tbi WnM Us lit ■ft "IWJmwMtF- m mm ff / / / *** COMPENDIUM. OR, INTRODUCTION m T O Praaical MUSIC. Teaching by 3 NewandEafyMETH II ?tp UDIMENTs "/Song. J1Z?L£^I^akc h ,/ Ca „ on ■———___ _^^ ^ — — «V-»1J, *,, ^rr— l_JLfJL_fYMPsoN. .ine Eighth Edition wiTTTTr: -ore Corred .J^^: Much being put in the mo ft ufefu7chffl Exara P les Psai. cxlix. Cantate Domino, Cantkum novum ^ZT!iJl^fit^»Borum ^■Mary-Lane ^fnf™! Sa ™ cl ®rt, £W Afiley, inSt t¥ £ m D ^-La» ei ■/'/■ T O T H E READER. 1 iHE Efteem I ever had for Mr. Sympfons Perfon, and Morals, has not engaged me in any fort of Partiality to his Works : But I am yet glad of any Oo cafion wherein I may fairly fpeak a manifeft Truth to his Advantage $ and at the fame Time, do Juftice to the dead, and a Service to the living. This Compendium of his, I look upon as the cleareft, the moft ufeful, and re- gular Method of Introdudion to Mu- fie that is yet Extant. And herein I do but join in a Teftimony with greater Judges. This is enough faid oh the Behalf of a Book that carries in it felf its own Recommendation. digger L'Eftrange*. a 1 m Licenfed, March 15. 1*78. Roger L'Eftrange, THE THE PREFACE. I Have always been of Opinion, that if a Man had made any Difcovery, by which an Art or Science might be learnt, with lefs expence of Time and Travel, he was obli- ged in common Duty, to communicate the Kjiowledge thereof to others. This is the chief (if not only) motive which hath begot this little Treatife. Andtho* I know a Man canfcarcely write upon any Suljefi of this Nature, hut the Sub- fiance will be the fame in EjfeH which hath been taught before ; yet thus much I may af- firm \ that the Method is New ; and (as I hope) both plain and eafy : And fome things alfo are explicated, which I have not feen mentioned in any former Author. I muft acknowledge, I have taken fome "Parcels out of a3ook I formerly Publijb'd, to make up this Compendium : But I hope it is no Theft to make ufe of ones own ; This being inte?ided for fuch as have no Occafion to ufe the other. Alfo, the Firfi Part of this Book A 4 ™#s The PREFACE. was "Printed ly itfeift upon a particular Oc- cafion : lint witr Intention and I Htm of adding the other Part thereto, fo foo7i as they were ready for the Pnf. Every Man is pleased with his own Concep- tions : But no Man can deliver that which Jhall pjeafe all Men. Some perhaps will he dijjatisfied with my Method in teaching the Principles of Compofition, the Ufe of Dif- cords # and Figurate Defcant, in three difiinff Difcourfes, which others commonly teach to- gether ^ promifcuoufly : But, I am clearly of 0- pinion, that the Principles of Compofition are bejl efiahlijhed in plain Counterpoint ; and the life 0/Difcords muft he known, he fore Fugurate Defcant can he formed. Others may Oljefi, That I fill up fever al Pages with things fuperfluous ; as namely, my Difcourfe of Greater and Leffer Semi- tones, a?id my fhewing that all the Concords, and other Intervals of Mufic arife from the Divifion of a Line or String into equal Tarts \ which are not the Concern of Practical Mu- fic. 7 Tis Granted: "But my c DemG?iftrati- ons of them are PraSical ; and, tho* fome do not regard fuch things, yet ethers (I douht not) will he hoth fatisfied and delighted with the Knowledge of them* If this which I now exhihit Jhall any 'way promote or facilitate the Art of Mufic (of which I profefs my [elf a zealous Lover) I have obtained the fcope of my Defires, andthe end of my Endeavours. Or, if any Man elfe, hy The P R E F A C E. by my Example, flail endeavour to render it yet more eafy, which I heartily wifh, iJhaUbe glad that Igavefome Occafion thereof. There ''is no Danger of hinging Mujic into Con- tempt upon that Account : The letter it is known and underfiood, the more it will he valued and efleemed : And thofe that are more Skilful, may fiill find new Occafions (if they fleafe) to improve their Knowledge by it. I will not detain you too long in my Pre- face ; only j let me defire you, Firs?; to read over the whole Difcourfe, that you m-ay know the Defign of it. Next, when you ^ begin where you have Occafion for InftruHion (if you defire to be infracted by it) that you make your felf ferfecl in that particular {and fo, of each other) before you proceed to the next following : By which means your Tro- grefs in it will be, both more jure, and more fpeedy. Lafily, that you receive it towpb the like 'Candor and Integrity zvith which it is offered to you, by Your Friend and Servant TO T O His much Honoured Friend Mr. Chrijlopher Sympfon* SIR, Aving perus'd your Excellent Compen- dium of Mujic (fo far as my Time and your preffing Occafion could per- mit) I confefs it my greateft Concern to thank you for the Produfl: 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 Subject, Matter, Method, the Platform and rational Materials wherewith you raife and beautify this Piece, are fuch as will ere£t a lafting Monument to the Author, and oblige the World as much to ferve him, as he that is, Sir, lour mofi AffeBionate Friend and Servant, John Jenkins, T O T O All Lovers of Harmony. PRincefs of Order, whofe eternal Arms Puts Chaos into Concord, by whofe Charms, The Cherubims in Anthems clear and even Create a Confort for the King of Heaven ? Infpire me with thy Magick, that my Numbers May rock the never fleeping Soul in Slumbers : 'tune up my LYRE, that when I ling thy Merits, My Subdivided Notes may fprinkle Spirits * Into my Auditory, whilft their Fears Suggeft their Souls are Tallying thro 3 their Ears. What Tropes and Figures can thy Glory reach, That art thy felf the fplendor of all Speech ! Myfterious Music! He that doth the Right, Muft (hew thy Excellency by thine own Light : Thy Purity muft teach us how to praife ; As Men feek out the Sun with his own Rays. What Creature that hath Being, Life, or «&»/*, But wears the Badges of thine influence ? Music is Harmony whofe copious Bounds Is not confined only unto Sounds ; 'Tis the Eyes ObjeB (for without Extortion) It comprehends all things that have Proportion. Music is Concord, and doth hold Alluflon With every thing that doth oppofe Confufion, In comely Architecture it may be Known by the name of Uniformity ; Where Pyramids to Pyramids relate, And the whole Fabrick doth configurate ; In perfectly proportion d Creatures we, Accept it by the Title SYMMETRIES When many Men for fome Defign convent, And all Concentre, it is call'd CONSE NT: Where To all Lowers of Harmony. Where mutual Hearts in Sympathy do move, Some few embrace it by the name of LOVE : But where the Soul and Body Jo agree To ferve their God, it is DIVINITY: In all Melodious Ccmpcjitions we, Declare and know it to be ST MP HO NT: Where all the Parts in Complication roll, And every one contributes to the whole. He that can fet and humour Notes aright. Will move the Soul to Sorrow, to Delight, To Courage, Courtefy, to Confolation, To Love, to Gravity, to Contemplation : It hath been known (by its magnatick Motion) To raife Repentance, and advance Devotion. It works on ail the Faculties, and why? The very Soul it felf is Harmony. Music! it is the breath of fecond Birth, The Saints Employment and the Angels Mirth ; The Rhetoric of Seraphims ; a Gem In the Kings Crown of new Jenfalem : ' They fing continually ; the Expofition mud needs infer, there is no Intermiffion. I hear, fome Men hate Music; Let them fhow In holy Writ what elfe the Angels do : Then thofe that do defpife fuch J acred Mirth Are neither fit for Heaven, nor for Earth. THE THE CONTENTS. Contents of the Firft Part. § i f~\F the Scale of Mufic Page § 2 v.y Of naming the Degrees of Sound 3 § 3 Concerning fc Flat and J Sharp 5 § 4 0/ Tuning the Degrees of Sound 6 § 5 Of Notes, their Names and Characters 10 § 6 Of the Ancient Moods -, or Meafures of Notes 1 1 § 7 Of keeping Time 14 §8 0/ driving a Note 19 § 9 Concerning odd ReBs 21 §10 Of Tripla-Time 23 § 11 Of Diminution 27 Contents of the Second Part. § i Of Counterpoint 29 § 2 Of Intervals 30 § 3 Of Concords 31 § 4 TaJJage of the Concords 32 § 5 Concerning the %ey or Tone 34 §6 0/ £fo C/tfjfo or Cadences lelonging to the Kfy. 35 ['_ § 7 ifra; The CONTENTS. § 7 How to frame a Bafs 37 ■§ 8 How to joyn a Treble to a Bafs 38 § 9 Compofition of three Parts 42 § 10 Compofition of four Parts 44 § 11 How a 5th and 6th may ft and together in Counterpoint 47 § 1 2 Compofition in a Sharp Kjy 48 § 1 3 Of Transition, or Breaking a Note 5 1 § 14 Compofition of 5, 6, W 7 Ptfrfcr 53 § 15 Of two BaJJes and Compofition of eight Parts 57 Contents of the Third Part. § 1 Concerning Difcords 61 § 2 jfi&Te; Difcords are admitted into Mufick 61 k 3 Of Syncopation 63 § 4 TaJJage of Difcords 66 §5 Of Difcords, Note againft Note 67 § 6 Of Difcords in double Trdnfition 69 § 7 Of Relation Inharmofiical 71 § 8 0/ fi6r ft&r«? tofo 0/ Af/*/fc 76 § 9 Of Greater and LeJJer Semitones 80 §10 fPfor* ^^ Greater and LeJJer Semi- tones arife in the Scale of Mufic. 83 Contents of the Fourth Part. § 1 Jf 7 ?^ £r meant by Figurate Defcant 85 $ 2 0/ft&* Greek Moods, andtjd&m Tones 86 § 3 Of Figurate Mufic in General 89 § 4 Hew £0 /f^ # B^/} £0 # Treble 90 § 5 jFftfZ^; The CONTENTS. § 5 How Tarts pafs through one another 93 § 6 Concerning the Confecution of perfects of the fame kind \ and of other Difallowan* ces in Comfofition 94 § 7 Concerning the Confecution of qths and 5ths $9 § 8 Confecution of $ds and 6th s 102 fj 9 O/Fuga, or Fuge 104 § 10 Of Arfin if Thefin 106 § 11 Of Trouble Fuges 108 $12 How to form a Fuge 110 § 1 3 Of Mufic Compofedfor Voices 112 §14 Of accomodating Notes to Words 114 § 15 Of Mufic defigridfor Infiruments 115 Contents of the Fifth Part. $ 1 Concerning Canon 119 §2 Canon of two Tarts I2 o $ 3 Canon of three Farts j 24 § 4 Of Canon in Unifon ! 26 I 5 Of Syncopated, or Driving Canon 127 $ 6 0/" Canon, a Note higher or lower 133 kl Of Canon rifing and falling a Note 1 3 5 $ 8 Of Retrograde Canon, or Canon Rede & Retro ibid. § 9 0/ Double Defcant 138 $10 Of Canon to a plain Song propofed 140 $ 11 Of Catch, or Round 143 BOOKS BOO ^S Vrhted for THOMAS ASTLEY, at the Rofe in St. Paul'. Church- Yard. rr^HE RETIRED CHRITIAN, Exercifed I in Divine Thoughts and Heavenly Medita- tions for the Gofer, with a fuitable Pray- er to each Meditation. I. Of Solitude. II. Of our Saviour's Love to us. III. Of the Joys of Hea- ven. IV- Of the Contempt of the World. V. Of the Holy Eucharift. VI. Of the Sufferings of Hell. VIL Of the Shame of appearing ftrictly Pious, VIII. Of Death. IX. A Confolatory peniten- tial Meditation upon the Merits of ChrifVs Suf- ferings. X. Of the Benefits of our Lord's Paf- fion. By THOMAS KEN, D. D. late Lord Bifhop of Bath and Wells. Price is. or iqs. a Dozen to thofe who give them away. Where may he had ', I. A Short Account of the Life of Vr.KEN. Price is. 6d. II. The Works of Dr. KEN. In Four Vols. OBcm ; confiding of Divine Poetry. Publifh'd by W. HAWKINS, Efq; The whole Book of Pfalm-Tunes in Four Parts and the Names of the feveral Authors who composed them. Being the Tunes as were, and are generally Sung in England, Scotland, Wales, Germany, Italy, France, and the Netherlands, &c. With the ufual Hymns and Spiritual Songs. Collected by 'Thomas Raven/croft, Batcheior of Mufic. Me wly done in a fair large Charafter : The whole being drawn out in Schore, the Canms, or Upper-part, being put in! the treble Cliff, and Corre&ed from feveral grofs Er- rors in the former Edition. To which is added, an Hiftorical Account of Mufic in general, and of its! Divine and Civil Ufes ; Coll eded from feveral Authors. Being proper to be Bound up either with the 01d 3 or New Veriions of the Pfalms. COMPENDIUM O F Praftical MUSIC The Firft PART. Teaching the Rudiments 0f Song, § i, Of the Scale &c. over again, fo often repeated as the Compafs of Music doth require. The Or- der of thofe Letters is fuch as you fee in the ad- joined Scale; to wit, in Afcending we reckon them forward; in Defending backward. Where u ft& d: ■& *^ \ \Cathi Wmt, ''!< u^m W* ,»** Note, that every Eighth Letter, together with its Degree or Sound (w nether you reckon upward or downward ) is ft ill the like, as well in Nature as Denomination. Together with thefe Letters, the Stale confifts of Lines and Spaces, each Line and each Space be- ing a feveral Degree, as you may perceive by the Letters {landing in them. Those Letters are called Cliffs, Claves, or Keys; becaufe they open to us the meaning of every Song. On the lo weft Line is commonly placed this Greek Letter r which Guido Aretinus, who reduced the Greek Scale into this Form, did place at the bottom, to fignifie froin whence' he did- derive it ; and from that Letter the Scale took the Name of Gamma, or Gamut. On the middle of the Scale, you fee three o£ thofe Letters in different Characters ; of which fome one is fet at the beginning of every Song. The loweft of them is the F Cliffy marked thus gg which is peculiar to the Bafs. The higheft Is sl G Cliff made thus gp and fignifies the Treble or higheft Part. ^Betwixt thefe two, ftands the C Cliff riAilti thus g which is a Fifth below the G Gff> Rudiments of S o n g I 3 G Cliff, and a Fifth alfo above the f Cliff , as you may obferve by compting the Degrees in the Scale, reckoning both the Terms inclufively. This Cliff ftanding in the middle, ferves for all inner Parts. When we fee anyone 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 Hand in the Scale it felf. EXAMPLE. Bafs. Inner Parts. ^treble. ftl § 2. Of Naming the Degrees of Sound." BEfore we come to the Tuning of thefe De- grees, you may obferve, that a Voice doth exprefs a Sound beft, when it pronounceth fbme Word or Syllable with it. For this Caufe, as alfo for Order and Diftinction fake, fix Syllables were ufed in former Times, wz. Vt, Re, Mi, Fa > Sol, La, which being joined with thefe feven Let- ters, their Scale was fet down in this manner, as follows B a Four 4 e la d la fol cfolfa b fa% mi a la mi re gfol re ut p ffa ut elami ~ d la fol re cfolfa ut | — bfa $ mi a la mi re g fol re ut F fa ut gg — E la mi D fol re C fa tit B mi — A re Tut A Compendium of Music. Four of thefe, to wit, Mi y Fay Sol, La (taken in their fig- nificancy) are neceflary aflift- ance to the right Tuning of the Degrees of Sound, as will prefently appear. The other two Ut y and Re, are fuper- fluous, and therefore laid a- fide by moll Modern Teach- ers. We will therefore make ufe only of Miy Fa. Sol y La y and apply them to the feven Let- ters, which (land for the De- grees of Sound. In order to which we mull firfl find out where Mi is to be placed ; which being known, the Pla- ces of the other three are known by Confequence ; for Mi hath la fol fa mi la fol fa A R U L E for placing Mi. TH E firft and mod natural Place for Mi is in B : But if you find in that Line or Space which belongs to B y fuch a little Mark or Letter as this \b] which is called a b flat, and excludes Mi wherefoever it comes, then is Mt to be placed in Ey which is its fecond natural Pltfce. If E have alfo a b flat in it j then of neceifity, you mull place you Mi in A. always Fa y Sol, La above, and Lay Soly Fa under it, in fuch Order and Manner as you fee them fet in the Margin. I will thererore only give you a Rule for placing of Mi, and the Work is done. Rudiments of S o n g . y I have feen Songs with a b flat ftanding in A* in B, and in £, all at once , by which means Mi has been excluded from all its three Places ; but fuch Songs are irregular (as to that which we call the Sol-fa-ing 01 a Song) being deiigned for Inftruments rather than for Voices : However, if any fuch Song fhould be propofed to you, place your Mi in D, with fa, fit, la above, and la, fol, fa under it, as formerly deliver'd § 3. Concerning h Flat, and$ Sharp. AS for the b Flat we lafi: mentioned, take No- tice, that when it is fet at the beginning of a Song, it caufes all the Notes {landing in that Line or Space, to be called Fa, throughout the whole Song. In any other Place, it ferves only for that particular Note before which it is placed. Mark alio (and bear it well in mind,) that where- foever you Sing Fa, that Fa is but the diftance of a Semitone, or Half note from the Sound of that Degree which is next under it , which Semitone, together with its Fa, mufl of neceflity come twice in every Oftave ; the Reafon whereof is, that the two principal Concords in Mufic (which are a Fifth and an Eighth) would, without that abate- ment, be thruft out of their proper Places. But this you will better underfland hereafter. There is yet another Mark in Music, necehV ry to be known in order to the right Tuning of a Song, which is this i called a Sharp. This Sharp is of a contrary Nature to the b Flat ; for, where- as that b takes away a Semitone from the Sound of the Note before which it is fet, to make it more grave or flat : This $ doth add a Semitone to the J^ote to make it more acute or foafp. B 3 If 6 ®4 Compendium u/Music. I f it be fet at the beginning of a, Song, ft makes all the Notes landing in that Line or Space, to be Sharp ; that is y half a Tone higher, 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- plied. § 4. Of Tuning the Degrees o/Sovxd. TUning is no way to be taught, but by Tu- ning ; and therefore you muft procure fome who know how to Tune thefe Degrees (which every one doth that hath but the leafl Skill in Music) to Sing them over with you, until you can Tune them by your felf. I f you have been accuflomed to any Inftru- ment, as a Vior in or Viol, you may by the help of either of thefe (inftead of an affifting Voice) guide or lead your own Voice to the perfect Tuning of them, for every Degree is that di- ftance of Sound which may be expreft by ri- fing gradually, Eight Notes taken from the plain Scale of the Violin-notes, beginning at Gfoheut on the Second Line, as you'll fee in the Exam- ple. E X J MP L E* And Rudiments of S o n g I 7 And leaft that fhould be too high you may begin from Cfaut on the firfl added Line, viz,, next below the five ufual Lines. EXAMPLE. ~C D E F G A B C These Examples being fuited to the Treble 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 Harpjichord. EXAMPLE. ■~ : - Ft C D EFGAB C G ABC DEFG There being compafs of Notes in the latter, for any Voice which is to be perform'd by ftriking of thofe Keys which exprefs any of the fore-cited Examples, beginning with either Gfoheut, or Cfaut in the Treble Cliff, or with Cfaut, or Gjolreut in the Bafi Cliff, according to the Pitch of your own Voice : Either of which you will eafily find in jthe plain Scale for the Harpfichord with the fame Names, and {landing on the fame Lines and Spa- ces, as you fee 'em in the Examples foregoing B 4 Ha- 8 qA Compendium ofMvsi c • Having learnt to Tune them according to their natural Sounds, you may then proceed to Tune them when the Mi is removed according to the following Examples. EXAMPLE. Treble. Mi in B. Bafu Sol la mi fa fol la fa fol Sol la mi fa fol la fa fol 'treble. Mi in E. Bafs. Sol la fa fol la mi fa fol Sol la fa fol la mi fa fol Treble. Mi in A. Bafs. La mi fa fol la fa fol la La mi fa fol la fa fol la And here you may obferve jphat an Advan- tage thefe four Syllables do afford us towards the right Tuning of the Degrees ; for as Mi directs apt and fitting Places for fa, fol, and la, to ftand jn due Order both above and under it 5 fo fa doth fhew us where we are to place the Semitone, or Half note ; which (as I faid) muft have two Places i« each OBave, that the Degrees may meet the two Concords in their proper Places. N o w, as you have feen the three Places of Mi in the Gfoluut and If am Cliffy which are the Tre- hk Rudiments of Song. 9 hie and Bafs 5 'tis requifire to give you an Exam- ple of them in the Counter-Tenor^ and Tenor-Cliff. Counter-Tenor. Tenor. Sol U mi fa fol la fa fol Sol let mi fa fol la fa fol Sol la fa fol la mi fa fol Sol la fa fol la mi fa fol La mi fa fol la fa fol la La mi fa fol la fa fol la 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 Ottave, both flat and Jbarf in manner as follows : EXAU- io A Compendium p contained two Longs, a £ two down, and two up. Again, eight Quavers a Time, four down, and four up. And fo you may compute the reft. But 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. T o 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, four] in an equal length, as you would (leifurely) read them, then fancy thofe four Words to be four Crotchets, which make up the Rudiments of S o n g I 1 5 the quantity or length of a Semibre t ve, and con- fequently of a Time, or Meafure; in which, let thefe two Words [one, two] be pronounced with the Hand down, and [three, 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 recourfe to the Motion of a lively Pulfe for the meafure of Crotchets ; or, to the little Minutes of a fteddy going Watch for Qua" vers, by which to compute the length of other Notes ; but this which I have delivered, will (I think) be moft ufeful to you. I t is now fit that I fet you fome eafie and (hort Leflbn, or Song, to exercife your Hand in keep- ing Time ; to which purpofe this which follows ftiall ferve in the firft Place ; with Mi in B, ac- cording to what hath been delivered ; where ob- ferve, that when you fee a Prick, or Point like this [" ] fet after any Note, that Note muft have half fo much as its Value comes to, added to it : That is, if it be a Semibreve, that Semibreve, with its Prick, muft be holden out the length of three Minums : If it itand after a Minum, that Minum and the Prick muft be made the length of three Crotchets ; but ftill to be Sung or Play'd as one entire Note. And fo you may conceive of a Prick after any other Note. i 6 qA Compendium 6 f:-§d-if-kh|:|-P-E:ff-i:gi| £«/ mi fa fii fa mi fol fa mi /a /$/ 'piifiiilpipiis 1234 1234 1234 1234 12341234 8 9 10 11 12 £a mi /<* /»/ fol fa fol ' /„/ 12-34 1^341^3412 34 1234 1234 Here you have every Time, or Meafure di- ftinguifhed by Strokes crofting the Lines 5 which Strokes (together with the Spaces betwixt them) are called Bars. In the third Bar you have a Mi» num with a Prick after it ; which Minum and Prick muft be made the length of three Crotchets. In the Eighth Bar you have a M»«*» jRe/2 which you mull (filently) meafure, as two Crotchets ; accord- ing 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 exactly meafure the Notes which ftand above them, ac- cording to our propofed Method When you can iing the former Example in exact Time, you may try this next, which hath M in E. Rudiments o/Son g.' n i.=i^|||r|jfe;jp|j|E|j|iEg Sol la fol fa mi la fa mi la la fol W- ~i«lsEEii|iEE 3EC ^ 4t 1234 1234 1234 1*34 UH U34 10 II 12 i.=5--=e= :-=*■ l* fa fol la I a fs fa fol fa fol iiiiliiiiip 12341234 1234 r^34 1134 1234 I n the Eighth Bar of this Example, you have? a Minum Reft, and a Gtotffe* $p {landing both to- gether, which you may reckon as three Crotchet Refis, according to the Figures which Hand un- der them. This Mark rf which you fee at the end of ithe Rve Lines, is fet to dired us where the firft Note of the next five Lines doth ftand, and is therefore called a Diretler We will now proceed to quicker Notes, in which, we muft turn our dividing Crotchets into Quavers 5 Four whereof muft be Sung with the Hand down, and Four with it up. Your Example (hall be fet with a G Cliffy and Mi in A, that you may be ready in naming your Notes in any of the Cliffs. G E X A M ■ '! S A Compendium of M V it cl E X A MTL E. la mi fa fa mi la fol la fol 'ipSiliipii fa fol la fa la }ol fa fa la ■==rsrs« fol fa mi /a fol la ml /* /a Hear you have a Pr£c%* Crotchet (or Crotchet with a Pw& after it) divided into three Quavers, in feveral Places of this Example ; expreifed by the Quavers in the under Staff ; which Quavers J. would have you to Sing, or Play often over, that| they may teach you the true length of your Prickt Crotchety which is of great Ufe for Singing,j or Playing exa&ly in Time. When you fee an Arch^ox. Stroke drawn over, ot under two, three, or more Notes, like thofe in the low Rudiments of Son 61 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 Strokes thro* the Lines fignifies the end of a Strain v If they have Pricks on each fide thus, : Jf. the Strain is to be repeated. "** % This Mark -£■ fignifies a Repetition from that place only where it is fet, and is called a Repeat. This Mark, or Arch o is commonly fet at the end of a Song, or Leflbn> to figniBe the Clbfe* or Conclufion. It is alfo fet, fometimes, over cer- tain particular Notes in the middle of Songs, when (for humour) we are to infill, or ftay a little upon the faid Notes; and thereupon it is called a Stay, or Hold. § 8. Of driving ^Not^ SYNCO P E y or driving a Note, is, when aftet fome fhorter Note which begins the Meafure 3 or 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) to make the number even ; as when an odd Crotchet comes before two, three, or more Minums ; or an odd Quaver before two, three, or more Crotchets, To facilitate this, divide always the greater Note into two of the Lefier ; that is, if they be Minums, divide them into two Crotchets a piece -, if Crotchets^ intd two Quavers, 20 A Compendium of M xj s i c E X A M T L &i fol fit fa mi !a fa I* P fa^milafol * : ©" P^" : ~ ss~a lEiEpE^S:fi3Ey=ti=ii= /o/ f« mi |(f J«i /" f° l f* f° l 2 -ii SIS J: ills ~i= l=s |43l:«t* I n this Example, the firft Note is a Crotchet! which to through the M»«w into £>, and the] Meafure is made even by the next Crotchet in C. The fecond Bar begins with a Prick- Crotchety which is divided into three Quavers, in the lower Staff as formerly (hewed. In the fame Bar, the Crotchet in G, is driven through three Miliums, viz. thok in £, £>, C, and the number is made even by the Crotchet in B, which anfwers to that Crotchet* which begun the driving. The fifth Bar begins with a jgaaver, which is driven through the three Crotchets, Handing in C, B 3 A, and is made even by the Quaver in G, which anfwers to it, and fills up| the Meafure. AH which is made eafie by divi- ding them into fuch leffer Notes as you fee in the lower Staff. * § p Con Rudiments Semidiapente, &c. doth not fignifie the half of fuch an Interval in Mufic * but only imports a deficiency, as want- ing a Semitone of Perfedion. Out of thefe Semitones, or Half -notes, arife all thofe Intervals, or Diflances which we call Concords and Difcords. § 3. Of Concords* CONCORDS in Mufic are thefe, j4 5^, &$ 8*6. By which I alfo mean their OBaves\ as io*£, nth, 13th, i$th, &c. All other Intervals, as 2d, 4*6, 7th, and their OBaves, reckoning from the Bafs, are Difcords 5 as you fee in the following Scale. m 3 2 qA Compendium of M tr s i c * Concords. % 22, ¥ g on? r •3f -^e-y- Concords. Dif cords* tf 20 3^1-? 12 8 *»-e4g 5 10 d 13-0- — e- 4- 18 2 16 7 14 Z o 9 f-e- 4< O Perfect. Imperfect- Difcords* , A s you fee the Concords and Difcords compu- ted here from the loweft Line up- wards ; fo are they to be reck- oned from any Line, or Space wherein any Note of the Bafs doth ftand. Again, Concords are of two forts; PerfeEl and JmperfeB, as you fee denoted under the Scale. PerjeBs are thefe, $th, %th, with all their Octaves. ImperfeBs are a %d, 6tb, and their O&aves, as you fee in the Scale. Imperfects have yet another Diftin&ion ; to wit, the Greater and Lejfer %d, as alfo the Greater and Lejfer 6th. § 4- TaJJage of the Con cords* FIRST take Notice, that PerfeBs of the fame kind, as two $ths 9 or two Sths rifing, or fall- ing together, are not allowed in Compcfition > as thus, Not allowed- =o=::;=S tr: 8 5 5 S 5 Not aSowed. 8 8 8 But Trinciples ^/Composition. 33 But if the Notes do either keep ftiil in the fame Line, or Space, or remove (upward or downward) into the Oftave ; two, three* or more Perfects of the fame kind may in that be allowed. EXAMPLE* Allowed. Allowed. 5 5 5 5 5 5 $ jj 8 «" ~* iiililii^ttlil Also, in Compofition of many Parts (where neceffity fo requires) two $tbs> or two 2ths may be tolerated, the Parts patting in contrary Motion, thus : Allowed in Compofition of many Parts. 8 8 XX 8 8 5 5 5 5 5 5 Li — -9-fcp~-l-6 : f G— - — ir- -4 : ~n— The Paffage from a $th to an Stb, or from an 2th to a fih> is (for the moft part) allowable j fo that the upper Part remove but one Degree. As for 3 $tb> or 2th above your Bafs ; for we feldom begin with a 6th in Counter- pint. Now, for carrying on the reft, your fecureft way is, to take that Concord, Note after Note, which may be had with the leaft remove ; and that will be, either by keeping in the fame place, or removing but one Degree. In this manner you may proceed until you come to fome Clofe or Se&ion of the Strain $ at which you may remove by Leap to what Concord you pleafe 5 and then carry on the reft as before. By this means you will be lefs liable to thofe Difallowances formerly mentioned, moft of them being occasioned by Leaps of the upper Part. Only let me advertife you, that we feldom ufe Sths in two Parts, except beginning Notes, Ending Notes, or where the Parts move contra- ry ; that is, one rifing, the other falling. If you fct a Figure under each Note as you Prick it, to fignifie what Concord it is to the Bafs, as you fee in the following Examples, it will be ibme eafe to your Eye and Memory. EX- Principles of Composition. EXJM. I, beginning with a 5th. Treble. ~— §' 19 3 s :=3 — e — t 3 5 B*fi'c3fL D— u— ©-" ~ — Q- =3-1 j»*/«. EXAM. II, leghining with a 3d. B«/> fe- 3 8 3 ^-FS: - rf :org 6 $ 3=U -6- ; :::_d — i — :| EXAM. Ill, beginning with an 8th. 8 6S 3 b sl t _. 863 5 S E^zE-tzfzl zEz'f :|:?zf =3-1--- d— 41 Take Notice that the Bafs making a middle Clofe at the end of the fecond Bar, your Treble may properly remove by Leap, at that place, to any o- ther Concord, and then begin a new Movement by degrees ; as you fee in the firft Example. I propofe this Movement by degrees, as the molt eafie, and mod natural to the treble Part in plain Counterpoint ; yet I do not fo confine you thereto, but that you may ufe Leaps when there (hail be any Da. Qcca* 40 &4 Compendium of Mv sic. Occafion ; or when your own Fancy (hall move you thereto 5 provided thofe Leaps be made into Imperfect Concords, as you may fee by this Example. 3 3 $ 3 5 333 58 Having told you that we feldom ufe Sths in t>yo 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 Bafs in contrary Motion; therefore allowable. In the fecond Example are three dths. The firft in the firft Bar, the Treble keeping its place, and therefore al- lowable. The fecond meets in contrary Motion 5 the third keeps its place. In the third Example are two Ms, the firft begins the Strain, the fecond the latter Part thereof,- in all which beginnings, an Sth may properly be ufed. Laftly, all thofe Zths which you fee at the Conclufion of the Examples, are pot only allowable, but moft proper and natural. A s for thofe two Sharps which you fee in the fecond Example ; the firft of them is difputable, as many times it happens in Mufic ; in which doubts the Ear is always to be Umpire. The o- ther Sharp depends more upon a Rule ; which is y that when the Bafs doth fall a 5th, or rije a 4th 5 that Note, from which it fo rifes or falls, doth com- monly require the Sharp or Greater 3d to be joined to it And being here at the Conclufion, it hath a further Concern ; which is, that a Binding Ca- dence is made of that Greater 3^ by joyningpart of it to the foregoing Note, which is as frequent m Principles of Composition. 41 in Mufe at the Ciofe or Conclufion, as Amen at the end of a Prayer. Examples of it are tjiefe that follow : Greater 3d. Cadence 3d. Cadence 3d. Cadence ^d. Cadence 3d. This Cadence may be ufed by any Part which hath the Greater 3d in the next Note before a There is another fort of Cadence frequent in Mufic (but not at Conclufion) in winch the Greater 6th doth lend part of its Note to the Note which went before ; the Bafs Defending a lorn or Semitone, thus : Greater 6th. Cadence Cadence. greater uiu. *T • ^:zr_z:^_-a-©4t — 5zo-e-4i j*vj- q — « This alfo is appliable by any Part, or in any Key where the Greater 6tb is joined to iuch Notes of the Bafs, 42 A Compendium of Music. I would now have you frame a Bafs of youi own, according to former Inftru&ions, and try how many feveral ways you can make a Treble to it- W h e n 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 Inftru&ions. § p. Composition of Three Parts. FIRST, you are to fet the Notes of this Part in Concords different from thofe of the Treble. 2. When the Treble is a ph to the Bafs, I would j have you make ufe either of a 3d, or an $tb [ for the other Part ; and not ufe a 6th there- with, until I have fhewed you how, and where a $th and 6th may be joined together ; of which 4% more hereafter. 3. You are to avoid Bths in this inner Part likewife, fo much as you can with Convenience. For though we ufe $ths as much as Imperfects, yet we feldom make ufe of Sths in three Parts, unlefs in fuch Places as we formerly mentioned. The Reafon why we avoid Sths in two or three Parts, is, that Imperfect Concords afford more variety upon ac- compt of their Majors and Minors; befides, Im- perfects do not cloy the Ear fo much as Perfects do. We will make ufe of the former Examples, that you may perceive thereby how another Part 4s to be addedo MX- Principles of Composition. 45 EXAM. I. pipllilpillgl 5 3 5 5 ^ 3 8 3 *, * 3 5 3 5 5 5 3 S B*//-^z:QZuZ£::i:pz ^z:p -tz*.:i:p — :i — i-h-Z- £ X A M. IL !$*3e~: Temr.r; 3838365 8 38 iiiiiliiiii ,53535333 5 * EXAM. III. 7r#Wf F 8 6~ 3 ~ 3 $ 863 58 2% wr.z;~~3""il ~zzfcd~:rriizi)z:!jzdzizzzizzf I fe>3-3Z{— . — i- -. |z=f^z^ziq:tGd 338^3335 38 r 44 *A Compendium of Music. That b flat which you fee in the third Bar of all the three Examples of the inner Part, is fet there to take away the harfli Reflection of E fbarp againft b flat the foregoing Note of the Baft : which is that we call Relation Inharmonic al, of h&* 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 the Jbarp $d in the Ire* ile Part of the fecond Example, is joined to the foregoing Note, to make that Binding Cadence we formerly mentioned. § 10. Composition of four Parts. IF you deRgn your Compofition for four Parts, I would then have you to joyn your id Tre- ble as near as you can to the Treble ; which is . eafily done by taking thofe Concords (Note after; Note) which are next under the Treble, in manner ts follows. E X AM? L it ^.Treble. 5 3 5 3 5 3 8 3 ■I 8 I Principles of Composition.' 4 5 I make the 2d Treble and Treble end both in the fame Tone; which, in my Opinion, is better than to have the Treble end in thefharp 3d above ; the Key of the Composition being flat, and the fiarp 3d more proper for an inward Part at Con- cluiion. . _, I will now by adding another Part (viz,, a Ten- or) (hew you the Accomplifhment of four Parts ; concerning which, thefe Rules are to be obier- First, 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 $th and 3d, let this be an 2th ; by which you may conceive the reft. ; _ Secondly, I would have you joyn this Tenor as near the 2d Treble as the different Concords do permit ; for the Harmony is better when the three upper Parts are joined clofe together. Thirdly, you are to avoid two Sths, or two Ms rifmg or falling together, as well amongft the upper Parts, as betwixt any one Part and the Bafs; of which there is lefs danger, by placing the Parts in different Concords. EX- $6 oA Compendium of M u s i c. Example of Four Parts. 5 3 5 3 5 5 8j 5 g 58383 8 s 8 3 8 5 8 5 8 5 3 5 8 3 p /• _Q _fe , , * Here you may perceive each Note of the new- ly added 'Tenor, fet in a Concord ftill different from thofe of the other two higher Parts ; by which the Compofition is compJeated in four Parts. And though I have (hewed this Compo- fition, by adding one Part after another, which I did conceive to be the eafieft way of giving you a clear underflanding of it 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 ; and to difpofe them into ieveral Concords, as you fcali think convenient. $ 11. How Principles of Composition* 47 §n* How a 5 th, a?id 6t\\ may ft and together in Counterpoint. It is generally deliver'd by moft Authors which I have feen, that how many Parts foever a Com- pofition confifts of, there can be but three feveral Concords joined at once, to any one Note of the Baft ; that is to fay, either a 3^, 5^, and 8*&, or a $d> 6th, and %th \ and, that when the $th takes place, the 6th is to be omitted ; and contrariiy, if the 6th be ufed, the %th is to be left out. Our excellent and worthy Countryman Mr. 7%cmas Mor!ey> in his IntroduBion to Mufic> Pag. 143. teaching his Scholars to compofe four Parts, ufeth thefe Words, But when you put in a 6 th, then of courfe mufl the fifth k left out s except at a Cadence or Clofe where a Difcord is taken thus : iuzu: X * : c£~: 4+ :0=e U xc::: Which is the befi manner of Clojing, and the only way of taking a 5 th and 6th together. iZU *e- ZJZU #Q li~$?E?:J:!£iE? ! All this to be un- derftcod as fpeaking of & perfect ph. But there is another ph in Mu« fie, called a Falfe, De- fective, or Imperfect $th, which neceffarily requires a 6th to be joined with it : And tho' I never heard any approved Author accompt it for a Concord, yet it is of moft excellent ufe in Com- pofition ; and hath a 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 MJu sic. or Bafs-Note, Sharpy as you fee in the two Inftan- ces following. Thus you fee how a $th and 6th may be ufed at once ; in any other way than thefe I have men- tion'd. I do not conceive how they can ftand to- gether in Counterpoint ; but when one of them is put in, the other is to be left out, according to the common Rule. § 12. Composition in a Jharp Key. WE will now proceed to a Jharp Key , in which, 6ths are very frequent , for there are certain foarp Notes of the Bafs, which necef- farily require a leffer 6th to be joined to them: As namely, i. The Half- Note, or leffer 2d under the Key 01 the Composition. 2. The greater $d\ above the Key. 3. Alfo the 3 J under it, requi- 1 ring fometimes the greater, and ibmetimes the lef- fer 6th to be joined to it, as you fee in the lubH fequent Example ; in which the Notes of the Bafs requiring a 6th are marked with a Dagger] under them. Tre-I Principles of Couio sir 10 k* 49 3 5 6 5 6 8 3 3^ 6 8 5 3 iiiliiftiiii 32>f^.mjz 8338 358836 3s 7j?«»f. ™; 8 6 5 S3 6^6 83 t) t t t t t t Things to be noted in this Example ate thefe t i. When the Notes of the Bafs keep flill in the fame place, it is left to your liberty to remove the other Parts as you (hall think fit : An Inftance whereof you have in the next Notes after the be* ginning. 2. Take Notice (and obferve it here- after) that the Half-note 01 Jharp Second under the Key, doth hardly admit an Sth to be joined to it, without Offence to a critical Ear 5 and therefore have I joined two 6ths and a %& to that /harp Note of the Bafs in F. 3. In the firft Part of the fecond Bar, you may fee the Treble lending Part iof its 6th to the foregoing Note, to make that Binding Cadence which we formerly mentioned, fag, 41. 4. You may obferve that now I permit the 'Treble to end in a/harp 3d, which I did not ap- prove when the Key was flat* The Figures (hew you which parts are 6th> to the Bafs, as the Marks, which Notes of the Bafs E re- 50 qA Compendium o/Music. require them ; where you muft know, that the Bap in all fuch like Notes, doth affume the na- ture of an upper Part ; wanting commonly a 3 d, foirretimes a $th of that Latitude or Compafs which is proper to the true nature of the Bafs. T o demonftrate this, we will remove the faid Notes into their proper Compafs 5 and then you will fee thofe 6ths chang'd into other Concords ; the upper Parts remaining the fame they were, or elfe ufing thofe Notes which the Bafs affumed before. EXAMPLE. z Treble-rz Tenor* £__ 58 3 3 S3 8835 85 a ^*P : E : ^E :;=:: E ! : D~i : ! : 3 : E9 ^ :: 53 : ^Et=! : t t t t t t Here you may perceive, that by removing thofe I Notes of the Bafs a 3d lower, all the 6ths are: taken away, except that 6th which made the! Binding Cadence ; and that alfo will be taken! quite away, if we remove its Bafs-Note into its 5 full Latitude, which is a $$h lower ; as you will eafily fee by the Inftance next following. By 6 8 3! 6 r "Principles of Composition. 5 1 B y this which hath been fhewed, you fee where 6ths are to be ufed in Compofition ; /j :i:z~:zg:n:zj:zq:|| an ^ how they may si-fczp-ZH:: izziz^I I be avoided when you — 4-~C- H--XJ B pleafe Buc j WQuId have you take Notice, that Baffes conftfling much of Notes which require 6ths ; to be joined to them, are more apt for few, than for many Parts. The like may be faid of Baffes that move much by Degrees. § 13* Of Tranfition or Breaking a Note. ONE thing yet remains, very neceffary (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 called the Breaking of a Note, The manner of it you have in the following Ex- amples, where the Minum is B, is broken to a 3^ 4th and $tk both downward and upward. In like manner may a Semibreve be broken into fmaller Notes. Where take Notice alfo, that two, E 2 three, 5 2 A Compendium of M ii s i c. three, or more Notes {landing together in the fame Line or Space may be confidered as one iatire Note, and consequently capable of Tranfition. EXAMPLE. 1 n which, you have no more to take care of, but that the firft Particle exprefs the Concord, and that the laft produce not two $tbs or Stbs with fome other Part. To avoid which (if it fo hap* pen) the following Note of the other Part may be altered, or the Tranfition may be omitted. W e will take the late Example with its 6tbs f and apply fome of thefe Breakings to fuch Notes as do require them, or may admit them. EXAMPLE ^Treble. m ■jr Thi Principles of Composition. 53 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 ifl and 2d Treble end both in the fame Tone, that you might fee the Tenor fall by Tranfition into the Greater ^d at the Clofe. These Rules and Inftru&ions 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 fame Key (viz. in G) that I might give the lefs difturbance to your Apprehenfion ; which being once confirm- ed, you may fet your Compofition in what Key you pleafe, having regard to the Greater and Lef- fer {d as hath been (hewed. § 14. Composition of 5, 6, and 7 Parts. BY that which hath been (hewed, it plainly ap- pears, that there can be but three different Concords applied at once to any one Note of the Bafs 9 that is to fay (generally fpeaking) ei- ther a jd y phy and 8th, or a 3 d, 6th, an2 Sth. Hence it follows, that if we joyn more Parts then three to the Baft, 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 ftiii be doubled. If two be added, which makes a Compofition of fix Parts, the duplication of two of the Concords will be required, If three Parts more be added, which makes up feven Parts ; then all the three Concords will be doubled. And confequently, the more Parts a Compofition con- fifts of, the more redoublings of the Concords will E 3 fee 54 A Compendium of Musid. be required. Which redoublings muft be either in their OHaves, or in their Unifons. I mention 17- ntfonsy becaufe many Parts cannot ftand within the Compafs of the Scale of Mufic, But fome of thofe Parts muft of neceflity meet fometimes in Unifon. That I may explicate thefe things more clear* Jy, I will fet you Examples of 5, 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- pofs them in Figurate Defcant 5 becaufe there you wiil have more liberty to change or break off upon the middle of a Note. Examples of Five Parts. 3S3M5 383 5 3 * 3 8 $ S 3 85838 Alt.- 5^5358535 8 $ r lllilHl^iIi: 8 5 8 5 8 5 8 5 S 5 3 Her H you fee fome one of the Concords ftill acubied, as may be .obferved by the Figures which Principles of Composition. y j which denote them. Your next fhall be of Six Parts j wherein two Concords will flill be doubled to each Note of the Bafs. Examples of Six Parts. . zv^zzipz^zs::! t z€.za±aztzK \zg~:z.\i U 3 5 3 8 3 5 3 8 3 5 § c::~zzzz:lz:z-zz:|:~zzzz:pizzzz-:ii VTrehle.—* 838 583 85 'Alt. r;-o~iZ 3 8 btztf:E=pzg:i:gz^zt:ES=z^:z} : 8 5 3 5 8 5 3 5 85 5 8 $ 3 5 8 5 3 5 ^r.a-j-~ltJzJz-:t:izdzJ: I =g=t z 3:| : 33-P-t:^z?r?: 858 585 858 2. 7V»or, 3 5 iii 585 858 $ 8 5 8 4- H e r e you fee two Concords doubled ; in which, all you have to obferve is, how they re- move feveral ways; the one upward, the other downward 5 by which means they avoid the Con- fecutionof Perfe&s of the fame kind. £ 4 EX- 5§ r A Compendium of Mus i c. Example of Seven Parts. 'iTrthls. 3 5 5 «5$ 583 5^ 838 583 8 * r Alu 3 8 J 8 5 3 3 § 5 3 3 8$ mtan.T> » r*"T— 1 — l _ i-"i — ! — 1-4 — I - — i- 3*3 5 8* 5 8 5 3 8 ST 8 353 335 8 3 '3*//.; SziSrizid. 5 S 5 8 5 8 5 8 5 8 5 Observations in this Example are thefe, firfl: that all the three Concords are either doubled ; or if any one ftand fingle (as that which makes the Binding Cadence rauft always do) it doth necefli- tate feme other Concord to be trebled. Secondly, that though the Parts do meet fomedmes in Umfon when VrinciJ>les of Composition. 57 when it cannot be avoided 5 yet they muft not re- main fo, longer than neceflity requires. Laftly take Notice, that the Notes of one Part may be placed above or below the Notes of another Neighbour- ing Part ; either to avoid the Confecution of Per- fects, or upon any voluntary Defign. The Notes fo tranfpofed, are marked with little Stars over them, that you may take better Notice of them. § 1 5. Of two Basses, and Composition of Eight Parts. MANY Compositions are faid to have two Bajfes (becaufe they are exhibited by two Viols or Voices) when, in reality they are both but one Bafs divided into feveral Parcels ; of which, either Bafs doth take its Part by turns, whilft the other fupplies the Office of another Part. Such are commonly defign'd for Inftruments. But here we are to fpeak of two Bajfes of a different Na- ture ; and that in reference to Composition of Eight Parts 5 which, whether intended for Church or Chamber, is ufually parted into two Quires ; either Quire having its peculiar Bafs y with three upper Parts thereto belonging. These two Quires anfwer each other by turns ; fometimes with a fingle Voice, fometimes with two, three, or all four ; more or lefs, according to the Subject, Matter, or Fancy of the Compofer. But when both Quires joyn together, the Com- pofition confifts of Eight Parts, according to the following Example, in which you will fee two Bajfes, either of them moving according to the nature of that Part - 3 and either of them alfo, if fet alone, a true Bafs to all the upper Parts of either Quire ; forfuch ought the two Bajfes to be, which here I do mean. And though it be a thing which few 58 A Compendium of M u s 1 c. few of our chief Compofers do obferve, yet I can not but deliver my Opinion therein ; leaving tta skilful to follow which way they moft affect. Example of Eight Parts. P-t-P-^r-M- 5 ^ 5.3. $ ST_ 3 663 8 38 ZTrebh- ~' 5 3 6 6 3 3 3 8 § 33833858 3 fete s 5 j 1 5 3 8 s 5853 5833658 $ 8 J Jam* it 1 ** 1-4 trrttQprt? if 2 '7if»or. H~" is: 5533 3d: iTOf* 3 3 3 5 8 5 £3 1» « 1 aj$ ggijMjftjj 5 856833 $ 3 u d-f P* : n4:ttt3±: :z3z:pE :: ^ Principles of Composition. $q A s concerning the Concordance of thefe two Bajfes betwixt themfelves ; it mutt be, in every refpe&ive Note, either an Oftave, an Vaifon, a Third, or a Sixth, one to the other ; not a Fifth, becaufe the upper Bafs (being fet alone, or found- ing louder than the other) will be a ^th to all thofe upper Parts which were Oft awes to the low- er Bafs, But where the Bajfes are aid one to the other, if you take away the lower' Bafs, the 2ths are only changed into 6tbs. Again, if you take away the lower Bafs where they are a 6th one to the other ; thofe upper Parts which were 6ths to the lower Bafs, will be Sths to the higher. Where the BaJJes found in ZJnifun or Oftave, the upper Concords are the fame to either. The Reafon why I do not afreet a fth betwixt the two Bajfes in Choral Mufic is, that I would not have the Mufic of one Quire to depend upon the Bafs of the other, which is diftant from it; but rather, that the Mufic of either Quire be built upon its own proper Bafs, and thofe two Bajfes with ail their upper Parts to be fuch as may make one entire Harmony when they joyn to- gether. One thing more concerning two Bajfes is, that though they may often meet ixi ids, yet if they move fucceffively in fimple ids, they will produce a kind of buzzing, in low Notes especially (as I have fometimes obferved) which is not to be ap- proved unlefs the Humour of the Words fnould require it. What we have faid of four Parts in a Quire, the fame may be underflood if either Quire con- fiit of five or fix Voices. Alio, it the Mufic be compofed for three or four Quires, each Quire ought to have its peculiar Bafs, independent of the other: And the more Parts the Compofi- tion '6o A Compendium of M u s i c. tion confifts of when all are joined together in a full Chorus ; the greater allowances may be! granted ; becaufe the multiplicity of Voices doth drown or hide thofe little Solecifmes which itv fewer Parts would not be allowed. This is as much as I think neceflary to be (hewed concerning Counterpoint, or plain Defiant, which is the Groundwork, or (as I may fay) the Grammar of Mufical Compofetion. And though the Examples herein fet down (in which I have endeavoured no Curiolity but plain Inftruc"Hon) ; be (hort, fuitable to a Compendium, yet they are (I hope) fufficient to let you fee how to carry on your Compofitions to what length you (hall de- ( fire.. ~x m COMPENDIUM I OF Praaical MUSIC. The Third PART. Teaching the Ufe of Discords. < lmju i i ■ i ■! — ■ — — — — wssmmm — — am* § i. Concerning Discords. DISC OR D S, as we formerly faid of Inter- vals are Indefinite ; for all Intervals, ex- cepting chofefew which precifely termi- nate the Concords, are Difcords. But our Concern in this place, is no more than with thefe that follow, viz,. The Lejfer and Greater Second. The Leffer, Greater, and Perjecl Fourth. The Lef- fer 9 or Defective Fifth. The Lejfer and Greater Se- venth, By thefe' I alfo mean their Octaves. ' $ 2. How 62 A Compendium cfMvMC* § 2. How Discords are admitted into Music. DISCO R D S are two ways (chiefly ufed in Compofition. Firft, in Diminution ; That is, when two, three, or more Notes of one Part are fet againft one Note of a different Part. And this is commonly done in making a gradual Tran- fition from one Concord to another ; of which you had fome Intimation, Pag, 51, where I fpoke of Breaking a Note. In this way of PafTage, a Difcord may be al- lowed in any one of the Diminute Note, except the firft or leading Note, which ought always to be a Concord. EXAMPLE. --i-M piiipiipiii S 7 othPar,s Defcending, betwixt the Bafs and higher Treble ; not by overfight, but fet with defign. §7. 0/i?fto*lNHARMONlCAL. AFTER this Difcourfe of Concords, I think it very proper to fay fomething concerning Relation Inhamonkal, which I formerly did but only mention. R F 4 KE 7 a -^ Compendium of Mv sic. Relation, o* Refped, or Reference Inhtomo- meal, is a harfh Refle&ion of Flat againft .SW& in a crofs Form ; that is, when the prefent Note of one Part, compared with the foregoing Note of another Part, doth produce fome harfh and dif- pleafing Difcord. Examples o[ it are fuch as fol- low : ii^iiiillililii !d= d - tmm The firft Note of the Treble is in £ {harp ; which confidered (crofs wife) with the fecond Note of the Baft in E flat, begets the Sound of a £|j^ &rW, which is a Z?//"coyi. The fecond Example is the fame Defcending. The third Example, comparing £ /harp in the Baft, with ^ % in the treble, produces a falfe 5$; which is alfo a D/#ori. The like may be laid of the fourth Example. The firft Note of the Baft in the fifth Exam- ple ftands in B flat ; which compared with the lajf Note of the Treble, in £ Jharp, produces the found of a Tritone or Greater qth, which is alfo a harfh Difcord. Though thefe crofs Relations found not both together, yet they leave a harfhnefs in the Ear, which is to be avoided j efpecially in Compofition of few Parts* Bu t you miift know, that this crofs Reflecti- on otFlat againft Sharpy doth not always produce Relation MwmonkaL ' •- Ufe of Discords, 73 EXAMPLE. i 3 4 -^^iSSi-fJ-JJ"^!- For it is both ufual and proper for the tip- per Part to change from fiat to /harp when the Bafs doth fall a Leffer $d, as you fee in the flrft and fecond Bars of this Example. Alfo that Re- flection of FJharp againft B flat, in the third Bar, which produces the found of a Leffer 4th, is not Relation Inkarmonical. The Reafon thereof you (hall prefently have. But firft I will give you a clearer Inftance thereof, by comparing it with another 4th y flat againft Jharp crofs wife, that your own Ear may better judge what is 9 and what is *no t, Relation Inharmonical. Good. EXAMPLE. Good' Bad. Bad. $ srSH r=EE iEEE^Sl-EEE HarmonicaU Inharmonical, The firft two Inftances fhew a Relation of P Jbarp in the Bafs, againft Bflat in the Ttehle, which begets the found of a Leffir $th 7 and is" very good and 74 &4 Cotn^en^ium o/Music. and ufual in Compofition. The other two Inftan- ces are F flat in the Bafs, againft B /harp in the Treble, which makes a Greater or Exceffive ^tb y a very harfli Relation. And here (by the way) you may obferve three different ^ths in PraSiical Mufic, viz,, j. From PJharp to B flat upward. 2. From F flat to B flat ; and 3. From F flat to Bfharp, thus exemplified. ?«/«# 4th. Greater 4th. A s to the Reafon, why Fj(W/> againft B flat I doth not produce Relation Ihharmonicah we are to confider the proportion of its Interval ; which (in- j deed ) belongs rather to the Theory of Mujic ; for though the Ear informs a practical Compofer, which Sounds are harfh or pleafing ; it is the fpe* culative Part that confiders the Reafon why fuch or fuch Intervals make thofe Sounds which pleafe or difpleafe the Ear. But we will reduce this bufinefs of the Leffer 4th into Practice ; that thereby we may give a Reafon! to a Practical Mudcian, why it falls not under Re-L Jation Inharmonkal To which Purpofe we will j examine it according to our common Scale of Mi- fic; and there we fhall find it to confift of no more than four Semitones otHalfmtes; which is the very fame number that makes a Ditone or Greater 2d. This Example will render it more plain. Lefer 4th. Greater 3d. iiK^ffi^^RSI^^S 2 3 4 Now Ufe of Discords. 7J No w I fuppofe that no pra&ical Mufician will fay that the two Terms of a Greater 3d have any harfh Relation one to the other ; which granted, doth alfo exempt the other (being the like Inter- val) from Relation Marmonical, tho' in appear- ance it be a 4*/?, and hath flat againft {barf in a crofs Reflection. By this you may perceive that Diftances in the Scale, are not always the fame in Sound, which they feem to the fight. To illuftrate this a little further, we will add a Lejfer 3d to the io*- mer Lejfer 4th, which in appearance will make a Lejfer 6th; for fo the Degrees in the Scale will exhibit it in manner following. Aih. nd. 6th 6:h. But this 6th in fight, is no more in found than a common ph which we may demonftrate by the Scale it felf : For, if we remove each Term a Semi- tone lower (which mufl needs keep them ftiil at the fame diftance) we fhail find the 6th changed into a *>th in fight as well as found ; and the Lejfer 4th likewife changed into a Greater 3d, as you may fee in this Example. And if we remove the latter three Notes again, and fet them a Semitone higher by adding a {harp to each Note, thus * that which in the firft Inftance -j- j* was D flat, is now become C rZITdnrdztpzil {harp ; and likewife B flat now fp-%UZl-ZdrZ \\ changed into A {harp. This removing of the Concords a Semitone higher or lower, as alfo the changing them into Keys. *]S oA Covrfendium ofMvsic. Keys which have no affinity with the Cardinal Key upon which the Air of the Mufic depend- eth ,• does many times caufe an Untunabtenefs in the Concovds y as though our Strings were out of Tune when we play upon Inftruments which have fixed Stops or Frets : And this alfo happens amongft the Keys of Harpjtchords, and Organs ; the Reafon whereof is, the inequality of Tones and Semitones ; either of them having their Major and Minor ; which our common Scale doth not diftinguifli, Attd this has caufed fome to com- plain agaiaft the Scale it felf, as though it were ■defeclive. Concerning which, I will prefume no further than the delivering of my own Opinion ; to which purpofe I mud firft fay fomething. § 8. Of the Three Scales o/MusiCi THE three Scales are thefe. i. Scala Dia~ tonka, "i. Scala Cromaika. 3. Scala Enhar- mionka. The Diatonick Scale, is that which rifes to a $th, toy three 'Tones and a Semitone ; and from thence to the 8/£, by two Tones and one Se- mitone ; which Semitone is denoted in both places by Fa, as I (hewed in the beginning of this Trea- tife. E X A M P L E. 5#. 4*& Fa. . pa, 1 his is (in effe&) the old Grecian Scale, con- fiitmg of four Tetrachords or qths, extending to a double OUme 5 which Guido Aretinus, a Monk of Ufe of Discords. yf of St. Benedict's Order (about the Year of our LORD 960) changed into a form in which it now is ; fetting this Greek Letter r Gamma at the bot- tom of it y to acknowledge from whence he had it 5 and this (for its general Ufe) is now called the common Scale of Mufic. The Ckromathk Scale rifes to a $tb, by a Tone and five Semitones ; and from thence proceeds to an 2tk, by five Semitones more. E X A M T L £. g2^ F-t— - I- — BES~ -_ff Some perhaps may find Fault with this Exam- ple of the Cbromatick Scale, as being not the ufual way of fetting it down ; but I thought it the beft Inftance I could give a Learner of it, as to its Ufe in Pra&ical Mufic; in which it is fo fre- juently mixed with the Diatonick Scale, that the 2 flat and $ Jbarp which formerly belong'd to B Dnly, have now got the names of the Cbromatick Signs, by their frequent application to Notes in all places of the Scale ; and the Mufic which moves much in Semitones or Half-Notes, is commonly :alled Cbromatick Mufic. And from hence it is, :hat an Qftaye is divided into 12 Semitones. The Inbarmonick Scale rifes gradually by Dei- r es or Quarter-Notes 5 of which 24 make up an Otlave ; and is fo far out of ufe, that we fcarce mow how to give an Example of it. Thofe who endeavour it, do fet it down in this manner. Bw-t 78 A Compendium of 'Music But, as to its ufe in Practical Mufic, I am yet to feek ; for I do not conceive how a natural Voice can Afcend or Defcend by fuch Minute Degrees, and hit them right in Tune. Neither do I fee how Syncopes or Bindings with Difcords (which' are the chief Ornaments of Compofition) can be performed by Quarter-Notes* Or, how the Con- cords (by them) can be removed from Key to Key, without much Trouble and Confufion. For thefe Reafons I am flow to believe that any good Mufic (efpeciaily of many Parts) can be corapo- fed by Quarter Notes, although I hear fome talk much of it, : . . ... Only one place there is, where I conceive a Quarter- Note might ferve inftead of a Semitone ; which is, in the Binding Cadence of "the Greater 3^, and that, commonly, is covered or drowned either by the iriU of the Voice or Shake of the Finger. Bu t fome do fancy, that as the Diatonick Scale is made more elegant by a Mixture of the Chro- tnatick ; fo likewife it might be bettered by help of the Enharmonhk Scale, in. fuch Places where thofe little Biffonances do occur. . ■ . I do not deny but that the flitting of the^&eys in Harpfichords and Organs ; as alfo the placing of a middle Fret near the top of a Nutt of a Viol or UloeorbO) where the Space is wide, may be ufeful in fome Cafes, for the fweetning of fuch Diffo- nances as may happen in thofe places 5 But I do not conceive that the Enharmonick Scale is there- in concerned ; feeing thofe Diilbnances are fomen times life ^/Discords. 79 times more, fometimes lefs, and feldom that any of them do hit precifely the Quarter of a Note. Now, as to my Opinion concerning our com- mon Scale o£ Mtfics taking i* with its mixture: of the Chromatick-, I think it lies not in the wlf of Man to frame a better, as to all Intents and Purpofes for PraBical Mujtc. And, as for thofe little Diflbnances (for fo I call them, for want of a better Word to exprefs them) the fault is not in the Scale, whofe Office and Defign is no more than to denote the Diftances of the Concords ana Difcords, according to the Lines and Spaces: of which it doth confifl ; and to *heW by what De- grees of Tines and Semitones a Voice may rife or fall. For in Vocal Mufic thofe Diflonances are not perceived, neither do they occur in Inftruments which have no Frets, as Violins and Wind Inftru- ; riaetfts, where the Sound is modulated by the I touch of the Finger ; but in fuch only as have fixed Stops or Frets; which, being placed and fit- fcjd for the moft ufual Keys in the. Scale, feem out of Order when we change to Keys lefs ufual; ! and that (as I faid) doth happen by reafon of J the inequality of Touts and Semitones, efpectaliy of the latter. - . f ._ C0ncerning which, I (hall (with Submiffion to better Judgments) adventure to deliver my own Senfe and Opinion. And though it belongs more properly to the Mathematick Part of Mur fie, yet (happily) a pra&ical Explication thereof may give feme Satisfaction to a pradical Musi- cian, when he (hail fee and underftand the Kea- fon. 86 qA Compendium of Music. 6fa Of Greater and LeJJer Semitones* FIRST, you mull know, that Sounds havfc their Proportions as well as Numbers* Those Proportions may be explicated by a Line divided in 2, 3, 4, 5, or more equal Parts. We will fuppofe that Line to be the String of % Lut* or Viol Take which String you pleafe, for it be true ; but the fmalleft 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 0%ave> if you compare it with the Sound of the open String. Therefore is a Diafafon 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 be at the Fret [A] if rightly placed) compare the Sound thereof with the open String, and you will hear the difference to be a $tb. Thence, is a $th faid to be Sefquialtera Proportion ; that is, as 2 is to 3. Ac a 1 n, divide your String into four equal Parts 5 flop that Part next the Nutt (which will be at the [/ ] Fret) and you have a qtb to the open String. Therefore a 4*6 is faid to be Sef- quiurtia 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 j the middle of that half makes another Oftave; and fo every middle one after another. We will now come a little nearer to our bufr- ! nefs of the Semitones. To which purpdfe we muft divide the Qttave it fclf into equal Parts, i Firft a life of Discords. Si Firft in the middle,* which will fall upon the Fret [/] Examine the Sound from [/] to [k] i (which is an Octave to the open String) and you will find it to be a *,th. Try the other half which is towards the Nutt 3 and you will hear it is but a 4 th ' Next, divide that 5th which is from [/] to [n ] into equal Parts ; and you will find that half which is towards the Bridge, to be a Greater 3^, jand the other half to the Nun-ward, to be a \&fir 3d. Then divide that Greater 3d into two equal Parts, and you will have a Greater and a Leffer 'Tone. Laftly, divide the Greater Tone (which was ithat half next the Bridge) into two equal Parts, and you have & Greater and a Leffer Semitone ; the Greater being always that half which is neafe'r to The Bridge. . B y this you may perceive that all our Mufical Intervals arife from the Divifion of a Line or String into equal Parts 5 and that thofe equal Pares do flill produce unequal Sounds. And this is the very reafdn that we have Greater and Leffer Semitones. Thereupon, is a Tone, or whole Note (as we erm it) divided into nine Particles, called Com- mas ; five of which are afligned to the Greater Semitone ; and four to the Lefs. The difference jetwixt them is called 'Airolopt*, which fignifieS cutting of. Some Authors call the Greater Se- mtone, Apoto?ne : that is (I fuppofe) becaufe k includes the odd Comma which makes that Afo~ ome. Thus you fee a Tone or Note divided into a Greater and Leffer Half; but how to divide it in- to two equal Halfs, I never fee determined. The famous Kircher in his learned anc). ela- borate Murfurgia Vniverfalis, fag. 10 3, treadng G of 82 A Compendium of M u s i c. of the mathematick Part of Mufic (which he handles more clearly and largely than any Author (I think) that ever wrote upon that Subject) doth fhew us the Type of a Tone cut in the middle, by dividing the middle Comma into two Scbifms. But that Comma (being divided Arithmetically) will have its Greater and a Leffer Half (as to Sound) as well as any greater Interval fo divided. The neareft Inftance I can give you of a Sound parted in the middle, is an OBave divided into a Tritone, and a Semidiapente ; either of them con- fiding of fix Semitones ; as I (hewed pag. 68, and yet there is fome little difference in their Rations or 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 Parts, to which purpofe, divide that ph which is from the Nutt to \_h] Fret, into two equal Parts, with a pair of Compaffes (the middle whereof will hit upon [d ] Fret, if it be not placed with fome abatement, for the reafons before men- tioned) and you will find, that the fame wide- nefs of the Compafs which divided the pb in the middle, and fo made a Greater and a Leffer 3J5 the fame widenefs (I fay) applied from [ h] towards the Bridge, will, in the firft Place from [h] pro- duce a 4^, in the next place a $tb, and in the next after that, an %tb, according to this Line : ^ YLefs $d.\Qy S qt 3 d. ) Fourth. \ Fifth. \ Eighth. \ ! b* Bot feeing you cannot conveniently hear the Sound of t ha t m> k being fo near / he 5 „ w take the widenefs of the 5 tb from the Nutt to \h j and you will find that the fame widenefs which life of Discords. 83 which makes a 5th, doth make an %th y irvthe next place after it according to this Line : Fifth. 1 Eighth. I J §? h u I c§ &- 3 I f you pleafe to try thefe diftances upon the Treble String of a Bafs-Viol, you will have a pro- duction of thefe Sounds. Tirfi Una. Second Line, m -n-t-OZJ 1 1 tt-r»- -0- O v h v B y this you may perceive that every equaldi- vifion of a Line or String, doth (till produce a greater Interval of Sound, as it approaches nearer to the Bridge: And by this which hath been ftiewed 5 I fuppofe you fee not only the reafon, but neceffity of Greater and Lejfer Semitones'. Our next bufinefs is to examine. § 10. Where thefe Greater and LeJJer Semi- tones arife in the Scale ^//Music. THIS depends upon the Key in which a Song is fet ,- and upon the divifion of its pk into the Greater and Lejfer $i, and the placing of thefe I which determine whether the Key be flat or/harp, j as hath been (hewed. We will fuppofe the Key to ! be in G, The Diatonick Scale hath only two places in each ! OBa in which a Semitone takes place. One is in riling to the $th ; the other in riling from thence to the %th : And thefe two Places are known by the Note Fa; as formerly fhewed. Thefe two G z Sounds 84 A Compendium of M u sic. Sounds denoted by Fa, are always the Lejfer Semi- tone from that degree which is next under them. So that from A to Bflat, is a Leffer Semitone ; and betwixt B flat and B fharp (which makes the dif- ference of the Leffer and Greater -$d) is (or ought to be) always the Greater Semitone. The like may be underftood of the higher Fa. I know that fome Author's do place the Greater Semitone . from A to B flat, and the Lejfer betwixt B flat and B fharp ; but I adhere to the other O- pinion, as the more rational to my underftand- ing. B y this you fee where Greater and Lejfer Semi- tones take place in the Diatonick Scale. We will now call our Eye upon them as they rife in the Chromatick ; according to the Example I gave you ot it. In which the Greater and Leffer Half-Notts do follow each other fucceffively, as (hall be here denoted by two Letters 5 / for Leffer, and g for Greater. E X AMT L E. 1 g I g I \l g I g I -CL. Now, if we ftiould remove this Example a Se- mitone higher or lower 5 the Leffer Semitones would fall in the places of the Greater ; and contrarily, the Greater in the places of the Lejfer ; which tranfpoiition, is the chief caufe of thofe little Dif- fonances, which occafion'd this Difcourfe. . Your heft way to avoid them, is, to fet your Mufic in the ufual and moft natural Keys of the Scale, A A COMPENDIUM O F Praftical MUSIC The Fourth PART. Teaching the Form ^/Figurate Descant. § i What is meant ly Figurate De- scant. IGURATE Defcant is that wherein Difcords arejcpncerned as well as Concords. And, as we termed Plain Defcant (in which was taught the Ufe of the Concords) The Ground work or Grammar of Mujtcal CompoJition> (o may we properly nominate This, the Ornament or Rhetorical Part of Mufic. For in this, are intro- duced all the Varieties of Points, Fuges, Syncopes or Bindings, Diverfities of Meafures, Intermixtures of difcording Sounds 5 or what elfe Art and Fancy can exhibit ; which, as different Flowers and Figures, do fet forth and adorn the Compofi- tion ; whence it is named Melothefa florida vet figurate, Florid cr Figurate Defcant. G 3 §2. Oj 26 A Compendium of M u s i c. § 2. Of the Greek Moods, and Latin Tones* BEFORE we treat of Figurate Defiant, 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 know what is meant by them ; and that I might not appear An- gular ; for you fhail fcarce meet with any Au- thor that has writ of Mafic, but you will read fomething concerning them. The Moods we mention'd in the firfl Part of this Treatife, were in reference to Notes, and Meafure of Time. Thefe are concerning 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 which Keys had affinity one with another. The Greeks diftinguifhed their Moods by the names of their Provinces ; as Dorick, Lidian, Ionick Phry- gian, &c. The Latins reduced theirs to eight plain Song Tunes * and thofe were fet in the Ten- or ; fo called, becaufe it was the Holding Part to which they did apply their Defiant. These Pain Songs did feldom exceed the Corn- pa fs of fix Notes or Degrees of Sound ; and there- fore were Ut and Re (as I fuppofe) applied to the two loweft, that each Degree might have a feveral appellation 5 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 confided of Tetrachords or tfhs, two of which made up the Compafs of an Octave, , From thefe fix Notes, Ut, Re, Mi, Fa, Sol, La, did arife three Properties of Singing ,• which they named B Quarre, B Mile, and Properchant or Na~ iural B Quarre, was when they Sung Mi in B -, that Cliff Figurate Descant. 87 Cliff being then made of a fquare Form thus, n and fet at the beginning of the Lines, as we now fet fome one of the other three Cliffs. B MoUe was when they Sung Fa in B. Properchant was when their Vt was applied to C ; fo that their fix Notes did not reach fo high as to touch B either fiat or {harp. But in our modern Mufic, we ac- knowledge no fuch thing as Properchant ; every Song being of its own nature, either flat or /harp ; and that determin'd (not by B's flat or {harp, but) by the Greater or Leffer *$d being joined next to the Key in which any Seng is fet. These Moods or Tones had yet another difriti- £lion -, and that was Authentkk or Plagal. This depended upon the dividing of the OElave into its $th and qth. Authentic^ was when the $th ftood in the lower Place, according to the Har- monical divifion of an Q&ave. Plagal 9 was when the $th poffeft the upper Place, according to the Arithmetical divifion thereof. E X A M P L E. Authentick. TUgsl on:~:3:=:za:~:=z: e :-r--e ._ e : — : — : e — *- Harmonical. 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 imperfed or obfeure, as to any certain Rule for regulating the Key and Air of the Mufic y though one of the greateft concerns of Mufical Compoption. Mr. Morley (upon this Subjed) in his Intro- duction to Mufic, pag. 147, his Scholar making this Quanrie, Have you no general Rule to be given for an TaT G 4 fa 8 8 J Compendium of Music. InfimZlion for keeping of the Key I anfwers, No ; for n muft proceed only of the Judgment of the Compofer ; jet (laith he; the Church Men for keeping of their Keys have divifid certain Notes commonly called the eight Junes, &c. of which he only gives Examples, and fo leaves the bufmefs. And no marvel they could give no certain Rule, fo long as they took tncir fight from the tenor ; in which cafe it muft of neceffity be left to the Judgment of the Com- pofer or Singer of Defiant, what Bafs he will ap- Viy unco it. But, according to the Method for- merly del iver'd in this Treatife, where we make thzBajs the Foundation of the Harmony, upon which the Key folely depends ; as alfo the other Aeys which have affinity therewith, the bufmefs is reduced to a certainty of Rule, both plain and a a u Pag ' 34 ' Concern,, ng the Key or Tone) And though in Figurate Defiant we often have Occanon to apply under Notes to an upper Part, as you will fee hereafter, yet the whole conduct or the Compofition, as to the Key and middle Uofes 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 h col- leded out of fuch Authors as number 12 Tone s or Tunes an- \^Zah^ickTT PlagaT~~ fwerable to liT^r-rr^^^ fa /tufUav, 5 Lyaian 1 6 Hypo-Lydian /W \A.9\M0han tto Hyp-j£ lian Ihe Fig urate Descant. 89 The firft Column fhews the Keys in the Scale of Mufic, to which thofe Tones and Mods are af- figned. The fecond expreffes the Order of the Authentick Tones ; known by their odd Numbers,;; as 1, 3, *, &c.' The third Column contains the names of the Grecian Authentick Moods. The fourth fhews the Plagal Tones ; known always by their e- ven Numbers ; as 2, 4, 6, &c. The laft or fifth Column contains the names of the Grecian Plagal Moods ; diftinguifhed by the Panicle Hypo. Where you may obferve that B?ni, is exempt from having any Tone or Mood afTigned to it ; becaufe Ffa doth make an Imperfect $tb thereto. Howbeit, £ fa is become a Key or Tone new much in ufe, efpecially in Mufic compofed for Inftruments. But, whereas we read fuch ftrange and marvel- lous things of the various afie&ions and different effe&s of the Grecian Moods 5 we may very pro- bably conjecture that it proceeded chiefly from their having Moods of different Meafure joined with them ; which, we find by experience, doth make that vaft difference betwixt Light and Grave Mufic ; though both fet in the fame Key, and confequently the fame Mod or Tone. §3. O/FigurateMusic^ general. FIGURATE D-efcant (as I told you) is that wherein Difcords are concerned as well (though not fo much ) as Concords, You have already, been taught the Ufe of both in Compofttion ; and thefe are the two Materials which mud ferve you for the railing of all Srudures in Figurate Mufic. T o give you Models at large, of ail thofe .fever ral Structures, were to write a great Volume, net 90 A Compendium of Music. not a Compendium. It will be fufficient that I let you fee the Form of Figurate Defcant ; and that I give you fome fhort Examples of fuch things as are of moft concern ; with Inftru&ions (To near as as I can) for their Contrivance. We will begin with fecting a Bafs to a Treble, as we formerly did with making a Treble to a Bafs. § 4. How to jet a Bass to a Treble, IN this you muft reckon your Concords from the treble downward, as in the other you did from the Bafs upward ; which is but the fame thing in effect -, for, a 3 J, $tb, 6th, and 2>th are Hill the fame, whether you reckon them upward or downward. But, whereas in plain Counterpoint, I did order the Bafs to move on, for the moft Part by leaps of a 3, 4, 5, &c. (which indeed is the moft pro- per movement of the Bafs in that kind of Com- pofition) here you muft know, that in Figurate Defcant, thofe. Leaps are frequently changed or broken into Degrees ; as you may eafily conceive by this Example. 133: -e-tt And therefore it is left to your liberty to ufe either the one or the other, as occafion fhall re- quire. Only take Notice that if in thefe Break- ings) the Parts do afcend ordefcend together by de- Figurate Descant. 91 degrees, it muft be either in %ds or 6ths. If they move contrary by degrees (that is one rifing, the other falling) you have liberty to pafs through Difcords as well as Concords, according to what I fhewed of Difcords Note againft Note. For the reft I refer you to the Principles formerly deli- vered in Compofition of two Parts. And if your Treble do chance to hold out any long Note, you may lee the Eafs during the time, pafs on from one ImferfeB Concord to another ; as from a id to a 6th y or the contrary. The like may be un- derftood of the Treble, when the Bafs holds out a Note. EXAMPLE. imimim i Also your Compofition will be more neat, if you can ufe fome formality in your Bafs, by imi- tating and anfwering the Notes of the Treble in fuch places as will admit it. We will now fuppofe a Treble made by fome other Perfon, as indeed, this was, which I am about to Prick down (made by a Perfon of Qua- lity) and given to have a Bafs fet to it, EX- 9 2 &4 Compendium of M u s i c. Example of a Bass made to a Treble. w &-4-M • t — "2r«- ^SmSk pddzsiE: :ierjEm ! fa j Q-: — i-^-nHH p~ffiH[£ frw PtJ-i^-^-l-j-tf: m- ^-& ~ " ~- l * l "l!--^-$ «IS: Hrre Fl GU RATE De SCANT. 9% Here you fee the Bafs flifl anfwering and imi- tating the 'Treble (fo near as the Rules of Compo- fltion do permit) fometimes in the Octave, as you fee in moft Part of the firjt Strain ; and fome- times in other Diftances, as you may obferve in the beginning of the fecond Strain ,* but ftill keep- ing clqfe to the -Rules of Competition, which muft be chiefly obferved. This is as much as I thtnir rieceifary for fetting a Bafs to a Treble. And by this you may perceive how different the Form and Movement of the Parts in Figurate Defiant, is from that of plain Counterpoint ; For, in That, the natural Paffage of the Treble is, for the moft part by Degrees, in this, you may ufe what Leaps youpleafe, fo they be airy and formal. § 5. How Parts f>afs through one another* AGAIN, in Counterpoint, each Part does ordi- narily move within its own Sphere. In Fi- gurate Defiant, the Parts do frequently mix and pafs through one another ; infomuch, that if there be two Trebles, you (hail have fometimes This, fometimes That, above or below, as you fee in the following Inftances. P»t*£=!t*f i-=-s*P-»- 3:E:£ z£:fc~~: :£^ Z J- The 94 -4 Compendium /Music. The like may be underftocd of the inner Parts, or of the Baffes, when the Compofition is defigned for two. Howbeit the higheft Part for the time being, is flill to be accounted the Treble \ and the loweft Part, whatever it be, is (during that time,} the Bafs to all the Parts that ftand above it. Lastly, whereas in Counterpoint I commended unto you the joyning of your upper Parts fo clofe together, that no other Part could be put in a- mongft them ; in Figurate Mufic (efpecially for Inftruments) that Rule is not fo ftri&ly obfer- ved ; but each Part doth commonly move accord- ing to the Compafs of the Voice or Inftrument j for which it is intended. But the Principles of Compofition, as the choofing, ordering and placing of the Concords, are the very fame we delivered in plain Counterpoint -, that is to fay, in two or three Parts you are to avoid Sths, except in fuch places as there mentioned : In four or more Parts, you are to difpofe thofe Parts into feveral Concords, as much as you can with convenience. § 6. Concerning the Consecution ofTer- feBs of the fame kind ; and of other Dif* allowances in Composition. ITold you ( pag. 32) that Perfects of the fame kind, as two $ths or two 2ths rifing or falling together, were not allowed in Compofition. Alfo (p a g- 3 3> 34) Ifhewedfome other Paflages, prohi- bited in few (that is to fay, in two, or three) Parts. Here I will give you the Reafon why fuch Pafla- | ges are not graceful in Mufic. And firft concern- ing the Confecution of $tbs and %ths. These two are called PerfeEl Concords; not only becaufe their Sound is more perfect (or more per- Figurate Descant. 9$ perfe&ly fixed) than that of the other Confonants which are fubordinate to them ; but alfo, becaufe they arife from the firft two Proportions that are found in Numbers, viz* an %th from Dupla, and a jtb from Sejquialtera, as I (hewed fag. 79, and 80. Now, as to the Difallowance of their follow- ing one another of the fame kind ; you may ob- ferve, that our Senfes are ftill delighted with Va- riety ; as we may inftance in this : Suppofe an excellent Difh of Meat, prepared with greateft in- duftry to pleafe the Tail, were f et before us to feed on ; would it not be more acceptable to have fome variety after it, than to have the fame over again ? The very fame it is in Sounds prefented to our Ear ; for, no Man that hath Skill in Mufic> can hear two perfed $ths or two Sths between the fame Parts, rifing or falling together,' but his Ear will be difpleafed with the latter of them ; becaufe he expe&ed in place thereof fome other Concord. This Reafon againfl the Confetution of 5 firs and 2>ths being admitted, we will now proceed to the other Difallowances ; which, upon due examination, we (hall find to arife from the very fame confequence. For the better underftanding of this ; youmuft I know, Firft, that every Difallowance doth end i either in an Sth or in a $th (by thefe I alfo mean their OBaves) Secondly, that a Difallowance is I commouly generated by both the Parts moving ithe fame way. Thirdly, that every Leap in Mur fie doth imply a Tranfition by degrees, from the former to the latter Note, by which the Leap is I formed. Laftly, that thofe implicit Degrees (by reafon of both Parts moving the fame way) do always produce a Confecution of two (if not more) Perfects of the fame kind. 79 *A Compendium of Music. To render this more clear, we will take fome of thofe Paffages not allowed in pag. 34, and break the Leaps into Degrees, according to what I (tie wed, pag. 51, 52, Of breaking a Note, as you fee in the following Examples. f*» f >(r r\ 6 S — < fc i f ,-KZ!,-*-*- 1 ' f""j ; f 8 8 3 8 rylwji; 58 88835 555 35 5 55 p-p:p|: t::^ r p: |g:2: ::^:g.:§:: :: :^..: .... By this you fee, that if both the Parts move the fame way, one of them by a Degree, the other by a Leap ; that Leap (I fay) being broken into Degrees, begets a Confecution of two Perfects of the fame kind ; -and where both Parts Leap the fame way, if you break thofe Leaps into Degrees, there will arife from thofe Degrees, Three of the fame Perfects. -And this implicit Confecution of Sths, and $tbs arifing from thofe Degrees, is that which renders fuch Paffages 1q(s pleafing to the Ear, and are thereupon named DifaUovoances. These which I have (hewed may ferve for your underflanding of rhe reft ; for they are all of the fame nature, excepti ng One, which Mr. Motley and ! Figurate Descant. 91 and others call hitting an Sth on the Face ; that is, when an upper Part, meeting the Bafs upon an 2th y doth skip up from thence into fomc other Perfect Concord, thus : But whereas I told you, and have (hewed, that a Dif allowance is common- ly generated by both Parts moving the fame way ; you muft know, that all Paffages of that fort, are not D if allowances ; for, you will hardly find a Dif- aSowance where the Treble moves but one Degree -, except that which I (hewed in the firft Inflance of the late Example, where the Treble falls by a De- gree, from a 6th to an %th, or ("perhaps) where the Bafs fhall make an extravagant Leap (as it were fet on purpofe) to meet the Treble in a 5?/;, or 8tb. In any other way, I do not fee how a DifaUowance can occur, whilft the Treble removes but one Degree, though both Parts rife or fall together. But if the Treble or upper Part do skip, whilft the Bafs removes but one Degree (the fame way) you may conclude it a Dif allowance. I will give you Examples of both thefe Ways, that you may compare them by your Eye and Ear ; and fo you will better perceive what is, and what is not allowed. E X A MV L E. Paffages into the 8th. Paffages into the 5th. Good* Bad- Good- Bud. Good* Bad- Good. Bad. Good. Bad. Good. Bad* H Ib 93 J Compendium of M u s i c. I f you try the Sound of thefe two Ways with an Inftrument, you will perceive that thofe Paf- fages wherein the Treble removes but one Degree, are fmooth and natural ; but in the other where the Treble doth Leap, the Patfage is not fo plea- fing to the Ear. T h e Reafon whereof (as I conceive) is, be- caufe Leaps are the proper Movements of the Bafs, and Degrees more natural to the Treble part, as I formerly deliver'd in Plain Counterpoint : And there- fore, fo long as both Parts proceed in their natural Movements (the Bafs by Leaps and the Treble by Degrees) the Consecution is not fo precept ible, be- caufe it gives no Offence to the Ear ; for that which is proper and natnral cannot be difpleafing : But if you diforder this natural Movement, by making the Bafs to move by a Degree, and the Tre- ble to Leap the fame way into a Perfect Concord, the Confecution thereof prefently begets a D if allowance. Lastly, take Notice, that moft of thofe Para- ges we call D ij allowance , may be tollerated in the Tenor or id Treble (being covered by a higher Part) though, in the higheft Part, it felf, they would not be allowable : And therefore when your Treble or higheft Part fhall make a Leap (which is fre- quent in Pigurate Defiant) your chief Care muft be, that the faid Treble or higheft Part (compared with the Bafs) be not guilty of any Difallowance ; of which there can be no danger, if the Leap be made into Imperfect Concord. That you may better remember them, moft Difallowance* may be referred to thefe two Heads : I. When the higher Part skips to a $th, or Sth, whilft the Bafs removes but one Degree. 2. When both Parts skip the fame way into a jth, or 8th : And this is as much as I think neceffary concern-) ing D if allowances, §7. Owl Figurate Descant. £9 § 7. Concerning the Consecution of 4ths and 5ths. I Formerly fhewed you (fag. 74) three different /fibs, viz,, a Letfer, a Greater^ and a Middle 4th, named Diatejfaron, which for Diftin&ion, I call a Perfect 4^, becaufe it arifes from the perfect di- viding of an Otlave into its qth and $th, as well according to the Arithmetical as the Harmonkal Di~ vifion thereof. These qtbs are fo neceflary (or rather unavoid- able) in Compofition, that you fhall fcarcely fee two, three, or more Parts joined to any Bafs^ but there will frequently be one of them be- twixt 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 Confecution of fo many qths betwixt the two upper Parts. Now, if that Confecution confift of different Afbs mixed one with another, it is very good : But if the ^ths be of the fame kind, the Confecution is not fo allowable. The Reafon thereof is, that 4ths are the reafemblances or reafonances of $tbs 9 as may be feen in This ; that if you tranfpofe ithe Parts which exhibit thofe qths, by placing Ithe lower an OSave higher, or fetting the higher »an OBave lower, thofe qths will be changed into fthsi as you may fee in the following Inftances. H i EX- ioo eA Compendium of Mu si c, E X A M P L E. * * * * * * ^4==t= Three 4ths betwixt the Three $tbs betwixt 2 7>v£/* #»^ TV.wr. [ *fo i 7>^/e and Tenor, The Notes tranfpofed are thofe of the 7W in the firft Xnftance,- which being placed an Ottave higher, and fo made the Treble or higheft Part in the fecond Inflance, begets three $ths, inflead of the former three ^ths. The Queftion now is, whether thefe three $W being of different kinds, be not allowed in Com* politioii (if they be allowed, there is lek doubt to be made of the qths, they being alfo different) Here is no Confecution of Perfects of the fame land ; for the middle pb is Imperfect : Neither is there any harflinefs or diffonance offered to the Eac, (o near as I can perceive. And though Mr. Morley (in his Introduciion, pag 75) with other pre- cife Compofers of former times, did not allow a Perfect and an Imperfect $th, to follow immedi- ately one the other; yet, later Authors, as well Writers as Compofers, do both ufe and approve it. See Figurate Descant. ioi See Kircber, in his Alurfurgia Uniiterfalis, pag. 621. Dilicentia durum Quimarum • where he cites Hievonh mus Kapfperger, a very excellent Author, ufing two <>ths one after another, in divers places of a Madrigal, with much Art and Elegancy •, and in the very beginning of the fame, makes no fcruple of letting four ^ths PerfeB and ImperjeB one after another. The Example is this which follows. Keeesb p=z* gZllZ^Zl*- &c As for my own Opinion, I do not only allow the Confecution of two jths, one of them being Itn- perfeB, but (being rightly taken) efteem it amongd the Elegances of Figurate Defcant. This I fpeak, fuppofing them to be in (horc Notes. But if the Notes be long, as Semibreves % and fome- times alfo Minums^ I fhould then rather choofe to have the Per/eft 5th to hold on, till the other Part remove to a 6th> before it change to an ImperfeB $tb. As for EXAMPLE. Not thus, but thus, or thus 3 -?z:D~: »-*> ■4— : -A—h- r E9l?:E{JE:?£:#?:2i H 3 § 8 Cm hs. i of ; * . Now, as to their Paffages into other Concords y the moft natural is commonly that which may be done wich the leaft remove. Hence it is obferved, that the Lejfer 6th pafles more naturally into a jprif and the Gratfrf 6th into an 8d>, as you (hall fee in the following ln- ftances. Lefir 6th- I 6~~T & 5 Greater 6th. 6 8 6 8 Cadtnce of the Greater 6th. ^^^^H^fei3i^& E^=rhcc=t5-tt= -a- -G- These little removes by a 7W or Semitone, do conned or make fmooth the. Air of the Mufic, in paffing from GwMon* to Cbword; which, by greater removes, would often feem disjoynted. I will now fpeak of a Fuge ; which is the prime Flower in Figurate Defiant. H 4 $ & Q i i °4 A Compendium of M u s i c. h 9- 0/Fuga or Fuge. T I ?o I 1 ffimn? m r e P ° int CaS we term V in *S Notes- begun by feme one fingle Part, and then feconded by a following Part, repeating the fame « fed, Jike No*,, betimes VS Sfe 0*w, but more commonly and better in a 4 tb or gfc above or below the leading Part 4 Next comes in a third Part, repeating the SleSSj Parr "' 7 ™ *» °^ °' "»*• » toTh H :w vs thefounh Part - in refembi — confift of fo many) do follow or come in after the fame manner one after the oth , Parts Ml fly lng before thofe that follow ; and from thence it hath its name Fuga or Pme The Form of it you have in the following ExampU I.-,-- * t ^-| — .a.. _. SH3~Z~" — I ~-. — * S. *BT|tZa.ftP# Figurate Descant. icj zzz:s:~;zz:it:ifac~Q-|~ f T:z:^::|zg:zP-rp~:i; ip^lli^lpiilill K^l^bs 3 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 ; with an odd Reft before it, when the Fuge doth require it, or permit ic. Lxlewise take Notice, that you are not lo ftri&ly obliged to imitate the Notes of the leading ' ' b Part, io6 A Compendium o/Music. Part, but that you may ufe a longer Note inftead of a fhorter or the contrary, when Occafion (hall require. Alfo, you may rife or fall a 4th, or ph either inftead of the other ; which is oftentimes requifite for better maintaining the Air of the Mujic. § 10. 0/ A rsi n £jf The sin. SOmetimes the Point is Inverted, or moves per Arfin & Thefin ( as they phrafe it ) that is where the Points rifes in one Part, it falls 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. 2-^3-3-r*- ¥- Z'SZ Jtrfint Thefin. An Example of it you have in that which fol- lows. Example of a Fcjge per Ariin & Thefin. :SE:«=p:i:3:|:£t:8:?: Thefin Jrfin. Figurate Descant. 107 Theftn- $*:::** ._«-_•_ *•- Theftn. Thws you fee the Point per Arfm & Theftn, Jo 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 io8 A Compendium c/Music. you, as being better (of the two) to injure the Point, than the Air of the Mufic ; the de- fign of a Compofer being to pleafe the Ear, ra- ther than to fatisfie the Eye. Here the Point was expreft both ways in each Part ; but it is left to your liberty, whether you will have one Part maintain the Point per Arfin, another per Thefin, or what other way you fhall think fit to mix them ; every Man being matter of his own Fancy. Sometimes the Point is Reverted, or turned backward thus : But then it muft be fuch a Point as hath no Prick-note in it ; becaufe the Prick will ftand upon the wrong fide of the Note when the Point is Re- verted. m& Z3?3qi3a:t Reverted k:6^fe|z£t^i:j 8S-4. Thejin. Reverted- §11. Of Double Fuges. OOmetimes the Mufic begins with two or more l3 different Points, which the Parts do inter- change by turns, in fuch manner as they did in the late inverted Fuge per Arfin & 1'hefin : An Example whereof you have as follows. EX- Figurate Descant.' 109 Example of two Points moving together in Fug e. i Fuge* ** l Fuge. P»£?. 0~ $ tP" ffl,^. Eiffel Fuge. —Q~ , -fs, % 13: Of 112 A Compendium ^/Music. § 1 3. Of Mufic Compofed for Voices. THE ever renowned Difcartes, in the beginning of his Compendium of Mufic, infinuates, that, of all Sounds, the Voice of Man is moft grateful 5 becaufe it holds the greateft conformity with our Spirits. And (no doubt) it is the beft of Mufic; if compofed and expreiled in Perfection. More certain it is, that of all Mufic, that ought to have the precedence which is defigned to fing and found forth the Praife and Glory of the incom- prehenfible SOURSE, SOUL, ESSENCE, and AUTHOR of all created Harmony. To this Intent, Hymns, Pfalms, Anthems, Ver- ficles, Rejponfaries, Motets, &c. are fet and fung in "Mufic ; or which no Man is ignorant that hath frequented either the Churches beyond Sea, or the Cathedrals in England. Of theie forementioned, fome are compofed in Plain Counterpoint ; others in figurate Defiant, with Points, Fuges, Syncopes, mixtures of Difcords, &c. according to what we have ihewed and taught in this prefent Treatife. In this divine Ufe and Application, Mufic may challenge a preheminence above all the other Ma- thematical Sciences, as being immediately iin- ployed in the higheft and noblefl Office that can be performed by Men or Angels. Neither, in its civil Ufe, doth it feem infe- rior to any of the reft, either for Art, Excellency, or Intricacy. Whether we confider it in its Theory or Mathe- maikk Part, which contemplates the Affections, Rations, and Proportions of Sounds, with all their nice and curious Concerns. Or Fi g u r a t e Descant. 113 Or in its Pratlick Part which defigns, con- trives, and difpofes thofe Sounds into (o mnny ftrange and ftupendious Varieties ; and all from the confequence of no more than three Concords, aiid fome intervening Difcords. Or in its Active, or Mecbanick Part, which Midwifes and brings forth thofe Sounds ; either by the excellent Modulation of the Voice, or by the exquifite dexterity of the Hand upon fome Inftrument ; and thereby prefents them to our Ear and Underftanding ; making fuch ImprefTion upon our Minds and Spirits, as produce thofe ftrange and admirable Effects, recorded in Hiftory, and known by Experience. Any one of which three Parts of Mufic, confi- der'd in it felf, is a moft excellent Art or Science: But- this is a Subject might become a better Orator. O f Vocal Mufic made for the folace and civil Delight of Man, there are many different kinds; as namely, Madrigals, in which Fuges and all o-, ther Flowers of Figurate Mufic are mofl fre- quent. O f thefe you may fee many Setts, of 3, 4, j } and 6 Parts, Publifh'd both by Englifb and Ita- lian Authors. Next the Dramatick or Recitative Mufic. Then Cmfonets, VilaneUas, Airs of all forts; or what elfe Poetry hath contributed to be Set and Sung in Mufic. Lallly, Canons and Catches (of which we (hall fpeak hereafter) are common- }y fett to Words : The firft, to fuch as be grave and ferious : The latter, to Words defigned fc-f Mirth and Recreation. § 14. Oj H4 g/4 Compendium of M u s i c. § 14. Of accomodating Notes m Words. WHEN you compofe Mufic to Words, your chief endeavour muft be, that your Notes do aptly exprefs the Senfe and Humour of them. If they be Grave and Serious, let your Mufic be fuch alfo : If Light, Pleafant or Lively, your Mufic like wife muft be fui table to them. Any Paffion of Love, Sorrow, Anguifh, and the like, is aptly exprefs'd by Chromatkk Notes and Bind- ings. Anger, Courage, Revenge, &c. require a more ftrenious and ftirring Movement. Cruel, Bitter, Harfh, may be expreft with a Dtfcord ; which neverthelefs muft be brought off accord- ing to the Rules of Compofition. High, Above, Heaven, Afcend ; as likewife their contraries, Low, Deep, Down, Hell, Defcend, may be ex- preffed 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 will be abfurd. You muft alfo have a refpc& to the Points of your Words ; not ufing any remarkable Paufe or Reft> until the Words come to a full Point or Pe- riod. Neither may any Reft, how fbort foever, be interpofed in the middle of a Word ; but a Sigh or Sob is properly imitated by a Crotchet or Quaver- Re /?. Lastly, you ought not to apply feveral Notes nor (indeed) any long Note, to a (hort Syllable, nor a (hort Note, to a Syllable that is long. Neither do I fancy the fetting of many Notes to any one Syllable (though much in fafhion in former times) but I would have yonr Mufic to be fuch, that the Words may be plainly under- stood. * 15. Qf Figurate Descant, * iij § i j. O/Music defign'dfoY Instruments* WE muft now fpeak a little more of Mufic made for Inflruments ; in which Points, Fuges, and all other Figures of Defcant are in no lefs (if not in more) ufe than in Vocal Mufic. O f this kind, the chief and mod excellent for Art and Contrivance, are Fancies of 6, 5, 4, and 3 Parts, intended commonly for Viols. In this fort of Mufic the Compofer (being not limited to Words) doth impley all his Art and Invention folely about the bringing in and carrying on of thefe Fuges, according to the Order and Method formerly (hewed. When he has tried all the feveral ways which he thinks fit to be ufed therein 5 he takes fome other Point, and does the like with it ; or elfe, for variety, introduces fome Chromatkk Notes, with Bindings and Intermixtures of Dijcords ; or, falls into fome lighter Humour like a Madrigal, or what elfe his own Fancy (hall lead him to : But flill concluding with fomething which hath Art land Excellency in it. Of this fort you may fee many Competitions I made heretofore in England, by Alfonfo Ferabofco Coperario, Lupo, White, Ward, Mco, Dr. Caiman* and many more now deceased. Alfo by Mr. Jen- {kins, Mr. Lock, and divers other excellent Men, , Doctors, and Batchelors in Mufic. This kind of Mufic (the more is the pity) is ;now much neglected by reafon of the fcarcity of Auditors that underftand it ; their Ears being (better acquainted and more delighted with light [And airy Mufic. h Yh£ \i6 A Compendium of M u s i" c . The next in dignity after a Fancy, is a Pavan ; which fome derive horn Padua in Italy ; at firft ordained for a grave and ftately manner of Dan- cing (as moft Inftrumental Mufics were in their feveral Kinds, Fancies and Symphonies excepted) but now grown up to a height of Compofition, made only to delight the Ear. A Pavan (be it of 2, 3, 4, 5, or 6* Parts) both -commonly confift of three Strains ; each Strain to be play M twice over. Now, as to any piece of "ftfyftc that confifts of Strains, take thefe follow* ing Obfervations. All Mufic concludes in the Key of its Com- pofition ; which is known by the Bafs, as hath been (hewn. This Key hath always other Keys proper to it for middle Clofes (fee fag. 3<5, 37) If your Pavan (or what elfe) be of three Strains ; the firft Strain may end in the Key of the Compofition, as the laft doth ; but the middle Strain muft always end in the Key of a middle Clofe. - . .. Sometimes the firft Strain does end in a mid- dle Clofe 5 and then the middle Strain muft end in fome other middle Clofe; for two Strains, following immediately one another, ought not to end in the fame Key. The reafon thereof isi obvious; to wit, the ending ftill in the fame Key, doth reiterate the Air too much ; and dif-j ferent endings produce more variety. Therefore! when there are but two Strains, let the firft end in middle Clofe, that both Strains may not end: a like. I do confefs I have been guilty my felt or this particular Fault (by the Example of others) lr fome things which I compofed long fince * but J willingly acknowledge my Error, that others maj avoid it. Fjgurate Descant, 117 Next in courfe after a Pavan follows aGiliffra, confifting fometimes of two, and fotiietimes of three Strains. Concerning their Endings, I re- fer you to what was laft faid of a Pavan. This (according to its name) is of a loftly and frohck Movement. The Meafure of it always a Iripla^ of three Miliums to a Time. An Almane (fo called from the Country whence it came, as the former from GaNia) is always fee in Common Time like a Pavan ; but of a quicker and more airy Movement. It commonly hath but two Strains, and therefore the firft ought to end in a middle Key. . In thefe, and other airy Mufics of Strains, which now pafs under the common name of Airs, you will often hear fome touches of Points or Fu- ges; but not infilled upon, or continued, as in Fancy Mufic. vg^ I need not enlarge my Difcourfe to ft^figs io common in each ones Ears, as Corants, Smbandt, Jiggs, Country Dances, &g. of which forts, I have known fome, who by a natural aptnefs and ac- cuftomed hearing of them would make fuch like (being untaught) though they had not fo mucn skill in Mufic as to Prick them down in Notes. Seeing this Compendium cannot contain Ex- amples of all thefe which I give you account of, I would advife you to procure fome of fuch kinds as you moft afted ; and Prick them down in Score, one Part under another, as the Examples are let in this Book; that they may ferve you as a Pattern imitate. .. . , « «i j But let them be of fome of the belt e-teemed Compofers in that kind of Mufic. I 3 *of 1 1 8 A Compendium of M u s i c. You need not feek Outlandifh Authors, efpc- cially for Inftrumental Mufic ; no Nation (in my Opinion) being equal to the Englifh in that way; as well for their excellent, as their various and numerous Conforts, of 3, 4. 5, and 6 Parts, made properly for Inftruments, of all which (as I faid) Fanciei are the chief. 119 COMPENDIUM OF Praftical MUSIC. The Fifth PART. ~™*~ Teaching the Contrivance of C a n o n. § i . Concerning Canon. A Canon is a Fuge, fo bound up, or reftrain- ed, that the following Part or Parts mull precifely repeat the fame Notes, with the fame degrees rifingor falling, which were cxpreffed by the leading Part ; and becaufe it is tied to fo ftrict Y Rule, it is therefore call'd a Canon. Divers of our Country Men have been excellent in this kind of Mufic ; but none (that I meet with) have publifh'd any Inftru&ions for making a Canon. Mr. Elway Bevin profeffes fair, in the Title Page of his Book ; and gives us many Examples of ex- cellent and intricate Canons of divers forts ; but not one Word of Inftru&ion how to make fuch like. I 4 Mr. ii '6 J Compendium of M u s i c. Mr. Morley in his Introduction to Mufic, pag. 172. Says thus \A Canon m^ £* made in any diftance com- prehended 'within the reach of the Voice, as the $,5, 6, 7> 8> p, 10, ii, 12, or of for, but for the Compvftion 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 JhaU think fittefi to be followed, and to fame and make them ft for your Canon. If, as Mr. Morley fays, no general Rule can b« giveTn, our bufinefs muft be to try what helps we can afford a Learner towards the making of a Canon. I am the more inclined to offer unto you this little Effay upon it, becaufe the Exercife thereof will much enable you in ail other kinds of Qmpoftion -, efpecially where any thing of Fuge is concerned, of which, it is the Principal. Aid I will direft you in the fame Method which I did before, in contriving a fingle Fuge; that is firft, to fet down your material Notes ; and then to ac- cpmpdate your other Defcant to thofe Notes, §2. Canon of Two Parts. Tl 7E will, for more eafe, begin with two Parts; ▼ * and I will take the firft two Semibreves of a former Fuge ; to let you fee the way and man- ner ot it. The Canon fhall be fet in a ^th above, and then your firft Notes will ftand thus : By $th, 6th \ 7th, &c. above or below is under- ftood the diftance of the Key betwixt the begin- ning Notes of either Pare. Having fet down your beginning Notes, your next bufinefs is, to fill up that 0— — x:zIz:q:z®z:\ B Contrivance of Canon. lit that vacant fpacc in the fecond Bar, with what Defcant you pleafe ; which may be done in this manner. ' . ■ ll?uil Now, feeing that this following Part mult al-, fo fing the fameAto in a 5th above s it ne- ceflarily follows, that you muft transfer the faid new Notes, to the upper Part, and apply new Defcant to- Them alfo 5 and in this manner you are to proceed from Bar to Bar ; {till applying new Defcant to the laft removed Notes. I n this manner you may continue Two Parts in One, to what length you pleafe. A (hort Ex- ample may fuffice to let you fee the way of it. zz^zi.-±za^z±- pliiiii EXAMPLE -*~*>dtm g=& *;lp|iiiP^ Take ¥22 eA Compendium c/Music. 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 ; unlefs we defign the Parts to begin over again, and fo to go round without a Con- clufion. I n 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 Part, and after a Semibreve Reft. The Method is the fame ; only in this, we mull remove the new added Defcant downwards, as before we carried it upward 5 ftill making new Defcant to the laft removed Notes. EXAMPLE. Whether your following Part comes in after a Semibreve or Minum Reft, more or lefs, the me- thod is the fame; as you may fee in this next following ; in which, the lower Part comes in af- ter a Minum Reft. EX- Contrivance «/Canon, EXAMPLE. 123 — i t ■ — -p>f"t *i r r **rTTfipnr JHasE ::tp-:H;th:H:cf c* l _ J ._--,-,_'*.- Neither is there any more difficulty in fet- ting your Canon a 7*6, 9^, or any other diftance either above or below, than in thofe which I have already (hewed ; as you may fee by the next following fete in a 9th above. EXAMPLE. .r-fe-r _ a -J i-j f- tQ-rzzt-t-rd. fzztttlfc:z:ti3i±tbl ::g::::i§: This, I fuppofe is fufficient to let you fee, with how much eafe (being a little exercifed in it) Two Parts in one may be carried on, to what leneth or ihortnefs you pleafe. 5 ■ § 3. Ca- 124 ^ Compendium o/Music, § 3. Canon of Three Parts. WE will now make trial of Three Parts in One, carried on by the fame Method. In which the Notes of the leading Part muft be re- moved upward or downward, according as the following Parts come in, either above or below the leading Part. I will firft fet down the beginning Notes of each Part* as I formerly did of a fingle Fuge, that you may fee the firft Platform thereof, thus : That being done ; the firft bufinefs is, to fill up the 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 with both the other Parts; rrJi'g: ~H~ ~~~ ~ fiill adding the faid Note ^|_^Jzzrf:ZZZ or Notes to the other r* ' , . parts. And thus you ^-"Zffl^IZg are to do from Bar to Bar. . — ji_— —j — S^T-~ C : But if you perceive that your following Parts begin to run counter one upon another by thefe additional Notes ; you muft then try fome other way > either by putting in a Reft, or by alter- ing r Contrivance of C A n o n. i !~5 ing the Courfe or Notes of the leading Part ; and and in this particular it is (as Mr. Morley faid) that Canon is performed by plain fight. Example oj 'three Parts in One. *^fiiif#iaiii If you would have your Canon to go round; the Conclusion muft be omitted ; and each Part muft begin again, when it comes to the Note which is marked with a little Arch over it, where the Canon ends : And the Refts which are fet at the beginning, before the following Parts ; muft be left out ; and then the ufual way of Pricking it down, is only the leading Part, fet alone \ with Marks dire&ing where the other Parts come in, as follows : A Canon in the yh below, and jourth above. 3~ ~ :s l' Hear me O Lord, and let my Cry tome to thee. r ii6 J Compendium of M u s i cl §4. Of Canon iu Unison. ' lound of it : r, that TH E fame Method might ferve for a Canon in Vnifon : That is to fay, The leading Part muft be accomodated to the following Part, when it comes in ; and to both Parts when they found together. But I will give you a nearer Notion In reference whereto, you may confider feeing each Part doth begin in the fame Tone, it necefiarily follows, that the foregoing Parts mufl move into the Concords of the faid Tone ; either Afcending or Defcending ; and by this means the Sound of the fame Tone will be conti- nued fo long as the Parts move in the Concords of that Key. As fir EX AMP L E. B t this you fee what Concords your Canon muft move into ; your care being no more than to avoid the Confecution of PerjeEls of the fame land, and to difpofe your Parts (fo much as you can) into different Concords, EX- Contrivance of C a n o su l 'if Example of Canon in Unison. § 5. O/Syncopated or Driving Canon. THERE is another fort of Canon in Umfon, in which the following Parts come in upon u Crotchety or upon a Minum Reft, one after ano- ther; and this kind of Canon may be applied to any Ground of Plain Song, confifting of Semi- breves, or of Breves, if you double the length of the Defcant Notes, I will firft (hew the way of it upon Semibreves, moving by Degrees. E X" '128 A Compendium of M us i c. EX. A MT L E. pigniiplliii iiiiliiliSplilii E 3*5, 3 6 5, 3 <5 5. 3 4 5> 3 4 5 3 4 5 y^ Efe^ ^ M S^gj^feo^ The Figures (hew 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 muft be dou- bled. And this I think may fuffice, to let you fee the order of your Defcant, in thofe Places where the Ground of Plain Song fhall rife or fall by Degrees. I will now let you fee how to order your De- fcant, when the Ground (hall move by Leaps. I n which the movement of your Defcant muft be from $d to 3d, and your leading Part muft alfo meet each Note of the Ground in a 3d, both which are eafily effected, as you may fee by the following Inftances. ALS3 . Contrivance of C a n 6 n. I AA^4—A.2_e it A* 5 "■* "9 129 :a:ztz:Q:zz B- — B :r~rzQ Or thus. ::zaz:: z:a Also you have liberty to break a Minum into two Crotchets, and to fet one of them in an Ociave above or below, when there (hall be Occafion for it. You fh all now fee the former Degrees and thefe Leaps, mixed one with another in this fol- lowing Example. A 4. Canon in Unison to a Ground. z:^t^iE3:^:ztz:z£irfE:d 3 6 5 3 -i- 3 6 S Fl 3:°3f: w iiiiiiiiiiiilpi * — 4 _it 6 5^3 t; iiiizzz -fe — K :q:z e>— g; Here l$o A Compendium of Mv sic. He* e you fee the leading Part ftill beginning upon a $d to each Note of the Ground : Alfo a 6th and $th following after the %d, to meet the next Note of the Bafs when it rifes one Degree ; according to what was (hewed in the Example of Degrees. I will now fet down this Canon in plain Notes, that you may better perceive, both the Syncopa- tion, and alfo how the Parts move from $d to 3d, excepting where the Bafs removes but one Degree ; in which places they make a Leap to a 4th. Alfo you may obferve, in the leading Part (and like- wife thofe that follow) two Places, where a M- num is broken into two Crotchets, and one of them fet an Otlave lower, for better carrying on the Air of the Defcant, and keeping the farts within due Compafs. W 23fc %. EI » ■' ~ .ff I -\-~ ■ E. T_ ; . I JT Pi T Lm rj ,___". ,1 ~°"' '"^ 4 ""i^^a3Bfe Bg—zlzz:? ^t^PrH----- i— n -f— e- -e- W e will try one Example more in this way, upon longer Notes of the Ground ; the Defcant Notes being made proportionate thereto, A r Contrivance of Canon. A 4. Canon in Unison. W :zd: innns =r:;:5iE:g *=■ ± p3*N mm SS :oz:z: fi-j^iM r^t i-e-*- ii:3: JEz~ EE5 :z?=p:SzilD- jtar iS; piiiliiliigil In thefe Syncopated Canons you may obferve, that two of the Parts do move up and down in an even Meafure 5 and the other Part (by reafon of its coming in upon an odd Reft) doth drive or break in betwixt them. K % Afte* ; 1 3 2 oA Compendium of M u s I c . After the fame manner of Syncopation or dri- ving, Canons may be made (though not upon a Ground) the Pans being feta^/;, ph or 2th one from another ; as you may fee by thefe two fol- lowing, made by the excellent Mr. Matthew Lock, Compofer in Ordinary to His Majefty. A 3. Canon in the 8th and 4th belozv. __.ft._Q_ _~R-_.S_IE|__!-_JL_P__-ft,_p — . -B-I__A- L_- f _-ip.__U-.^_j__ L_i ■_. I — * — I Ft i±£gp j-f-_EL__f: le_! 3. Canon in the 5th -Woiu, and 4th pi?o«ye- §||__ ^j_4.t_-i^__-.^--M-t___^ 63 0- r- :p|-5_I-=-] r_K3i-_ _.t-__}-_3t——__j PHI — W— ~ !-* "-lift- i- : .The Rule cr Method of which is this; that the Farts (whether Afeending or Descending) proceed Jrqm ; ^d /to $a\ like the former two Canons mVnh Jon:, And break off to a 4V/; the contrary way, to keep the Canon "in due decorum.; which -otherwife, :i \vpiild Afcend or Defcend beyond due limits. The Contrivance o/Cako n. 13 i The pofition of the Parts, is according to the Harmomcal Divifion of anOHavc, Which hath its 5th in the lower Place. The Driving Part is the Sub-OElave ; as you may perceive in their Exam- ples. & 6. O/Canok a Note Higher or Lower, /^ANON a Note Higher, is when each Part X^ comes in a Tone or Note above another • as you may. fee in this next following; made by the forenamed Mr. Mat. Lock (to whom I do acknow- ledge my felf much obliged, both for his Saeaefti- ons and Affiftance in this Treat ifej This de- pends upon fight ; and therefore no Rule to be given ; excepting the helps formerly mentioned. • Canon a Note Higher, -i-Q m Canon a Note Lower, is when the Parts come in a Tone or Note under each other ; as you may fee by the next following ; made by our firft pro- poled Method; with fome little reference to fight. K EX 'i 34 A Compendium o/Music EXAMPLE. •T*W "*" Which may be Prickt in one fingle Part, and marked in manner as follows : A 3. Canon a Note Lower. _3 2 * ^F^f^tKT—P El — 1 — —I — Jt — ■ 1— d iSlil| Where Note, that the fol- lowing Parts come in, as they {land in backward order, be- hind the leading Part : And this is the beft way of marking a Canon ; efpecially, when the toi- lowing Parts come in upon feveral Keys 5 wnicn may Contrivance ^/Canon. 135 may be known by the feveral Cliffs, which de- note thofe Keys, and do alio (hew the compafs of the Canon. § 7. Of Canon Rifing or Falling a Note. THERE is another fort of Canon which Rifes or Falls a Note each time it is repeated 5 and may be Compofed by our firft Method 5 only you muft contrive it fo, that it may end aptly for that purpofe. EXAMPLE. Canon Rifing a Note each Repetition. ippppiililpp; Canon Falling a Note each Repetition. §8. Of Retrograde Canon, or Canqn Rede & Retro. SOME Canons are made to be Sung Retle & Re- tro (as they phraie it) that is, Forward and Backward ; or one Part Forward and another Back- K 4 ward 1 3 6 eA Compendium of M u s i c. ward. Which may feem a great Myftery, and I bufinefs of much Intricacy, before one know the way of doing it ; but that being known, it is the eafieft of all forts of Canons. This which follows fhall ferve for an Example of it. Canon -Rede & Retro. Reverted thus. £ Either of the fe alone, is a Canon of two Parts; ore Part finging forward ; the other beginning at the wrong end, and finging the Notes backward. The Composition whereof is no more than this which follows. Only the end of one Part is joined to the end oi the other ^-_U4_ jj_pCLf-E -CLlgU-, . .{ j._ ZHT'Zri ^-j-f — - f— —f ' * n a retro grade Form ; S§ : ~Ef3Ej o^ S Jt as u P on examination ^--0-fe-u:q3d:tgd:j: you will eafily find ; if you look back up- on the ilroke which you fee drawn through the middle of either. And after the fame manner you may add more Parts to them if you pleafe. There is another way of Compofing Mufic to be play'd or fung- forward and backward (much to the fame effeft) which is y by making the Parts double, as two TreMes, two JBaJfes, dec. as you fee . here following. Contrivance of C a non. *37 EXAMPLE. 1 TrMe. ^ : driT^ : 3i-4 : i:i:§=E-fe:St=E: g2_: — 2:;f;_:_:_-i 2_p.j:p_p-P4 - A?/}. Here you have two ^rf#ej and two Baffes ; which, as they now (land, rcay be played or fung as well backward as forward, and will referable a Leffon of two Strains ; the fir ft forward ; and the fecond Strain backward ; as upon trial you will perceive. But if you would have one Part to be fung backward whiift the other fing for- ward ; you muft then turn one of the Trebles, and likewife one of the Bajfes, the contrary way ; and joyn them together, fo, that their two ends may meet in the middle of the Leffon ; 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 -, one forward, the other backward ; and o- ther Two, the Bafs in like manner j and then it is a Canon of four Parts in two. 1 3 8 -^ Compendium of M u s i c. £ X w* Af T L E. pi:j^ii#iii!giSi I n like manner you may compofe fix Parts in three; or eight Parts in four, by adding two Alts, or two Tenors, or both ; and then joining their ends together, as we did thefe Trebles and Bajfes. B y this which hath been fhewed, I fuppofe you fee the way of Retrograde Defcant. But I muft advertife you, not to fet any Notes with Pricks after them, in this way of ReBe & Retro ; becaufe the Pricks in the Retro will ftand on the wrong ftde of the Notes. Alio,- you muft be wary how you ufe Difcords therein ; left, in the Re- vert or Retro they hit upon the beginning inftead of the latter Part of the Note. § 9. Of Double Descant. IT is called Double Defcant when the Parts are fo contrived, that the Treble may be made the Bafs, and the Bafs the Treble. I will give you an Example of it in Cannon ; per Arfm & Thefin, thac (for brevity) I may comprife both under one ; as in the Example next following. Dow Contrivance o/Canok." ij^ Double Descant on Canon per Arfin & Thefin; p!#H":}:St| to c, u ^l I I . very to s —-— -i- IT nt This may feem fficulc bufinefs one that is not ery reidy in his ght, but I fhall render it as plain and eafie as I did the firft Examples of two Parts in one ; for it may be performed by the fame Method. Only in this, you muit invert the Notes as you place them in the following Part ; accomodating your New Defcant (Bar after Bar) to the Notes fo in- verted ; as you may eafily perceive by this In- fiance of its beginning. But I mult give you one Caveat ; which is, that you muft not ufe any phs in this kind of Double Def- cant, unlefs in Paf- fage or Binding like a Difcord ; becaufe, when you change the Parts, making That the Treble which before was the Bafs (which is called the Reply) thofe phs will be changed into qths. the fiance of its beginning. *4o A Compendium 0/ M u s i c 'the Refly. |*££ a 2 -f-0- The^ Cto» begun in Unifon ; which, in the Reply, is changed into an 8th : But the lame Me- thod ferves in what diflance foever it be fet. § .10. Of Canon to a TJain Song proofed. I Shewed you formerly how to Compofe a Ca- non ^ in Unifon to any Ground of Plain Song confifting of Semibreves or Breves ; and gave you Rules for it. But this which I am now to fpeak of, cannot be reduced to any Rule (that I know) as depending meerly upon fight ; and therefore all we can do 3 is only to give you what help or af- fiftance we are able, towards the effecting of it. W E will take (for Inftance) one of Mr. Elway Bevhis, not to be named without due praife for his .excellent Book of Canons, Printed 163 1, where you have Examples of Canons upon the fame Plain Song in all the diftances contained in an OBave ; of which this is one. Now, Contrivance of Canon. i 4 1 $&*- ^1^1 5E-Q 32: - :q: :q: b— B~ No w, as to the Contrivance. Firfl, you are to confider, what Notes will ferve your prefent pur- f>ofe for the leading Part, and aifo Cute your fol- lowing Part in reference to the next Note of the Plain Song. When you have found out Notes that will fit both thefe Occafions, Prick them down, and then your beginning will ftand i n this manner. Then you are to fill up the vacant Bar of the lead- ing Part, with fuch Notes as may alfo ferve the fol- lowing Part in reference to -