to i thbi Lis i i rrw i • 1 1 1 I (DLL < i i i 10)1 I I I I &3 ' ' ' ■ Tffi W. I i i lot.! ! I El I I I I I ITRD iTTP.n ITTTD g 19 | J I I I I c i WILL S g itrbi === S TTO I 1 1 m (W I I 1 I nTW 1.0 I I 1 i I I I SI I I I I I I \m 1 1 d i I 1411 I *LLL iii I rmi I I IOI I I I i I I MB I I l I KILL g 0441 ! f mil I a • I ! " II I l(D = I lOiLL ■ ' i i i Iffil w ■ I I I I I 1 Cl> I I iwi 5 1 aft I: ttm I El I 2 JGLLL ? i l i i *o es 1 1*11 W TTO I Tro i i i i i i fffi! f i jaxJL TT$ *• i©i 1 1 M o 1 1 1 oiii 1 1 fa I I ITRD co ii I i itto n i ma IITPP-s TTM! nm 1 1 i^i.- i i r i . I I l(D c p * I I I I Tj I Ifll I i I 1 I I 10)1 I 3 I I II I y 1.1 III, I IOI I n i i t J, ifl I I iii I IOI I I l» l I TTO 1 TRD l TTO ITTCT TTfe rrh i 1 1 fo irnbi 1 1 1 1 1 II o I Ii i«! ! i lot Mill o > C CO i an I K1_1L I I I I I I 10)1 I i i«i ■ i I Oil I RTi I Iffl ill i* ji$voc. BASIS. ill; O arnica me Arnica mea 3-a~ -a Sunt capilli tu J2 gjg|:,i^ 3±ppE; i^^i:Eg=gfgii±g;g Sunt capilli tui Si-cut gregrscupra-rum SicuTt iruic; ;|- pttjtS pi«|i3 ajuo'OJ jp jjuoui ,ip ■ .: : — — -m mi i;.iJu3 un<; i<; i m i nj 1 1 1 1 rf t -j |U| ' '§33 3i : e p OIU11 o ... | „!i() L JU. ■s a x i v - as - n I I I iu)i g 111 id) r TP 3 i+tri 4 ami ?. T 0-'i <5 9RI !!I U.LJlI • I N I ■m o 5K in ro L f 1 I I C : . - I I u) j - I ITTO JLn II®! I ? II oil 'C/| I I I Oil I 3 -I 9 Q D • ttl* I 2 lib [411 £ i l#a_L ? I 3 L ? En bj ap juruapuaojB ajub' uiruBjuoi sa2ajS itoij inj sajua(p ^S^^S^^^^^^^^S TIE z::§dQZ_:±§:d£i 1 =^:o3^gi e-»-7g (]: uinjBjuo) saSajSiroij inj sojusq sa2 diS jnay inj sajug ±en2er ■• SSI a *S fl JL N I fit) "f-i?4- vpunDag 'umooci m fating i c H i nlo i1 lifl nil ICHJJ ■ i IT ■ I (Oil 944 aJi a. i ■ i a i i 1 1 1 1 qui !R+J- !PU4 ! 191 1 I I CULL i id) • i j. ■ I I Oil Ml COLLI mi W 01 ? I Kill I ^te^ >-» ►fl c H 3 (DI I I I I I I 1 1 1) i Id) i MM. I OIL I I I I 1(0 teLi clL I I U mii I h I L I Gill ■ i i i (OJLLI i i i i (OLL1 Mil I i I I 1*11 i iii i a i ■ 1 1 1 JCDUL i i a I i > ii i i.fci 1 1 .. m . EF] SI i Ml hi i I o rw CD o ft 3 I D Mi! m rnoi m If! QLLL trH (DI II* 8S ■a ss CO a- 2 *4l o (Oil i! i BASI S.. ^uinque vocum. Secunda pars EE s=t Entes tui ficut greges tonfa- -rum Dentes tui ficut greges tonfarum e-€? — e-G-e " £ — ~t^i JtzZZZ—BL ZZIZISlS?ZEZ__Z5-Z-Z-__ fees" ^^eW tonfa—- ■ ' rum quae afcendc— — runt quae afcenderunt d£ lauacro de lauacro quae juiuapujjjB sob onert — P| ap )unj^piu>|v , gii @g § ^liSifeS 0J3unB| apjun;.ipu.)Djt xnb juni- ro^..J.iij ^pff apaaijt l nb x "" UFfc tel mis I: ujnji'juoj taS sj3 :n::i ta3a.i3 jtoij ir.j taju'j 'S r l X ^ V 's-*v i >! ! 1 1 l4i_LL I klLL CO 1 1 H V] u £ Ml?! ^ § inn — S 11*1 , 3 !P.! < £ r< I • e iclli u i till m Rft 7 mi s i 'Jill i ? ia>ih c RT T+ii I fi I i I | i S um t • i i 2 q i « p 11111 M U tiOi ! .. !Hi! I MIL ML ■■ ill' ) "i < i C i n i i I I \r> I'.HLLl ii I 5 g till l(D I I I 5 I I I 1 ' n I icill E 'ill 5- TO! 1 1 u ioi i MM I a 15 I us i • j .lit u I I*™ icllli 1 all 41 t 1 « 141 11. I»71 liM ' *» all ■« mi a nn i MM ill _ll 1 1 -TTOI I TOii ; TO ! Mill V I CLLL - hi! I i i an" -o || KSH IftHilHtt -il aii ills- 8 III! w I D I fl « Qil| ■ 5 cLil III s I I i 1 1 Mil TTDI Btt i m\ i tffi ^s ffl i iTi «, IMI hTm " 5 l I -a i MM c In IOI I I « I H j I v™ 1 1 1 1 1 g qui i M nail ^ CLLL I ■ I] i I 1 Mill a *+++! ?l Nl *M-H Lffl I h> :.-; 13 A S I II iftW r j 43! nq i - ' 1 U-LL p ™ (i i TP»i i 1 tW) 3a * mil "miL™ afcmdcrur.t qu.c atccndr — runt dc lauacro qux l^lg=SSlIlii afccndc- rur.i d< L-ua- 10. Kkk 222 •Sutyai pus cfesy jo Smyaj put? Suiyaj ?j ds3[jjodo3[jjo paau ipBij pB3i|sjayEiu Xijj^ -iiuiyajoui s)i[§noiji /(ui 3nB3[puE 'sidubj puoj Xej j dsajj d33[g ysj ipp noq] ipiipu 334} jo ^Sipp sjjej ijjia\ jpaA'j noq5SE[E pssq Xj/\1 '3iD uej puoj dssy o : II : dasy O 3 P UB i P U0 J ^ 33 U O ^ 33 IS *.s n x 1. v •J70O. t Jf «Hi titil < 11 i uLUJ "ITT?! rrrw ■ 1 1 1 ■ 11411 111 4J_L Ill WIN 1 I i 1 1 WJJJ 41111 % a Tr CTC) LLLl 1 1 1 1 1 1 014.1 1 1 1 1 1 I GUI I I I I I ION I I I I I iqui Mill qui n 11 1 _j 1 1 1 1 nit H. trm 1 "tftl WJ_L 3 re 1 1 1 1 rw 1 ■ 1 1 1 T¥l I 101 I UlLi 1 1 1 1 1 (Oil 1 1 1 1 1 1 1 QUI I l I I I I I 'IH I I II I Ttw 1 1 1 1 1 1 TTT4I Mill imi 1 11 M 1 1 1 1 1 I I4JA DIM 1 M I'M > c an A 3 wri Oi^iiiliiii Sleep O fleep fond fancieO fleep O fleepefond fancie, My head alas thou tyreft, las thou tyreft, with falfe delight of that which thou defireit, Sleep fleep I faie fond fancie,and leaue my thoughts molefling, Thy matters head hath need hath need of fleep & refting :|| : of fleepe & refting. :|(: "J ANNOTATIONS N I C K S S A R V FOR THE VNDERSTANDING OF THE BOOKE: Wherein the rcritic of tome of the precepts is proouet), and fome argument: - , which to thecontraric might beobiectcd, are rciuied. To the R E A D E R. WHEN I had ended my booke, and fhowen it 'to be peru'ed) to Como of better Skill in letters then n.y lclfe, I was by them requeued to giue lb me contentment to the learned, both by letting down a reufon why 1 had dilagrecd from the opinions of others, as alio to explains lomething, which in the booke it lelt'e might leeme ebfeure. I haue there- fore thought it be;t to let downe, in Annotations, fuch things as in the text could not iocommodioully be handled, lor interrupting of the continual courle of the matter: that both the young beginner fhould not be ouerladen with thole things, which at the firlt would be tuo hard for him to conceiue: and alio that they who were more lkilful, might haue a reafon for my proceedings. I would therefore counlel the young feholler in muficke, not to intangle him- fdfe in the reading of tluie notes, till he haue perfectly learned the booke it (cite, or at leall the full part thereoi : for without the knowledge of the booke, bv reading of them, hee Hull runnc into fuch confufion, as hee fliall not know where to begin or where to lcaue. But thou (learned Reader) if thou find any- thing which lhall not be to thy liking, in friendlhip aduertile mee-, that I may either mend it, or fcrapc it out. And lb I ende; protelting that Err arc poffum c.'o. .'..;. 2. line 29. TbefcaU of Mufiiki] I haue omitted the definition and di- uifion of mufick ; becaufe the greatcll part of thole, for whole fake the booke was taken in hand, and who chicflie are to vie it, be altogether vnlearned, or haue not lb far re proceeded in learning, as to vnderltand the reafon of a defi- nition : and alio becaufe amongll fo many who haue written of mulkke, I knew not whome to follow in the definition. And therefore 1 haue lefc it to the difcretion of the Reader, to take which he lilt of all thcic which I (hall let rne. The molt ancient of which is by Plate let out in hi, . 1 thus. eke (faith h< fi)f fo interpret the worde re?/* which in that place he vfeth) whereby rule a companie of fingers, or fingers in companies (or quire, for lb the word vapo< fignifieth.) But in his Banquet hee giueth this definition. Wftckc (faith he) is a feience of hue mailers occupied in harmonic ar.l rytbmcs. B*::ihs dillinguilhcih, and theoricaJl or Ipeculatiuc mulick he dctineth in 1 12 4 ANNOTATIONS. in the firft chapter of the fift booke of his muficke, Facultas differentias acutorum & grauium fonorum fenftl ac ratione perpendens. A facultie confidering the dif- ference of high and lowe foundes by fenfe and reafon. Auguftine defineth prac- ticall muficke (which is that which wee haue now in hand) Refle modulandi fci- ■entia, A fcience of wel doing by time, tune, or number; for in all thele three is modulandi peritia occupied. Francbinus Gaufurius thus, Mufica eft proportio-. .nabilium fonorum concinnis interuallis difninHorum difpqfitio fenfu ac ratione confo- ■ nantiam monftrans. A difpofition of proportionable foundes diuided by apt -diftances, fhewing, by fenfe and reafon, the agreement in found. Thofe who haue bin fince his time haue done it thus, Rite & bene canendi fcientia. A Sci- ence of duly and well finging, a fcience of finging wel in tune and number, Ars bene canendi, an Art of wel finging. Now I fay, let euerie man follow what definition he lift. As for the diuifion, Muficke is either fpeculatiue, or praclicall. Speculatiue is that kinde of muficke which by Mathematicall helpes, feeketh out the caufes, properties, and natures of foundes by themfelues, and compared with others-, proceeding no further, but content with the onlie con- templation of the Art. Praclicall is that which teacheth all that may be known in fongs, either for the vnderftanding of other mens, or making of ones owne, and is of three kindes : Diatonicum, cbromaticum^ and Enbarmonicum. Diato- nicum, is that which is now in vfe, and rifeth throughout the fcale by a whole, not a whole note and a lefie halfe note (a whole note is that which the Latines call integer tonus, and is that diftance which is betwixt any two notes, except mi and/<3. For betwixt mi and/# is not a full halfe note, but is leffe then halfe a note by a comma : and therfore called the leffe halfe note) in this manner : Chromaticum, is that which rifeth by femitonium minus (or e the leffe halfe note) the greater halfe note, and three halfe notes thus : "lEE^E^'EfFEEl'^^'Jl ( tne g reater ha\k note ' s tnat diftance which is Betwixt /# and mi, in bfa tq mi.) Enbarmonicum, is that which rifeth by diefis, die/is 3 (die/is is the halfe of the leffe halfe note) and ditonus. But in our muficke, I can giueno example of it, becaufe we haue no halfe of a leffe femitonium : but thofe who would fhew it, fet downe this example y -- ' -^-^ejj of Enbar- monicum and marke the die/is thus X as it were the halfe of the apotome or great- er halfe note, which is marked thus «. This figne of the more halfe note, we now adaies confound with our b fquare, or figne of mi in b fa kmi, and with good reafon : for when mi is fung in bfa $mi, it is in that habitude to alamire, as the double die/is maketh Ffaut fharp to E lami, for in both places the dif- tance is a whole note. But of this enough : and by this which is alreadie let downe, it may euidently appeare, that this kinde of muficke which is vfuall now adayes, is not fully and in euerie refpect the ancient Diatonicum. For if you begin any foure notes, finging vt re mi fa, you fhal not finde either a flat in Elami, or a (harp in Ffaut: lb that it muft needs follow, that it is neither iuft Diatonicum, nor right Chromaticum* Likewife by that which is laid, it ap- peareth, ANNOTATIONS. 225 peareth, this point which our Organifts vl •- : not right Cbrpmaticfi, but a baftard p >int pat( hcd , . anil i >;/. fc. I ••• i i 'ii \ whi n 1^ 1.1 d, tii 1 rina our vn! : < , but halfe . . • . . i,ay tie preffed vpon cur comm thinke that the marp hi g uld ferine f ili ill findc that it is more then halfc .1 quarter of a note too low Bui lei fuffice for tl sofmufick: now to the par \ Pracl . Mufi vided into two pans the tuft maj ie called Ejerpentaric or rudirnental t< ich- ..) know the qualitie and quan i ie of note , an I ei er'ie thing elfe ing to loage's, ol what man nw or kind foeuer. Fne iccmij : , ! Syntatlicaly Poetical, or 1 eating of fouri , , and dif < and generally of euerie tiun^ feruing for the formal] .\n-\ apt letting together of parts or foundes, for producing of harmonic either vpon * ground, or volun- 1 \gi 2. line jo B u ttarttu the Gam] That which we call the fc ale of mulicke, or the Gam, others Call the Scale of Guido: for Guido Aretinut, a Monke of the order of S. Btnct, 01 /. about the yeare of our Lord 960. changed the Greek fcale (which conufted onely of 15. keyes beginning at and en ling at a la mire) thinking it a thing too tedious to fay fuch long wordes, as P s, Hypatebypaton, and Inch like, and turned them into . b mi, cfavt, &c. and to the intent his rnuenfion might rl jet remaiae and the more eafily be learned of children, hee framed and applyed his Scale to the hand; letting vpqn euerie ioyot a (cueral key, beginning at the thumbes endt, and defcending on theiniide: tiirn orderly through the lowed loyntes of euery finger, afcending on the little finger, and then vpon the tops of the reft, dill going ab >UI l»g his la it key ila vpon the vpper ioynt of the middle iv- on the outfide. Hut to the ende that euerie one might know from wh< D 1 he ha 1 the Art, hr let thi - letter r gamma, to the beginning of his Scale, feruing for a dt ! to his feuenth letter g. And whereas before him the whole S ■ :d of tour 3 or fourthes, fd difpofed as the higheft note of the lower >va- the lowed of the next, except that of v: , hall know more largely hereafter: he added a rift Tilt 'acbordon, including in the Scale (but not with fuch art and reafon as the Greeks did (eauen heftachorda or deductions of his fixe notes •, Cau (fag that, which before contained but m- teene notes to contain twentie, > to fill vp both the reach of mod voices, and the iointes xv.A. Some after him (or hr him i:ered his S in forme of Organ pipes, as you lee fet downie, in the beginning of the Booke. Bui the Grcckcs Stale was thus : L 1 1 ::.Tii 226 ANNOTATIONS. Syftema harmonicum quindecim chordamm in genere diatonico. Netehyperbolteon 9216 For ANNOTATION 6. .27 For vnderftanding of which, there be three things to be confi lered: the nan the numbers, and the diftances. As for the names, you muft note that rJ be .ill Nounesadic the fubftantiue of which is , or a i ! •-, fignifieth a firing aJTumed or taken in, the reatbn v. .. ftraighc kn All the Kale was diuided into foure Tetr* or fourths, the low^fl which foure was called Tetrad r, the fourth 1 efe- cond 7'- . 1, the fourth of middle or meanes. I th of tilings difioyned or diliund:. The fourth and lafl • ■ «, the fourth of [fringes exceeding: the lo Itring /V^/. is called afiumed, becauie ic is not accounted for one of any tti , but was taken in to be a Diapa 4 1 to the r middle firing. The/:-' of principal m/mi, beginneth in thediftanceof one ue the aflumed ftring, containing fi urc brings or notes the Lift of which is Hyp ».' the 1 n, or mi beginneth where the 01 ended .10 that one llring is both the end of the former, and the begini the next) and containeth I . the laft whereof is n \ But the 1 , was of two manner ot either it was in the naturall kind of llnging, and then it was called tetracbora . becaufc the ddle ftring or ;;. . ited from the lowed ftring of thai tett by a whole noi^, and was not accounted tor any of the foure belonging to it, as you may lee in the l'caie, or then in the flat kind of finging: :n which it was called tetrad ; /, or fynanmenon, becaufe the '"'•; was the lowed note of that tetracorde % all being male thus ■, or Jyn. , and n menon But leaft thel-j; ltrange names Iceme fitter to coniure a i'pirit, then to exprefle the Art, I haue thought good to giue the names in Englifh, All the names of the Scale in Enslifli. . t. I'm.. /»' mi. • Sjbprincipall of principal 1 ut. * . 1:. ofprinc' '. rt. I'rin; r • -anej. 1 at. J rt *t ■ ■-.. re. L • ■ . ni e- , I hird 11ft. 1 . J ul. < 1 Peoulte of dif: ■ [ E la f n. u:. ) or trcbble. ) • ;■■ I S> much tor the t The numbers rhe left fide, d dare the h ■ - tude ill propbrtiOi anothei imple: number let at the loweft note . h is let before the next: an a to that which islet ai ' »\ and f confideratioo of tl mbers, may be gathered ih< ie found 228 ANNOTATIONS. of the one from the other: as fefqui oclaue produceth one whole note. Then betwixt Projlambanomene, and hypatebypaton, is the distance of one whole note. Likewise Jejquitertia, produceth a fourth : therefore ProJlambancmene y and Ly- chanos hyp a ton are a fourth, and fo of others. But leafl: it might item tedious, to diuide fo many numbers, and fecke out the common djuiiors for fo many fractions, both the diftance is fet downe betwixt euerie two notes, and the confonants are drawne on the right fide of the Scale. Thus much for the ex- planation of the table : but what vfe it had, or how they did fing, is vncertahr: onely it appeareth by the names, that they tearmed the keyes of their fcale, af- ter the ftringes of fome instrument, which I doubt not is the harpe. And though the Frier Zaccone out of Franchinus affirme, that the Greekes did fing by certaine letters, Signifying both the time that the note is to be holden in length, and alio the heigth and lownefle of the fame: yet becaufe I finde no fuch matter in Franchinus his Harmonia injlrumentorum (for his Theoriea nor Prac- tice I haue not feene, nor vnderftand not his arguments) I knowe not what to fay to it. Yet thus much I will fay, that fuch characters as Boetius ktteth downe, to fignifie the Strings, do not fignifie any time: for it is a* great con- trouerfie amonglt the learned, if the auntient muficians had any diuerfitie of notes, but onely the figne of the chord being fet ouer the word : the quantitie or length was knowne, by that of the Syllable which it ferued to expreSTe. But to returne to Guidoes inuention, it hath hitherto beene fo vfuall as the oldeis gone quite out of mens memorie. And as for the Gam, many ha-oe vpon itdeuifed fuch fantafticall imaginations, as it were ridiculous to write, as (forfooth) Ave is filuer, Bmi quickfiluer, &c. for it were too long to fet downe all. But it fhould feeme, that he who wrote it was either an Alchymifte, or an Alchy- miftes friend. Befone an olde treatife of muficke written in vellam aboue an hundred yeares ago, called Regula Franconis cum additionibus Roberti de Ilauh 9 . there Is a Gam fet downe thus.; r vt. Terra. E la mi. Saturnus. 'A re. Luna. F fa vt. lupiter. B mi. Mercurius. G fol re ut. Mars. C fa vt. Venus. A la mi re. Sal. D fol re. Sol. B fa % mi. Venus--. E la mi. lupiter. C fol fa vt. Mercurius. F fa vt. Saturn us. D la fol re. Luna. G fol re vt. Ccelum. B oetius. And at the end thereof, thefe words Marcus Tullius, pointing (as I take it) to that molt excellent difcourie in the dreame of Scipio, where the motions and foundes of all the fpheres are moSt fweetly fet downe: which whofo lilteth to reade, let him alfo perufe the notes of Erafmus vppon that place, where hee taketh vp Gaza roundly for his Grecke translation of it : for there Tullie doeth affirme, that it is impoffible that fo great motions may be mooued without found ; and according, to their neereneffe to the earth, giueth hee euerie one a found, the lower body the lower founde. But Glareanus, one of the molt learned ANNOTATIONS. harncd of our time, maketh I :ments to contrary eff out of their, opinion, who deny the found of the fpheres. greateft bodies, faith hee, make the greateft (bun 1 he higher i cl< dial i e the- grcateft i Thercrorc the higheft The other proue'th the contrarie thus : ifteft tiuetbi ore the - The Greeke* haue made another comparifon of the Times, Keyes, M and Planets thu .* 227 / V.; \j ■ ■ i j l V • 1 Erato Pbryxiui \f. i:is . - // :an ■ • Hyp ilia, terra. Ami not without reafbn, though in many c I nges. it hath beene called .nil Nugatrix C S m I might name :t I would) haue affirmed, that the Scale i i •', from Gam, which figni- Beth in Greeke graue, ofanticnt: as tor me I 6ndc no luch Greeke in my Lexicon : if they can proue it they fhal haue it. /' m 24. Bui cue j It (hould feemc that at the firft, the rounde b. was written as now it is thus b. and t ie fquare b thus h. But tor .-, men not being carcfull to Ice the (trokes meet iuft at righi angles, it generated into this ftgur< q and at length came to bee confounded w th the figri of the .'r::ome or /i , .. • this*. And fomc t Ifly terme the halt: . . was- made thus x« But at length, thefigne by ignorance >":ed bv : ii - nined, and lb the other fig alfo. /' • .- Lint . E:tt in vfe in finging ) 1 11 iued it t' . . rule, not , bee fo formed as to (land in a I pt the B M m m 230 ANNOTATIONS. And therefore lead any fhould doubt of their true (landing (as for example the G cliffe, if it flood in fpace and touched a rule, one might iuflly doubt, whe- ther the author meant G fol re vt in Bafe, which ftandeth in fpace, or G fol re vt in alto, which ftandeth on the rule) it hath been thought bell by all the mufici- ans, to fet them in rule. Indeed I cannot denie, but that I haue feene l'ome Are cliffes, and others in the fpace : but Vna hirundo nonfacit vtr. Page 4. line 8.] As though the verfe were the fcale] So it is : and though no vfuall verfe comprehend the whole fcale, yet doth it a part thereof. For if you put any two verfes together, you fhall haue the whole Gam thus : r- — c — Page 5. line 7.] "The three properties of finging] A propertie of finging is no- thing elfe, but the difference of plaine longs caufed by the note in B fa * mi s hauing the halfe note either aboue or belowe it, and it may plainely be feene, that thole three properties haue not beene deuifed for wrote fong •, for you fhal find no fong included in fo fmall boundes as to touch no b. And therefore thefe plain fongs which were fo contained, were called naturall, becaufe euery key of their fixe notes flood inuariable the one to the other, howfoeuerthe notes were named. As from D fol re, to E la mi, was alwayes a whole note, whe- ther one did fing fol la, or re mi, and fo forth of others. If the b. had the fe- mitonium vnder it, then was it noted b, and was termed b molle, or foft; if aboue it, then was it noted thus lq and termed b. quadratum or b. quarre. In an old treatife called Traclatus quatuor principalium, I finde thefe rules and verfes, Omne vt incipiens in c. cantatur per naturam. in F. per b. molle, in g. per fc| qua- dratum. That is, Euerie vt beginning in C, is fung by properchant in F by b. molle or flat, in g. by the fquare ^ or fharpe, the verfes be thefe C. naturam dat f. b. molle nunc tibifignat, G. quoque b. durum tufemper habes caniturum. "Which if they were no truer in fubflance then they be fine in words and right in quantitie of fyllables, were not much worth. As for the three themfelues, their names beare manifeft witnes, that muficke hath come to vs from the French. For if we had had it from any other, I fee no reafon why we might not as well haue faid the fquare b. as b. quarre or carre, the fignification being all one. In the treatife of the foure principals I founde a table, containing all the notes in the fcale ; and by what propertie of finging every one is fung: which I thought good to communicate vnto thee in Englifh. ANNOTATION I. 232 ANNOTATIONS. But for the vnderftanding of it, I muft lliew you what is meant by mutation or change. Mutation is the leauing of one name of a note and taking another in the lame found, and is done (fayeth the Author of quatuor principalis) either by reafon of propertie, or by reafon of the voice. By reaibn of the propertie, as when you change the fol in gfolre vt, in vt, by the tq and in re by the b. and fuch like, by reafon cf the voice when the name is changed, for the afcenfion or defcenfions fake: as for example, \x\cfaut, if you take the note fa, you may- rife to the third, and fall to the fourth, in the due order of the fixe notes, if the propertie let not. But if you would afcend to the fourth, then of force muft you change your fa, into vt, if you will not fing in.propcrlie, becaufe no nan can afcende aboue la, nor defcend vnder vt properly : for if he defcend, he muft call vt, fa. Now in thofe keyes wherein there is but one note, there is no change : where two, there is double change, where three is fextupla: but all this mull be vnderftood where thole three or two notes be all in one founde : for if they be not of one found, they fall not vnder this rule, for they be di- rected by fignes fet by them. But all mutation ending in vLre nu. is called afcending, becaufe they may afcend further then defcend : and all change end- ing in fafol/a, is called descending, becaufe they may defcend further then alcend, and thereof came this verfe: Vt re mi fcandunt, defcendunt fa quoque fol la. But though, as 1 faid, thefe three properties be found in plain long, yet in wrote fong they be but two: that is, either fharp or flat: for where nature is, there no b. is touched. But if you would knowe wherby any note fingeth (that is whether it fing by properchant lq quarre, or b. molle,) name the note and lb come downeward to vt : example, you would knowe whereby fol in gfolrevt lingeth, come down thus fol fa mi re vt, fo you find vt in cfavt, which is the propertie whereby the fol in g fol re vt fingeth, and fo by others. Page 9. line 27. By the forme of the note, j There were in old time four maners- of writing, one all black, which they tearmed blacke full, another which we ufe now, which they called blacke voide, the third all red, which they called red full, the fourth red as ours is blacke, which they called red void: all which you may perceiue thus : zzzzzzzzzzzzigZszEzijizgzgzs:: EijjzazpzJzibD:: But if a white note (which they called blacke voyde) happened amongft blacke full, it was diminifhed of halfe the value, fo that a minime was but a crotchet and a femibriefe a minime, &c. If a red full note were found in blacke writ- ing, it was diminifhed of a fourth part, fo that a femibriefe was but three crot- chets and a red minime was but a Crotchet: and thus you may perceiue that they vfed their red writing in all refpe&s as we vfe our blacke now a days. But that order of writing is gone out of vfe now, fo that we vfe the blacke voides as they vfed their blacke fulls, and the blacke fulls as they vfed the red fulls. The red is gone almoft quite out of memorie, fo that none vfe it, and fewe knowe w.iat it meaneth. Nor doe we write any blacke notes amongft white, except a femibriefe thus: ;Sz*Z2Z m which cafe, the femibriefe fo blacke ANNOTATION S. 233 kt is a minimc ami a dott (thoui h feme would ' 1 e ic fung ; n tripl.i mm- ner, and Hand for j or a femil nd the bl; ne .1 1 in- deede it is. If more blacked fs or I proportion, and moft commonly either trifU < wh a rounde common tripU or ... \ tor the number of notes, there were within t ro hundred wares but foure k of the M : thole were the I . • . : ' The Minime th 1 ;. diuilible. Their long was in three miners : that is, either Ample, • or triple: a G 1 pie Long was a fqi , hauing .1 tail : on tl c 1 ghc han '.in t, downe 01 afcending : a d >uble J daie frame their Larges, that is, as it were co f 2 longs : th< er m quantitie than the double. Of their value we (ha '1 he femibriefe was at the E \ of a briefe diuided by a diameter thus N but thai nly nor eafie to make, it gre.v afterward to the ti urc of a rombe or i thus ♦, wh'uh forme it llill retaineth. The minime was formed as it is now, but the taile of it they euer mule af- cending, and called it talis in their Cit I . The in- uention of the minime they afcribe to a certaine prielt (or \. : > '., wz I '. arre % orwhatcountrie el fe it was which they tearmed but the tii ll who vied it, was one : riaco^ whole for fome time of all others bi ft efteemed am; moll vied in the Church. Wl • the Crotchet, (^iiauer, and Semiquauer is vncertaine. Some attribute the in- uention of the Crotchet to the aforenamed . but it is not to be • in his workes: ana before the laid Pi [ . the Inullclt note vi which the Authors of that time made of two fortes more or lelTe: for one / / cho diuided the briefe, either in three cquall partes (terming them femt brief "cs) or in two vnequal pai ts, the greater whereof was called the more femibriefe (and was in value equal to the vnperfect briefe) the other was called the lefle Jani- briefe, as being but halfe of the other aforefaid. Thi is the moft ancient of all thole whole works of practical muficke haue come to my handes : one Roberto dc llaulo hath made as it v. I taries vpon his rules, and termed them xs. Amor reft wl t'rar.t be fetteth u/vr, ■. that a fquare bodv hauing a taile comming downe on the right fide, 1- a I . ng, he-faith thus: . rte dextra a 4 : \}m *• fonuntur mm ijlc lotig.c crecl.r ad diff't 1 longarutn . -etla qu riguntur: that is, if u haue a taile on the right fide going it is called ere':} or railed thus: ~~ :: T for thefe railed 1 1 are railed, becaufe v . be railed I her ; a thin r he :!ier, euer law in practife. 1 ruation h.e Briefe, if it haue a tayle on the left fide < Sj haue N n n 234 ANNOTATIONS. in vfe : lb that reckoning downeward, from Glareanus his time, which was about 50. yeares agoe, we fhall find that the greateft antiquitie of our wrote fong, is not aboue 130. yeares olde. Page 9. line 27. And the mood] By the name of Moode were fignified many things in Muficke. Firft thofe which the learned call moodes, which afterward were tearmed by the name of tunes. Secondly, a certaine forme of difpofition of the Church plain fongs in Longs and Breues examples. If a plain fong con- fided all of Longes, it was called the firft mood: if of a-Long and a Briefe fuccefliuely, it was called the fecond mood, &c. Thirdly, for one of the de- grees of mufick, as when we fay mood, is the dimenfion of Larges and Longs. And laftly, for all the degrees of Muficke, in which fence it is commonly (though falfly) taught to all the young Schollers in Muficke of our time: for thofefignes which we vfe, do not fignifie any mood at all, but ftretche no fur- ther then time •, fo that more properly they might call them time perfect of the more prolation, &c. then mood perfect of the more prolation. Page 10. line 4. The reftes.'] Reftes are of two kindes, that is, either to be told, or not to be told : thofe which are not to be told be alwayes fette before the fong (for what purpofe wee fhall know hereafter) thofe which are to be told, for two caufes cheefly were inuented. Firft, to giue fome leafure to the fingers to take breath; The fecond, that the points might follow in Fuge one vpon another, at the more eafe, and to lhew the finger how farre he might let the other goe before him before he began to follow. Some reftes alfo fas the mi- nime and crotchet reftes) were deuifed, to auoide the harfhnefie of fome dif- cord, or the following of two perfect concords together. But it is to be noted, that the Long reft was not alwayes of one forme : for when the Long contained three Briefs, then did the Long reft reach ouer three fpaces-, but when the Long was imperfect, then the Long reft reached but ouer two fpaces as they now vfe them. Page 10. line j. Ligatures.] Ligatures were deuifed for the Ditties fake, fo that how many notes ferued for one fyllable, fo many notes were tied together. Afterwards they were vfed in fongs hauing no dittie, but only for breuitie of writing: but now a dayes our fongs confifting of fo fmall notes, few Ligatures be therein vfed ; for minimes, and figures in time fhorter than minimes cannot bee tied or enter in ligature. But that defect might be fupplyed by dafhing the figne of the degree either with one ftroke, or two, and fo caufe the Ligable figures to feme any fmall quantitie of time we lift. But becaufe in the booke I haue fpoken nothing of black or halfe black ligatures, I thought it not amifle, to fet downe fuch as I haue found vfed by other Authors and collected by Frier Zaccone, in the 45. chapter of the firft booke of practife of Muficke, with the xefoUition of the fame in other common notes. annotation: b. The R'Jolution. mm ? Rcfolmion. ::Eiiz:::E:=:l;=-;: .:*_♦_::_ ^r^%ii'=r ,r ni — — — j — _. — j — , — — _■-■ — — . :d:y:z And by thefe few the diligent Reader may cafily collect the value of any other: wherefore I thought it fupcrfluous to let downe any more, though infinite more might be found. '12. line 19. Dotts] A dott is a kinde of I ;ature, Co that if J I would tie a Cemibrief and a minime together, you may let a dott after the 1 - briefe, and lb you (hall binde them. But it is t;> be underftood, that it mult be done in notes (landing both in one key, elfe will not the dott augment the value ot the note let before ic. But if you would tic a (emibriefe and a min or two minimes together, which Hand not both in one k :y, then mull you vie the forme of feme note ligable (for as I tolde you before, the minii fmaller figures then it, bee not ligable) and marke the figne of degree, with what diminution is fitted for your purpofc : example. There bee two nun 1 the one Handing in Alamire, the other in Elavil : ii you mull needs haue them hmg^orjme fy liable, or be tied together, then may you let them downe thus : p £3— ^s though they were femibriefs, but dalliing the fii>ne of the time with a ltroake of diminution to make them minimes. But if you thinke that would not be perctiued, then may you lettc down numbers before them tin. , J 35 ^ 2 6 ANNOTATIONS. which would haue the fame effect : but if that pleafed you no more than the other, then might you fet them in tied briefs with this ft or this ± figne before them, which were all one matter with the former. Page 12. line 20. A dott of Augmentation.'] Some tearme it a dott of addition, fome alfo a dott of perfection, not much amilTe: but that which now is called of our muficians a dott of perfection, is altogether fuperfluous and of no vfe inmuficke: for after a femibrief in the more prolation, they fet a dott, though another femibrief follow it: but though the dott were away, the femibriefe of it felfe is perfect. The Author of the Treatife De quatuor principalibus, fayth thus ; " Take it for certaine that the point or dott is fet in wrote fong for two " caufes, that is, either for perfection or diuifions fake, although fome haue " falQy put the point for other caufes, that is, for imperfections and alterations *' fake, which is an abfurditie to fpeake. But the dott following a note, will " make it perfect, though of the owne nature it be vnperfect. Alfo the point " is purte to diuide, when by it the perfections (fo he tearmeth the number of " three) be diftinguifhed, and for any other cauie the point in muficke is not <{ fet downe." So that by thefe his wordes it euidently appeareth, that in thofe dayes (that is about two hundred yeares agoe) muficke was not fo farre dege- nerate from theorical reafons, as it is now. But thofe who came after, not only made four kinds of dotts, but alfo added the fift thus. There bee fay they in all, flue kindes of dotts : a dott of addition, a dott of augmentation, a dott of perfection, a dott ofdiuifion, and a dott of alteration. A dott of augmen- tation they define, that which being fette after a note, maketh it halfe as much longer as it was before: the dott of Addition they define, that which being kt after a femibrief in the more prolation, if a minime follow, it caufeth the fe- mibriefe to be three white minimes. A dott of perfection they define, that which being fet after a femibriefe in the more prolation, if another femibriefe follow, it caufeth the firft to be perfect. The dott of diuifion and alteration they define, as they be in my booke. But if we confider rightly, both the dott of Addition, of Augmentation, and that of Alteration, are contained vn- der that of perfection : for in the lelTe prolation, when a femibriefe is two mi- nimes, if it haue a dott and be three, then mult it bee perfect: and in the more prolation, when two minimes come betwixt two femibriefes, or in time perfect, when two femibriefs come betwixt two briefs which be perfect; the laft of the two minimes is marked with a dott, and fo is altered to the time of two mi- nimes: and the laft of the two femibriefes is likewife marked with a dott, and is fung in the time of two femibriefes, which is onley done for perfections fake, that the ternarie number may be obferued: yet in fuch cafes of alteration fome call that a point ofdiuifion. For if you diuide the laft femibrief in time perfect from the brief following, either muftyou make it two femibriefes, or then per- fection decaies : fo that the point of alteration may either be tearmed a point of perfection, or of diuifion. But others who would feeme very expert in mu- ficke, haue fet downe the points or dotts thus : this dott (fay they) doth per- fect C$. Now this dott Handing in this place O ,j)| doeth imperfect. Nowe the dott Handing in this place O 3 takes away the third part, and another dott which ftandjth vnder the note takes away the one halfe, as heere & and like in all notes. But to refute this mans opinion (for what or who he is I know not) I neede ANNOTATIONS. I nccde no more then his owne wordes, for (faith he) if the dott (land | . &i it imj >< h, if thus( n it taketh away the third part of the value. what difference he maketh betwixt ta c of the vain i 1 he mull need that ng away the thirde part of the value is to • t, then 1 i •. . hath done t of imj (another of ia. away the third lie. tine, all m is made either by a note, refte, or colour: but no impeif. by ad ir Monl whatfoeuerh hath erred, in i : or" imperfection. And laftly, all diminution is lifted, <- the daibing of the (igne of the degree, or by proportionate. numbei , orby a number fette to the Eigne, or affcription of the ( i- non : but ■ • a dott, no diminui halfe of th : note is din Red by a dott, rules be true lauing the firft, wh - that a ( owing.. perfeð it. Page i ;. line ;. ' | That is F . G ' , Piter .' >:, ( reomSy and at a word all who euer wrote of the Art or M they all agree in the number and forme of d , yet lhall you hardly i. two of them tell one tale for the fignes to know them. For time and prolation there is no controuerfie, the difficulcie rtltcth in the moodes. But to the end tliat you may the more eafily vndenland their nature, I haue collected inch rules as were ue for that purpofe, and yet could not lb well be I in the booke. The moode therefore was Ggnified two manner of w i • by numerall Bgures, another by paufes or relies. That way by numbers I I handled in my booke, it nlleth to let downe that way of (hewing the moot'. paufes. W'lun they would fignifie the great mood perfect, they did fe three long relies together. If the lefle moode were likewi: ', then m euery one of thofe long relies take vp three fpaces thus, - but if at moode were perfect, and the lefle moode vn perfect, then did they . let down three long relies but • Et in this manner, 3 ; though this way bee agreeable both to experience and reafon, yet ha fit. 'owne the figne of the great moode ; . \ thus, -\~^ < . teat moode vnperfeel he fetteth no fign, except one would fay tl it ; ] n he fcts down that moode, th re is fuch adafhe bef , toucl ■ the Hue lin. >ubt if that be- the I , or e (broke fet at tl nning of the lint . Bui rhich he mak of the ^rcr.'. n loth Pet ' u (faith he) 1 but acct s the comp .to be, '.oode i: '. Sj that when both moodes bee im O o o 23 3 ANNOTATIONS. feet, then is the figne thus, JJ And thus much for the great moode. The lefle moode is often confidered and the great left out, in which cafe if the fmall moode be perfect it is fignified thus, J if it be vnperfedt, then is there no paufe at all fet before the fong, nor yet any cifer, and that betokeneth both moodes vnperfect: fo that it is mod manifeft, that our common fignes which we vfe, haue no refpect to the moodes, but are contained within the boundes of time and prolation. Page 15. line 7. In this moode it is akvayes vnperfeft] That is not of neceffitie, for if you putte a point in the center of the circle, then will the prolation be perfect, and the Large be worth 81. minimes, and the Long 27. the bfiefe nine, and the femibriefc three: lb that moodes great and fmall, time, and prolation, will altogether be perfect. Page 20. line 12. Perfeft of the more.'] This (as I faid before) ought rather to be tearmed time perfect of the more prolation, then moode perfect, and yet hath it been rec-p td by conient of our Englifh practicioners, to make the Long in it three briefes, and the Large thrice fo much. But to this day could I neuer fee in the workes of any, either ftrangers or Englifhmen, a Long fet for 3. briefes with that figne, except it had either a figure of three, or three modal reftsTett before it, Zar.vol. 1. part 3. cap. 67. Zacc. lib. 2. cap. 14. But to the end that you may know when the reftes be to be told, and when they Hand only for the figne of the moode, you muft mark if they be fet thus, JJJ3 in which cafe they are not to be told : or thus, -3JJT and then are they to be numbred. Likewife you muft make no accompte whether they be fet thus, EH or thus, +++ for both thofe be one thing fignifieing both moodes perfect. Page 20. line 20. The perfeft of the leffe.] This fir ft caufed me to doubt of the certaimie of thofe rules which being a childe I had learned : for whereas in this figne I was taught that euerie Large was 3. Longes, and euerie Long three Briefes, I finde neither reafon nor experience to proue it true. For reafon (I am fure) they can alledge none, except they will vnder this figne O compre- hende both moode and time, which they can neuer proue. Yet do they fo ftick to their opinions, that when I told fome of them (who had fo fet it down in their bookes) of trieir error, they ftood ftiffely to the defence thereof, with no. other argument, then that it was true. But if they will reafon by experience, and regard how it hath beene vfed by others, let them looke in the malTe of M. Tauemer, called Gloria till trinitas, where they fhall finde examples enowe to refute their opinion, and confirme mine. But if they thinke maifter Tauerncr partiall, let them looke in the workes of our Englifh doctors of muficke, as D. Farfax, D. Newton, D. Cooper, D. Kirby, D. Tie, and diuers other excel- lent men, as Redford, Cornifb, Piggot, White and M. Tallis. But if they will truft none of all thefe, here is one example which was made before any of the aforenamed were borne. — ——♦-♦:-#♦ a : :; o t a *^==E^E And this fhall . • the vnd rfl in ling < mtrouei moodes. But I fee how many w,r diuerfly ioyned, I haue thought good to (hew two g s Zaccofie, in the ^ 7 c of his fecond booke of] ProLiiion. i G Strt .'1 ct i ' ct | 1 : 1 | ... i-'citL-ct 1 Perfect | lm 36 | 18 , | j ' 1 ' 1 O 3 27 | 9 | | i [\W\ . 1 : Pcrt< \ lm | 1 5 1 " 1 1" . 1 24 1 1 1 | Impcrrecl | 2 12 | | 8 1 Imp Iirtf O • • 1 c 8 | 4 ... rt _ - «j Bur by the v. ij k am: I . :nce. I- - 24 o ANNOTATIONS. my friends affirmed to me, that they had feene them fo fet downe, I thought it befttofhew the meaning of them. The auntient Muficians who grounded all their practife vpon Speculation, did commonlie fette downe a particular figne for euerie degree of muficke in the fong: fo that they hauing no more degrees then three, that is, the two moodes and time (prolation not being yet inuented) fet downe three fignes for them, fo that if the great moode were perfect, it was fignified by a whole circle, which is a perfect figure: if it were imperfect, it was marked with a halfe circle. Therefore, wherefoeuer thefe fignes 033 were fet before any Song, there was the greate moode perfect fignified by the circle. The fmall moode perfect fignified by the firft figure of three, and time perfect fignified by the laft figure of three. If the fong were marked thus C33, then was the great moode unperfect, and the fmall moode and time perfect. But if the firft figure were a figure of two thus C23, then were both moodes vnper- fect and time perfect: but if it were thus C22, then were all vnperfect. But if in all the fong there were no Large, then did they fet downe the fignes of luch notes as were in the fong : fo that if the circle or iemicircle were fet before one onely cifer, as O 2 then did it fignifie the lefTe mood, and by that reafon that circle now lad fet downe with the binarie cifer following it, fignified the lefTe mood perfect, and time vnperfect. If thus G 3 then was the lefTe moode vnperfect and time perfect. If thus C 2, then was both the lefTe moode and time vnperfect, and fo of others. But fince the prolation was inuented, they haue fet apointe in the circle or halfe circle, to fhew the more prolation, which notwithftanding altereth nothing in the moode nor time. But becaufe (as Peter Aron fayth) thefe are little vfed now at this prefent, I will fpeake no more of it, for this will fuffice for the vnderftanding of any fong which fhall be fomarkt: and whofoeuer perfectly vnderflandeth and keepeth that which is alreadie fpoken, will finde nothing pertaining to the moodes to be hard for him to per- ceiue. Page 28. line 31. Augmentation^] If the more prolation be in one part with this figne o and the lefTe in the other with this O then is euerie perfect femi- brief of the more prolation worth three of the lefTe: and euerie vnperfect femi- brief (that is, if it haue a minime following it) worth two, and the minim one. But if the lefie prolation be in the other parts with this figne C euerie perfect femibriefe of the more prolation is worth fixe of the lefTe, and the vnperfect fe- mibriefe worth foure, and euerie minime two, as in the example of Iulio Ri- naldiy fet at the ende of the firft part of the booke after the proportions, may be perceiued. Page 31. line 20. What is proportion.] When any two things of one kind, as two numbers, two lines, or fuch like are compared together, each of thofe two thinges fo compared, is of the Greekes called opo?, which Bcetius interpreteth in Latin Terminus, in Englifh we haue no proper worde to fignifie it. But fome keepe the Latin, and call it Terme : and that comparifon of thofe two things is called of the Greekes Koyot ka) ruins, that is as the Latins fay, Ratio & habi- tudo, in Englifh we haue no word to exprefie thofe two. But hitherto we haue abufiuely taken the worde proportion in that fenfe. What proportion is we fhall knowe hereafter: but with what Englifh word foeuer wee expreffe thofe ratio ANNOTATIONS. 141 ratio and babituiky they fi'inifie this how one terme is in quantitic to another: as if you compare 1 and 6 together, ami con fid er how they arc on- to and there will be two urines the firfl three, an 1 lh : latter lixe, anil that O anil as it were refpect of"tht one vnto the • is that ratic and babitu which wee fpakc of. Now theft things which are compared to , ther aequall one to another, as fiue to Boe, an elle to an elle, an aker to aker, «c. and then is lalitatis; i , refpect of sequalitie, which we fal fly tear me proportion of equality, or then vnasquall, as thi - to fixe, a handbredth to a foot, &c. in which cafe it is calle i ratio. Now this relj Q feq taliti , and alwayes one, but that oi in- aequalttie is man wherefore it is i . into many km which (on e the Greekes tirme vpfoty«, and other fome pt&ao^*. 1 ife kindes they : . greater tcrme is compared to the Idle, as fix to I e, which of the late barbarous writers, is termed proportion of the greater • |ualitie: and by the contrarie, thole kindes they terme rrfx*}*, where the leflTe terme is c< tnpared o the gi -iter, as 4.. to fix, which they terme the leffe inaequalitie. OfeacrM .0 kinds there be round \\ur fpecies or formes three li 1 I two compound. The fimple pr particu- . , and fuptr par tint compound. Prologa ar tnthe greate terme doth lb cont. thelefle, as n thing wanceth or aboundeth, as ten and Bue: for ten doth twice COntaine fiue precifely, and no mot- nor Idle, of which kinde there bee many formes. Fur when the greater containeth the lefletwife, then is it called D ratio, if thrife triplet, if foure times quadrupla, and fo infinitely. Si larn . which the Greeks call iT/popi*, is when the greater terme containeth the leffe once with fome one part ouer : which one part, if it be the halfe of the . then is the re! greater to the lefler called -, as three to two. If it be the third part, it is called are to three: if it be irth part, it is called fefquiquarta, as ; to foure, and. fo of other-. 5. which the learned calle j • , ien the greater terme containeth the lelfe once, and fome partes as fiue doth comprehend three once, and moreourr two third pans of 3, wl are two vnities, for the vnitie is t!ie thirde part of three: n\\- eth fix once, and befides two third parts of 6, for 2 is the third part of lixe: in winch cafe it is called ratio fuptrh • , and foof others according to the number and names of the partes which it containeth. M •, is when the greater tcrme comprehendcth the leffe more then once, belides fome one part of it: as q to .«., is dttpla .'rf, becaufe it c eth it twife, and moreouer, one fourth part of it. Likewife 7 i 1 - is multiplex, becauie it containeth Z often, that is thrice: and . became it hath alio a halfe of two : that is one, andfoofoth< fthis kinde thi formes as of the fimple ki .md .rtitns, is eafilie knowen by . n- ple 14 to 5 is 1 becaufe it containeth and juprpiirtuns, becaufe it hath foure fif [ fi

r lacke of .1 bei I >n : whole booke c.i ne lately from . < ..II- c j 1 \; •, fctting down the proportions calleth them 1 proportion of inequalitie, and .1 lefle proportion of inequalitie : an I a little t:r g j ( he fetteth downe words which hee hath tra (lai . ,ut it feemeth hee hath not vnderftood coo w i that which taketh from all notes and refts the hai and giueth 1 implc : IHI M I ' s r-Hr-TTI ,lrf>N I. 244 ANNOTATIONS. But if he had vnderftcode what he fayde, he would neuer haue fette downe this for an example, orelfe he hath notknowen what a minime or a crotchet is. But if I might, I would afk him of what length he maketh euerie note of the plain fong? I knowe he will anfwere of a femibriefe time. Then if your plain fong be of a femibriefe time, how will two minimes being diminished, make vp the time of a whole femibriefe? a minime in dupla proportion being but a crotchet. O but (faith he) the plain fong note is likewile diminifhed, and fo the dimi- r.ifhed minimes will make vp the time of a dkninifhed femibriefe. But then how will one barre of your partition make vp a full ftroke? feeing in the leffe prolation a minime is neuer taken for a whole ftroke. Again, no diminution is euer known but where the fignes of diminution are fet by the notes : and ex- cept you fet the numbers in both parts, diminution will not be in both parts. But to conclude, he who fet down that example, either know not what duplet "was, or then vnderftood not what he himfelf faid,. which appeareth in many other places of his book : as for example, in the tenth page (leaung out the leafe of the title) A perfeel found (faith he) containeth a diftance of two perfeel' founds. What would he fay by this? in mine opinion he would fay, A per feci fecond containeth a diftance of two perf eel founds. Yet I know not what he mean- eth by a perf ~eel found: for any found is perfect not compared to another: and though it were compared to another, yet is the found perfect, though it be not a perfect confonant to the other. But our mafter who fhewes fuch Pathwaies to. Muftcke, would fay this, A perf eel fecond containeth a whole note (or as the Latines- tearme it integer tonus) as from vt to re, is a whole note, &c. In the beginning 6f the next page, he faith, An vnperfe el fecond is a found and a halfe: but I pray you good M. Guide of the Pathway, how can you make that a found (for fo you interpret the word tonus) and a half, which is not full a half found or half a tonus ? But if you had vnderftood what you faid, you would haue faid thus, An vnperfeel fecond containeth but a lefs half note, as is euer betwixt mi and fa. Alfo defining what diatejfaron, or a fourth is, he faith, a fourth is the diftance of the voice by a fourth. And likewile, afift the diftance of the voice by afift. No- table definitions: as in the play, the page afking his Mafter what a Poet was,. he, after a great paufe and long ftudie, anfwered that it was a. Poet. Likewife, giuing the definition of a note, he faith, it is afigne fhewing the lowdneffe or- ftilneffe of the voice : but thefe be light faults to thole which follow after. For the Ligatures are fet down falfe, and comming to fpeak of the Moods, or de- grees of Mufick, he maketh no mention at all of the lefs mood. And defining time he faith, it is a formal quantity of femibriefs, meafuring them by three or by two: and prolation he calleth z formal quantity of minimes and femibriefes \ and ihewingtime perfect of the lefs prolation, he fetteth it down thus : 1 1 CD *| ej pj BHH o o o JJJ And ANN T A T I N S. And iii the im petal of the i lation, he maketh two min mibriefe. But I am almoft out oi mypurpofe, following on rium £jf a quo titter: fordidum. lor it you read his book you tn.i P of our time faid by anothers, Vi ; re, W iaid 1 I tke away jw< - /ha, and till vp the i the book, \ou I de one i .ill the book without lom ororothcr. F< io doth he all his true defii and falfc exam| the example dill in tothatwhi h« But this is the World} Euerie >ne will take vj to wri , others none hauing more need of t< then himl whom we hauc fpoken io much, one another our ii / , peruerting the lenfe of J . ex unples flat to the contrarie, oi . And the 1 of his booke trea ing «/, he \ ■ tut of an old written book which I hauc. But it Qiould feem, that ■ uer or ■• , that gaue it to the prefie, was not the Aui it himfclfe, uld he h his name to it, or then he« ■.. imed of his labour. /'.,/• ;i. .;...).:. . ,] 1 cannot imagine bow the I rs (which thele 30 or 40 years pall hauc taught) fhould 1 > far hauc ftra no rcafon to call that common lort of Mufick, which is in the tin or the lefle prolation . or that it is in dupla proportion, except they would fay, that any two toon ch none "at lcall who is in his right wits) will affirme. For when pioportion ; . . muft the things compared tx one kind : as one akcr to two akers is in jubditp'.a proportion, Sec. So when you fee t downe, you mull fing euerie note lo fade a it was be- forCi G ■ iueth thi> exa .1, out of Franc binus : whi h be- caule it hath feme difficult! 1 I to let downe and cxplamc in this place. :i:-r:^: : I Jd.„J„Jl The figne at th< eth time . t, lb that euerie 1 hauing a (emibriefe mibriefes, and fo being diminished 1 proportic but three minimes a peecc: tl 246 ANNOTATIONS. which in dupla haue a femibriefe following them, are fung but in time of one femibriefe: the figne of imperfect time comming in after the proportion de- ftroyeth it, but thefe numbers 4- being the notes of dupla habitude, following within foure notes, make vp the proportion againe: but in the latter dupla, you muft mark that the diminifned briefe is leffe by a whole minime then it was in the former, becaufe the firft followed time perfect, and the halfe of a brief in time perfect., is three minimes ; the latter followed time imperfect, and the halfe of a briefe in time vnperfect, is a femibriefe or two minimes. Likewife you muft note, that when dupla or any other proportion is in all the parts alike, then ran it not be called proportion, feeing there is no comparifon of notes together, according to any impantie of numbers. Page 34. line 1. Tripla.] This is the common hackney horfe of all the Com- ■pofers, which is of fo many kindes as there be maners of writing, fometimes all in black notes, fometimes all in white notes, fometimes mingled, fometimes in briefes, fometimes all in femibriefes, and yet all one meafure. But one thing I miflike (though it be in common vfe with vs all) that is, when we call that tripla wherein all the voices goe together in one time with the ftroke of fcfqui- altera time, or three minimes for a ftroke-, for that is no tripla, but as it were afefquialtera compared to afefquialtera: and whereas wee commonly make tripla with three minimes for a ftroke, we confound it with fefquialt era. Laftly, true tripla maketh three femibriefes or their value in other notes to the time of one femibriefe, whereof Glareanus giueth this example out oiCoclaus. n 9- 3zEE~E? I m: 6- But this Tripla is double as fwift in ftroke as our common tripla of three minimes; which though I haue vfed and ftill doe vfe, yet am not I able to de- fend it by reafon : fo that if any man would change before me, I would like- wife willingly change, but of myfelf I am loth to breake a receiued cuftome. But one may afke me, if our common tripla be not a proportion, what it is? I will anfwere out of Glareanus, that it feemeth to be a kind of perfection flouriihed by Art, and different from the auncient and firft kind of order, becaufe in it, both imperfection and alteration haue place. And by this, which in dupla and tripla is fpuken, may all other things concerning proportions of multiplicitie be eafily vnderftood : therefore one word of fefquialt era, and then an ende of this firft part. Page 37. line 9. Scfquialtera.~\ Sefquiallcra, is a mufical proportion, wherein \ three notes are fung in the time of two of the fame kind, or rather thus : Sef- juialtera, is a kind of mufical diminution, wherein 3 femibriefes or their value other notes are fung for two ftrokes. But you may obiect and fay, If that true fefquialtera, what difference do you make betwixt it and the more pro- la'^on ? Only this, that in the more prolation, a perfect femibriefe maketh vp a whole ANNOTATIONS M/ nd likewife the value of afemibriefr: but in tl • fcmibriefe and a halfe doe but make one ftroke, and a femibriefi i 1 ; - maketh a ftroke. And by this it appeareth, that our ci minimes is falfe, which is confounded both with the more | rola altera. Therefore takethat for i lure and infallible i 1 in my book, that in all mujtcal proporti l Id ili. ir it [In proportion be noted thus threel or the value of three Ten i muftgo to two ftrckes, but if thus then n two femibriefes or their value make three whole ftn . . V 1 let thi the proportions. As for & , rta and fuch like, it were foil) make many words of them, feeing they be altogether out of vfe, and it is i matter almoft impofliblc to make fwect mufii.k in that kind. Yet \sfefqn one of the hardeft proportions which can be vfed, and carrieth much more dif- ficulty then fefquiquarta^ becaufe it is eaGei to diuide .1 (emibriefe into lour 1 all parts, then into thn haue [euerfeenan ex \ui- jone, which LoJJius giueth for an example, and writeth it in 1 :ingthem but three ilrokes a-peece, and the briefes mibriefes it is very hard, and almoft impoffibleto vfe it, bui ding to our manner ot (inging, if one part fing tera in Crotchets, and another I Quauers in the leffe prolation, wherei I to a ftroke, then would we lay that that were eight to fixe, which is J :;a. But if I fhould go about to lay all that may be fpoken of the proporti >ns, I might be accounted one who knew not how to employ my time: and then I I 11 conclude with one word, that proportions of « tie might be had and vied in any kind without great (cruple or offence : but thofe fuperparti and fuperpartients cany great difficulty, and haue crept intomufick I know not how: but it fhould feem, that it was by meanes of th , v. ho ftriu to ling harder waves vpon a plain long then their fellowes, brought in that which neither could pleafe the ears ot other men, nor could by themlelues be defended by reafbn. I lere was 1 determined to haue made an end: but lome more curious then difcreet, compelled me to (peak lome words more, and to giue a reafon why after the proportions 1 haue (aid nothing or the indutinns. And therefore to be brief, I lay that all which they can lay of thele it , is nothing but nicer foolifhnefie, fcf comment a otiofentm bominum ; mfivtim in otio negotiqfi xtur. Yet I maruel, il which neither is of any vfe, nor yet can be prooued by any reafon, (houli much be flood vpon by them, who take vpon them to teach the south 1 adayes. But yet to refute it 1 need no other argument then this, that not 1 one of them who teach it, deliuereth it as another doth. But to be plain, th inductions be no other thing (as I (aide in my book, page 104. indutHon) but that number which any greater notes broken in (mallei as for example (though their opinions be falle) !<• . or dotted fen ibricfi i the induction to their trip.'a: for ling your Jefquialtera in minimes, and you thai find three of them to a ftroke. Likewise, breake either your /;-; minimes or your dotted femibricf into crotchets, audio (hall the dotted f« - briefe be the induction 10 fetxupla as they fay : but this is (b falfe as what is faleft : for in whatfoeuer notes you ling fefquialtera it i» alway es fefquialtera, becauf ' value of a fcmibriefe and a halt, doth alwaies make a tull ftroke. Breal t!1J e J ANNOTATIONS. tripla in minimes it will make their fixtupla: make it in crotchets, it will make their duodecupla, and this is it which they call their inductions; which it mall be enough for the fcholler to vnderftand when he heareth them named: for no mufician (if he can but break a note) can miffe the true vfe of them. It refteth now to giue a reafon why I haue placed that table of proportions in my book, feeing it belongeth no more to mufick, then any other part of Arithmetick doth (Arithmetick you mull not take here in that fence as it is commonly for the Art of calculation, but as it is taken by Euclide, Nichomackus, Boetius and others) but the reafon why I fet it there, was to help the vnderftanding of ma- ny young pracYtcioners, who, though they fee a fong marked with numbers (as thus 4 for example) yet doe they not know what proportion that is. And there- fore if they doe but look vpon the numbers, and marke the concourfe of the lines in clofing them, they ihall there plainly find fet down, what relation one of thole numbers hath to another. Vpon the Second Part. Page 76. line 25. the name of defiant.] This part is the fecond member of our diuifion of practical muficke, which may be properly tearmed fyntaclicall, poetically or effecliue : and though I dare not affirme that this part was in vfe with the muiicians of the learned age of Ptolmaus, or yet of that of Boetius: yet may I with fome reafon fay, that it is more auncicnt then wrote fong, and only by reafon of the name which is contrapunto an Italian word deuifed fince the Gctbes did ouerun Italy, and changed the Latine tongue into that barbarian which they now vfe. As for the word itfelf, it was at that time fit enough to expres the thing fignified, becaufe no diuerfitie of notes being vfed, the mu- ficians in flead of notes did fet down their muficke in plaine dotts or points: but afterwards that cuftorne being altered by the diuerfitie of formes of notes, yet the name is retained amongft them in the former figniiication, though a- mongft vs it be reftrained from the generality, to fignifie that fpecies or kind,. which of all others is the moft fimple and plain, and inftead of it we haue viurped the name of Defiant. Alfo by continuance of time, that name is alio degenerated into another fignirication, and for it we vfe the word fitting or compofing. But to \zzx\z fitting and compofing, and come to the matter which now we are to intreat of, the word defiant fignifieth in our tongue, the form of fetting together of fundry voices or concords for producing of harmony: and a mufician if he hear a fong Tung and miflike it, he will fay the Defiant is naught. But in this fignification it is feldome vfed: and the moft common fignification which it hath, is the finging ex tempore vpon a plain long : in which fence there is none [who hath tafted the firft elements of mufick) but vnderltandeth it. When 'Jefcant did begin, by whom and where it was inuented is vncertain, for it is a yeat controuerfie amongft the learned if it were known to the antiquitie, or no. Aid diuers do bring arguments to proue, and others to difproue the antiquity of\t : and for dilprouing of it, they fay that in all the works of them who haue wri\ten of mufick before Franchinus, there is no mention of any more parts therione, and that if any did fing to the harpe (which was their moft vfual in- ftrument) ANNOTATIONS. 249 ftrument) they funr^ the f.imc which they plaied. But thofe who would afHrmc th.it the ancients knew ir, fay: That it they did not know it, to wbt ferued all thole 1 d tedious difcourfei ami 1 of the conibnanti wherein the moil part of their works .ire contained ? But whether the} knew it or not, this I will lay, that they had it not m h.ilr' r;,.'.t varietie wherein haueit, though we read of much more ftrange cfl 1 muficke th a of out . Page 76. 1 ccs both 1 Confonanta or Concords, I do not think that any of thofc whu h we call feci chords, were eitherin vie or acknowledged for Confonanta, in the tin-. thofe who profefied mufick before Guulo ..' ,0:1: Guide hit jetting downe the harmonicall proportions and the Confbnan s which aril, them, talketh of quadruple tripla, d. ; , 0, and fejqt mak ".ifon, du : as we fay, a fifteenth^ a Hut why r (hould make diatejfiwon a Confonant, keing it mightily 1 (Tendeth tie care, I noreafon, except they would make that Geometrical! rule 1 n 1 in confonants of muficke: Hht* funt vni cj? ei funt etiam inter fe nd lo make thole founds wliich t > one and the lelte lame are conlo- nants, to be likewife confonants amongft themfelues. I iuld alke me a realon why feme or thole confonants which we \ le avc called | and other fome vnperfeCt; 1 can giue him no reafon, except that our age hath rearmed thole Confonants perfect, which haue beene in continuall vie fince mullcke began: the others ti. me vnperreel, becaufe they keaue, in 1 mindeof the lkilfull heater, a delire of com m in g to a perfect chord. And it is .1 ridiculous realon which lome hauegiuen, that thefe be vnperfect chords, be- caufe you may not begin nor end vpon them. But if one fliould aflcewhy you maj gin nor end vpon them, I lee no reafon which might bt cept this that they be vnperfect chords: fo tint in mine opinion, it is a better reafon to fay, You may not begin nor end vpon them, becaufe they be vni feet chords: then to lav that they be vnperfeft, becaufe you may not begin 1 end vpon them. And if the cullome of muficians fhould fuffer it 1 in in and end vpon them, (hould they then beco feclchoi N > w jrily. For I can [hew many (bogs compofed by excel] nt men del '.' ' •, and others) which b-.-gin vpon the fixt : and third, i: was neuer counted any fault, either to begin or end vpon it: . will no: any man lay, that the third, is a petted chord. But if mi might pafle for a realon, 1 would lav that all founds co- multiplicity, or fuperparticularity, were of the old.- muficians efteen nants : which was the caule, that they made the 1 a I .-it, al- -;h it were harlh in tie tare. The tonus oz whole note is in ler lup; lar habitude, that i- ua. but it tl fconfbnance, and not a confonant it felfe I 1 diapentc, and tonus 1: hirds and I: v did n me confonan uile ti, . in h of multiplicity or fuperparticularity, but vnder fupcri I betweei the third a R r r 250 ANNOTATIONS. tweene fefquialtera and dupla. But of this matter enough in this place : if any defire more of it, let him read the third booke of Jacobus Faber Jlapulenfis his muficke, the fecond part of Zarlino his harmonicall infiitutions, and Franchinus his Harmonia infirumentorum. As for finging vpon a plaine fong, it hath beene in times pad in England (as euery man knoweth) and is at this day in other places, the greateft part of the vfuall muficke which in any churches is fung. Which indeede caufeth me to maruell how men acquainted with muficke, can delight to heare fuch confufion as of force muft be amongft fo many finging extempore. But fome haue ftoode in an opinion which to me feemeth not very probable, that is, that men accuftomed to defcanting willfing together vpon a plaine fong, without finging either falle chords or a forbidden defcant one to another: which till I fee I will euer thinke vnpofTible. For though they fhould all be moft excellent men, and euery one of their leflbns by it felfe neuer fo well framed for the ground, yet is it vnpofTible for them to be true one to ano- ther, except one man mould caufe all the reft to fing the fame which he fung before them : and fo indeede (if he haue ftudied the Canon before hand) they fhall agree without errors : elfe fhall they neuer doe it. It is alio to be vnder- flood, that when they did fing vpon their plain fongs, he who fung the ground would fing it a fixt vnder the true pitche, and fometimes would breakc fome notes in diuifion, which they did for the moreformall comming to their clofes : but euery dole ("by the clofe in this place, you muft vnderftand the note which ferued for the laft fyllable of euery verfe in their hymnes) he muft fing in that tune as it ftandeth, or then in the eight below: and this kinde of finging was called in Italy Falfo bardone, and in England a Fa burden: whereof here is an example, firft the plaine fong, and then the Fa burden. Hymnuu *Tbe Fa burden •/ tbu \ymnt. :-: Condi tor a/me fyderum J5rre =a ^-cro-n- l' H -°'o»'°«o J ta^-^-ni^J \\ ~^ V° ° ° 6 b n ° O Q O Q = -&—Q __0__, . ■ V — — =^H X. u. a 2 — w _ . _ .... . _ .. x-m-^ g o g - — o ° • ° o . — .. — -. JJ-J o = -■ - -"c— ■ ■** ^sll And though this be wrote a third aboue the plaine fong, yet was italwaies fung vnder the plaine fong. Other things handled in this part of the booke, are of themfelues eafily to be vnderftood. Therefore I will ceafe to fpeake any more of them, and proceede to the explanation of other things as yet vntouched. Vpon the Third Part. Page 166. line 3, 'The eight tunes."] The tunes (which are alfo called modi mn- fici) the prafticioners do define, to be a rule whereby the melodie of euery fong is diretled Now thefe tunes ariie out of the tunes of the eight, according to the diuerfity of letting the fift and fourth together; for the fourth may be fet in the eight, either aboue the fift, which is the harmonicall diuifion or mediation (as they tearme it) of the eight, or vnder the fift, which is the Arithmeticall \nediation : and feeing there be feauen kindes of eights, it followeth that there te 14. feuerall tunes, euery eight making two. But of thefe fourteene (faith Gareanus) the muficians of our age acknowledge but eight though they vfe thi-teene, fome of which are in more vfe, and fome kffe vfuall then others. And ANNOTATIONS. 251 And thefe eight which they acknowledge, they neither diftinguiih trulic, nor let downe peri , hue p neither general!, nor to the purpofe: but fuch as they be, the 1 this. Some tunes (lay they) are of the odde number, asthefirft, third, fifi and uenth: others of the euen number: as the fe 01 d, fourth, fixt and eight: the odde they call . , the cuen i To thi liberty of afcending then to the Pi , which haue more liberty ol tid- ing then they, according to [ l :< . U impar. Alio tor the better helping or the fchollers memory, they haue deuifed thefc vcrfes following! Impart de n tonus ejl intent as, in Cuius ncun. a propria a.. /' , a qua a :ur illi : I . umero tonus effc plagalis in /';... ron y Cw. . • ..;;./, afcenderre fext Now thefe tunes confiding of the- kinds oi lloweth to know which tunes each kind of diapafon doth make. It is therefore to be vn- derftood, that one eight hauing but one diapente, or fift, it I th that one diapente mult be common to two tunes, the low eft key of which diapente ought to be the finall key of them both. It is alio to be noted, that euery autcn'.a may 1 whole eight aboue the finall key, and that the Plagalt may go but a iitt u- aboue it, but it may go a fourth vnder it, as in the verlcs now let downe is nu- nitelt. So then the firtt tune is t'rom d foi re to dlafolre, his fift being trom djclrc lire. The fecond tune is from Ire, the fift being the fame as before, the lowed key of which is common finall to both. In like manner, the third tune is from .;, and the fourth trom b fa b n I $ mi y the dia| ente from tl .. being common to both. Now tor the f thefe tunes one from another, they make three waies, the begin- . ning, middle, and end : and for the beginning lay they, euery long which ab the beginning rileth a fift aboue the finall key, is of an autentuall tune: if it rile not vnto the fifth it is a And for the middle, euery long (fay the) ) which in the middle hath an eight aboue the finall key, is of an autentuall tune: if not it is a plsgall. A :or the end, they giue this rule, that euery long (which is not tranfpofed ending* in Gfolrevt, with the lharpe \n bfa b )/.:, is of the leuenth or eighth tunc, in ffa Vl of the fift or fixt :, in e la mi of the third or fourth tune, in dfol re is of the fir it or lee tune. And thus much lor the eight tunes, as they be nly taught. But GU broke the yce tor others to follow him into a further culation and perfect knowledge oi thefe tunes or modi, and for 1 to d one from another ol th< m, he faith thus. 1 he tunes or mtdim lich the Greeke writers call *fp»A*t t Ion ->,-', .ie diftinguifhed no otherwife then the kii the diajulon or eight torn and other kindes of eights are ditin- lu otherwife then ... g to the place of the halft or tc . 2 5 2 ANNOTATIONS. conteined in them, as all the kindes of other confonants are difiinguifhed. For in the diateffaron there be foure foundes, and three diftances (that is two whole notes and one lefTe halfe note) therefore there be three places where the halfe note may (land. For either it is in the middle place, hauing a whole note vnder it, and another aboue it, and fo produceth the firft kinde of diatelTaron, as from Are to dfolre, or then it ftandeth in the loweft place, hauing both the whole notes aboue it, producing the fecond kind of diatelTaron, as from $ mi to e la mi, or then is in the higheft place, hauing both the whole notes vnder it, in which cafe it produceth the third and laft kinde of diatelTaron, as from cfavt to ffavt: fo that how many diftances any confonant hath, fo many kindes of that confonant there muft be, becaufe the halfe note may ftand in any of the places: and therefore diapente hauing fiue foundes and foure diftances (that is three whole notes and a halfe note) there muft be foure kindes of dia- pente : the firft from dfolre to Ala mi re, the fecond from e la mi to b fab mi, the third from Ffa vt to cfolfa vt, the fourth and laft, from gfolrevt to d la fol re. If you proceed to make any more, the fift will be the fame with the firft, hauing the halfe note in the fecond place from below. Now the diapafon con- teining both the diapente and diatelTaron, as confifting of the coniunction of them together, it muft follow that there be as many kinds of diapafon as of both the other, which is feuen. Therefore it is manifeft that our practitioners haue erred in making eight tunes, feparating the nature of the eight from that of the firft, feeing they haue both one kind of diapafon, though diuided after another manner in the laft then in the firft. But if they will feparate the eight from the firft, becaufe in the eight the fourth is loweft, which in the firft was higheft j then of force muft they diuide all the other forts of the diapafon, like- wife, after two manners : by which meanes, there will arife fourteene kindes of formes, tunes, or modi. And to begin at the firft kind of diapafon (that is from are to alamire) if you diuide it Arithmetically, that is, if you let the fourth loweft and the fift higheft, then fhall you haue the compafle of our fe- cond mood or tune, though it be the firft with Boetius, and thofe who wrote before him, and is called by them Hypcdorius : alfo if you diuide the fame kind of diapafon harmonically, that is, fet the fift loweft, and the fourth higheft, you fhall haue the compaffe of that tune which the ancients had for their ninth, and was called aolins, though the latter age would not acknowledge it for one of the number of theirs. Thus you fee that the firft kind of the diapafon pro- duceth two tunes, according to two formes, of mediation or diuifion. But if you diuide the fecond kind of diapafon arithmetically, you fhall haue that tune which the latter age tearmed the fourth, and in the old time was the fecond, called hypophrygius : but if you diuide the fame harmonically, fetting the fift loweft, you fhall haue a tune or mood which of the ancients was iuftly reiected: for if youioyn k\ mi to Ffavt, you fhall not make a full fift. Alfo if you oyne Ffavt to bfa bmi, you fhall haue a tritonus, which is more by a great half lote then a fourth. And becaufe this diuifion is falfe in the diatonicall kind of rruficke (in which you may not make a fharp in Ffavt) this tune which was ca^ed hyper aolius arifing of it was rejected. If you diuide the third kind of diayafcn from Cfa vt to cfolfa vt Arithmetically, you fhall haue the compafle and ^ffential bounds of the fixt tune, which the ancients named hypolydius : if you ANNOTATION'?. 253 you diuide it harmonically, you fhall haue the ancient UmcttJ or . for both thole names Ggnifie one tiling. If you diuide the fourth kin i oi diapafon from D to (1 arithmetically, it will produce our eight tune, which is the ancient iajii'.is OT L-ypcmixc'.ydius : if harmonically, it is our firil tune and the ill- tient dcrius, fo famous anil recommended in the writings of the Philosophers. It the lift kind of diapafon from El ami to Elami, bee diuided arithmetically, it niaUcth a tune which our age will acknowledge for none of theirs, though ic be our tenth indeed, and the ancient hpc.eolms, but if it be harmonically di- uided, it maketh our third tune, and the olde fbrygittS. But if the lixt kind of the diapajon be diuided arithmetically, it will produce a uiectcd mood, be- caufe from Ffaitt to bfabmi, is a tmenus, which diltancc is not rcceiued in the dtatonical kind; and as for the flat in b fa tq /»;;;/, it was not admitted in diatonical mufick, no more then the fharpe in F fa it: which is a moll certain argument that this mufick which we now vfe, is not the true diatoniatm, nor any fpcc'us of it. But againe to our diuiOon of the eights. It the lixt kind be diuided harmonically, it is our fift tune and the ancient A. litis. Laltly, if you diuide the leuenth kind of dw.pajcn (which is from G to?; arithmetically it will make the ancient bypcionicus or hpoiajlius (for both thole are one, but if you di- uide it harmonically, it will make our le.uienth tune, and the ancient mtxohdtus. 1 hus you fee thit euerie kind of dnipafon produceth two fcuerall tunes or moods, except the fecond and fixt kinds, which make but one a peece, fo that now there mult be twelue and not only eight. Now for the vfe of them (fpei 1- ally in tenors and pi line longs, wherein their nature is bell perceiued) it is to be vnderftood, that they be vied either (implv by themlelues, or ioyned with others, and by themlelues fometimes they till all their compalfe, lometimes they do not fill it, and fometimes they exceed it. And in the odde or autcnti- call tunes, the church mufick doth often goe a whole note vnder the final! or loweft key, and that molt commonly in the lirlland leuenth tunes: in the third it commeth lometimes two whole notes vnder the finall key, and in the fift but a halfe note. But by the contrary in plagall tunes, they take a note aboue the highell key of the lift 'svhich is the highelt of the plagall] as in the lixt and eight, in the fecond and fourth, they take but halfe a note, though fildome in the lecond, and more commonly in the fourth. But it any long do exceed the compafle of a tune, then be there two tunes ioyned together, which may be thus : the firlt and fecond, the third and fourth, &c. an autenticall ltill being ioyned with a plagal; but two plagals or two autenticals ioyned together, is a thing againlt nature. Ic is alio to be vnderltood that thole examples which I haue in my bookc let clow ne for the eight tunes, be not the true and eflenttal formes of the eight tunes or vfuall moodes, but the formes of giuing the tunes to their pfalmes in the Churches, which the churchmen ffalfl) ] Deleeue to be the;;:-.// or tunes, but if we confider them rightly, they be all of fume vnper- none of them filling the true compafs of any mood. And thu? much tor the twelue tunes which if any man dclirc to know more a r large, Ire him read the leconJ and third bookes of Giarcamis his dodecacbori four.h ■ his practife of mufick, and the fourth part of 2 his hari K*» nieal inditut .here hee may latisfie his (ic fi c at full : for with the heljv of this which here is let downc, he may vnclerltand eaflly all which is ihc rekind- led, though Ion e haue Caufelefle complained of obicunne. Seeing therefore further uilcourfc will be lupertluous, I will here nuke an Ci.dc. S s s 254 -TU 5Ip — I03-n3J-TUl «■ -njE- ip-I0DII-3I-IUI E nj r-ipJODUsjiui ^j3 srn-Etij cinb ya sm-nnj A 1 -«. -p. __ -nj r- i«HHPi -i — i — ——&■ 1— (— i 1— H — — s- - P-*ff-p-*;3-7 — rH-sr — h #-« pmb -ni uauioiiiajdojd mn- -nj mn- -nj z:z:q:z:z:zjzz:z:Zi:zj:zz}z1z]zzzz, zz:z: :~i:z: uatuou jsjdojd uir nj uib- ■2%^. z:3:Jz|j^:JSz!zlz@i35i -ri3 uivipjoouajiui uir- -nj ujb m uieip-Jo:-u — aj-iui uie- 1-3 — F-P-j-jE— f— P— P—r~r-\ -m tup— ip-joDiJ-^j-iui tuna zz?:*£:Biribi?:^^ — p — (_-P_z?_^ — fzp E--F-I 1 — E--+— i z_p_p_|Z_ f__z p -3UI 3EJ 3U-IUI0Q Uinoaill 33J 3U— IUIOQ UinD- ^ v zjz: — m pz^_2:*:^:l:«— ^: zjzj &z zz_ia:gz ^: ZZZ3»Z3i ~ZZZ~ 1 j » ~ "ZIz — Z2ZLZZIZ." ZIZIZZZ Quatuor "Ji?r. A L T U S. =t= :c: :az:-z-zz^p: Omine fac mecum fac mecum Domi — ne fac mecum fac me- , cum mi-fe-ricor — di-am tu> am mi-fe — ricordiam tu . ! z::z:»:^:sa:a:zzF±:^:iJ:FS— :^:ct:^:^S^ — <— -am mi-fe-ricordiam tu- -am propter nomen tu- iiigillgliilllllilil -A\C- ;ffl:s:3zzz propter nomen tu um propter nomen tuum quia fuauis eft quia fa — auis eft mife-ri- i^lllltlgfliigfl cordia tu- s -a mifericordia tu- -a mife— ricordi-a rrrztzt^ zz:f:Ms:f:sa::zrrj z±zzozzzz : qzJiSzf :pzptzE:f3 ijiHznzz " tu- ■ nj rip-Jrv.r-.ijuu t n) r-ir-.'o-H.'-yi ■• 1K--...1SV.- •■,.... ■ -ni - pJO >I4 >JltU ya tinrnj • icn -m uaur>u jaidojd ujn- .__,.___..^-__^ ;J3J i^i -iispyi ; - ss -OJ-TIU IiyOU 3J DJ-DJ-IU1 !P- ■unm cj-ua-osd uniu t:-rD3ad si||oj inb i3Q I "S n X N V 3 Qiuituor "cocum. B A S S U S. A iV'm»'r''*-'-r J»JJT''. + Jj T^f Gnus De-i qui tol- pcc-ca-ta * a - ^"^.. . .Jj^j l^- ^f.-'i ^ mun- lis -di mi— fc-rc-rc nc ■ (tri mi-fc — rc-rc * rJ'J j i iPI J rrr**rr — =-*=^: no- -flri mifc-rc — re no- — ♦- — 4- fir i mi— ^ O sq Q • # O 1 3^pi ~\ — h« U fuf t ti _ 1 e — r mi t do— mi — num,dominum me- — um. do — :S ^ r J J |,1 ,, .iryTrTT i: ^=©= — — hen fuftu lerunt cfomi-nnm, fuf— tu lerunl (forainam ^V* £ i 4: - o o. 1 o - — — — hen fuf— tn — — le — — runt ^ S a \-\^ "1 I'l^ *Q f -' — — um . i d<> m i num q t ■ q— me um • ^ ==^ rr 3 __ — minum me _ — um . dumimim me — — — um . fuf- tu _ I n~* p q ^^ C: X me - — um fuf— tu- _lt runt dominum im. fill _ ): - \\ % a c d< minum me - — um • mt— — — — — _ Kin. #T^ XT =#=*= fuf . tu le — runt do minum me — — -=-* ==!=£ dominum me — — urn. !_P O" i# dominum n — i do— mi— num me ^Ff :o: um fuf— tu le - - - - '11*11 '1 — — um . me um :a m iii et pofu — .erunt £ m 33 wm me — — — — — . un I J . J e)~t d §g I um. me — um . et po— fu erunt e— — — n— 3 O O P — um • me — — — — — um . et iH^ po — fu— erunt e — urr ^ o a — runt dominum me— um, et po— fu— erunt e — — um . m *q 33 5X 1 5 e — — — um J 1 I 1 *1 1 et ' pofu— — erunt e . = o s um. et pofu — — — um . et ^H-^ po— fu— erunt -e — e — — um . e — — — _ Q C Ijjlll '| ^ B^ et po— fu erunt e — — um. et po— fu erunt e_ # i o et po— fu— _ erunt e — — — um . 8 W n n °\ 'frr ^^ 1 •runt t ■O. tun . Ilfcl - ( \ -n I -|1 I VM'l I ° '-Ui-ffTTH - u - — __ ^ *1 - ,. j C — — um . t-t poftUa eriint e — — «■ — u s^=^s n . n :Sz — urn . nef- a e t uuf'i _ — trunt e — — — um . ntf — ci __ o a — - - rr=s O ■ i : — — — — bi . f — — _ bi . nef — ci o w - -hi .ihIh HT j Tnn u — _ — — bi. nefciu 3 xc — t'i. i-< — ci*> u— — bi.nefim a ~. — — hi , nefci in r i q — r-f-F ^^ I o ri L _ cia u — — — — bi.nef— -rio u — — — bi . ^^ €> r p ^L_«| 1 M | | u bi . Dei -< i <> ii ^m7 f Ujjj i .1 1 J ii #f==i «-r? u — — bi. »ef rio ii — — Iji. nrf_ri o a - _ lii . »l — — 111. Ilf i'_ _< t. u « bi . 4 This belongs to Page 214 Canzonetta. a 4 Voci . Canto Alto Tenor n Ardognhora il cor il cor laf— — fo e mai not) Ardognhora ^mm Bafli. mea Ardognhora si s P Ardognhora il cor laf—fo e mai non Ardognhora I Ardognhora mmm. m \ m \ I ' i 1 1 laf— — fo e mai non mo — — — — — — re. e mai non more i feSEJ ^^ ffiffTirc rri ^ more. e mai non mo— re. il cor laf— — fo e mai non more. — e- i£=£i ■=£■ J J J I Ji,JJ W* mo re.il cor laf fo r\\ in J j a e mai non mo — re. i i -■ — g ■ ■ x il cor laf— — fo e mai non mo— — re il i ^ggm^ ^ il cor laf— fo e mai non mo re r i J j U i J J crrTr" cr j |J J : Jk — fo e mai non mo— re. e mai— — non mo — re. Ardogn — JjJ.llJcJjlcl mm laffo e — — — — mai non mo re j mmm $ p 3S :©: Cor laf— _fo e mai non mo — — — re. e mai non mo — — — re . jp^l+-H^d^-#t4=te^ pi gin \r<[ ndo lu i a , ' il mr l«f - - fn e m< i l>Q B ^ ^■* — ^ — - h iTii , Araogn ko — ra , 1 ( ■ r p^f T f-^^^^^ --#M^ ArHoji,iilicra , iskt ArH np.iihora, il cor l,W-_fo e mat BOO ^^ ^ Arrlo^nhora , Arrl o&n — ho ra , f r J' J r J ' k J J r ' ifrT'fh r ^thtt more . t m.u non mo- — re. il cor laf — _<<> e m,ii non more • dte rxii^ j.i i jJ JJi.i ^ j p*^ laf'_ — fb e mni non mo — _ — — — — re. e mai non mor- . — - p^mm ^nM ji f to re . il ror 1 af — - __ — _ f b • tt\a\ non mo — rt. . i ^ ^ il ror \ a£ fo e mai non mo— — re . il fefl^fr-J^jJ i J i ^ Mr [, . i I i 1 1 Cor 1 if - - - fo e m.u r.i n mo — re . e m.u - . Don mO^Ki \ h i tfTTiffrtifm^ ^ il COF IhI-Ih i m.u non ^ r> . A Mi ^ , J J J I J J w '= ^r-MW-^ • — r - H ^ >1 for l.iH,> » _ - _ __ r . Mil W-* ^ Xtz^g=3: B^ isi ^ f ,)r l*i — fo e m *- c\i\\ foco da mor, non e mortale, non e mor- tale, non r grf i 'i rnr f r ri r r r ^^ r rr-f cKil foe© d'a mor, non e mortale, none mor — tale, non m CM i i I r T ■ ^^ 4 H»— # F »^s^s I chTil foco (Tamor, non e mor— tale, non e mortale, none mor— "J g ij-Utifg ^ ;b^ m 1 cKil foco d'a-mor, non e mor— tale , non e mortale, non e mor— i rr i rn i ■ i i e morta le . g rmrn Ea fpegner il fu ardor, Ea XI f © # e morta . le . Ea fpefiner il fifardor , ■ ,U i - i . 1 i J oTtJ o - — — \—0 **=«: ^ PPj Ea fpegner il fuar— ^^ — ta — — _ ^le . Ea fpegner il fuar dor, m m m u jj Ea fpegner ta . lfe Ea fpegner il fi?ar__ dor, Ea fpegner il fuardor^. _ p * ' r i i i mt%fTTirTTTlTff^ fpegner il fifar-dor ac-qua non v a - - - - le, ac-qua non va r J |J J J j^^^^B — dor, ac-quanmiva - — — — le, ac-quanonva— le , ml ' ', ' il iu ardor, — i ac n ir J J j i# ^-rHii^ qua non va le, ac — qua non va — — le, ac- id r J ip r r r i £f^ - -. ac qua non va- — le , ac — qua non va — — — 1 e . 7 If* - le . ^ ^ggg g, - rJip-^-ritp % ,i - _ - le. k.i fpegner il fcrartfor . aiqiid it in v» . — _-._!(:• l.JJll I Jl^ Ra fpel r J |JJJJ __ tjua noli va J-J- It . Ka fptgntr il fuar_ tiff SEEEfci g^ .•> arqua non va ^ - - _ le. Ea 1'pegnt r il fuarclor . rr^-^-pt^^THd.Ji J J n £f Bfl fpegnt-r il fiTar— (fur. ac-qua non va - ^ i=£ — - le . ar fTfrop il fuarclor . Ka fpe£i,er :1 fiTar— d or . M - qua non va - - TTPTrt 0—0-+ M — di>r . Ka fptgntr il fuarclor . at qua BOO va-lt. a( - w J .1 I . 1 ,1 u i Pi -a S K.i fpegntr il fuarclor -» _ _ . ar qua non va - \> . a( — /T^Fft spit ac-qua imn va - — — — — 1 1 . — qua non va — __ — — !■ f p a-H-M-rtfl^ £= P 3 II -J — — - — le. ar- qu.» non va - -. — It . at qua non va — - -1- . kOO va - _ - _ 1* , a( -qua non va-- — — - ^ ^ — — 1. . i& i £ I J :o= — qu.i ri ii va - - — - - 1, . a( tjtia non I I I< . 8 This belongs to Page 216 Canzonetta . A 4 Voci . Canto Alto 1 rrittrrrrtft- Perche tor r f 'Cttr^'T. " ii£^ Tenor . » . j g Perche tor — — -r L — mi il cor mi — — o , cor mi — — J J J|JB]jTT3l^fej B.ffo ^ Perche tor — — — — — — mi il cor mi (Pin J |J7 j ,1 i * f ■ — mi il cor mi — _ o , per laf— ciar lo . in oh rr °,_tt r^F5 i I > i lio • per i per lafciar— lo in ob — -lio —

1)1 J rr nr,cr 'i ^ per 1 .* 1 — - ciar- — lo in ob — — — lio . per ^f^gH-M-MHl 1 I'lTl J -^ — lio in ol j - r" j r?ff^^ ^ li — — o. Lo fa per— cfie per(he I'ar — i per Lal-ciar— lo in ob— lio. Lo ia per— — che per — in , Oblio • ob — — — lio. Lo fa per che per(M» l'.i r - 1 ,1 ,1 1 J.J | l=T = r=3 LLllX :Cr S ltfciaff — lo in P >b — — —lio. Lo fa per-_che perche 1 ±\J i I T — — ' — do — — — re* Cliain fe naf cof to i rTiJ & non face en da il Pn friT i * i i feN# che l\»r— do __ __ re. CKain fe naf— —cof — —to, Cliain fe naf— J J I g r 1 m ^m — do — — re. Ch'ain fe naf— cof '1 i fi r'rtrcjifl J j J — — — do — — — —-re . CKain fe naf— cof — — — _ to, non tar — f-^-±H a ■ fa I Pi . » P co — — — — re. clfain fe naf cof — , 1 I J J , 1 — to, non tac — — cenda il 2 to , non tiaccenda il co i i j j i m htt f M^ m M i — to, cKain fe naf— cof Ari to, non tac — — — — I J Jl cJ , J I XI — cenda il co — — — re cKain fe naf— — cof — — . $-4-^-r%£gga i r rrrf i r \ \T fM wm ■i iJ J rirrrr ■ ■ i re * no n tac— cen — — — da il co — — JJ re cHain fe naf cof— — to, non tac — — cenda il co — — — — mm rf | [ j | ; i X p ^te. 'il — da il co — — re . non tac cenda il co re il co — — — ~ - ■ m ^m L. to non t'ac— cenda il co re. il co — — 11 .re. cir.iin ft Daf 'COf — — to . ctiatfl <• nai (o{ - - - - fr J r r J i r rjf ui ii i ji _ re. elf sin ft n«f- - «o£— .to , non Paccenda il ^— FT CO - - - r r r^rt i J ^#4-j-^uui - - re. X a - - re • m Km in fe D«f-cof - - ----- to, cMkin ft Mf- mill i m i i i~nr K.tin ft n«C-Cof - - - - to, non t'ac — cenrfa il Co - _ 12 This belongs to Page 210 A 5 Voc: Cantus QuintuK Altus Tenor Bafis O a mica me ^ — ^. ^^_ __ ^. — __ — a. pg *E O n i ih n | n n^ O a mica me ^ l 'l.TI'1 fa* O a mica me a — — mi — ca la Q-^-\ --H^U , \ ■! l. j-r tt a (i a — mi-rn o ^ mt _ — _ , _ — , d — \. m ill' — ^_ — . — — « .. I! Sn it . O a _ - mi ea m< _ _ _ _ a . me — « Q-- 1*0 — = ^ r: | ' J | r l r . () a _ mi — ( c _ - me — a . () 1 — mi.i a me _ _ a me - - mt _ _ a a* vi a — m i _ f a me • — — _- a . a - mi - c,( me M ?mm C — __ (a nil — — li tu m *f p£p -i o ^^ Sunt ( a — pil - li tu — — ^m 3 Sunt ca — nil _ — . li tu — — — — — i . tu — — ,— m :©: ■■ 1 ' ipi ^. p i l — 1 1 la — — — — — — — 14 I™ Sunt ca— — pil- li t,u — — — i . Sunt ca — pil — li i=^ JlJ.lltJJ Sunt ca — pil — li §k=z Q 3D: tu — — — i • Sunt ca— — pilli. .tu — — — i ffm pnii ,tu — PI ' :2 — P illi tu Sunt ca .pil — — li tu— — :iTl tu — \r q « g I jy — — pil — li tu — i Sunt ca — SE q I q s COPE P3 Sunt ca— — pil— li tu — — — i • !§i£ S f tu q=q tu ———— — i . m — — cut gre ges c m Sunt ca— pil — li tu— — — — — — — i. Si — — exit fcN m li I ' d • J i^F? ro^ra 0=O I ^ Sunt ca pil— li tu i . tu mm — ^ ^y — ■ i-i- 'l i -i«j ^& — pil— li tu— — i . tu — — — — i . ^ J=*M .1 1 J.J Si — — cut P Sunt ca — pil — li tu — — ii iy fH a=q '■| -^ I g i: l -+- !— pra — — — rum Seeze Si — ci t gre — — 8 es ca — pra — rum i m ^=2=* ffi -#iS gre— — ges ca— — pra — — rum, ca — pra — ' — — — —rum. m s~ =Q 3D: gre ges ca— — pra - — rum • Si — _— cut n:. ■ s i 'ii '"' i' 1 fTYrri " | J °^ s Si — — cut gre ges ca — —pra — — — rum. Si— —cut — * ' JEEEE ^^P qua al irn - _ d» - — ri.nt . Si - - cilt gre ..Aei CI pra «. - -rum . qua ifcen — l ^U M^^^^ ^PS c git - - g» ^ < a _ _ }>ra _ _ — — - -rum . m= immm s * — — grt -gts ci — — pra —— — — — rum . ^ +H-Vi qua ai'-im — -de — - _rimt . »=B= - — dt — — runt . -- J | '| irp^yi tj ■ ■! i ; - mi nt t ga — la — ad . p,a — _ - runt XT qua fcen - -du runt He — mnn — - — tt de — m< nt e « 1 ■rcen _ -dt runt de — mnn — - — t> rt ^^ i 4 af — nil - He runt dt — mmi — — — — te ga — 1 a — ad de — mc nt q I q a tO: n H-rt-T-H-^ c quit af( en — — de runt dY — m s t'i i ficut & rt &* s t on _f.« _ _ <»—=-% -q g - a ® i j^pj Q i Q 7 ifey den — t.s tu - «. — i H - _ rut grt — r=^ ^ 3 * " ' ° I Q ^ fc#3 _ - - g^s ton — f i rum fi_ PPP^ - - f.i rum. ton — fa rum , Hen — tt s tu — — i fi — ( ut dr< . — — . — _ J?» s _ — — — rum . ron -Us t u — — i fi — cut £re— #ts ton— Tu— 18 k d o ^JJjrmrr'iiJi.l y^Jii — ges ton— fa — — — — mm, quae af— cen— de — — — — — runt, =!=§ =i I q o — o — — cut gre — ges ton — fa — — rum . i £gg quae 'Id 1 - 1 1 1 1 c f g p[ 3 m — — ton— fa — rum. ton— fa rum.. quae afcen derunt,quae i.. H 113 ? alcen — — deru I J J I 'I' JJJ''fP| =) :Ce pf — — rum • ^ PP^ quae afcen— derunt^de — — — la— va — ;en — derunt^ PS g o ^ rum tonfa —— — — — — rum . quae afcen — de — — — —runt — * g=s Pf^ o o % quae aicen — derunt, de la— — va — cro . , c L^ ae Iff afcenderunt, de la— va cro. quae afcen— de— — runt, de la— va— £ ^s !:£ X3 33 ^ W 4*. afcen-de- runt , de la— va - —cro. quae afcen-de. runt, de i — la— va— cro. de la— va — cro quae afcen — — de — — — runt, quae la— va— cro quae alcen — — de — — — runt, qui quae afcen — — de— runt, de la— va— cro. quae afcen — ~o — cro • 1 ^fe £i ro.quae aicer 5 3=3 33: ^ va — cro . de la va — cro. quae afcen de— runt, quae afcen— fr- n — S - 1 b S yrg^:- i ■ ^^P i ' _ runt (<<__-_ la - _ _ .Ttcro . i qu« ■/'( en zd( r t 1 qua «f'( ei - Hermit Ht — -* i — - jpr ia l-Vf ^- ^^T- 1 ] ■>■! I 1 ^? ^^ ■(Veil -He — runt He la - _ ^ — vacrn . qua iff en Heruit d( - — : o=g : — He .- ^ _ .rant He !<< rr° i ■' i:i i va - — rrn O-O _ He _ — - _ runt He la va _ — rm . s 6 A m He l,a — va — — de l.a — va - - cro , q-«).>J].'l| o jJ-l J .1 ° | ^^ qua- rf(nn_ __ lava — . — — — cro , qu.e af< t n _ eft — runt , — — — runt, He — ^ — la 20 This belongs to Page^£2 cactus rffij? p 6 Altus Baffus A 3 Voc . i, J i j j o i a i Sleep, O Sleep fond fan--cy, O Sleep, e— d j J , h j o Sleep, O Sleep fond fan cy , O XI q=fc XI mm o Sleep , O Sleep fond fan cy , O K £i^N n O Sleep, O Sleep fond fan - r r pe Sleep fond fan — m ------ cy , my i ¥=n xx Sleep , O Sleep, O Sleep fond fan — — — — — —— — cy, my £ i=§l e — e Sleep , O Sleep , fond fan — — — cy , my HeM m 4 r i £3! ^ fep O * F head a— las thou ti— reft with falfe delight of that \\hich ^MH^ i igii p I P 5 -e — * head a—las thou ti— reft with falfe delight of that which L^r r I J J i m m J 'i y m * 5 X head a__las thou ti— reft with falfe delight of that which mm ■ ,ii,i ju .ii j ^ thou defi — — — — reft, Sleep, Sleep I fay fond fan — i J.Ji J J n X2: 5 » a * j a thou de— fi — — reft, Sleep, Sleep I fay fond fan — i n i c mi i T~f~ w thou de - — f i - — reft, Sleep, Sleep I fay fond fan — 21 g, J r J I J^L-J J I J J ^* an d l«ave mv OimiJlhts m<> - - If << - II ft , f^^^^Pf lOhtv mo - - If 1 1 1 v M ■ f l r r • cy, md lnve mv thoughts mo left — m£ , r ^ ^^ m i — (V— r i — — cor _ _ ! i _ am t; ir — __ — — — — — — ii'ni-'rr -d — u- °l " I J = 2X - — _ cl i -am tu — — — — — —_—- am . tu m a i n n fe 2X d i I i I ^ ^ — (V _ r i «. _ .COT - - di — am tu — — — — — am . 24 X? nomen tu urn* prop— ter nomen tu *= ^^ m um Qui — a fn — "— a — vis ^ m e^R mm 33 Q— Q 33 nomen ta um. 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O I Q XT * 5 '~ / tri . mi - — (V - -re -re nof — T VERAEFFIGIES .JOAXNIS GAMBLE PHILOMUSICI. ■ //itj /,■ tn& 't'/rarrr , u/'rv; sO// Aid 0ttrn A./ ti.Y. . /jut K >fr ,t scarce c/hnt.in mi/h'/Jcy-it, >//,,'/■ ■ /( ' 7? " l , // //!< •//,/.; ./f /,/,/.'. /?<,(, ///I* EUh, ag ■. n : Mi >R] E\ t i bom Ma downc in tonne ol .1 dl p-' r ■ tew hetn to ting with .ill Lhj the knowledge ••! prii ; • . .iti.i t.. stag i«.. | third end i.ist p fine, ,>r more parts. With oev , r ,^ Imprint ;,,// ' f/. 3t/. EUis, 29 h ■!('. 336 Mi >RLE Y I home A Ptaine u afosicke, iet downe in tonne ol a di divided i parts. The first teachetb to nag, with all ti- the knowledge ol pri< k! wag. l he set ond treateth ol sad to siog two parts in one npon a pi di third and last part eatreatetb oi com] five, or mon With new Imprinted at I Humft Hilt, tit Mil ■ From the Hh -3- MOW in. x pfcta .,„., KlsN ,,.. •*" Iowa in Form of a Di • i .v^! .•■ ,cU ""' : ' W- *?