THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES «KICL»Wf» y~i'L-L>- I - V A COMP EN DIUM: . R, INTRODUCTION T Practical $luftc. In Five PARTS. Teaching, by a New and Eafy Method, 1. The Rudiments of Song. 2. The Principles of Compojition. 3. The Ufe of Dif cords. 4. The Form of Figurate Defcani. 5. The Contrivance of Canon. By Cbriftopber Sympfin. The Sixth Edition with Additions : Mud more Corre& than any Former, the Exam pies being put in the moft ufeful Cliffs. P S A L. cxlix. Cantate Domino, Canticum novum. Laus ejus in Ecclejia S$nBortim. LONDON, Printed by W. V . for John Young Mupcal- Injirument Seller, at the Dolphin and Crown in S?, PaulY Church-Yard '. And alfo Sold by John Walfti, at the-Uarf and Haut-boy, in Catherine-itreet in' the Strand* 1 - Brice two Shillings. &> • w? St «& «3 «? 4& »» «» 2? «? »? 3? **? «2? «? c& **? sj cz? ■ e§? THE T O T H E L ™ READER. TH E Efteem I ever had for Mr. Sympforis Perfon, and Morals, has not en- gaged me in any fort of Partiality to his Works : But I am yet glad of any Occafion wherein I may fairly fpeak a manifeft Truth to his Advantage 3 and at the fam~Time, do a Juftice to the Dead and a Service to the Living. This Compendium of his, I look upon as the Cleared, the mod Ufe- ful, and Regular Method of Intro-, duction to Mufic that is yec Ex- tant, And herein 1 do but join in a Teftimony with greater Judges. This is enough {aid on the Behalf of a Book that carries in it felf its own Recommendation. oger UBftrange. Licenfed, March %$• 16-jS: Roger DEftrangc. THE THE I Have always been of Opinion, that if a Man had made m$ Difcovery, by which an Art or Science might be harnt, with lefs expence of Time and Travel, he was obliged in common Duty, to communicate the Knowledge thereof to others, This is the chief {if not only ) motive which hath begot this little Treatife, And though 1 know a Man can fcarcely write upon any Subject of this Nature, but the Sub- fiance will be the fame in Effect which hath been taught before ; yet thus much I may affirm ; that the Method is New ; and (as I hope) both plain and eafy : And fome things alfo are ex- plicated, which J have not feen mention d in any former Author. I muft acknowledge, I have taken fome Par- cels out of a Book I formerly PubliflPd, to make up this Compendium : But I hope it is no Theft to make ufe of ones own \ This being in- tended for fuch as have no Occafion to ufe the other. Alfo, the Firft Part of this Book was Printed by it felf upon a particular Oc- A 4 cafion: The prefaced capon : But with Intention and. Intimation of adding the other Parts thereto, fo foon as they were ready for the, Prefs. Every Man is p leafed with his own Concep- tions : But no Man can deliver that which fhall pleafe all Men. Some perhaps will be dif' Jatisfied with my Method^ in teaching the Prin- ciples of Compofition, the Ufe of Difcords, and Figurate Befcant, in three diftincl Dif courjes, which others commonly teach together , promifcuoufiy : But, I am clearly of Opinion, that the Principles of Compofition are fcfi ejlablifhed in plain Counter point ; And the Vfe of Difcords mufi be known, before Figu*- rate Defcant can be formed. Others may Object,, That I fill up fever al Pa- ges with things Superfluous ; as namely, my Difcourfe of Greater and Lefler Semitones, and my /hewing thai all the Concords, and other Intervals of Mu fie , arife from the Di- vision of a Line or String into equal Parts ; which are not the Concern of Practical Mufic. 7 Tis^ Granted : But my Demonjlrations of them are Practical', and, though fome do not regard Juch things, yet others, {I doubt not) will be both Jatisfied and delighted with the Knowledge of them* if this which 1 now exhibit (hat any way promote or facilitate the Art of Mufic (of which I prefefs my f'elf a zealous Lover) I have obtained the Scope of my defires, and the end of my endeavours. Or, if any Man elf e, by my The Prefaced my Example, fhaS endeavour to render it yet more eafie, which I heartily wijb, I (hall be glad that I gave fome occafon thereof. Tfitre is no danger of bringing Mufic into contempt upon that accompt: I he better it is known and un- der flood, the more it will be valued and ejleem- ed : And thofe that are mofl Skilful, may JIM find new occafions (if they plea fe ) to improve their Knowledge by it, I will not detain you too long in my Preface ; only, let me defire you, Firjt, to read over the whole Difcourfe, that you may know the Vejign of it. Next, when you begin where you have weapon for In fl rucJ/on, (if you defire to be Infirucled by it) that you make your Jelf per- fect in that particular {and fo, of each other) before you proceed to the next following : By which means your progrefs in it will be, both more fur e, and more f pee dy. Lajlly, that you receive it with the like Candor and Integrity with which it is offered to you, by Your Friend and Servenc c. s; T O TO His much Honoured Friend Mr. Cbriftopber Sympfon. s i r} HAving pei^s'd your Excellent Compen- dium of Mufic, rfo far as my Time and your preffing Occafion could permit) I confefs it rny greateft Concern to thank you for the Produit of fo Ingenious a Work as tends to the Improvement of the whole Frame ; (I mean as to the leaft and moft knowing Capacities in the Rudiments of that Science.) To fpeak in a Word; The Subja&v Matter, Method, the Platform and rational Materials wherewith you raife and beautify this Piece, are fuch as will ereft a lading Monument to the Author, and oblige the World as much to ferve him, $s he that is, Sir Tour mojl.Jffettzonate Friend and Servant , John Jenkins. T O TO in All Lovers of Harmony; PRincefs of Order h whofe eternal Arms Puts Chaos into Concord, by whofe Charms The Cbenibims in Anthems clear and even Create zConfort for the King of Heaven > Infpire me with thy Magick, that my Numbers May rock the never -Jlscping Soul in flumbers : Tune up my L TR £, that when I ling thy merits Mv fubdivided Notes may fprinkle fpirits Into my Auditory, whilft their fears Suggeft their Souls are filly ing thro 3 their Ears. What Tropes and Figures can thy glory reach, That art thyfelf the fplendor of all Speech I Mifterious Music/ He that doth the Right Mult fliew thy excellency by thine own Light : Thy Purity muR teach us how to praife $ As Men feek out the Sun with his own Rays, . What Creature that hath Being, Life, or Senfe, Bat wears the Badges of thine influence > Music is Harmony whole copious Bounds Is not confined only unto Sounds •, >Tis the eyes Obje&, (for without Extortion,) *It comprehends all things that have proportion. Music is Concord, and doth hold Allufion With every thing that doth oppofe Confufion In comely ArchiteBure it may be Known by the name of Uniformity % Where Pyramids to Pyramids relate, And the whole Fabrick doth configurate 5 In perfectly proportioned Creatures we Accept it by the Title SIM ME TR IE : When many Men for fome defign convent, And all concentre, it is call'd CONSENT: r *L.'S r Where Where mutaal Hearts in Sympathy do move, Some few embrace ic by the name of LOVE: But where the Soul and Body do agree To ferve their Qod, it is DIVINITIB : In ail Melodious Compoftions we Declare and know ic to be STMPHONIE: Where all the Parts in Compljcacion roll, And every one contributes to the whole. He that can Sett and Humour Notes aright, Will move the Soul to Sorrow, to Delight^ To Courage, Courtejie, to Consolation, To Love, to Gravity^ to Contemplation : It hath been known (by its magnatic Motion) To raife Repentance, and advance Devotion, It works on all the Facidties, and why $ The very Soul itfelf is Harmony. Music/ it is the breath of Second Birth, The Saints Employment and the Angels Mirth ^ The Rhetoric of Seraphims ; a Gem In the Kings Crown of new Jerufqlety ? They fing continually;, the Exposition mult needs infer, there is no Intermiffon. I hear, fome^Men hate MUS IC ; Let them from In holy Writ what elfe the Angels do : Then thqfe that do dejpifefucb Sacred Mirth Are neither ft for Heaven nor for Earth, THE - The C O N T E N T S. Contents of the Firft Part. Pad's § I /^^V^ the Scale of Mufic. ij § i V^r 0/ naming the Degrees of Sound 3 § 3 Concerning fe /i^ W< £&*?•/ 5 § 4 Of tuning the Degrees of Sound 6 § $ Of Notes their Names and Characters »iO $ 6 Of the Ancient Moods, or Meafures of Notes II $ 7 Of keeping time 14 § 8 Of driving a Note 19 $ 9 Concerning odd Rejls 2,1 § io Of Tripla-Time a 3 § n Of Diminution %j Contents of the Second Part; ft § 1 Of Counterpoint i§ § 2 Of Intervals 30 $ 3 0/ Concords 3 1 § 4 P<*J7%«? of the Concords 3* § 5 Concerning the Key or Tone 34 §6 0/ ;£* C/^i or Cadences belonging to the KfJ. 36 §7 How The Contents, $ 7 How to frame a Bafs 37 § 8 How to joynj. Treble to a. Bafs 38 § 9 Compofition of three Parts ^z § 10 Compofition of four Parts 44 § 11 How a fth and 6th may flan d together in Counterpoint 47 § iz Compofition in a Sharp Key 48 § 13 Of Tr an fit ion or Breaking a -Note 51 § 14 Compofition of $, 6, and 7 Parts 5} § i£ 0/ two Bpff'es and Composition of Eight Parts S7 Contents of the Third Part. .. .. ^ ■ ■ " § 1 Concerning Difcords ~' \$f § z How Difeords are admitted into Mh* §V Of Syncopation ( #14 midge of Difcords §# Of Difcords Note againjl Mote 6*7 §6 Of Difcords in double Tranption 6$ § 7 Of Relation Inharmonic al ji § 8 Of the three Scales of Mufic 76 § 9 Of, Greater and Lejfer Semitones 80 § 10 Where thefe Greater and Lejfer Semifonty c svirz/i? in the Scale of Mufic. ~8i Contents of the Fou'&h-'Part. ,v .. f ? What is memt&y Figiwate Defiant \x Of the Greek Moods and Latin Tones 86 % g 0/* Figurate Mufic in General 89 $ 4 How The Contents. § 4 How to fet a Bafs to 'a Treble 96 6 5 How Parts p.ifs through one another 93 § 6 Concerning the Conjecution. of Perfefts of the fame kind ; and of other DiJ allowances in Composition 94 § 7 Concerning the Confecution of qths and %ths ° 99 § 8 Confecution of ids and 6ths t ioa § 9 O/Fuga or Fuge 104 § xo Of ftrfift & Thefin 106 § x 1 Of De#£/e Fuges : • J 08 § iz How to form a Fuge HO § 13 0/ Mzjfo Compofedfor Voices i0 112 § 14 0/ accommodating Notes to Words 1 14 §15 Of Afo/fc deftgtfd for Inflruments 11 J Contents of the Fifth Part. g 1 ConcernbtgCanon 119 k * Cd#0# 0/ £0?0 Parts 1 20 ^ 3 Canon of three Parts 124 § 4 Of Canon in Vnifok iz6 $ 5 Of Syncopated or Driving Canon 127 K 6 Of Canon a Note Higher or Lower 1 33 § J Of Canon Rifing and Falling a Note 135 § 8 0/ Retrograde Canon, or Canon^kt & Retro ibid. § 9 ^/ AwM? Zty^jtf 138 § to Of C4#0# to a Plain-fongfropofed ■ 140 %j.l Of Catch or Round 143 BOOKS BOOKS Printed for John Young, Mu. fical-Inftrument Maker, at the Dolphin and Crown in St. Paul's Church- Yard. TH E Pleafant Mufical Companion * Being a Choice Collection of Catches, For Three and Four Voices. Compos'd by Dr. John Blow, the late Mr. Henry Pur- cel l, and other Eminent Mafters. The Sixth Edition, Correaed and Enlarged: Containing above 120 Catches. Price Two Shillings and Six Pence. The Dancing. Majler r Vol. the Firft : Or, Direftions for Dancing Country Dan- ce s, The 17*6 Edition,- containing 358 of the Choiceft Old and New Tnnes now ufed at Court, and other Publick Places. The whole Worfc Reviled' and done on the New Tfd Note and fntfch more Cbrre£t than any former Editions. Price Bound 35. 6 d. The Compleat Tiitof to the V 1 o t i n, The Fifth Book Containing very plain and eafy Dire- ftions for Learners with variety of theneweft and beft Tunes Compofed by feveral Eminent Mafters CoreUi, Vivaldi, Tibaldi, Cafimchi^ and Others-, to which is added a Sett of Preludes in ail the Keys after a new Manner by jAt.Dean. The whole carefully Correaed. Price One Shilling and Six- Pence. _ T , ~. Harmonia Sacra : Or, Divine 1 Hymns and 2fc* logues : With a Through-Baft for the Tbeorbo- Lute, BafsViol, Harpfwhord or Organ. Com- pofed by the Beft Matters of the laft and Prefent Age. The W o r d s by feveral Learned and Pi- ous Perrons. The Firft and Second B o ok s. The Third Edition very much Enlarg d and A-or- rea ^ alfo Four Excellent Anthems ol Vf late Mr. 1 1 P v r c e l l ' s never before Printed. i • ! COMPENDIUM G F P RACTI CA MUSIC. The Firfi PART. Teaching the Rudiments cf Song. §1.0/ the Scale cf Mufic. P mm WT\ HE end and office of the Scale of Mu- i fw is to (hew the Degrees by which a JL Voice Natural or Artificial may either afcend or defcend. Thefe Degrees are numbred by Sevens. To fpeak of the myltery of that number, were to deviate from the bafinefs in hand. Let it fuffice that Mufic may be taught by any names of things, To the number of Seven beobferved in Afcending or Defending by degrees. Our Common Scale, to mark or diftinguifh thofe Seven Degrees, makes ufe of the fame Seven Let- ters which in the Kalender denote the Seven Day? of the Week •, .viz. A, Bfi, D, £, F, G. after wh«fc follow ALB % C t &c. oVet again, fo often repeated fc as U- £ m e-r-r k &r $94 i A Compendium of Mafic". as the Compafs of Mufic doth require. The Or- der of thofe Letters is fuch as you fee in the ad* joyned Scale s to wit, in Afcending we reckon "them forward \ in Defending, backward. Where note , that every Eighth Letter, together with its degree of Sound ( whether you reckon upward or downward ) is ftiil the like, as well in nature as denomination. Together with thefe Letters, the Scale cOnfiftS of -Lwaes and Spaces, £acjj Line and each Space be- ing a feveral Degree, as tve by the Letters itanding in piq IConfar Weiiot %$u* perceiv you may them. -Thofe Letters-a*e called Cliffs, Claves, or Keys$ becaufe they open to us the meaning of every Song. On the loweft line is commonly placed this Greek letter /, which Guido Aretinus, who reduced the Greek Scale into this form, did place at the bottom, to fignitle from whence he did derive it $ and from that letter the Scale took the name of Gamma, or Gam-ut. On the middle of the Scale, you fee three of thofe letters in Different Characters ^ of which fome.one is fee at the beginning of every Song. The loweft of them is" the F Cliff] marked thus 3= which is peculiar to the Bafs. The highefi is a G Cliff' made thus fjp and figftlfles the Treble or higheft part* Betwixt thefe two, ftands the C Cliff, marked thus g which is a Fifth below the $ Cliff, and a Fifth alfo above the F Cliff, as you may obferve by comptfng the degrees in the Scale, Rudiments of Song. % Scale, reckoning both the terms inclufively. This Cliffy ftanding in the middle, ferves for all Inner parts. When we fee any one of thefe, we know there- by what part it is, and alfo what Letters belong to each Line and Space, which, though (for bre- vity) not fet down at large, are, notwithftanding fuppofed to be in thofe five Lines and Spaces, in fuch order and manner as they ftand in the Scale it felf. Bafs. 3f Example. Inner part. 5K n w Irebk. v «t g— a Btf ,a 43- § 2. 0/ naming the Degrees of Sound. BEfore we come to the Tuning of thefe De- grees, you may obferve, that a voice doth expreis a Sound belt, when it pronounceth fbme Word or Syllable with it. For this cauie, as alfo for order and diftin£lion fake, fix Syllables were ufed in former times, viz. Ut, Re, Mi, Fa, Sol, La, which being joy ned with thefe Seven Letters, their Scale was fet down in this manner, as follows. B Four 4 eh i fofol — *— cfol fa b fa % mi- — a la mi re gfol re ut §&> f fa tit e la mi~ A Cdmpendium of Mu[tc. Four of thefe, to wit, Ml, Fa, Sol La, (taken in their 1 fignificancy ) are neceflary af- filtance to the right Tuning of the Degrees of found, as will prefently appear. The o- ther two Ut, and Re, are fu- perfluous, and therefore laid afide by mod Modern Tea- chers. We will therefore make ufe only of Mi, Fa, Sol, La, and apply them to the Seven Let- ters, which ftand for the De- grees of Sound, in order to which we muft firft find out where Mi is to be placed ; which being known, the pla- ces of the other three are known by confequence 5 Fa, Sol La, above and m Sol, Fa, under it, in fuch order and manner as you fee them fet in the Mar- gin. I will therefore only give you a Rule for placing of Mi and the work d lafol re cfol fa KfJ| — b fa $ mi a la mi re- gfol re ut Ffa ut 9=. E la mi Dfolre- Ofaut B mi i re rut — Mi hath always La. is done. A Rule for placing Mi, for la fol f* mi la [fol f" THE firft and moft natural place for Mi'® in B But if you find in that line or fpace which belongs to B, fuch a little mark or letter as this [Ej which is called a tefizt, and excludes Mi wherefoever it comes, then is Mi to be placed lT lr > W 2?! ch is itsf€COnd Plural place. If E have- alio a bflatmiti then of neceflity, you mult I place your Mi in A* / I Rudiments of Song. 5 I have feen Songs with a h pt ftanding in A m B and in E, all at once , by which means M has been excluded from all its three places : . but fiich Songs are irregular, (as to that which we call the folfa-ivg of a Song ) being defigned for Inftruments rather than for Voices; However if any fuch Song fliould be propofed to you place your Ml in D, mihfajol, la, above and la, f A, fa, under it, as formerly delivered. 4 3, Concerning fe flat, ani.% {harp. AS for the fc pt we laft mentioned, take no- tice that when it is fet at the beginning of a Song itcaufes all the Notes ftanding , in ttiat Line or Space, to be called Fa, throughout the whole Song. In any other place, it ferves on y for that particular Note before which it is placed. Mark alfo, (and bear it well in mind)that wherefo- ever you fing Fa, that Fa is but the diftance of a Semitone or Half-Note from the Sdund of tfaar degree which is next under it; which Semitone, together with its Fa, mulf of neceffiry come twice in every Otiave-, the reafon whereof is that the two principal Concords in Mufic (which are a Fifth and an Eight) would, without that abate- ment, be thruft out of their proper places. But this you will better underftand hereafter. There is yet another Mark in Mufic, neceiia- ry to he known in order to the right Tuning 01 a Song, which is this f called a jVp. This Jharp is of a contrary nature to the S pt; tor, where- as that 6 takes away a Semitone from tne lound of the Note before which it is fet to make it more*™* orjfcir; This % doth add a Semitone to the Note to make it more acute or Jbarp. B 3 V 6 A Compendium of Mafic. If it be fet at the beginning of a Song, it makes all the Nores ftanding in that Line or Space, to hsjharp 5 that is, half a Tone hi- her, throughout the whole Song or Leflbn, without changing their Name, in any other place, it ferves only for that particular Note before which it is ap- plyed. $ 4. Of Tuning the Degrees of Sound. T lining is no way to be taught but by Tu- ning :, and therefore you muft procure f me who know how to Tune theie Degrees ( which every one doth that hath but the leaft Skill in Mufic ) to Sing them over with you, untill you can tune them by your feif If you have been accuftomed to any Intern- ment, as, a Violin or Viol^ you may by the help of either of thefe (inftead of anaflifting Voice) guide or lead your own Voice to the perfeft Tuning of them, for every Degree is that di- ftance of Sound which may be expreft by ri- ling gradually Eight Notes taken from the plain Scale of the Violin-notes, beginning at Gfolreut on the fecond Line, as you'll fee in the Exam- ple. Example. GJBCDEFG And Rudiments of Song. , 7 And leaft that (hould be too high yon may iXftg f«t on the M Added Lie, ,* next below the Five dual Lines. Example. VZ- =3=r -i- —■ „ r, jar C D E F G A B C Thefe Examples being foited to the TrehU and Tenor Voice, it will not be amifs to give you fome for the Bafs, which Examples^ may be Play'd on the Bafs Viol, or, Harpf chord. Example. fefflfei # CDEFGABC GABCDEFG There being compafs of Notes in the latter for any Voice which is to be perform d by ttriK- ing of thofe Keys which exprefs any ■ tfi the fore cited Examples, beginning with either Gfol- rent, or, Chut in thcTreble Cliff or, withG>f, or, GJblreut in the Baft-Cliff, according to the Pitch of your own Voice : Either of which you will eafily find in the plain Scale for the Harpjh chord with the fame Names, and Handing on the fame Lines and Spaces, as ycu fee em in the Examples forgoing. B4 Having, S A Compendium of 'Mafic Example. Treble. MinB. Bafs. |iS|:fH|pf|lHIHI Sol U mi fafd U fa fol tlla mi fa filja'fafol __ Treble - MiinE. Baft. So! U fa fol la mi fa fol Sol la fa fil la mi fa fol Treble. Mi in A. Bafs. fi^liltllltfil U mi fa fol la f a f l U jy USifsfd la fa folia And here you may obferve what an ad direasaptand fitting places for /*,/«/ a „d /*, To fl°tu ^ ° rder , b0th above a "d ««fi ir MS f rW 5 Where we are w Ph« the tZ T I - aU N . ^ 5 whi ch(asl faid)muft have ^et P hf J" r Ch 0fl ?°* that the D i r ees may Now a W ° C ? ncor ^ s inthdf P»P« Plww. !nXrr7 y0Uh i V ^ fen ^ three places of«* w the Gfohm and J$SW3ft which are the Tt*\ * Mi Rudiments of Song. 9 lie and Bafi \ 'tis requifite to give you an Example of them in the Counter Tenor ^ and Tenor LUff. Counter Tenor. Tenor. Sol U mi /* fol lafafol Sol la mi fafol I* fa fol iijfcd:§=prt:t:t::tzzq Sol la fa fol la mi fa fol Sol la fa folia tr&fafol La mi/* fol lafafol la La mlfafol lafafol U - • v When you have brought your Voice to rife and fall by Degrees in manner aforefaid, I would then have you exercife it to afcend and defcend by leaps, to all the diftances in an OSave, both pt inAjharp in manner as follows : Example. jo A Compendium of Mufic, Example. .So/ /* /*/ mi,/*/ /i /,/ /,/,/,/ /, /,/ f af f oi f a fa ^ j ni j in P £*/ /* /„/ fajolfolfol fafol mi fol fa, fol la fol fol. Having fpoken of Naming and Tuning of Founds, it now comes in order that we treat of their length or quantity, according to meafure of Fme 5 which is the fecond concern or con- sideration of a found. $ 5. Of Notes, their Names and Characters* THe firft two notes in ufe, wefe Nota Lovga & Nota Brevis. (our Long and Breve ) in order to a long and fhort fyllable. Only they doubled or trebled their Longa, and called it Larga } or Maxima Nata, which is pur Large. When Mufic grew to more perfeaion, they added rwo Notes more, under the Names of femi bnvis and Minima Nota h (our Semibreve and Minnm ) which later was then their fhorteft Note. To Rudiments of Song. To thefa, later times have added Not© upon Note tillatlaft we are come to Demifemiqmvers, which is the (horteft or fwifteft Note that we have now in praQice. The ChataQers and Names of fuch as ate moft in ufe at prefent are thefe that follow. Semibreve. Minum. Crotchet. Quaver. Semiquaver. Demifemiqmver. The ftrokes or marks which you fee fet after them, are called Paufes or Refin (that is a cefla- tion or intermiffion of found) and are of the fame rength or quantity ( as to meafure of time) with the Notes which 'Band before them ■, and are like, wife called by the fame names, as Semibreve Reft, Minum Reft, Crotchet Rep, &c. v And now from the Names and Characters of Notes, we will proceed to their mealures, quantities, and proportions. $ 6. Of the Antient Moods or Meafures of Notes. IN former times they had four M*ds, ot Modes of meafuring Notes. The firft they called Per. m of the More, (Time and Prolation being imply- ed) in which a Large contained three Longs, a Long three Breves, a Breve three Semibreves, ana a Semibreve three Minums : fo it is fet down ui 5hfc A Compendium of Mu(ic. later Authors, though I make a doubt whether Semtbreves and Minums fat leaft Minums) were e- ver ufed in this Mood. Its fign was this, © ?. The fecond Mood had the name of PerfeEt of the Left. In this, a Large contained two Longs, a Long two Breves, a Breve three Semtbreves, and a Semibreve two Minums. The Iiwe or Meafure-Note m this »i was the flrew, the fign or mark of the Mood was this, O 9. The third Mood was named Imperfett of the More. In which a Lar^e contained two 'Longs, a Long two ZtaiKi, a J3r«/e two Semtbreves, and a Semibreve (which was the Time-Ndte. in this Af^J; contained three AC*««w. Its mark or fign was this, g 3. The meafure of thefe three mWj was 7W>/<* of which more hereafter. To tell you their di- tttnclion of Mood, Time, and Prohtion, were to lit- tle purpoie 5 the Moods themfeives wherein they were concerned, being now worn out of ufe. *■ The fourth Mood they named ImperfeB of the Lefs, which we now call the Common Mood the other three being laid afide is'ufelefs. The' fign of this Mud is a Semicircle, thus. C, which de- notes the flo^eft Time, and is generally fet be- fore grave Songs or Leffons.- the next is this § which is a degree fafter, the next mark thus 1 or, thus Q, and is very Faft, and denotes the Qmckeft Movement in this Meafure of Common Time h as for Triple Time, I (hall fpeak of it here- after. In this Meafure of Common Time, one Se- mibreve which is the longeit Note, contains 2 Minums, 4 Crotchets, 8 Quavers, &c. which ( for your better underftanding) is prefented to our View in the following Scheme. Example. kutiments of Song. JF1 Example. Common-Time q Semibreve O Minums J^JI Crotchets J J f [ Note, that the Large and Long are-now of lit- tle ufe, being too long for any Voice or Inflru- ment ( the Organ excepted ) to hold out to their full length. But their Rep are Bill in frequent ufe, efpecially in grave Mulic, and Songs of many Parts. You will fay, if thofe Notes you named be too Long for the Voice to hold out, to what pur- pofe were they ufed formerly? To which 1 an- fwer-, they were ufed- in Tripla Time, and in a quick Meafure •, quicker ( perhaps ) than we now make our Semibreve and Mlnitm^ For, as After-times added new Notes, fo they ( (till ) put back the former into fomething a flower Meafure. $7,0/ f 4 four down, and four up. And fo you may compute the reft. Bur you may fay, I have told you that a Semi- breve is the length of a Time, and a Time the length of a Semibreve, and ftill you are ignorant what that length is. To which I anfwer, ( in cafe you have none to guide your Hand at the firft meafuring of Notes ) I would have you pronounce thefe words [ One, two, three, Foar] in an equal length, as you would ( leifurely ) read them , Then fanfy thofe foui words to be four Crotchets, which make up the Rudiments of Song. if the quantity or length of a Semibreve, and con- sequently of a Time or Meafure : In which, let thefe two words [One, tvo] be pronounced with the Hand Down * and \Tbree, Four] with it Up. In the continuation of this motion you will be able to Meafure and compute all your other Notes. Some fpeak of having recoufe to the motion of a lively pulfefor the meafure of Crot- chets ; or to the little Minutes of a fteddy going Watch for pavers, by which to compute the length of other Notes 5 but this which I have delivered, will (I think) be raoft ufeful to you. It is now fit that I fetyou fome eafie and (horc Leflbn or Song, to exercife your Hand in keep- ing Time $ to which purpofe this which follows (hall ferve in the firft place 5 with Mi in £, ac- cording to what hath been delivered : where cb- ferve, that when you fee a Prick or Point like this [•] fet afrer any Note, That Note muft have half fo much as its value comes to, added to it : That is if it be a Smibreve, that Semibreve, with its Prick, muft be holden out the length of three Minimis : If it ftand after a Minum, that Minum and the Pirck muft be made the length of three Crotchets : but Hill to be Sung or Played as one entire Note. And foyoumay conceive of a Prick after any other Note. : I I f [t6 A Compendium ofMujicl Sel mi fa fol fa mi fol fo mi la fol 1234123415341234 12341234 7 8 9 10 11 12 £.0 mi fc/0/ fol fa fol fol 123412341234 ia 34^2341234 Here you have every Time or Meafure diftin- guifhed by ftrokes croffing the Lines * which ifrrokes (together with the Spaces betwixt them) are called Bars. In the third Bar you have a M- num with a Prick after it •, which Minumzhd Prick muft be made the length of three Crotchets. In the Eight Bar you have a Minttm reft which you muft (filenrly) meafure, as two Crotchets 3 ac- cording to the two Figures you fee under it. The fecond Staff or Stanza is the fame as the firft : only it is broken into Crotchets, (four of which make a Time) by which you may exact- ly meafure the Notes which ftand above them, according to ourpropofed Method. When you can fing theformer Example in exaft Time, you may try this next, which hathytfi in E, Rudiments of Song. 2 3 4 ? 17 Set la Jol ft mi In f" nil l» la fel piiiiiiiiiiii 1234 H34i J 34l J34i 2 34i234 7 8 P to II * ■ _ *.. _ ft I M— > ■* II 12 La fa Jol la la fa fafolfa fol 1234123412341234 12341234', In the eight Bar of this Example you have a Mi- mm Reft and a Crotchet Reft (landing borh toge- ther, which you may reckon as three Crotchet Re/fs, according to the Figures which ftand under them; This mark ^ which you fee at the end of the five Lines, is fet to direft us where the firft Note of the next five Lines doth ftand, and is there- fore called a Dire&er. We will now proceed to quicker Notes, in which, we muft turn our dividing Cortchets into Quavers •, Four whereof muft be Sung with the Hand down, and four with it up. Your Example (hall be fet with a G Cliff, and Ml in A, that you may be ready in naming ycuL Notes, in any of the Cliffs. 1 C -Example* 1 8 A Comfendiam of Muftc. Example. iliiiiiiiiipi la mi fa fa mi la fol la fol fa fol la fa la fol fa fa la wmm 'llpiiiiiliiil fol fa mi /<* fol la mi /* /a iiyigii Hear you have a Pncfo Crotcbet(oxCrotcbet with a Prick after itj divided into three ghtavers, in ieveral places of this Example ^ exprefled by the Quavers in the under Staff : which Quavers I would have you to fing or play often over, that , they may Teach you the true length of your Prkkt'Crotchet, which is of great ule for Singing or Playing exa£Uy in Time. When you fee an Arch or Stroke drawn over or under two, three, or more Notes, like thofe in the lower Rudiments of Seng. 19 lower Staff of the late Example, it fignifies in Vocal Mufic, fo many Notes to be Sung to one Syllable * ( as Ligatures did in former times ) in Mufic made for Viols or Violins, it fignifies fo many Notes to be played with one motion of the Bow. Two ftrokes through the Lines fignifie the end of a Strain. If they have Pricks on each fide thus, «|- the Strain is to be repeated. *"* This Mark 4 fignifies a Repetition^ from that place only where it is fet, and is called a Repeat This Mark or Arch ^ is commonly let at the end of a Song or Leffon, to fignifie the Clofe or Conclusion. It is alfo fet, fometimes, over cer- tain particular Notes in the middle of Songs, when ( for humor ) we aje to infift or ftay a little upon rhe faid Notes \ and thereupon it is called a Stay or Hold. § 8. Of driving a Note. STncope, or driving a Note, is, when after fome fliorter Note which begins the Mcafure of Half-meafure, there immediately follow two, three, or more Notes of a greater quantity, be- fore you meet with another fhort Note ( like that which began the driving J to make the num- ber even *, as when an odd Crotchet comes before two, three, or more Minims-, or an odd Quaver before two, three, or more Crotchets, To facilitate this, divide always the Greater Note into two of the Leffer ; that is, if they be Minums, divide them into two Crotchets a piece 5 if Crotchets, into two Quavers. C 2 Example, %o A Compendium of Muftc. 12 3 4 i- piiiliiliipM fol furl fa mi la fol la fol fa mi la fol ilgillflpll (WrgiMilzSrl :=-= fol fi mi la fol fa fol fa fol .^|||-3fF« In this Example, the firft Note is a Crotchety which drives through the Mtniim in D, and the Meafure is made even by the next Crotbet in C. The feccnd ZWr begins with a Prickt- Crotchet, which is divided into three ^iiavers^ in the lower Staff, as formerly fhewed* in the fame Ban the Crotchet in Gr, Is driven through three Mnums^viz. thofe in B p D y C, and the number is made even by the Crotchet in $, which anfwers to that Crotchet which begun the driving. The fifth 2Wr begins with a guaveTi which is driven through the three CrofcZ?r?5, flanding in C, #, ^ and is made even by the &hiaver in (?,which anfwers to it,and fills up the meafure. Ail which is made eafie by dividing them into fuch leffer Notes as you fee in the lower Staff. § 9. Q$p* Rudiments of Song. %i § 9. Concerning odd Refts. ODi Re/Is we call thofe which take up only fome part or parcel of a Semibreves Time or Meafure, and have always reference to fome odd Note * for by thefe two Odds the Meafure is made even. Their raoft ufuaL place is the Beginning or Middle of the Time, yet fometimes they are fet in the latter part of it, as it were, to fill up the Mea- fure. If you fee a fhort Reft ftand before one that is longer, you may conclude that the fhort Reft is fet there in reference to fome odd Note which went before : For ,there is no fuch thing as driv- ing a^fhorter Reft through a longer, like that which we (hewed in Notes. When two Minum Refts ftand together ( in common Time ) you may fuppofe that the firft of them belongs to the foregoing Time, and the fe- cond to the Time following h other wife they would have been made one entire Semibr eve- Refts. When we have a Mhium-Reft with a Crotchet-Reft after it, we commonlycount them asthree Crotchet- Refts. In like manner we reckon a Crotchet and a Qtiaver-Reft as three Quaver-Refts • and a Quaver and Semiquaver as three Semi quaver -Refts Concerning the Minim and Crotchet -Re /I, I need fay no more, fuppofing you are already well e- nough informed in their meafure, by what has been delivered: The chief difficulty is in the o- ther two ^ to wit, the Quaver and the Semiquaver- Refls 5 which indeed, are moft us'd in Inftru- mental Malic. Your beft way to deal with thefe at firft, is to, play them, as you would do Notes of the fame C 3 quantity. 2.~ ix J Compendium of Mujic. quantity: placing thofe fnppofed or feigned Notes in fuch places as you think moft conveni- Cnt ii W rl fl Ve > J 0U °2? Exam P!e, which being well confider'd and praais'd will do the bufinefs^ Example. t p t t *w""jff Praaice this Example, firft according to the fe- cond or lower Staff. And when you have made that perfea, leave out the Notes which have Daggers over rhem rand in Inftrumental Mufic are Bows which did exprefs them; and then it will oe the fame as the firft Staff. By this means you will get a Habit of making thefe fhort Reffs m tneir due meafure. * The Notes you lee with one dafh or ftroke through their Tails, are Quavers. Thofe with two lueses are Semiquavers When they have three, they are Demifemiquavers. §10 Of Rudiments of Song. *} $ io. 0/ Tripla Time. Triph-Time Minum . ML Semiquavers WHen you fee this Figure M fttat the beginning of a Song it fignines, that the Time or Meafure muft be corrupted by threes, as we formerly did it by Fours, as in the iore- going Scheme. „ , „,. * Sometimes the Tripla confifts of three Mnums to a Meafure. the more common Jripla is tnree Crotchets to a Meafure. In thofe two forts of tripla, we compt or ima- gine thefe two words [One two'] with the Hand down s and this word [Three] with it up, fee the examples following with their proper tigures fix'd to *em, C 4 Tripla 24 ^ Compendium ofMufec. Tripla of Three Minums to a Meafure. 12 1 12 g 12 3 12 3 1 2 3 12 3 i 23 123 SrpEpEgzlzaEir!ra=Flz?EP iiSig ^ 123 12 3 12 3 12 3 12 3 i2 3 x 23 123. fe~ »i»— Tripla Rudiments of Song. %$ Tripla of three Crotchets to a Meafure. 123 12 12 123 l 2 V 12 3 * 23 123 iliiill I 2 3 12 3 I 2 3 !2 3 123 12 3 1 23 123 There are divers Irish's of a (horter Meafure f which by reafon of their quick movement, are ufually meafured by compting three down, and three up, with the hand ; fo that of them it may be faid, that two Meafures make but one Time, and thofe quick TripWs are prick't fometimes with Crotchets and Mourns ♦, and fometimes with (havers and Crotchets. I will fet you one Ex- ample prick't both ways, with their proper Moods fixt to 'em, that you may not be igno- rant of either when they (hall be laid before you. Tripla %6 A Compendium of Mufic. Tripla of fix Crotchets to a Meafure. Tripla affix Quavers to a Meafure. fob Befides thefe feveral forts of Triples before menrion'd, you will meet with chefe feveral Moods which follow, as 5 Quavers in a Barr, whofe Mood is mark'd thus g Nine Quavers in a Barr mark'd thus | and is beat 6 down, and 5 pp. Twelve Quavers in a Barr mark'd thus £ and is beat 6 down 6 op, the fame you have in Crot- chets, as the laft two mention'd, which carry the fame Moods and is beat the fame way. The Rudiments of Song* i>T The like may be underftood of any other proportion, which proportions, if they be of tip greater inequality, ( that is, when the greater Fi- gure doth Itand above J do always fignifie Dimi- nution •, as \ calPd Sefquiahera proportion, which fignifies a Triplet Meafure of three Notes to two, fuch like Notes of Common Time, or as % which fignifies a Meafure of fix Notes to four of the like Notes in Common Time, Which in this acceptation is the leffening, ojr ^bating fomething of the full value of the Notes, a thing much ufed in former Times, when the Triplet Moods were in ufe. § n. Of Diminution in former fra&icel Diminution (in this acceptation) is the lef- fening or abating fomething of the full value or quantity of Notes ; a thing much ufed in former times when the Tripla Moods were in fafhion. Their firft forts of Diminution were by Note •, by Rcfts • and by Colour. By Note -, as when a Semibreve followed a Breve^ ( in the Mood PerfeS of the Left ) That Breve was to be made but two Semibreves, which other wife contained three. The like was obferved, if a Minum came after a Semibreve, in the Mood named ImperfeB of the More, in which a Semibreve contained three Minums. By Reft -, as when fuch Refts were fet after like Notes. By Colour, as when any of the greater Notes, which contained three of the lefler, were made black ; by which they were diminished a third part of their value. Another fign of Diminution is the turning of the fign of the Mood backward thus 1 ( being ftill a 8 A Compendium of Mufic. 1*111 In ufe) which requires each Note to be play'd or lung twice fo quick as when it Hands' the ufual way. Alfo a dafh or ftroke through! the fign of the Mood thus § is properly a figrr of Diminution h though many dafh it fo, with- out any fuch Intention. They had yet more figns of Diminution 5 as Croffingor Double-dafhing the fign of the Mood 5 1 alfo the fetting of Figures to fignifie Diminution j in Dupla, Tripla, Madrupla proportion * with o- ther fuch like, which being now out of ufe, 1 1 will trouble you no further with them. And ' this is as much as I thought neceffary for Tu- ning and Timing of Notes, uhich is all that be- longs to the Rudiments of Song. *9 A COMPENDIUM O F PRACTICAL MUSIC the Second PART, TEACHING The Principles of Compoftticn, — § i. Of Counterpoint. BEfore Notes of different Meafure were in ufe, their way of Compofing was, to fet Pricks or Points one againft another, to de- note the Concords * the Length or Meafure of which Points was fung according to the quantity of the Words or Syllables which were applied to them. And becaufe, in compofing our Defcant, we fet Note againft Note, as they did Point a- gainft Point, from thence it ftill retains the name of Counterpoint \ . In 30 A Compendium of Mufic. In reference to Compofition in Counterpoint , I muft propofe unto you the Bafi 9 as the Ground- work or Foundation upon which all Mufical Compofition is to be ereaed : And from this Bafi we are to meafure or Compute all thofe Diftances or Intervals which are requifite for the ioynine of other Parts thereto. J 5 §2. Of Intervals. AN Interval in Mufic is that Diftance or Difference which is betwixt any two Sounds, where the one is more Grave, the other more accute. In reference to Intervals^ we are fir ft to conE- der an Unifon 5 that is, one, or the fame found 5 whether produced by one fingle Voice, or divers Voices founding in the fame Tone. This Unifon, as it is the firft Term to any In* tervat, fo it may be considered in Mufic as an UMteM^rztbmetkk, or as a Point Jn Goemetry. not divifible. n As founds are more or lefs diftant from any iuppofed Unifon, fo do they make greater or lef- Jer Intervals 5 upon which accompt, Intervals may be faid to be like Numbers, Indefinite. But thofe which we are here to confider, be only fuch as are contained within our common Scale of Mufic ; which may be divided into fo many u 1C ??k? r S€6lions Conl y ) as ^ere be Semitone* or Halt Notes contained in the faid Scale h That is to fay, Twelve in every 08ave, as may be ob- ferved 10 the ftops of fretted Inftruments. or in St • v? S 0f a Coi ™°n HarpfichbrL or Organ, Their Names are thefe that follow. 12. Diapa* Trincifles of Compofition. g i 12. Diapafon. 12. OQave or 8tb. II. Semediapafon. n. Defective %th. ii. Sept. major. n. Greater 7 tfc. 10. &pt. minor. io. Lefler 7ft. .9. Hexacbordon ma. 9. Greater 6t&. 8, Hexacbordon mi. 8. Lefler 6th. 7. Diapente. 7. Perfeft ?t&. 6. Semidiapente. 6. ImperfeQ $tk. 6. Tritone. 6. Greater 4th. 5. Diateffaron. $. Perfect 4th. 4. Ditone. 4. Greater ji, 3. Semiditone. 3. Lefler ^i. 2. Tbwe. 2. Greater 2d. 1. Semitone. I. Lefler 2 Counter- point. Now, for carrying on the reft,your fecurcft way is, to take that Concord, Note after Note,which may be had with the leaft remove: and that will be, either hy keeping in the fame place, or re- moving but one degree. In this manner you may proceed until you come to fome Clofe or Seft- lon of the ftrain 5 at which you may remove by leap to what Concord you pleafe h and then car- ry on the reft as before. By this means you will be lefs liable to thofe Difaliowances formerly mentioned, moft of them being occafioned by leaps of the upper part. Only let me advertife you, that we feldom ufe Sths. in two Parts, except Beginning Notes. End- ing Notes, or where the farts move contrary ; that is, one riling, the other falling. If you fet a Figure under each Note as you Prick it 9 to figmfie what Concord it is to the Baft, as you fee in the following Examples, it will be fome eafe to your Eye and Memory. Example. Principles of Compfition* Example i beginning with a $tb. 39 fei^-4%P^ 5 3 5 3 5 383 Example 2 beginning with a id. ^r!rzrH:l«d:t:i3ir3::«ari"ii 3 8 P 383 83^58 3 * Example 3 beginning with an Sib. pi +-s 6 Bafj 863 35863 58 Take notice that the Sj/5 making a middle Clofe at the end of the fecondBar,yourZVeWe may properly remove by leap, at that place, to any 0- ther Concord, and then begin a new movement by degrees 5 as you fee in the firft Example. I propofethis movement by degrees 5 as the molt eafie, and moft natural to iheTrebU part jnpiain Counterpoint : yet I do not fo confine you thereto, but that you may ufe leaps when there ihall beany 1 D 4 occa " 40 A Compendium of Muftc. cccafion •, or when your own fancy fhall move you thereto : provided thofe Leaps be made into Imper- fect Concords, as you may fee by this Example. Treble. ~ - £ H~:±! ^ ""I 1 J-J—Jl 935 35T 3 33 5 8 &?#• a;czpitzif:l:p2i!:3zd«ij:tdzz— 1| Having told you that wefeldom ufe 8fKin two Parts, 'tis fit I give you fome accompt of thofe in the late Examples : The firft is in the third Bar of. the firft Example, where the Treble meets the Baft In contrary motion , therefore allowable. Jn the fecond Example are three stbs. The firft in the firft Bar, the TrSble keeping its place, and therefore al- lowable. The fecond meets in contrary motion *, the third keeps m place. In the third Example are two Bths. the firft begins the Strain, the fecond the Latter part thereof ^ in all which beginnings an8fZ>. may properly be ufed. Laftly,all thofe Btfo.which you fee ar the Conclufion of the Examples, are not only allowable, but moft proper and natural. As for thofe two Sharps which you fee in„the fecond Example •, the firft of them is difputable, as many times it happens in Mufc; in which doubts the Ear is always to be Umpire. The o- ther Sharp depends more upon a Rule 5 which ls y that when the Bafs doth fall a %th or rife a qth ; that Note, from which itfo rifes or falls^ doth com- monly require the Sharp or greater ^d. to bejoynedto it. And being here at the conclufion, it hath a fur- ther concern ^ which is, that a Binding Ca- dence is made of that Greater %d. by joyning part of it to the foregoing Note, which is as frequent in Trincifles of Comttofition. 41 in Mnfic at the Clofe or Conclufion, as Amen at the end of a Prayer. Examples of it are thefe that follow • Greater 3d m +£, Cade iice 3d. Cadence 3d 1 mmmwmm Cadence 3d. Cadence 3d. Cadence 3d. This Cadence may be ufed by any Part which hath the Greater $0% in the next Note be- fore a Clofe. p ^ i r There is another fort of Cadence frequent in Mufic (but not at Conclufion) in which the Greater 6th. doth lend part of its Note to the Note which went 'before* the Bafs Defending a Tone or Semitone, thus : Greater 6th. Cadence. Cadance. Greater 6th. j. This alfo is apliable by any Part, or in any Key where rhe Greater 6th. is joyned to fuch Notes of the Bafs. t qz A Compendium of Muftc. I would now have you frame a Bafs of your own, according to former Inftru&ions, and try how many feveral ways you can make a Treble to It. When you find your felf perfect and ready therein, you may try how you can add an Inner part to your Treble and Bafs : concerning which, take thefe InftrucTions. § 9. Composition of Three Parts. FIrft, you are to fet the Notes of this Part in Concords different from thofe of theTreble. 2. When the Treble is a $tb. to the Bafs, I would have you make ufe either of a ?>L or an Sth. for the other Part; and not ufe a 6tb. therewith, until I have fhewed you how, and where a $r&. and 6tb. may be joyned together 5 of which more hereafter. 3. You are to avoid Stbs e in this Inner part likewife, fo much as you cm with convenience. For though we ufe $tbs. as much as Imperfects, yet we feldorn make ufe of 8tbs. in three Parts, unlefs in fuch places as we formerly mention'd. The reafon why we avoid Stbs. in two or three Parts, Is, that Imperfe£t Concords afford more variety upon aecornpt of their Majors and Minors 5 be- fides, ImperfeQs do not cloy the Ear fo much as Per feds do. We will make ufe of the former Examples, that you may perceive thereby how another Part is to be added. ExanfU. Principles of Composition. 43 Example 1. 5 3 5 *• * 3 8 3 5 B 3 5 3 5 3 5 13 5 3 8 Example 2. ( ^ 3838365 8 3 P i:fc:?rfr?:l:dri:!£z--3:Iri=|^f 5 3 5 3 5 3 3-3 58 Example 3. 863 35 863 S« 8 5 3 3 3 5 3 8 3 3 « 5 3 3 3 5 3 • 44 ^ Compendium of Mufic. That feflat which you fee in the third Bar of all the three Examples of the Inner part, is fee there to take away the harfh reflection oFEflarp againft h flat the' foregoing Note of the Bafs : which is that we call Relation Inbarmomcal, oi which I (hall fpeak hereafter. As for the Sharps I refer you to what I faid formerly of them : On- ly take notice that part of tYieJharp id. in the Tre- ble Part of the fecond Example, is joyned to the foregoing Note, to make that Binding Cadence we formerly mentioned. § I o. Compofition of Four Parts. IF you defign your Compofition for four Parts, I would then have you to joyn your 2d, Tre- ble as near as you can to the Treble \ which is eafily done by taking thofe Concords (Note af-! ter Note) which are next under the Treble, in manner as follows. Example. "''pliplllipplilil 5 3 5 3 5 38358 38383 8583 8 JBL^-fr-tt* i~« L ' 1 Principles of Comfofition. 45 I make the 2 J. Treble and Treble end both in :he fame Tone h which, in my opinion, is better han to have the Treble end in mjharp id.a- jove h the Key of the Compofition being jfof, md the Jbarp ?>L more proper for an Inward part at Conciufion. I will now, by adding another Part {viz. a Te- nor) (hew you the accomplifhment of four Parts : concerning which, thefe Rules are to beobferved. Firft, that this Part which is to be added, be fet in Concords different from the other two upper Parts. That is to fay, if thofe be a $tb. and iL let this be an Stb h by which you may conceive the reft. Secondly, I would have you joyn this lenor as near the 2d. Treble as the different Concords do permit 5 for the Harmony is better when the three upper Parts are joyned clofe together. Thirdly, you are to avoid two %tbs. or two $tbs. riling or falling together, as well amongft the upper Parts, as betwixt any one Part and the Bafs * of which there islefi danger, by placing the Parts in different Concords Example* J 46 A Compendium of Mufic. Example of Four Parts. Treble. caKstr Plpilpfiil! 5 3 5 3 5 3 8 3^ 5 8 3838385 8 38 . 8 58 5 8 5358 3 ""iiiiiiliiiii . Here you may perceive each Note of the new fy added Tenor, let in a Concord ftili. different! from thofe of the other two higher Parts 5 by which the Compofition is compleated in four Parts. And though I have fhewed this Compo- sition, by adding one Part after another, which! I did conceive to be the eafieft way of giving you a clear underftanding of it 5 yet, now that you know how to place the Concords, it is left to your liberty to carry on your Parts (fo many as you defign) together h and to difl pole them into feveral Concords, as you fiiall think convenient. § 11 flow Principles of Comfofttion. 47 11. How a 5 th. and 6th. may ft and toge- ther in Counterpoint, IT is generally deliver'd by moft Authors which I have feen,that how many Farts foever a Com- pofition confifts of, there can be but three feveral Concords joy ned at once, to any one Note of the Bafs h that is to fay , either a 3 A is**, and Stb. or a 3 d. 6th. and Stb. * and, that when the $th. takes place, the 6th. is to be omitted 5 and contrari- ly, if the 6tb. be ufed, the $tb. is to be left out. Our excellent and worthy Countryman Mx.Tbo- mas Morley, in his Introduction to Mufc, Pag. 145. teaching his Scholars to compofe four Parts,ufeth thefe words, But whenyou put in a 6th then of force mujf the 5 th. be left out h except at a Cadence or Clofe where a Difcord is taken, thus : which is the hefi manner of clofingi and the only way of taking 5 th. and 6th. together. 6 g : :=z§J:grD±g-r:{| All this is to be nn- derftood asfpeakingof a perfeB $tb. But there is another $th. in Mu- fic, called a falfe, de- fe£Hve, p or imperfeft %th. which neceflarily tequires a 6th. to be joyned with it : And tho 1 1 never heard any approved Author accompt it for a Concord, yet is it of moft excellent ufe in Com- pofition h and hatha particular grace and elegan- cy, even in this plain way of Counterpoint. It is commonly produced by making the lower term or 48 A Compendium of Muftc. or Bafs-Note, Sharp, as you fee in the two In- fiances following. I * ,6 J Thus you fee how a $fi>. and (Sf&. may be ufed at once $ In any other way than thefe I have mention'd I do not conceive how they can ftand; together in Counterpoint * but when one of them* is put in, the other is to be left out, according to the common Rule. ^ ix. Composition in a /harp Key. WE will now proceed to a Jbarp Key ; in which, 6ths. are very frequent * for therei are certain fiarp Notes of the Bafs, which necef J farily require a letTer 6th. to be joyned to them : As namely, 1. The Half- Note, or/#r 2d. undeij the Key of the Compofition. 2. The greater 3I above the Key. 3. Alfo the 3 J. under it, requi-| ring fometimes the greater, and fomedmes the left fer 6th. to be joyned to it, as you fee in the fub- ! fequent Example ; in which the Notes of the Bafs requiring a 6tb t are marked with a Dagger under them, Treblel Principle's of Compofitioti* 49 3 5^ 5 * 8 3 3^ 8 5 3 Towor. B*fr Things to be noted in this Example are thefe : i. When the Notes of the Bafi keep ftill in the fame place, it is left to your liberty to remove the other Parts as you (hail think fit : An inftance whereof you have in rhe next Notes after the be- ginning. 2. Take notice (and obferve it hereafter) that theHalf-Note or fiarp Second under the Key, doth hardly admit an %th. to be joyned to it, without offence to a critical Ear -, and therefore have I joyned two 6ths. and a 3 J. to that Jkarp Note of the Bafs in F. 3. In the firft part of the fecond Bar, you may fee the Treble lending part of its 6th. to the foregoing Note, to make that Binding Cadence which we formerly mention'd, pag. 41. 4- You may obferve that now I permit the Treble to end in a Jharp 3d. which I did not approve when the Key was flat. The Figures (hew you which parts are 6ths. to the Bafs, as the marks, which Notes of the B«fi E re- £o A Compendium ofMufic. require them % where you muft know,that the Bafs in all fuch like Notes, doth afTume the nature of an upper Part; wanting commonly a ?i, fome- times'a $th. of that Latitude or Compafs which is proper to the true nature of a Bafs. To demonftrate this, we will remove the faid Notes into their proper Compafs 5 and then you will fee thofe 6ths. changed into other Concords t, the upper Parts remaining the fame they were, or elfe ufing thofe Notes which the Bafs affumed before. Example. Treble. 22 z Treble Tenor. Bafs. ::t£trfi=Br 1 , Here you may perceive, that by removing thole Notes of the Bafs a 3A lower, all the 6tbs. are taken away, except that 6tb. which made the Binding Cadence : and that alfowill be taken quite away, if we remove its Bafs- Note into its full La- titude 5 which is a $tb. lower h as you will eafily fee by the Inftance next following* By Principles of Com^afitioru f i „ een fhewed, you fee :tiE^Efi£i:C-^il where Uhs. are to be ' *~~ r u f e d In Compofition 5 •■ -/■"'■ -and how they may J>e P4- : n^ : 3 : F- : dE : ;inl avoided when you Jrzrzrs: p:g-:f :j| pieafe. But I would *— u- i~? ^ ave you take notice, that Ba/ej confifting much of Notes which require 6ths. to £e yopei to t^wz, <*n? more apt for few, than for many Farts. The like may be faid of Bajfes that move much by Degrees. § 13, Of Trapfition % or Breaking a tfoti. ONe thing yet remains, very neceflary (fome- times)in Compofition: and that is,to make fmooth or fweeten the roughnefs of a Leap, by a gradual Tranfition to the Note next following, which is commonly, bailed the Breaking of a Note. The manner of it you" have in the following Ex- amples, where the Minim in £, is broken to a $X. $th. and $th. both downward and upward. In like manner may a Semihreve be broken into fmaller Notes. Where take notice alftv that two, E 2 t!yee 3 yi A Compendium of Mufic. three, or moreNotes,ftanding together in the fam< Line or Space may be confidered as one intin Note, and confequently capable of Tranfition, Example. WSMMM In which, yoil have no more to take care of 3 but that the firft Particle exprefs the Concord ? and that the laft produce not two $ths.otStbs. with fome; other Part. To avoid which (if it fo happen) the 1 following Note of -the other Part may be alter- ed, or the Tranfition may be omitted. We will take the late Example with its 6th$. and apply Tome of thefe Breakings to fuch Notes as do require them, or may admit them. Example. Treble* ZZZZZ^&ZZi Tenor. lg|||||i|l||to Mil «5PE H iiililipiil The Priciples of Comfofttion. $ 3 The Breakings are marked with little Stars un- der them 5 which you will better conceive if you caft your Eye back upon their original Note. In this I have made the ift. and id. Treble end t both in the fame Tone, that you might fee the Tenor fall by Tranfition into the Greater 3 d. at the Clofe. Thefe Rules and Inftruftions which I have now delivered, being duly obferved, may (I doubt not) fuffice to (hew you what is neceffary for Compofi- tion of two,Three,or Four Parts, in Counterpoint. I have fet my Examples all in the fameKey,(™z.) in G.) that I might give the lels difturbance to your apprehenfion 5 which being once comfirm- ed you may fet your Compofition in what Key you pleafe, having regard to the Greater and Lejfer 3 J. as hath been (hewed. $ 14. Compofition of 5, 6, and 7 parts. BY that which hath been (hewed, it plainly ap- pears, that there can be but three different I Concords applyed at once to any one Note of the Bafs, that is to fay, (generally fpeaking) ei- j their a 3d, $tb. and Ztb. or a %L 6th. and Stb. I Hence it follows that if we joyn more Parts then J three to the Bafs, it muft be done by doubling fome of thofe Concords, v. g. If one Part more be added, which makes a Compofition of Five Parts, fome one of the faid Concords muft ftill be doubled. If two be added, which makes a Compofition of fix Parts, the duplication of two f of the Concords will be required. If Three Parts I; more be added, which makes up Seven Parts * :! then all the three Concords will be doubled. And : confequently, the more Parts a Compofition con- ! lifts of, the more redoublings of the Concords I will be required. Which redoublings muft be ei- E 3 ther 54 A Compendium of Mujicl ther in their O&aves, or in their Unifom. I men- tion Unifons, becaufe many Parts connot ftand lyithin the Compafs of the Scale of Mufic, bur fome of thofe Parts muft of neceffity meet fome- times in Unifon. That I may explicate thefe things more clear- ly, I will let you Examples of ?, 6, and 7 Parts 5 with fuch obfervations as may occur therein : And being able to joyn fo many Parts together in Counterpoint, you will find lefs difficulty to com- pofe them in Figurate Defcant h becaufe there you will have more liberty to change or break ©ff upon the middle of a Note. Example of Five Parts. Treble. ZZZ"QZfjr-p~t~?^~fE~'G~ p5:fe| 3?383Sr3S3 58 2 TrebleT~ Tenor. 838583853 38 585358535 85 * $ B $ Z 5 8 5 8 53 Here you fee fome one of the Concords fiill doubled^ as may be obferved hy the Figures which Vrincifks of CompoGtfon. $5 which denote them. Your next (hall be of Six Parts • wherein two Concordswiil ftill be doubled to each Note of the Bafs. Example of Six Parts, 3 5 3 8 3 5 3 8 3^58 8 38 5838 58^ £r 8^ 585 558 535 8 5 , I J J i.J-J-Jf If 85 8585 8 5 3 5 _3 58585 585 85 Baft Here you fee two Concords doubled •, in which, all you have to obferve is, how they remove feve- rai ways* the one upward, the other downward* by which means they avoid the Confecution ot Perfe&s of the fame kind. £ a Example. 5T6 A Compendium of Mufic. Example of Seven Parts, 3 5 3 835 3 8 3 ^X 8 8 3 8 5 8 3 8 5 8 ' , 8 * 8 S 3 3 8 5 3 3 85 3 8 3 585 !-!- 8 5 3 5 3 2 r j Vfe of Difcords. 7* T told you formerly that Difcords are belt brought off, when they pais into ImperfeZt Gon- cS which is true Dcftrine, and ought to be obferv'ed 7as much as may bej in long Notes and SvncoPat on •. But in fhort Notes and Diminu- don we are not fo ftriftly obliged toobfervance of t'haVRule. Neither can we Afcend or Defcend bv degrees to a ftb. or to an Ztb. but a 4**, will Sme before the one, and a -jib. before the other Again a itb. doth properly pafs into a S r&. when the Parts do meet in contrary motion, as you may fee in the Example next following.- And here you may fee two -;th both Parts Delcendfng betwixt the Bafi and h.gher Treble, not by overfight, but fet with defign. § 7. Of Relation Inbarmonical. AFter this difcoufe of Difcords, I think it very proper to fay fomething concerning Relation Marmonical, which I formerly did but only mention. p 4 Relation Jt A Compendium of Mujic] Relation, or Refpeft, or Reference Inharmoni- cal is a harfh reflection of Flat againft Sharp in a crois iorrr^ that is, when the prefenr Note of one Fart compared with the foregoing Note of ano- ther I arr, doth produce fome harfh and difpleaf- lng Difcord. Examples of it are fuch as follow : jjVj* J_ J 4 S ■tiEra The firft Note of the Treble is in EJharp 5 which confidered fcrofs-wife) with the fecond Note of the Bafs in E fiat, begets the found of a Lefer Second, which is a Difcord. The fecond Example is the fame Defcending. The third Example, comparing £ Jharp in the #*A with B fiat m the 7>- For it is both ufuai and proper for the up- per Part to change from flat tofljarp when the Bafi doth fall a Letfer %L as you fee in the firft and fecond Bars of this Example. Alfo that re- Beftionof FJbarp againft hflat, in the third Bar, which produces the found of a LeJJer tfb. is not Relation Inharmonical. The reafon thereof you fhall prefently have. But firft I will give you a clearer Inftance thereof, by comparing it with another #6. flat againft fiarp crofs-wife, that your own Ear may better judge whatis, and what is not, Relation Inharmonical. Example. Good. Good. Bad. Bad. Eaz§E ^^^^^^z^^i^ HarmonicaL Inharmonical. The firft two Inftances (hew a Relation of F fiarp in the Bafi, againft Bflatm the TreMe,which begets the found of a Lejfer tfh. and is very good " and 74 'urpofes for Practical Mufic. And, as for thofe! ittle Diflbnances (Tor fb I call them, for want >f a better word to exprefs them ) the fault is not n the Scale, whofe office and defign is no morel han to denote the diftances of the Concords ind Difeords, according to the Lines and Spaces 1 which it doth confift 5 and to (hew by what degrees of Tones and Semitones a Voice may rife or fall. For in Vocal Mufic thofe Diflbnances are not perceived, neither do they occur in Inftruments Which have no Frets as Violins and wind Inftru- ments, where the found is modulated by the touch of the Finger 5 but in fuch only as have fixed Stops or Frets 5 which, being placed and fitted for the moft ufual Keys in the Scale, feem out of order when we change to Keys lefs ufual 5 land that (as IfaidJ doth happen by reafon of the in equality of Tones and Semitones, efecial- ly of the latter. . Concerning which, I fhall (with fubmiffion to better judgments; adventure to deliver my own fenfe and opinion. And though it belongs more properly to the Mathematick Fart oi Mufic, yet (happily) a praQical Explication thereof may give fome fatisfaftion to a Praai- cal Mufician, when he fhall fee and underftand the reafon. § 9r 80 A Comfendium of Mafic. § 9^ Of Greater and Lefer Semitones. Flrft, you muft know, that Sounds have theii Proportions as well as Numbers. t Thofe Proportions may be explicated by line divided into 2, 3,4, 5, or more equal Parts! We will fuppofe that line to be the String of I Lute^otViol Take which String you pleafe, fo! it be true 5 but the fmalleil is fitteft for the pur- pofe. Divide the length of that String, from the Nutt to the Bridge, into two equal Parts -, flop it in the Middle, and you will hear the Sound of an 08ave y if you compare it with the Sound of the open String. Therefore is a Diapafon faid to be in dupla proportion to its O&ave. Next, divide the String into three equal parts: and flop that part next the Nutt, (which will beat the Fret [A] if rightly placed ) compare the Sound thereof with the open String, and youj will here the difference to be a $tb. Thencd is a $tb. faid to be Sefquialtera proportion $ that! is, as 2 is to 3. Again, divide your String into four equal! Parts ^ ftop that Part next the Nutt (which will! be, at the [/] Fret) and you have a 4th. to thq open String. Therefore a 4^, is faid to be Sef- quitertia Proportion, as 3 is to 4. By thefe you may conceive the reft towards the Nutt. If you ask me concerning the other half of the String from the middle to the Bridge 5 the middle of that half makes another 08ave- 9 and fo every middle on after another. We will now come a little nearer to our bufi- nefs of the Semitones. To which purpofe wej muft divide the OSave it felf into equal Parts. Firft, Vfe ofDifcords.: Bi Fitftin the Middle 5 which will fall upon the fret [/] Examine the Sound from [/] to [n\ (which is an OSave to the open String) and you foill find it to be a %th. frjr the other half which is towards the Nutt, and you will hear it is but a tfh. Next, divide that $ib. which is from [/] to [n | into two equal Parts 5 and you will find that half, Which is towatds the Bridge, to be a Greater $£ and the other half to the? Nutt- ward, to be a Leffer ^L L Then divide that Greater %1. into two equal Parts, and you will have a Gteater and a Lejfer Tone. Laftly, divide the Greater Tone (which wa$ that half next the Bridge) into two equal Parts, and you have a Greater and a Lejfer Semitone 5 the Greater being always that half which is nea- rer to the Bridge. By this you may perceive that all our Muncal Intervals arife from the Divifion of a Line or String into equal Parts- and that thofe equal Parts, do ftill produce unequal Sounds. Arid this is the very Reafon that we have Greater and Lejfer Semitones. Thereupon, is a Tone, of whole Note fas we term it) divided into Ninfc Pat tides, called Com* wa's : five of Which are affigned to the Greater Semitone 5 arid four to the Lejs. The difference betwikt them is called 'a*^/*, which fignifies a cutting of. Somfc Authors call the Greater Se- mitone, Jpotome 5 That is ( I fuppofej becaufe it includes the odd Comma which makes that Ago* tome. Thus you lee a Tone or Note divided in- to a Greater and Leffer Half; but how to divide it into two equal Halfs, 1 ! never fee determined. the famous Kirclber in his Learned and Ela- borate Murfnrgia Univerfalis, pag. 103 treating G of Si 'A Compendium of Mafic, of the Math'ematick. .part of Mufic, (which he handles bote clearly and largely than any ; ; Author (I think) that ever wrote upon that Suljec]} doth fhtw us the Type of a Tone cur in the mid- dle by dividing the mi 3 Hie Comma into two Schi- Jms. But that Comma, .(being divided Arithmeti- cally) will have its Greater and a Lejfer half (as to Sound) as well as any, greater Interval fo. divided. } The neareft Infcr eel can give you of a Sound parted in the middle, is an 08ave 9 divided into a Tf'ffyne% and a Semidiapente * either of them con- fifiing of fix Semitones • as 1 fhewed pag. 68, and yet there, is. ibine little .difference in their Ra- tions^ Habitudes. I will give you yet a clearer Inftance, by which you may fee what different Sounds will arife, From one Divifion of a Line or String into equal faxts. To which purpofe, divide that $t$ which' is from, the Nutt to \Jf\ Fret, into two eauai farts, with a pair of CompaflTes h (the middle whereof will hit upon tit] Fret J f it be not placed with fome abatement, for the reafons beforemen- tionecij ) and you will find, that the fame wide- nefs of the Compafs which divided the ftp. in the middle, and fo made a Greater and a Lejfer id, the fame widenefs (I fay).- appiyed from ,[b~] towards the Bridge.wlf in the firft place from[£] produce a %th. in the next place, a %th. and in the next af- ter that, an $th. according to this Line: a |A g A.3 j.-j C^yg^ 3d.|fl?grfiSl Fifth \ tighth [ I J? •^ 5 d h n tb. doth make an 8t&. in the next place after it according to this Line: [ Fifth I Eight 1 ^JS h ■ If you pleafe to try thefe difia.aces upon the Treble String of a Bafs Viol, you will have a pro- duction of thefe Sounds. Firfl Line. ^ Second Line. By this you may perceive that every equal di- vifion of a Line or String, doth ftiil produce a greater Interval of Sound, as it approaches nearer ro the Bridge: And by this which hath been (hewed •, 1 fuppofe you 'fee not only the Reafon, but Neceffity, of Greater and Lepr Semitones. Our next bufinefs is to examine. § 10. vVhere thefe Greater and Lejfer Semi- tones arife in the Scale of Muftc. THis depends upon the Key in which a Song is Sett -, and upon the divifion of its $th into the Greater and Leffer %L and the placing of thefe s which determines wither the Key be fiat or Jharp, as hath been (hewed. We will fuppofe the Key to be in G. . TheDf^nwc^Scalehath only two places ineacn 08avs, in which a Semitone takes place. One is in fifing to the ^th, The other in rifing from thence to the 8*6. And thefe two places are known by the Note fa 5 as formerly (hewed, Thefe two G 2 Sounds 84 A Compendium of Mufic. Sounds denoted by fa, are always the LeferSemi tone from that degree which is next under them. So that from A to B fiat, is a Lejfer Semitone •, and betwixt B fiat and B Jharp (which makes the dif- ference of the Lejfer and Greater %&.) is for ought to be) always the Greater Semitone. The like may be underftoodof the higher /<*. I know that fome Authors do place the Greater Semitone from A to B flat, and the Lejfer betwixt B fiat and BJbarp-, but I adhereto the other opini- on, as the more rational to my underftanding. By this you fee where Greater and Lejfer Semi- tones take place in the Diatonick Scale. We will now cait our Eye upon them as they rile tn the Cbromatkk $ according to the Example I gave you of it. In which the Greater and Lejfer Half-Notes do follow each other fucceflively, as (hall be here denoted by two Letters* / for Lejfer, and£ for Greater. Example. I g l g I I g I g I Now,if we fhould remove this Example a Semi- tone higher or lower •, the Lejfer Semitones would! fall in the places of the Greater 5 and contrarily, the Greater in the places of the Lejfer: which; rranipofition, is the chief caufe of thole little Dif- fonances, which occafion'd this difeourfe. Your beft way to avoid them, is, to.ietyomr Mufic in the ufuai and moft natural Keys of the Scale. 85 A COMPENDIUM O F P R ACTICAL MUSIC The Fourth PART, - TEACHING The Form of Figurate Defiant. § i. What is meant by Figurate Defcant. FIgurate Defcant is that wherein Difcords ate concerned as well as Concords. And, as we termed Plain Defcant, (in which was .taught the ufe of the Concords) The Ground- work or Grammer of Mufical Compofition, fo may we as properly nominate This, the Orna- ment or Rhetorical Part of MuSc. For in this are introduced all the varieties of Points, Fuges, Syncope'sor Bjndings,Diverfities of Meafures, In- termixtures of difcording Sounds: orwhatelfe Art and Fancy can exhibit s which, as different Flowers and Figures, do fet forth and adorn the Compofition $ whence it is named tyelotbefafiori- ia vel j6gw0ta % Florid pr Figurate Defcant G3 §1.0/ %6 A Compendium ofMufic. $ z. Of the Greek Moods, and Latin Tones. BEfore we neat of Figurate Defcant, I muft not omit to fay fomething concerning the Moods or Tones. Not fo much for any great ufe we have of them, as to let you knou what is meant by ihem ; and that I may not appear An- gular 5 for ycu (hall fcarce meet with any Au- thor that has writ of Mufic, but you will read fomething concerning them. The Moods we mentioned in the firft Part of this Treatife, were in reference to Notes, and Meafure of Time, Thefeare cor cerning Tune. That which the Grecians called Mode or Mood, the Latins termed Tone or Tune, The defign of either was, to (hew in what Key a Song was fet, and w ich Keys had affinity one wiih another'. The Greeks diftinguimed their Moods bv the names of their Provinces 5 as DcrickLidianJonick, Yhngian, tfc The latins reduced theirs to eight Plain-fong Tunes ; and thofe was fet in the Tenor: fo called, becaufe it was the Holding Part to which ihey did apply their Defcant. Thefe Pla ? n-f>ngsdid feldcm exceed the Com- pits Dffix Notes or degrees of Sound 5 and there- fore were Ut and Re (as I fuppofe) applyed to the two Idweft, that each degree might haveafeveral appellation : otherwife, four names, as now we ufe, viz. Mi, Fa, Sol, La, had been both more eafie, and more fuitable to the ancient Scale, which confifted of Tetrachords or tfbs two of which made up the Compafs of an OSave ■ From chefe fix Notes, Ut, Re, Mi, Fa, Sol, La, did arife three properties of Singing ; which they named B ghiarre, B MoUe, and Froperchant or Na- tural B '^uarr^ms when they Sung Mi in B jthat Cliff; Figurate Defiant. 87 Cliff being then made of a Square form tins, k and fet at the beginning of the Lines, as we now fet force one of the other three Cliffs. B MoUe was when they Sung Fa in B. Fropercbant was when their Ut was applyed to C •, fo that rheir fix Notes did not reach fo high as to touch B either flat ot Jharp. But in our modern Mufic, we ac- knowledge no fuch thing as Prr-p rchant h every Song being, of its own nature, either/?* or fiarp : and that determined f not by B'sfat 01 Jharp, but) by the Greater or Leffcr 3 1 being joyned next to the Key in which any Song is fet. Thefe Moods or tones had yer another diitin- cYion * and rhat was Authenticity ^r PhgaL This depended upon the dividing of the OSave into us$tb and Atb. Authentlck was when the %tb. flood in the lower place ^ccordingto the Harmo- nical divifion of an OSave. Flagal, was when the %tb. poffeft the upper place, according to the Arithmetical divifion thereof. Example. Authentlck ' Pf* f ; HarmonicaU Arithmetical. Many Volumes have been wrote about thefe Moods or Tones, concerning their ufe, their num- ber •, nature and affinity one with another^ and "yet the bufinefs left imperfeft or obfcure, as to a- ny certain Rule for regulating the Key and Air of the Mufic, though one of the greatelt con- cerns of Muficai Compofrion, Mr. Morley (upon thisSubjea) in this Introdu- Hion to Mufic, pag. 147- his Scholar making this QSMttie, Have )ou no general Rule to be given Jar an u 4 88 A Compendium of Mufic. Inftru8ionjor keeping of the Key > anfwers, No h fo* it muft proceed only cf the judgment of the Compofer\ yet (faith he) the Church-men for keeping of their Keys have deyifed certain Notes commonly calleji the eight Tunes &c of which he only gives Examples, and fo leaves the bulinefs. And no marvel they could give no certain Rule, fo long as theyr took their fight from the Tenor h in which cafe it muft of neceflity be left to the judgment of the Com- pofer or Singer of Defcant, what Baft he will ap- ply unto it. But, according to the Method for- merly deiiver'd in this Treatife. where we make the Bafs the foundation of the Harmony, upon which the Key folely depends, as alfo the other Keys which have affinity therewith, the bufinefs is reduced to a certainty of Rule, both plain and eafie. (kepag. 34. Concerning the Key or Tone.) And though in Figurate Defcant we often have occafion to apply under-Notes to an upper Part, as you will fee hereafter, yet the whole conduct of the Compofition, as to the Key and middle Clofes thereto belonging, is the very fame, and therefore to be obferved, according to what we there delivered. I give you this brief account of the Moods and Tones, that you might not be wholly ignorant of any thing that belongs to Mufic: To which purpofe I have contrived this little Table: col- le&ed out of ftch Authors as number 12 Tones or Tunes an- fwerable to the Grecian Moods *, viz fix Authen- tick, and fix Bagal. Autbentick, 1 Dorick 3 Phrygian 5 Lydian 7 Mixolydiai yJEolian 1 Ionick rIagaL 2\Hypo-Dorick ^Hypi ^Phrygian 6 Hypo Lydian 8 tiypo-Mixolydian loHypo-JEolian ixHypo-Ionick ~ The Figurate Dejcmt. 89 The firft Column (hews the Keys in the Scale of Mufic to which thole Tones and Moods are affigned. The fecond expreffes the order of the Avtbentick Tones : known by their odd Num- bers 5 as 1. 2,5,6^. The third Column contains the names of [he Grecian 4uthentick Moods. The fourth (hews the Plagal Tones 5 knoytfn always by their even numbers * as 2, 4, 6, &c. The laft or fifth Column contains the names of the Gre* pian Plagal Moods 5 diftinguiflied by the Par- ticle Hypo. Where you may obferve, that B mi, is exempt from having any Tone or Mood affigned to it: becaufe ifff, doth make an Imperfeft <>th. there- to. Howbeit, Bfa y is become a Key or Tone now : much in ufe, eipecially in Mufic compofed for ijnftruments. But, whereas we read fuch ftrange and marvel- lous things of the various affections and defferent 1 effects of the Grecian Moods 5 we may very prof- fcably conjecture that it proceeded chiefly from their having Moods of different meafure joyned with them 5 which, we find by experience, doth : make that vaft difference betwixt Light and f Grave Mufic 5 though both fet in the fame Key, find consequently the lame Mood or Tone, § y Of Figurate Mufic in general. Figurate Defcant (as I told you) is that where- in Difcords are concerned as well ^though not fo much,) as Concords. You have already been taught the ufe of both in Compofition 5 and Thefe are the Two Materials which muft ferve you for the railing of all Structures in Figurate Mufic. To give you Models at large, of all thofe feve- ral 9 o A Compendia m of M<* fie, ral Structures, we?e to write a great Volume not a Cempendiwn* It will be Efficient that i le you fee the Form of rjigurat.e Defcant; and tnai I give you fome fhort Examples f fuch things as are of moft concern : with Intimations (m near as I can) for their contrivance We will begin with fetting a Bafs to a Treble, as we for- merly did with making a Treble to a Bafs. § 4. Hoiv to fet a Bafs to a Treble. ¥ N this you mult reckon your Concords from I the Treble downward, as in the other you didj from the Bafs upward. Which is but the fame thing in efTeS;* for, a %a\. <>th. 6tb. and 8fZrare ftil] the fame, whether you reckon them upward or downward. But, whereas in plain Counterpoint, I did orderj the Bafs to move on, for the moft part, by leaps; of a 3, 4, 5;, &c. ("which indeed is the moft pro- per movement of the Bafs in that kind of Com- pofition -J here you moft know, that in Figurate; Defcant, thole Leaps are frequently changed or broken into degrees, as you may eafily conceive by this Example. L bf- h~r M-p - — -'rftlr-v "" * G " s And therefore it is left to your liberty to ufe either throne or me other as occafion (hall re- quire. Only take notice that if in thefe Break- ings) the farts do Afcend pr Defwena together by de- Figurate Defcant. gi Jegrees, it muft be either in 3 The very fame it is in Sounds prefemed to cur Ear $ for, no Man that hath skill in Mufic, can hear two perfeft <>tbs or two 8tbs betwixt the fame Parts, rifing or falling together, but bis Ear will, be difpleafed with the latter of them • becaufe he expecled in place thereof fome other Concord. This Reafon againft the Gonfecution of $tbs and Sths being admitted, we will now proceed to the other Difallowances $ which, upon due examination, we fhall find to arife from the very fame confequence. For the better underftanding of this $ you muft know, Firft, that every Difallowance doth end sither in an Stb or in a $tb (by thefe I alfo mean their O&aves.) Secondly, that a Difallowance is commonly generated by both the Pans moving the f?me way. Thirdly, that every leap in Mu- 5c doth imply a Tranfition by degrees, from the brmer to the latter Note, by which the Leap is formed. Laftly, that thole implicit Degrees, 'by reafon of both Parts moving the fame way) o always produce a Gonfecution of two (if not ore) Perfects of the feme kind. To $6 J Compendium of Mufic. To render. this more clear, we will take fbm£ of thofe PafTages not allowed in pag. 34. and fcreak the Leaps into degrees, according to what I (hewed pag. %i y $i. of breaking a Note, as you fee in the following Examples : 6i 8 8 j * 8 8 $ 8 ^8 8 38' 88 8 35 flf 3 i jtf iliiiSilppIIi By this you fee, that if 60th the Parts move the fame waiy, one of them by a Degree, the other by a Leap 5 that Leap (\ fay) being broken into Degrees, begets a Confecution of two PerfeS$ of the fame kind •, And where both Parts Leap the lame way, if you break thofe Leaps into De- grees, there will arife from thofe Degrees, Three of the fame Perfects. And this implicit Confe- cution of Stbs. and $ths. arifing from thofe De- grees, is that which renders fuch Paffages left pleafing to the Ear, and are thereupbn narfied Difallowances. Thefe which I have (hewed may ferve for your understanding of the reft * for they are all of the! fame nature, excepting One, which Mr. Morlej and pii§{ Ftgurate Defiant. 97 and others call bitting an Stb. on the face 5 that is, when an uppet Part, meeting the Bafs upon an Stb. doth skip up from thence into fome other Per feet Concord, thus: _--_-.« But whereas 1 told you, and have g : H-3""f (hewed, that a Difallowance is com- —- : drgrj monly generated by both Parts moveing the fame way 5 you muft know, that all Paffages of that fort are not Difallowances $ for, you will hardly find a Difallowance where the Trible removes but one Degree -, except that which I (hewed in the firft Inftance of the late Example, where the Tre- ble falls by Degree from a 6th. to an Sth. or (per- .haps) where the Bafs fhali make an extravagant Xeap fas it were let on purpofe) to meet the '.Treble in a $tb. or 8tb. In any other way, I do mot fee how a Difallowance can occur, whilft 1 the Treble removes but one Degree, though both IParts rife or fall together. But if the Treble or 1 upper Part do skip, whilft the Bafs removes but rone Degree, (the fame way,) you may conclude iita Difallowance. I will give you Examples of both thefe Ways ithat you may compare them by your Eye and Ear 5 and fo you will better perceive what is, and what is not allowed. Example. Pajfages into the %th. Fajfages into the 5th. t=qteEtl 3:!:- j-j pBrglSlffei Good. Bad. Good. Bad. Good. H If $8 A Compendium of Mafic. If you try the Sound of thefe two Ways with an Inttrument, you will perceive that thofe Paf- fages wherein the Treble removes but one Degree, are fraooth and natural ^ but in the Other where the Treble doth Leap, the Paflage is not fo plea- fing to the Ear. The Reafon whereof fas I conceive J is, be- caufe Leaps are the proper Movements of the Bafs^ and Degrees more natural to the Treble part, as I formerly delivered in Plain Counterpoint: And therefore, lb long as both Parts proceed in their natural Movements ( the Bafs by Leaps, and the Treble by Degrees^ the Gonfecurion is not fo perceptible, becaufe h gives no offence to the Ear h for that which is proper and natural can- not be difpleaflng : But if you diforder this na- tural Movement, -by making the Bafs to move hy a Degree, and the Treble to Leap the fame way into a Perfect Concord, the Confecurion thereof prefently begets a Difaliowance. Laftiy, take notice, that moft of thofe Paffages we call Difaliowance, may be tollerared in the Tenor or 2, Treble^ (being covered by a higher Pan though, in the higheft Part, it felf^ they wouic not be allowable : And therefore when your TrebU or higheft Part (hall make a Leap, (which is fre- quent in Figurate Defiant) your chief care mufl be, that the faid Treble or higheft Part (comparec with the Bafs) be not guilty of any Difaliow- ance 5 of which there can be no danger, if the Leap be made into Imperfect Concord. That you may better remember them, mofi Difaliowances may be referred to thefe two Heads ;| 1. When the higher parts skips to a $th or Btb\ whilit the Bafs removes but one Degree. 2. W he both Parts skip out the fame way into a <>tb %th.An& this is as much as 1 think necefl y con ff raing Difalkwancs* § 7. Con flgurate Defiant. 99 § 7. Concerning the Confec'utlon of 4ths. and jths. I Formerly (hewed you (pag 74.) three diffe- rent qths viz. a LeJJer sl Greater, and a Mid- dle 4th named Diatejfaron, which for diftinclion : I call a Perfect $tb. becaufe it arifes from the perfect dividing of an Ofiave into its qtb. and $tb. ', as well according to the Arithmetical as the Har- ] monical Divijion thereof. Thefe $6*. are fo neceflary,(or rather unavoid- able) in Compofition, that you (hall fcarcely fee Two, Three, or more Parts pyned to any Baft, but there will frequently be one of them I betwixt fome two of the upper Parts. Again, Three Parts cannot Afcend or Defcend together by Degrees in Mufical Concordance, but there muft (of neceflity) be a Confecutioii of fo many qths. betwixt fome two of the up- per Parts. Now, if that Concecution confift of different 4tbs. mixed one with another, it is very good : But if the tfhs. be of the fame kind, the Con- fecution is not fo allowable. The Reafon there- of is, that 4*6*. are the Refemblances or Refi- nances of $ths, as may be feen in This; that if you tranfpofe the Parts which exhibit thofe tfbs. by placing the Lower an OBave higher, or let- ting the Higher an OBave lower, thofe qtbs. will be changed into $ths. as you may fee in the following Inftances. H 2 JExamfe. ioo A Compendium of Mufic. Example. * . * * pitliliplill Pipliii Three 4tbs. betwixt the I Three %ths betwixt i Trbie and Tenor: | the I Treble and Tenor. The Notes tranfpofed are thofe of the Tenor in the firft Inftance * which being placed an Oftave higher, and fo made the Treble or higheft Part in the fecond Inftance, begets three $ths. inftead of the former three #hs. The queftion now is, whether thefe three $ths. being pi different kinds, be not allowed in Com- pofition. (if they be allowed, there is lefs doubt to be made of the tfhs. they being alfo different.) Here is no Confecution of Perfects of the fame kind 5 for the middle $th. is Imperfect : Neither is there any harfhnefsor diflbnance offered to the Ear, fo near as 1 can perceive. And though Mr. Morley (in his Introdu&ionjag. 7£.)with other pre- cite Compofers of former times, did not allow aj perfed and an Imperfect $tb. to follow immedi-j ately one the other ^ yet later Authors, as well Writers as Compofers, do both ufe and approve it. See Figurate Defiant. 101 See Kircber, in his Mufurgia Univerfalh pag. 621. Delicentia durum gitintarum h where he cites Hi- eronimus Kapfperger, a very excellent Author, ufing i two $tbs. on after another, in divers places of a I Madrigal, with much Art and Elegancy 5 and in the very beginning of the fame, makes nofcrupie of fettingfour %tbs. PerfeB and ImperfeS one after another. The Example is this which follows. As for my own Opinion, I do not only allow theConfecution of two $tbs. one of thim being ImperfeS, but (being rightly taken) efteem it a- monslt Elegances of Figurate Defcant. This I fpeak,fuppofing them to be in lhortNotes. But if the Notes be Ion*, as Semibreves.znd fome- times alfo Mhmm* 9 I flTould then rather chofe to have the PerfeB jrft. to hold on,tillthe other Parr, remove to a 6ffc.before it change to an ImperfeS $tb As for Example. Not thus, but thus, ot thus, ^iox A Compendium of Muftc. mz i-B § 8. Consecution of -^ds. and 6th s. TWo Greater ids. can hardly follow one the o- ther, without Relation lnharmonical 5 yet in rifing by degrees to ~— j ] x ^7 a Binding Cadence — ^3^g::tp" & they are allowable, ^zS^rrJzp as thus: In which an In* ner Part will pro- perly come in, as you fee in the Ex- ample. And, by this you may perceive that Relation lnharmonical is fometimes difpenfed with h which muft be referred fnext after the tat) to the judgment of the Compofer. Two Leper ids. may follow one another in degrees, as thus : 3 8 7 5 -rrk-e zftoz znz§ But in Leaps they will not do fo well. PrzS^-f!#£ : Greater 6ths. are anfwerable to Lefer ids. and therefore may follow one another, as you may fee next following : Lejfer 6tbs. are like in na- ture to Greater 3 ds.znd there- fore the Confecution of them is liable to Relation lnharmonical. |:{?E- : " za.l Thipyou haveafhort account how tfs and 6th may Figurate Defiant. r03 I may follow one another when thev are of the fame • kind As for their change from Greater or Lrjjer, or the contrary, it is fo natural, that you cannot A- Ifcend or Defcend, either in ids or 6th. but it muff be by a frequent changw from the Lejjer to the Greater, or frcm the Greater to the l»ff#. Now, as to their PalTage incc other Corcoros h the moft natural is commonly that which m*y te done with the leaft remove. Hence it is obferved, that the Leffhr 6tb relies more naturally into a %th, and the Greater -6th. \ into an 8*6. as you (hall fee in the following ■ Inftances. Lefer 6th. Greater 6th. 6 8 6 8 6 5 6 5 Cadence-of the Greater 6th. ipy^'JiiliSlteli-^ E^fccr ri7ll==xi — 4-e-l Thefe little removes by a T««e or &■>*""; do connect or make fmooth the Air of the Mute, in paffing from Concord to Concord ; which by greater removes, would often feem diqoynted. 1 will now fpeak of a Fuge* which is the prime Flower in Figurate Defrant. 104 A Compendium of Mafic. § 9. Of Fuga or Fuge. HTHis is fome Point, (as we term it in Mufic * confiiting of 4, 5 , 6, or any other number of Notes 5 begun by fome one fingle Part, and then ieconded by a following Part, repeating the fame, or fuch like Notes s iometimesin the Unifon or Wave, but more commonly, and better, in a 4th. at ph. above, or below? the Leading Part. Next comes in a Third Part, repeating the fame Notes, commonly in an 08ave or Unifon to the Leading Part. Then follows the Fourth Part, in refemblance tothefecond. The Fifth, and Sixth Parts (if the Compofition eonfilt of fo many; do follow or come in after the fame manner, one after the other 5 the Leading Parts (till flying before thofe that follow 5 and from thence it hath its name Fitga or Fuge. The Form of it you have in the following Example. Example of a Fuge. Figurate Defiant. 105 ipfiiiipipi EZ U-^: :rr-rlz:Ert:t:: I 1 ip^ ii P= -31 k~ zjli .: i£2=l^7ar5pJror::t iiifliiili Here you may obferve, that though the lead- ing Part begins with an even Note, yet any fol- lowing Part may come in upon an odd Note 5 with an odd Reft before it, when the Fuge doth require it, or permit it. Likewife take notice, that you are not ibflriftly obliged to imitate the Notes of the leading Part, but 106 A Compendium of Mufic, but that you may ufe a longer Note inftead of a fhorter or the contrary, when occafion (hall re- quire. Alfo, you may rife or fall a tfh. or $tb. ei- ther inftead of the other $ which is oftentimes re- quifite for better maintaining the Air of the Mufic. § 10, Of Arfm and Thefin. SOmetimes the Point is Inverted, or moves per Jrfm and Thejjn^ (as they phrafe it $ ") that is where the Point rifes in one Part, it fails in ano- ther, and likewife the contrary ♦, which produces a pleafing variety ; A Figure of it you may fee in this Inftance of the former Point. Arfin. Thefin. An Example of it you have in that which fol- lows. Example of a Fuge per Arfin & Thefin. fe— i~I Thefin. Miiiiiiiliiiil Thefin. Arfm. W Figurate Vefcant. 107 ligt^iip|i| Jhejin* Arfin. Tkepn. Ill Arfm. 1 i - fcllfe^EtH -*— t- D - P Thus you fee the Point per Arfm Of Thefn, fo near as I could contrive it in fo fhort an Ex- ample : only in the -jtb. Bar, the Tenor doth not precifely exprefs the Point * which I note unto I ©8 A Compendium of Mufic. unto you, as being better (of the two) to injure the Point, than the Air of the Mufic * the de- figu of a Compofer being to pleafe the Ear ra- tker than to fatisfie the Eye Here the Point wasexpreft both ways in each Part 5 but it is left to your Liberty whether you will have one Part maintain the Pointer Arfin, another per Thefin^ or what other way you fhall think fit to mix them j every man being 'Matter of his own fan- cy. Sometimes the Point backward thus : w^MtM Arfin* Reverted. pSifpi Thejtn. Reverted. is Reverted, or turned But then it muft be fuch a Point as hath no Prick- note in it j be- caufe the Prick will ftand upon the wrong fide of the Note when the Point is Re- verted. § ii. Of Douhle Fuges. SOmetimes the Mufic begins with two or more different Points, which the Parts do interchange by turns, in fuch manner as they did in the late Inverted Fuge per Arfin & Ihefin : An Example whereof you have as follows. Example. Figurate Defcant. *©9 Example of two Points moveing together in Fvge. I JL_I ¥^FF?rr^ :t--El&c. By thefe Examples you fee what a Fuge is. I will now lead you towards the forming thereof as Children are led when they learn to go. §12. tiow lib A Compendium of Mufic* § 1 1. How to form a Fuge. HAving made choice of fuch Notes as you think fit for your Point, Prick them down in that Part which you defign to begin the Fuge. That done, confider which Part you will have to follow next $ and whether in a qtb. or %tb] above or below the Leading Part. Perhaps the latter end oi the Fuge-Notes which you have Prickt down, may agree therewith. If not, you may add fuch other Notes as may aptly meet the following Part at itscomeing in. Next, prick down the Fuge-Notes of that following Part * and add what other Notes may- be requifite for meeting of the third Part, which (properly; will come in upon the Otiave to the beginning of the leading Part. Then carry on the third Part, by adding fuch Notes as may meet the beginning of the fourth Part, as it comes in upon an OBave to the be- ginning of the fecond Part. And, if you rightly conceive my words and meaning, your Scheme will appear like this which follows, according to the firft Platform of our firft Exampe of a fingle fuge. Examylel Ftgurate Defiant. Ill Example of the firft Platform of a Fuge. ^!ipMpi=;=ti Having done this, you may fill up the empty places with fuch Concords and Binding as you think fitted for carrying on your Compofition* until you repeat the Fuge, in one of thole Parts that begun it ^ which may be done either in the fame, or in any other Key that will beft main- tain the Air of the Muiic ^ for good Air is chief- ly to be aimed at in all Mufical Competition, And this repeating or renewing of the Fuge or Point, feems always more graceful when it comes in after fome Panfe or Reft : by which means more notice is taken of it 5 as of a man that begins to fpeak again, after fome little time of filence. The fame method I have fnewed in four Parts, may alfo ferve you wherein the Parts be more or lefs. § 13. of [I ix A Compendium of Mufic. § 13. Of Mufic Comfofedfor Voices. •TpHe ever renowned Difcartes, in the beginning I of his Cempendhm of Mufic, infinuates, that, of all Sounds the Voice of Man is molt grareful$ becaufe it holds the greateft conformity to our Spirits. And (no doubt) it is the beft of Mufic 5! if compofed and exprefTed in Perfe&ion. More certain it is, that of all Mufic, That ought to have the precedence which is defigned to fing and found forth the Praife an4 Glory of the Incomprehenfible SOURSE,SO UL, E S- SENCE, and AUTHOR of all created Harmony. To this intent, Hymns, Pfalms, Anthems^ Vet- Jicles, Refponfaries, Motets, &c. are fet and Sung in Mufic : of which no man is ignorant that hath frequented either the Churches beyond Sea, or the Cathedrals in England. Of thefe forementioned, fome are compofed in Plain Counterpoint ;, others in Figurate Defcant, with Points, Fuges, Syncope's, Mixtures of Dif- cords, &c. according t® what we have fhewed and taught in this prefent Treatife. * In this divine Life and Application, Mufic may challenge a preheminence above all the other Mathematick Sciences as being immediately im- ployed in the higheft and nobleft office that can be performed by Men or Angels. Neither, in its civil ufe, doth it feem inferior to any of the reft, either for Art, Excellency, or Intricacy. Wherher we confider it in its Theory or Mathe- matick Part, which contemplates the AfTeclions, Rations, and Proportions of Sounds, with ail their nice and curious Concerns. Or Figurate Defeat. 1*3 Or in its Pra8kk part which defigns, Con- trives, and difpofes thofe Sounds into fo many ftrange and fiuperdkus varieties^ ard all frenr the corifeqenee of ro mere than three Con- cords, ard feme inteivenirg Difcorcs, Or in its Aitrne, or Mechanick Part, which Midwifes and brings forth tbofe Sounds-, either by the excellent Modulation of the Voice, or by the exquifite dexterity of the Hand upon feme Infhument-, and thereby prefents them to out Ear and Underftanding ; making fuch Impref- fion upon our Minds and Spirits, as produce thofe ftrange and admirable Effecls, recorded IHiftory, and known by Experience. Any one of which three Parts of Mufic, con- fider'd in it felf, is a moft excellent Art or Science. [But this is a Subjeft might become a better Orator. Of Vocal Mufic made for thefolace and civil delight of Man there are many different kinds *, as namely, Madrigals, in which Fuges and all other :Flowers ot Figurate Mufic are moft frequent. Of thefe you may fee many Setts, of 3,4,5;, and 6 Parts, Publifhed both by Etrglijb and Ita- lian Authors. Next the Dramatick or Recitative Mufic 5 which (as yet) is fomething a ftrange* \o us here in England. Then Canfonets^ VUanel- la's, Airs of all forts h or what elfe Poetry hath contrived to be Set and Sung in .Mufic. Laftly, Canons and Catches, (of which we fhallfpeak thereafter) are commonly fett to Words: The ifirft, to fuch as be grave and ferious : The lat- ter, to Words defigned for Mirth and Recreate *>n. Of thefe you may have Examples fuffi. cient in a Book of Catches fold by John Cullen, at the Buck between the two Temple-Gates^ Fleet- flreet, I § 14 Of i 14 A Compendium of Mufic. § iij. Of Accommodating Notes to Words. , \A7Hen you compofe Mufic to Words, your j * chief endeavour muft be, that your Notes do rip&y exprefs the Senie and humour of them. If they b2 Grave and Serious, let your Mufic be fiachalfo : If Light, Pleafant, or Lively, your M 'fie likewife muft be fuitable to them. Any piffiorl of Love, Sorrow, Anguifh, and the like, is aptly exorefs'd by Chromatkk Notes and Bind- ings. Anger, Courage, Revenge^ &c. require a more ftrenuous and ftirring movement:. Cruel, Bitter, Harfh, may be expreft with a Difcord ; which nevertheiefs muft be brought off according to the Rules of Compofition. High, Above, Heaven, Afcend : as likewife their contraries, Low, Deep, Down, Hell, Defcend, may be ex- prefied by the Example of the Hand •, which points upward when we fpeak of the one and downward when we mention the other ^ The! contrary to which would be abfurd. You muft alfo have a refpeft to the Points of your Words $ Nor ufing any remarkable Faufe or Reft, until the Words come to a full Point or Pe- riod. Neitner may any Reft, how fhort foever, be interpoitd in the middle of a Word 5 But a Sigh or Sob is. properly intimated by a Crochet or j£zi aver Reft, La Illy, you ought not to apply feveral Notes nor (Indeed) any long Note, to a fhort Syllable, nor a fhort Note, to a Syllable that is long. Neither do I fancy the fetting of many Notes to| any 6ne Syllable (though much in fafhion irt former times ■$ ) but 1 would have your Mufic to be fuch, that the Words may be plainly under h itood. §i S .t- ed fbut now grown up to a hight of Compo-j , iition made only to delight. the Ear. | , A Pavan, (bzh q£ 2, 3, 4, 5, or 6 Parts J both commonly confilt of three Srrains-, each Strain td be play'd twice over. Now, as to any piece c« ; Mufic that cqniifts of Strains, take thefe fol- lowing OMervations. ij : All Mufic concludes in the Key of its Com«^ ;pqiition.y which is known by the Baft, as hath hem fhewn. This Key hath always orher Keys proper to .it. for middle dole, , (iee/7^ 26, 37.J If your Favan (or what elfe) be of three Strains * rthe firit Strain may end in the Key ot the ComH ..pofirion,. as the lalt doth : but the middle Strain muft always end in the Key of a middl* '.Ciofe. Sometimes the firft Strain does end in a mid die Clofe $ and then the middle Strain muft enc in fome other middle Clofe $ for two Strains following immediately one another, ought noi to end in the lime Key. The reaiun thereof is obvious * to wit, the ending itiii in the lame Key, doth reiterate the Air too much $ and different endings produce more variery. There^ fore when there are but two Strains, let the firfl end in middle Cloie, that both Sttains may not end a like. J do qonfefs I have been guilty my fe!f of this particular fault (by the Example ot others) in feme things which f compofed long finte ; but I! willingly acknowledge my Error, that others may avoid it. Next Figurate Defiant. A II 7 Next in courfe after a Pavan follows a Galiard, confining fometimes ;of two, and kmeumes of> three Strains Concerning their Endings, I re- fer yon to what was hit laid of a Pavan. This, (according to its namej is of a loftly and frolitk . movement. The Meaiure of >c always a Tripla,, of three Miliums to a time. An Jlmare ( fo calied from the Country whence it came, as the former from Gall a ) is always fet in Common Time like a Pavan , but of a quicker and more airy movement, it commonly hath due two Strains, and therefore the firtt ought to end in a middle Key. In theie, and other airy Mufics of Strains, which now pafs under the common name of iAirs, you will often hear (ome touches of Points or Fuges ^ but not infifted upon, or continued, as in Fancy -Mufic. I need not inlarge my Difcourfe to things fb common in each ones Ears, as Corants, Sara- barids^ Jijfgs Country Dances , &c, of which forts, I have known lome, who by a natural apr- nefs and accuttomed hearing of them would make fuch like (being unraught^ though they had noc fo mnch Skill in Mufic as to Prick them down in Notes. :Seeing this Compendium cannot contain Ex- iamplesof allthele which I give you account of, I would advife you to procure fome, of fuch kinds as you molt affecl: $ and Prick them down in Score, one Part under another, as the Exam- ples are fet in this Book : That they may ferve you a Pattern to knitate. But let them be of fome of the beft efteemed, Compofers in that'kind of Mufic, I 3 You 1 1 8 A Compendium ofMufic. You need not feek Outlandifh Authors, efpe- daily for Inltrumental Mufic^ no Nation fin my Opinion) being equal to the Evglifl) in that way 5 as well for their excellent, as their vari- ous and numerous Contorts, of 3, 4, 7, and 6 Pans, made properly for Inltruments, pf all Which (as 1 laid) Fancies are the chief. A U9 A COMPENDIUM .0 F P RACTICAL MUSIC. The Ffth PART. TE AC HING The Contrivance of Canon. § I. ConcerningCanon. A Canon is a Fuge, fo bound up, or re- trained, that the following Pan or Parts muft precifely repeat the fame Notes, with the fame degrees rifing or falling, which were exprefled by the Leading Part •, and becaufe it is tyed to fo ftria a Rule, it is there- upon called a Canon. Divers of our Country-men have been excel- lent in this kind of Mufic : but none (that I meet with) have pablifh'd any inftruftions for making a Canon. h Mr. i 20 A Compendium of Mafic. Mr.Elway Bevin profefTes fair, in the Titles Page of his Book * and gives us many Exam- ples of excellent and intricate Canons of divers forts s but not one Word of Instruction how to make fuch like. Mr. Morley in his Introdu&ion to Mufic, pag. 172. Says thus [_A Canon may be made in any di- Jiance comprehended within the reach of the Voice^ as the 3, ?, 6, 7, 8, 9, 10, II, 12, or other^ but for the Compojhion of Canons no general Rule can be given, as that which is performed by plain fight \ wherefore I will refer it to your own Study to find out fuch Points as you. fiaR think fittejt to be followed, and to frame and make them fit for your Canon. ] If, as Mr. Morley fays, no general Rule can he given, our Bulinefs muft be to try what helps we can afford a Learner towards the making of a Canon. I am the more inclined to offer un- to you this little 'Effay upon ir, becaufe the Ex- ercife thereof will much enable you in all other kinds of Compofition •, efpecially where any thing of Fuge is concerned, of which, it is the Principal. And I will dire£l you in the lame Method which I did before in contriving a fingle Fuge; that is firft, to fer down your material Notes • and then to accommodate your ojher Defcant to thole Notes. § 1. Canon of Two Parts. H7 E will, for more eafe, begin with two Parts 5 and I will take the firft two Semibreves of a former Fuge •, to let you fee the way and man- ner of it. The Canon (hail be fet in a $th. above and then your firft Notes will Itand thus : By £33 --n G-4 Contrivance of Canon. 12,1 By 5f&. 6th. jth.&c. above or below is under- wood the diftance of the Key betwixt the begin- ning Notes of either Part. Having let down your beginning Notes, your next bufinefs is, to fill up thu vacant (pace in the fecond Bar, with what Defcant you pleafe ; which may be done in the manner. '> Now, feeing that this following Part mud al- io fmg the fame Notes in a $tb. above •, it ne- cefTarily follows, that you muft transfer the faid new Notes, to the upper Part ; and apply new Defcant to Them alfo : and in this manner you are to proceed from Bar to Bar $ ftill applying new Defcant to the laft removed Notes. In this manner you may continue Two Parts in One, to what length you pleafe. A fhort Ex- ample may fuffice to let you fee the way of it ; Example. Take l%% A Compendium of Mufic Take notice, that the Canon ends where you fee the little Arches over either part. The reft is only to make up the Conclufion, as we com- monly do j uniefs we tefign the Parts to begin over again, and fo to go round without a Con- clufion. In the foregoing Example the following Part came in above the other Part $ we will now take a view of it coming in under the leading Parr, and after a Semibreve Reft. The Method is the fame *, only in This, we muft remove the new added Dslcant downards, as before we carried it upward 5 (till making new Defcant to the laft removed Notes. Example. m __&-_ :nxn gs-.-=* lililil Whether your following Part comes in after a Semibreve or Minum Reft^ more or lefs, the me- thod is the fame 5 as you may fee in this next following 5 In which, the lower Part comes in after a Minum Reft, Example. Contrivance of Canon* Example. ii 3 pililiiifiiS jxi^-^lbjii "^ WT * 1 lv P Neither is there any more difficulty in let- ting your Canon a -jtb. $tb. or any other diftance either above or below, than in thofe which I have already ihewed •, as you may fee by the next following fett in a $th. above. Example, Hiliili This, I foppofe is fufficient to let you fee,' with bow much eafe ( being a little exercifed in it ) Two Parts in one may be carryed on, to what length or fliortnefs you pleafe. § 3. Cj- 1*4 A Compendium of Mufic. P ill § ?. Canon of Three ?firt$. ^7E will now make tryal of Three Parts in Oneorryed on by the lame Method. Jn Which the Notes of the leading Part muft be re- moved upward or downw according as the following Parts come in, either above or below the Leading Part. I will firft let down the Beginning Notes of each Part, as I formerly did of a fingle Fuge, that you may fee the rnft Platform thereof, thus : That being done; the firft bufhefs is, to fill up rhe fecond Bar of the Leading Part, with fome Note or Notes which may agree with that Part which came in next after it, and add the faid Note or Notes to each of the other Parts in this manner: Then fill up the third Bar of the Leading Part with fome Note or Notes which may agree mth both the other Parts 5 flill adding the laid Note or Notes to the other Parts. And thus you are to do from Bar to Ear. fczzizzz:! E-zgfe; S3g 0- But if you perceive that your following Parts begin to run cou.jcer one upon another by thefe additional Nores 5 you mull then/ry fome other way j either by putting in a Rett, or by alte- ring Con! rivane? of Canon, \%$ ring thecairfe or Notes of the Leading Part: and in this Particular it is fas Mr. Morley faid) that Canon is performed by plain fight. Example of Three Parts in One rzr~=!r~z!:~:irJ.-?z:^ig:Cjz9^&§l:p-9 li^iiiiiiii tea p:^=ysp?=-| If you would have your Canon to go round 5 the conclufion muft be omitted * and each Part muft begin again, when it comes to that Note which is marked with a little Arch over it, where the Canon ends: And the Refts which are fet at the beginning, befoie the following Parts , muft be left out. And then the ufual way of Pricking it down, is only the leading Pjrt, let alone ^ with Marks directing where the other Pans come in, as follows: A %d Canon in the $th. below and 4th. above. Hear me O Lord, and let my Cry come to thee §4.0/ IX(S A Compendium of Mujic. § 4. Of Canon in Vnifon. THe ftme Method might ferve for a Canon in Unifon : That is to fay, The leading Part mu ft he accommodated to the following Part, when it comes in $ and to both Parts when they found together. But I will give you a nearer Notion of it : In reference whereto, you may confider, that fee- ing each Part doth begin in the lame Tone, it neceffarily follows, that the foregoing Parts muft move into the Concords of the laid Tone h ei- ther Attending or Defending h and by this ftieans the Sound of the fame Tone will be con- tinued fo long as the Parts move in the Con- cords of that Key. As fur Example, \ZZQ zq:Jzq .D IS te: By this you lee what Concords your Canon muft move into •, your care being no more than to avoid the confecution of Ferfe&s of the fame kind, and to difpofe your Parts (fo much as you can ) into different Concords* Examples Contrivance of Canon. Example of Canon in Vnifon. 1*7 PiiiMiplipliii pliiiiiiipii^ piippaii^Pli lipiilpiiipiiii — b- iiiippiiil § 5. Of Syncopated or Driving Canon T Here is another fort of Canon in Unrfon, in which the following Pans come in up- on a Crotchet, or upon a Mintim Reft, one after another * and this kind of-Canon may beapplyed to any Ground or Plain-fong confiding of Semi- breves, or o\ Breves, if ycu double the length of 'the Defcant Notes 1 will firft thew the way of it upon Semibreves, moving by Degrees. Example* 1 18 A Compendium of Mufti. Example, pftliiglpiiti pilpi'iriiipli 3s£-£> 3 ^ 5, 3 * 5, 3 6 5 3 4 S> 3 4 5 3 4 5 ifcQtessK :Q_: _ e- zfcazdb **g The Figures fhew the Concords of the Lead- ing Part to the Ground both Afcending and Defcending, If the Ground confift of Breves, the length of the Defcant- Notes mult be dou- bled. And this I think may fuffice, to let you lee the order of your Defcant, in thofe Places where the Ground of Plain-fong fhall rife or fall by Degrees. I will now let you fee how to order your De- fcant when the Ground fhall move by Leaps. In which the movement of your Defcant muft be from ^d to id and your leading Part muft alfo meet each Note of the Ground in a %&. both which are eafily affefted, as you may fee by the following Inftances. Alfo Contrivance of Canon. 129 sppp -:i:ii:=B:5te):£Js:&: p~:z^|I:^?:-|:f|E: 3 3 Or *&aj. Alio you have liberty to break a Mimim into two Crotchets , and tofetone of them in an 0 and therefore no Rule to be g accepting the helps formerly mentioned. Canon a Note Higher. n ; r|r--|-:9-|. -«n — IA* .<— izi.C-Q.r: r:T:J=;:J-?-tp:^i _ |-g1 : |---|-'pB^ = H|ip:p|:pi|:p3;|~e£ Canon a Note Lower, is when the Parts come n a Tone or Note under each other *, as you may ee by the next following ^ made by our firft pro- ofed Method * with fome little reference to fclit. K? 'sample, ity A Compendium of Muftc* Example. iii'iiiiliiiipi sm Which may be Prickt in one fingle Part, and marked in manner as follows. A 3, Canon a Note lower. ^S|fcS^ffiiE;ppEE^ ^ : p : ii? : g}! Wnere Note, that the fol- ^c : pEz : t : r Iowi ng Parts come in, as they M? tr " * Rand in backward order, be- hind the leading Part. 4nd this is the belt way of parking a Canon 5 efpecially, when the fol- lowing Parts come in upon feveral Keys 5 which, ipay Contrivance of Canon, 135 may be known by the feveral Cliffs, which de- note thofe Keys, and do alfo fhew the compafs of the Canon. § 7. Of Canon Rifwg or Falling a Note, T Here is another fort of Canon which Rifes or Falls a Note, each time it is repeated 5 and may beCcrr.pofed by our firft Method 5 on- ly you mult contrive it fo, that it may end apt- ly for that purpofe. Example. Canon Rifng a Note each Repetition. Canon Falling a Note each Repetition. 3» ^ :T 4:ira:!i§li EHc ^--^-'-—F- CI -,—.! $8-0/ Retrograde Canon, or Canon Refte & Retro. SOme Canons are made to be Sung Reffe C? Re- tro (as they phrafe it 5) that is Forward and Backward ^ or one Part Forward and another Sack- K 4 ward 136 A Compendium of Mafic. ward. Which may feem agreatMyftery, and a buimefs of much Intricacy, beforeone know the way of doing ?t : but that being known, it is the eafieft of all forts of Canons. This which follows inail ferve for an Example of it. Canofi Re&e & Retro. Reverted thus, Plliililigi^jiiij Either of theft j alone, isa Canon of two Parts , one Part finging forward 5 rhe other beginning w a H Th ng r nds a » d . fin Sing-thc Notes 8 ha £ ward The Compofition whereof is no more than this which follows. Only the end of one Parr, is joyned to the end of the other in a retrograde form; as upon examination you will eafily find h on the ftroke which you fe! dCn'to^ j ffliddleof euher And after the fame manner y?u may add mote Parts to them if you pleafe ? There is another way of Compofing Mufic o Wf£%? f ?. w " d 3nd backwardCmuch to the Wefka 1 which is, by making the Parts Example, Contrivance of Cannon. *37 Example. 1 Treble, ng 2 Treble 1 Bafs. 2 Bafs. ■piiliilTpi s:&. Here you have two Trebles and two Baps 5 which, as they now ftand, may be played or lung, as well bacward as forward ^ and will referable a Leffon of two Strains : the firft forward ^ and the fecond Strain backward •, as upon trial you u ill perceive. But if you would have one Part tobefung backward whiift the other fing for- ward -, you muft then rum one of the Trebles^ and likwife one of the Bafes } the contrary way ? and joyn them together, fo, that their two ends may meet in the middle of the LeiTon ^ as you fee in the following Example : and then the Harmony will be right, whether you fing them backward or forward ^ or one Part forward and the other Part backward. Likewife, two may fing the Tre- ble 5 one forward, the other backward 5 and other Two, the Bajs in like manner 5 and then, it is a Canon of four Parts in two. Example. x 3 8 A Compendium of Jkfufic* Example. iii'iliiiteiii In like manner you may compofe Six Parts in Three-, or Eight Parts in Four, by adding two Alts, or two Tenors, or both $ and then joyning their ends together, as we did thefe trebles and Baffes. By this which hath been (hewed, Ifuppofe you fee the way of Retrograde Defcant. But I muftadvertifeyou, not to fet any Notes with Pricks after them, in this wav of Re&e & Retro 1 becaufe the Pricks, in the Retro will (land on the wrong fide of the Notes. Aifo, you rnuft be wary how you ufe Difcords therein 5 left, in the Revert or Retro they hit upon the beginning in- ftead of the latter part of the Note. § 9- °f Double Defiant. IT is called Double Defcant when the Parts are fo contrived, that the Treble may be made the Bafs, and the Bajs the Treble. I will give you an Example of it in Canon : per Arjin & Tbefin that (for brevity; I may comprife both under one} as in the Example next following. Double Contrivance of Canon* i?9 Double Defcant on Canon per Arfin & Thefin. illilifplip ppiilli g^silpi This may feetn a difficult bufinefe to one that is not very ready in his fight, but I (hall render it as plain and eafie as I did the firft Examples of Two Parts in One 5 for it may be performed by the fame Method. Only in this, you muft invert the Notes as you place them in the following Part h accomodating your New Defcant (Bar after Bar) to the Notes fo inverted $ as you may eafily perceive by this Inftance of its beginning, But I muft give you one Caveat ; which is, that you muft not ufe any Tis Practice that brings Experience h and Experience begetts that Know- ledge which improves all Arts and Sciences. finis. ■711*1 -*JP. i.i,IMipil- ^PPPPIP^^