THE LIBRARY OF THE
UNIVERSITY OF
NORTH CAROLINA
ENDOWED BY THE
DIALECTIC AND PHILANTHROPIC
SOCIETIES
«KICL»Wf»
y~i'L-L>-
I
- V
|
A |
|
COMP EN DIUM: |
|
. 0 R, |
|
INTRODUCTION |
|
T 0 |
|
Practical $luftc. |
|
In Five PARTS. |
Teaching, by a New and Eafy Method,
1. The Rudiments of Song.
2. The Principles of Compojition.
3. The Ufe of Dif cords.
4. The Form of Figurate Defcani.
5. The Contrivance of Canon.
By Cbriftopber Sympfin.
The Sixth Edition with Additions : Mud more Corre& than any Former, the Exam pies being put in the moft ufeful Cliffs.
P S A L. cxlix.
Cantate Domino, Canticum novum. Laus ejus in Ecclejia S$nBortim.
LONDON, Printed by W. V . for John Young Mupcal- Injirument Seller, at the Dolphin and Crown in S?, PaulY Church-Yard '. And alfo Sold by John Walfti, at the-Uarf and Haut-boy, in Catherine-itreet in' the Strand* 1 -
Brice two Shillings.
&> • w? St «& «3 «? 4& »» «» 2? «? »? 3? **? «2? «? c& **? sj cz? ■ e§?
THE
T O T H E L™
READER.
TH E Efteem I ever had for Mr. Sympforis Perfon, and Morals, has not en- gaged me in any fort of Partiality to his Works : But I am yet glad of any Occafion wherein I may fairly fpeak a manifeft Truth to his Advantage 3 and at the fam~Time, do a Juftice to the Dead and a Service to the Living.
This Compendium of his, I look upon as the Cleared, the mod Ufe- ful, and Regular Method of Intro-, duction to Mufic that is yec Ex- tant, And herein 1 do but join in a Teftimony with greater Judges. This is enough {aid on the Behalf of a Book that carries in it felf its own Recommendation.
oger UBftrange.
Licenfed, March %$•
16-jS:
Roger DEftrangc.
THE
THE
I Have always been of Opinion, that if a Man had made m$ Difcovery, by which an Art or Science might be harnt, with lefs expence of Time and Travel, he was obliged in common Duty, to communicate the Knowledge thereof to others, This is the chief {if not only ) motive which hath begot this little Treatife,
And though 1 know a Man can fcarcely write upon any Subject of this Nature, but the Sub- fiance will be the fame in Effect which hath been taught before ; yet thus much I may affirm ; that the Method is New ; and (as I hope) both plain and eafy : And fome things alfo are ex- plicated, which J have not feen mention d in any former Author.
I muft acknowledge, I have taken fome Par- cels out of a Book I formerly PubliflPd, to make up this Compendium : But I hope it is no Theft to make ufe of ones own \ This being in- tended for fuch as have no Occafion to ufe the other. Alfo, the Firft Part of this Book was Printed by it felf upon a particular Oc- A 4 cafion:
The prefaced
capon : But with Intention and. Intimation of adding the other Parts thereto, fo foon as they were ready for the, Prefs.
Every Man is p leafed with his own Concep- tions : But no Man can deliver that which fhall pleafe all Men. Some perhaps will be dif' Jatisfied with my Method^ in teaching the Prin- ciples of Compofition, the Ufe of Difcords, and Figurate Befcant, in three diftincl Dif courjes, which others commonly teach together , promifcuoufiy : But, I am clearly of Opinion, that the Principles of Compofition are fcfi ejlablifhed in plain Counter point ; And the Vfe of Difcords mufi be known, before Figu*- rate Defcant can be formed.
Others may Object,, That I fill up fever al Pa- ges with things Superfluous ; as namely, my Difcourfe of Greater and Lefler Semitones, and my /hewing thai all the Concords, and other Intervals of Mu fie , arife from the Di- vision of a Line or String into equal Parts ; which are not the Concern of Practical Mufic. 7Tis^ Granted : But my Demonjlrations of them are Practical', and, though fome do not regard Juch things, yet others, {I doubt not) will be both Jatisfied and delighted with the Knowledge of them*
if this which 1 now exhibit (hat any way promote or facilitate the Art of Mufic (of which I prefefs my f'elf a zealous Lover) I have obtained the Scope of my defires, and the end of my endeavours. Or, if any Man elf e, by
my
The Prefaced
my Example, fhaS endeavour to render it yet more eafie, which I heartily wijb, I (hall be glad that I gave fome occafon thereof. Tfitre is no danger of bringing Mufic into contempt upon that accompt: I he better it is known and un- derflood, the more it will be valued and ejleem- ed : And thofe that are mofl Skilful, may JIM find new occafions (if they plea fe ) to improve their Knowledge by it,
I will not detain you too long in my Preface ; only, let me defire you, Firjt, to read over the whole Difcourfe, that you may know the Vejign of it. Next, when you begin where you have weapon for In fl rucJ/on, (if you defire to be Infirucled by it) that you make your Jelf per- fect in that particular {and fo, of each other) before you proceed to the next following : By which means your progrefs in it will be, both more fur e, and more f pee dy. Lajlly, that you receive it with the like Candor and Integrity with which it is offered to you, by
Your Friend and Servenc
c. s;
T O
TO
His much Honoured Friend
Mr. Cbriftopber Sympfon. s i r}
HAving pei^s'd your Excellent Compen- dium of Mufic, rfo far as my Time and your preffing Occafion could permit) I confefs it rny greateft Concern to thank you for the Produit of fo Ingenious a Work as tends to the Improvement of the whole Frame ; (I mean as to the leaft and moft knowing Capacities in the Rudiments of that Science.) To fpeak in a Word; The Subja&v Matter, Method, the Platform and rational Materials wherewith you raife and beautify this Piece, are fuch as will ereft a lading Monument to the Author, and oblige the World as much to ferve him, $s he that is,
Sir
Tour mojl.Jffettzonate Friend and Servant ,
John Jenkins.
T O
TO
in
All Lovers of Harmony;
PRincefs of Orderh whofe eternal Arms Puts Chaos into Concord, by whofe Charms The Cbenibims in Anthems clear and even Create zConfort for the King of Heaven > Infpire me with thy Magick, that my Numbers May rock the never -Jlscping Soul in flumbers : Tune up my L TR £, that when I ling thy merits Mv fubdivided Notes may fprinkle fpirits Into my Auditory, whilft their fears Suggeft their Souls are filly ing thro3 their Ears. What Tropes and Figures can thy glory reach, That art thyfelf the fplendor of all Speech I Mifterious Music/ He that doth the Right Mult fliew thy excellency by thine own Light : Thy Purity muR teach us how to praife $ As Men feek out the Sun with his own Rays, . What Creature that hath Being, Life, or Senfe, Bat wears the Badges of thine influence > Music is Harmony whole copious Bounds Is not confined only unto Sounds •, >Tis the eyes Obje&, (for without Extortion,) *It comprehends all things that have proportion. Music is Concord, and doth hold Allufion With every thing that doth oppofe Confufion0 In comely ArchiteBure it may be Known by the name of Uniformity % Where Pyramids to Pyramids relate, And the whole Fabrick doth configurate 5 In perfectly proportioned Creatures we Accept it by the Title SIM ME TR IE : When many Men for fome defign convent, And all concentre, it is call'd CONSENT: r*L.'Sr Where
Where mutaal Hearts in Sympathy do move,
Some few embrace ic by the name of LOVE:
But where the Soul and Body do agree
To ferve their Qod, it is DIVINITIB :
In ail Melodious Compoftions we
Declare and know ic to be STMPHONIE:
Where all the Parts in Compljcacion roll,
And every one contributes to the whole.
He that can Sett and Humour Notes aright,
Will move the Soul to Sorrow, to Delight^
To Courage, Courtejie, to Consolation,
To Love, to Gravity^ to Contemplation :
It hath been known (by its magnatic Motion)
To raife Repentance, and advance Devotion,
It works on all the Facidties, and why $
The very Soul itfelf is Harmony.
Music/ it is the breath of Second Birth,
The Saints Employment and the Angels Mirth ^
The Rhetoric of Seraphims ; a Gem
In the Kings Crown of new Jerufqlety ?
They fing continually;, the Exposition
mult needs infer, there is no Intermiffon.
I hear, fome^Men hate MUS IC ; Let them from
In holy Writ what elfe the Angels do :
Then thqfe that do dejpifefucb Sacred Mirth
Are neither ft for Heaven nor for Earth,
THE
-
The
C O N T E N T S.
Contents of the Firft Part.
Pad's
§ I /^^V^ the Scale of Mufic. ij
§ i V^r 0/ naming the Degrees of Sound 3
§ 3 Concerning fe /i^ W< £&*?•/ 5
§ 4 Of tuning the Degrees of Sound 6
§ $ Of Notes their Names and Characters »iO
$ 6 Of the Ancient Moods, or Meafures of
Notes II
$ 7 Of keeping time 14
§ 8 Of driving a Note 19
$ 9 Concerning odd Rejls 2,1
§ io Of Tripla-Time a 3
§ n Of Diminution %j
Contents of the Second Part;
ft
§ 1 Of Counterpoint i§
§ 2 Of Intervals 30
$ 3 0/ Concords 3 1
§ 4 P<*J7%«? of the Concords 3*
§ 5 Concerning the Key or Tone 34
§6 0/ ;£* C/^i or Cadences belonging to the
KfJ. 36
§7 How
The Contents,
$ 7 How to frame a Bafs 37
§ 8 How to joynj. Treble to a. Bafs 38
§ 9 Compofition of three Parts ^z
§ 10 Compofition of four Parts 44 § 11 How a fth and 6th may flan d together
in Counterpoint 47
§ iz Compofition in a Sharp Key 48
§ 13 Of Tr an fit ion or Breaking a -Note 51
§ 14 Compofition of $, 6, and 7 Parts 5}
§ i£ 0/ two Bpff'es and Composition of Eight
Parts S7
Contents of the Third Part.
.. .. ^ ■ ■ "
§ 1 Concerning Difcords ~' \$f
§ z How Difeords are admitted into Mh*
§V Of Syncopation ( #14 midge of Difcords
§# Of Difcords Note againjl Mote 6*7
§6 Of Difcords in double Tranption 6$
§ 7 Of Relation Inharmonic al ji
§ 8 Of the three Scales of Mufic 76
§ 9 Of, Greater and Lejfer Semitones 80 § 10 Where thefe Greater and Lejfer Semifonty
c svirz/i? in the Scale of Mufic. ~8i
Contents of the Fou'&h-'Part.
,v ..
f ? What is memt&y Figiwate Defiant \x Of the Greek Moods and Latin Tones 86
% g 0/* Figurate Mufic in General 89
$ 4 How
The Contents.
§ 4 How to fet a Bafs to 'a Treble 96
6 5 How Parts p.ifs through one another 93
§ 6 Concerning the Conjecution. of Perfefts of
the fame kind ; and of other DiJ allowances in
Composition 94
§ 7 Concerning the Confecution of qths and
%ths ° 99
§ 8 Confecution of ids and 6ths t ioa
§ 9 O/Fuga or Fuge 104
§ xo Of ftrfift & Thefin 106
§ x 1 Of De#£/e Fuges : • J 08
§ iz How to form a Fuge HO
§ 13 0/ Mzjfo Compofedfor Voices i0 112
§ 14 0/ accommodating Notes to Words 1 14
§15 Of Afo/fc deftgtfd for Inflruments 11 J
Contents of the Fifth Part.
g 1 ConcernbtgCanon 119
k * Cd#0# 0/ £0?0 Parts 1 20
^ 3 Canon of three Parts 124
§ 4 Of Canon in Vnifok iz6
$ 5 Of Syncopated or Driving Canon 127 K 6 Of Canon a Note Higher or Lower 1 33 § J Of Canon Rifing and Falling a Note 135 § 8 0/ Retrograde Canon, or Canon^kt & Retro ibid.
§ 9 ^/ AwM? Zty^jtf 138
§ to Of C4#0# to a Plain-fongfropofed ■ 140 %j.l Of Catch or Round 143
BOOKS
BOOKS Printed for John Young, Mu. fical-Inftrument Maker, at the Dolphin and Crown in St. Paul's Church- Yard.
TH E Pleafant Mufical Companion * Being a Choice Collection of Catches, For Three and Four Voices. Compos'd by Dr. John Blow, the late Mr. Henry Pur- cel l, and other Eminent Mafters. The Sixth Edition, Correaed and Enlarged: Containing above 120 Catches. Price Two Shillings
and Six Pence.
The Dancing. Majler r Vol. the Firft : Or, Direftions for Dancing Country Dan- ce s, The 17*6 Edition,- containing 358 of the Choiceft Old and New Tnnes now ufed at Court, and other Publick Places. The whole Worfc Reviled' and done on the New Tfd Note and fntfch more Cbrre£t than any former Editions. Price Bound 35. 6 d.
The Compleat Tiitof to the V 1 o t i n, The Fifth Book Containing very plain and eafy Dire- ftions for Learners with variety of theneweft and beft Tunes Compofed by feveral Eminent Mafters CoreUi, Vivaldi, Tibaldi, Cafimchi^ and Others-, to which is added a Sett of Preludes in ail the Keys after a new Manner by jAt.Dean. The whole carefully Correaed. Price One Shilling and Six- Pence. _T , ~.
Harmonia Sacra : Or, Divine1 Hymns and 2fc* logues : With a Through-Baft for the Tbeorbo- Lute, BafsViol, Harpfwhord or Organ. Com- pofed by the Beft Matters of the laft and Prefent Age. The W o r d s by feveral Learned and Pi- ous Perrons. The Firft and Second B o ok s. The Third Edition very much Enlarg d and A-or- rea ^ alfo Four Excellent Anthems ol Vf late Mr. 1 1 P v r c e l l ' s never before Printed.
i
•
!
COMPENDIUM
G F
P RACTI CA MUSIC.
The Firfi PART. Teaching the Rudiments cf Song.
§1.0/ the Scale cf Mufic.
PmmWT\ HE end and office of the Scale of Mu- i fw is to (hew the Degrees by which a JL Voice Natural or Artificial may either afcend or defcend. Thefe Degrees are numbred by Sevens. To fpeak of the myltery of that number, were to deviate from the bafinefs in hand. Let it fuffice that Mufic may be taught by any names of things, To the number of Seven beobferved in Afcending or Defending by degrees.
Our Common Scale, to mark or diftinguifh thofe Seven Degrees, makes ufe of the fame Seven Let- ters which in the Kalender denote the Seven Day? of the Week •, .viz. A, Bfi, D, £, F, G. after wh«fc follow ALB%Ct &c. oVet again, fo often repeated
fc as
U-
£
m
e-r-r
k
&r
$94
i A Compendium of Mafic".
as the Compafs of Mufic doth require. The Or- der of thofe Letters is fuch as you fee in the ad*
joyned Scale s to wit, in Afcending we reckon "them forward \ in Defending, backward. Where note , that every Eighth Letter, together with its degree of Sound ( whether you reckon upward or downward ) is ftiil the like, as well in nature as denomination.
Together with thefe Letters, the Scale cOnfiftS of -Lwaes and Spaces, £acjj Line and each Space be- ing a feveral Degree, as tve by the Letters itanding in
piq
IConfar
Weiiot
%$u*
perceiv
you may them.
-Thofe Letters-a*e called Cliffs, Claves, or Keys$ becaufe they open to us the meaning of every Song.
On the loweft line is commonly placed this Greek letter /, which Guido Aretinus, who reduced the Greek Scale into this form, did place at the bottom, to fignitle from whence he did derive it $ and from that letter the Scale took the name of Gamma, or Gam-ut.
On the middle of the Scale, you fee three of thofe letters in Different Characters ^ of which fome.one is fee at the beginning of every Song. The loweft of them is" the F Cliff] marked thus 3= which is peculiar to the Bafs. The highefi is a G Cliff' made thus fjp and figftlfles the Treble or higheft part* Betwixt thefe two, ftands the C Cliff, marked thus g which is a Fifth below the $ Cliff, and a Fifth alfo above the F Cliff, as you may obferve by comptfng the degrees in the
Scale,
Rudiments of Song. %
Scale, reckoning both the terms inclufively. This Cliffy ftanding in the middle, ferves for all Inner parts.
When we fee any one of thefe, we know there- by what part it is, and alfo what Letters belong to each Line and Space, which, though (for bre- vity) not fet down at large, are, notwithftanding fuppofed to be in thofe five Lines and Spaces, in fuch order and manner as they ftand in the Scale it felf.
Bafs.
3f
Example. Inner part.
5K
n
w
Irebk.
v
«t
g— a
Btf
,a
43-
§ 2. 0/ naming the Degrees of Sound.
BEfore we come to the Tuning of thefe De- grees, you may obferve, that a voice doth expreis a Sound belt, when it pronounceth fbme Word or Syllable with it. For this cauie, as alfo for order and diftin£lion fake, fix Syllables were ufed in former times, viz. Ut, Re, Mi, Fa, Sol, La, which being joy ned with thefe Seven Letters, their Scale was fet down in this manner, as follows.
B
Four
4
eh i fofol — *— cfol fa b fa % mi- — a la mi re gfol re ut §&> f fa tit e la mi~
A Cdmpendium of Mu[tc.
Four of thefe, to wit, Ml, Fa, Sol La, (taken in their1 fignificancy ) are neceflary af- filtance to the right Tuning of the Degrees of found, as will prefently appear. The o- ther two Ut, and Re, are fu- perfluous, and therefore laid afide by mod Modern Tea- chers.
We will therefore make ufe only of Mi, Fa, Sol, La, and apply them to the Seven Let- ters, which ftand for the De- grees of Sound, in order to which we muft firft find out where Mi is to be placed ; which being known, the pla- ces of the other three are known by confequence 5 Fa, Sol La, above and m Sol, Fa, under it, in fuch order and manner as you fee them fet in the Mar- gin. I will therefore only give you a Rule for placing of Mi and the work
d lafol re cfol fa KfJ| — b fa $ mi
a la mi re-
gfol re ut Ffa ut 9=. E la mi Dfolre- Ofaut
B mi
i re
rut —
Mi hath always La.
is done.
A Rule for placing Mi,
for
la
fol
f* mi
la
[fol f"
THE firft and moft natural place for Mi'® in B But if you find in that line or fpace which belongs to B, fuch a little mark or letter as this [Ej which is called a tefizt, and excludes Mi wherefoever it comes, then is Mi to be placed lTlr > W2?!ch is itsf€COnd Plural place. If E have- alio a bflatmiti then of neceflity, you mult I place your Mi in A* /
I
Rudiments of Song. 5
I have feen Songs with a h pt ftanding in A m B and in E, all at once , by which means M has been excluded from all its three places : . but fiich Songs are irregular, (as to that which we call the folfa-ivg of a Song ) being defigned for Inftruments rather than for Voices; However if any fuch Song fliould be propofed to you place your Ml in D, mihfajol, la, above and la, f A, fa, under it, as formerly delivered.
4 3, Concerning fe flat, ani.% {harp.
AS for the fc pt we laft mentioned, take no- tice that when it is fet at the beginning of a Song itcaufes all the Notes ftanding , in ttiat Line or Space, to be called Fa, throughout the whole Song. In any other place, it ferves on y for that particular Note before which it is placed. Mark alfo, (and bear it well in mind)that wherefo- ever you fing Fa, that Fa is but the diftance of a Semitone or Half-Note from the Sdund of tfaar degree which is next under it; which Semitone, together with its Fa, mulf of neceffiry come twice in every Otiave-, the reafon whereof is that the two principal Concords in Mufic (which are a Fifth and an Eight) would, without that abate- ment, be thruft out of their proper places. But this you will better underftand hereafter.
There is yet another Mark in Mufic, neceiia- ry to he known in order to the right Tuning 01 a Song, which is this f called a jVp. This Jharp is of a contrary nature to the S pt; tor, where- as that 6 takes away a Semitone from tne lound of the Note before which it is fet to make it more*™* orjfcir; This % doth add a Semitone to the Note to make it more acute or Jbarp.
B3 V
6 A Compendium of Mafic.
If it be fet at the beginning of a Song, it makes all the Nores ftanding in that Line or Space, to hsjharp 5 that is, half a Tone hi- her, throughout the whole Song or Leflbn, without changing their Name, in any other place, it ferves only for that particular Note before which it is ap- plyed.
$ 4. Of Tuning the Degrees of Sound.
T lining is no way to be taught but by Tu- ning :, and therefore you muft procure f me who know how to Tune theie Degrees ( which every one doth that hath but the leaft Skill in Mufic ) to Sing them over with you, untill you can tune them by your feif
If you have been accuftomed to any Intern- ment, as, a Violin or Viol^ you may by the help of either of thefe (inftead of anaflifting Voice) guide or lead your own Voice to the perfeft Tuning of them, for every Degree is that di- ftance of Sound which may be expreft by ri- ling gradually Eight Notes taken from the plain Scale of the Violin-notes, beginning at Gfolreut on the fecond Line, as you'll fee in the Exam- ple.
Example.
GJBCDEFG
And
Rudiments of Song. , 7
And leaft that (hould be too high yon may iXftg f«t on the M Added Lie, ,* next below the Five dual Lines.
Example.
VZ- =3=r -i- —■ „ r, jar
C D E F G A B C
Thefe Examples being foited to the TrehU and Tenor Voice, it will not be amifs to give you fome for the Bafs, which Examples^ may be Play'd on the Bafs Viol, or, Harpf chord.
Example.
fefflfei
#
CDEFGABC GABCDEFG
There being compafs of Notes in the latter for any Voice which is to be perform d by ttriK- ing of thofe Keys which exprefs any ■ tfi the fore cited Examples, beginning with either Gfol- rent, or, Chut in thcTreble Cliff or, withG>f, or, GJblreut in the Baft-Cliff, according to the Pitch of your own Voice : Either of which you will eafily find in the plain Scale for the Harpjh chord with the fame Names, and Handing on the fame Lines and Spaces, as ycu fee em in the Examples forgoing.
B4
Having,
S A Compendium of 'Mafic
Example. Treble. MinB. Bafs.
|iS|:fH|pf|lHIHI
Sol U mi fafd U fa fol tlla mi fa filja'fafol
__Treble- MiinE. Baft.
So! U fa fol la mi fa fol Sol la fa fil la mi fa fol
Treble. Mi in A. Bafs.
fi^liltllltfil
U mi fa fol la fa f0l U jy USifsfd la fa folia
And here you may obferve what an ad
direasaptand fitting places for /*,/«/ a„d /*,
To fl°tu ^ °rder ,b0th above a"d ««fi ir MS f rW5 Where we are w Ph« the tZ T I-aU N.0^ 5 which(asl faid)muft have ^etP hf J" rCh 0fl?°* that the Direes may
Now a W° C?ncor^s inthdf P»P« Plww. !nXrr7y0UhiV^fen ^ three places of«* w the Gfohm and J$SW3ft which are the Tt*\
* Mi
Rudiments of Song. 9
lie and Bafi \ 'tis requifite to give you an Example of them in the Counter Tenor ^ and Tenor LUff.
Counter Tenor.
Tenor.
Sol U mi /* fol lafafol Sol la mi fafol I* fa fol
iijfcd:§=prt:t:t::tzzq
Sol la fa fol la mi fa fol Sol la fa folia tr&fafol La mi/* fol lafafol la La mlfafol lafafol U
- • v
When you have brought your Voice to rife and fall by Degrees in manner aforefaid, I would then have you exercife it to afcend and defcend by leaps, to all the diftances in an OSave, both pt inAjharp in manner as follows :
Example.
jo A Compendium of Mufic,
Example.
.So/ /* /*/ mi,/*/ /i /,/ /,/,/,/ /, /,/ faf foi fa fa ^ j
nij in
P
£*/ /* /„/ fajolfolfol fafol mi fol fa, fol la fol fol.
Having fpoken of Naming and Tuning of Founds, it now comes in order that we treat of their length or quantity, according to meafure of Fme 5 which is the fecond concern or con- sideration of a found.
$ 5. Of Notes, their Names and Characters*
THe firft two notes in ufe, wefe Nota Lovga & Nota Brevis. (our Long and Breve ) in order to a long and fhort fyllable. Only they doubled or trebled their Longa, and called it Larga} or Maxima Nata, which is pur Large.
When Mufic grew to more perfeaion, they added rwo Notes more, under the Names of femi bnvis and Minima Nota h (our Semibreve and Minnm ) which later was then their fhorteft Note.
To
Rudiments of Song. To thefa, later times have added Not© upon Note tillatlaft we are come to Demifemiqmvers, which is the (horteft or fwifteft Note that we have now in praQice. The ChataQers and Names of fuch as ate moft in ufe at prefent are thefe that follow.
Semibreve. Minum. Crotchet.
Quaver. Semiquaver. Demifemiqmver.
The ftrokes or marks which you fee fet after them, are called Paufes or Refin (that is a cefla- tion or intermiffion of found) and are of the fame rength or quantity ( as to meafure of time) with the Notes which 'Band before them ■, and are like, wife called by the fame names, as Semibreve Reft, Minum Reft, Crotchet Rep, &c. v
And now from the Names and Characters of Notes, we will proceed to their mealures, quantities, and proportions.
$ 6. Of the Antient Moods or Meafures of Notes.
IN former times they had four M*ds, ot Modes of meafuring Notes. The firft they called Per. m of the More, (Time and Prolation being imply- ed) in which a Large contained three Longs, a Long three Breves, a Breve three Semibreves, ana a Semibreve three Minums : fo it is fet down ui
5hfc A Compendium of Mu(ic.
later Authors, though I make a doubt whether Semtbreves and Minums fat leaft Minums) were e- ver ufed in this Mood. Its fign was this, © ?.
The fecond Mood had the name of PerfeEt of the Left. In this, a Large contained two Longs, a Long two Breves, a Breve three Semtbreves, and a Semibreve two Minums. The Iiwe or Meafure-Note m this »i was the flrew, the fign or mark of the Mood was this, O 9.
The third Mood was named Imperfett of the More. In which a Lar^e contained two 'Longs, a Long two ZtaiKi, a J3r«/e two Semtbreves, and a Semibreve (which was the Time-Ndte. in this Af^J; contained three AC*««w. Its mark or fign was this, g 3.
The meafure of thefe three mWj was 7W>/<* of which more hereafter. To tell you their di- tttnclion of Mood, Time, and Prohtion, were to lit- tle purpoie 5 the Moods themfeives wherein they were concerned, being now worn out of ufe. *■ The fourth Mood they named ImperfeB of the Lefs, which we now call the Common Mood the other three being laid afide is'ufelefs. The' fign of this Mud is a Semicircle, thus. C, which de- notes the flo^eft Time, and is generally fet be- fore grave Songs or Leffons.- the next is this § which is a degree fafter, the next mark thus 1 or, thus Q, and is very Faft, and denotes the Qmckeft Movement in this Meafure of Common Time h as for Triple Time, I (hall fpeak of it here- after. In this Meafure of Common Time, one Se- mibreve which is the longeit Note, contains 2 Minums, 4 Crotchets, 8 Quavers, &c. which ( for your better underftanding) is prefented to our View in the following Scheme.
Example.
kutiments of Song. JF1
Example.
Common-Time q
Semibreve O
Minums J^JI Crotchets J J f [
Note, that the Large and Long are-now of lit- tle ufe, being too long for any Voice or Inflru- ment ( the Organ excepted ) to hold out to their full length. But their Rep are Bill in frequent ufe, efpecially in grave Mulic, and Songs of many Parts.
You will fay, if thofe Notes you named be too Long for the Voice to hold out, to what pur- pofe were they ufed formerly? To which 1 an- fwer-, they were ufed- in Tripla Time, and in a quick Meafure •, quicker ( perhaps ) than we now make our Semibreve and Mlnitm^ For, as After-times added new Notes, fo they ( (till ) put back the former into fomething a flower Meafure.
$7,0/
f 4 <A Compendium ofMufic.
§ j. Of keeping Time.
OUr next bufinefs is, to confider how ( in fuch a diverfity of long and fhort Notes ) we come to give every particular Note its due Mea- fure, without making it either longer or fhorter than it ought to be To effect this, we ufe a conftant motion of the Hand. Or if the Hand be otherwife employed, we ufe the Foot, If that be alfo ingaged, the Imagination ( to which thefe are but affiftantj is able of it felf to perform that office. But in this place we muft have recourfe to the motion of the Hand.
This motion of the Hand is Down and Up, fuc- ceflively and equally divided, Every Down and Up being called a Time or Meafure. And by this we meafure the length of a Semibreve ; which is therefore-' called the Meafnre-Note, or Time-Note. And therefore, look how many of the (horter Notes go to a Semibreve, (as you did fee in the Scheme ) Co many do alfo go to every Time or Mea- fure, Upon which accompt, two Minims make a Time, one down, the other up h Four Crotchets a Time, two down, and two up. Again, Eight Qua- vers a Time\> four down, and four up. And fo you may compute the reft.
Bur you may fay, I have told you that a Semi- breve is the length of a Time, and a Time the length of a Semibreve, and ftill you are ignorant what that length is.
To which I anfwer, ( in cafe you have none to guide your Hand at the firft meafuring of Notes ) I would have you pronounce thefe words [ One, two, three, Foar] in an equal length, as you would ( leifurely ) read them , Then fanfy thofe foui words to be four Crotchets, which make up
the
Rudiments of Song. if
the quantity or length of a Semibreve, and con- sequently of a Time or Meafure : In which, let thefe two words [One, tvo] be pronounced with the Hand Down * and \Tbree, Four] with it Up. In the continuation of this motion you will be able to Meafure and compute all your other Notes. Some fpeak of having recoufe to the motion of a lively pulfefor the meafure of Crot- chets ; or to the little Minutes of a fteddy going Watch for pavers, by which to compute the length of other Notes 5 but this which I have delivered, will (I think) be raoft ufeful to you. It is now fit that I fetyou fome eafie and (horc Leflbn or Song, to exercife your Hand in keep- ing Time $ to which purpofe this which follows (hall ferve in the firft place 5 with Mi in £, ac- cording to what hath been delivered : where cb- ferve, that when you fee a Prick or Point like this [•] fet afrer any Note, That Note muft have half fo much as its value comes to, added to it : That is if it be a Smibreve, that Semibreve, with its Prick, muft be holden out the length of three Minimis : If it ftand after a Minum, that Minum and the Pirck muft be made the length of three Crotchets : but Hill to be Sung or Played as one entire Note. And foyoumay conceive of a Prick after any other Note.
: I I
f
[t6 A Compendium ofMujicl
Sel mi fa fol fa mi fol fo mi la fol
1234123415341234 12341234 7 8 9 10 11 12
£.0 mi fc/0/ fol fa fol fol
123412341234 ia 34^2341234
Here you have every Time or Meafure diftin- guifhed by ftrokes croffing the Lines * which ifrrokes (together with the Spaces betwixt them) are called Bars. In the third Bar you have a M- num with a Prick after it •, which Minumzhd Prick muft be made the length of three Crotchets. In the Eight Bar you have a Minttm reft which you muft (filenrly) meafure, as two Crotchets 3 ac- cording to the two Figures you fee under it.
The fecond Staff or Stanza is the fame as the firft : only it is broken into Crotchets, (four of which make a Time) by which you may exact- ly meafure the Notes which ftand above them, according to ourpropofed Method.
When you can fing theformer Example in exaft Time, you may try this next, which hathytfi in E,
Rudiments of Song. 2 3 4 ?
17
Set la Jol ft mi In f" nil l» la fel
piiiiiiiiiiii
1234 H34iJ34l J34i234i234
7 8 P to II
* ■ _ *.. _ ft I M— > ■*
II 12
La
fa Jol la la fa fafolfa fol
1234123412341234 12341234',
In the eight Bar of this Example you have a Mi- mm Reft and a Crotchet Reft (landing borh toge- ther, which you may reckon as three Crotchet Re/fs, according to the Figures which ftand under them;
This mark ^ which you fee at the end of the five Lines, is fet to direft us where the firft Note of the next five Lines doth ftand, and is there- fore called a Dire&er.
We will now proceed to quicker Notes, in which, we muft turn our dividing Cortchets into Quavers •, Four whereof muft be Sung with the Hand down, and four with it up.
Your Example (hall be fet with a G Cliff, and Ml in A, that you may be ready in naming ycuL Notes, in any of the Cliffs.
1 C -Example*
1 8
A Comfendiam of Muftc. Example.
iliiiiiiiiipi
la mi fa fa mi la fol la fol
fa fol la fa
la
fol fa fa la
wmm
'llpiiiiiliiil
fol fa mi /<* fol la mi /*
/a
iiyigii
Hear you have a Pncfo Crotcbet(oxCrotcbet with a Prick after itj divided into three ghtavers, in ieveral places of this Example ^ exprefled by the Quavers in the under Staff : which Quavers I would have you to fing or play often over, that , they may Teach you the true length of your Prkkt'Crotchet, which is of great ule for Singing or Playing exa£Uy in Time.
When you fee an Arch or Stroke drawn over or under two, three, or more Notes, like thofe in the
lower
Rudiments of Seng. 19
lower Staff of the late Example, it fignifies in Vocal Mufic, fo many Notes to be Sung to one Syllable * ( as Ligatures did in former times ) in Mufic made for Viols or Violins, it fignifies fo many Notes to be played with one motion of the Bow.
Two ftrokes through the Lines fignifie the end of a Strain. If they have Pricks on each fide thus, «|- the Strain is to be repeated. *"*
This Mark 4 fignifies a Repetition^ from that place only where it is fet, and is called a Repeat
This Mark or Arch ^ is commonly let at the end of a Song or Leffon, to fignifie the Clofe or Conclusion. It is alfo fet, fometimes, over cer- tain particular Notes in the middle of Songs, when ( for humor ) we aje to infift or ftay a little upon rhe faid Notes \ and thereupon it is called a Stay or Hold.
§ 8. Of driving a Note.
STncope, or driving a Note, is, when after fome fliorter Note which begins the Mcafure of Half-meafure, there immediately follow two, three, or more Notes of a greater quantity, be- fore you meet with another fhort Note ( like that which began the driving J to make the num- ber even *, as when an odd Crotchet comes before two, three, or more Minims-, or an odd Quaver before two, three, or more Crotchets,
To facilitate this, divide always the Greater Note into two of the Leffer ; that is, if they be Minums, divide them into two Crotchets a piece 5 if Crotchets, into two Quavers.
C 2 Example,
%o A Compendium of Muftc.
12 3 4
i-
piiiliiliipM
fol furl fa mi la fol la fol fa mi la fol
ilgillflpll
(WrgiMilzSrl :=-=
fol fi mi la fol fa fol fa fol
.^|||-3fF«
In this Example, the firft Note is a Crotchety which drives through the Mtniim in D, and the Meafure is made even by the next Crotbet in C.
The feccnd ZWr begins with a Prickt- Crotchet, which is divided into three ^iiavers^ in the lower Staff, as formerly fhewed* in the fame Ban the Crotchet in Gr, Is driven through three Mnums^viz. thofe in Bp Dy C, and the number is made even by the Crotchet in $, which anfwers to that Crotchet which begun the driving. The fifth 2Wr begins with a guaveTi which is driven through the three CrofcZ?r?5, flanding in C, #, ^ and is made even by the &hiaver in (?,which anfwers to it,and fills up the meafure. Ail which is made eafie by dividing them into fuch leffer Notes as you fee in the lower Staff.
§ 9. Q$p*
Rudiments of Song. %i
§ 9. Concerning odd Refts.
ODi Re/Is we call thofe which take up only fome part or parcel of a Semibreves Time or Meafure, and have always reference to fome odd Note * for by thefe two Odds the Meafure is made even.
Their raoft ufuaL place is the Beginning or Middle of the Time, yet fometimes they are fet in the latter part of it, as it were, to fill up the Mea- fure.
If you fee a fhort Reft ftand before one that is longer, you may conclude that the fhort Reft is fet there in reference to fome odd Note which went before : For ,there is no fuch thing as driv- ing a^fhorter Reft through a longer, like that which we (hewed in Notes.
When two Minum Refts ftand together ( in common Time ) you may fuppofe that the firft of them belongs to the foregoing Time, and the fe- cond to the Time following h other wife they would have been made one entire Semibr eve- Refts.
When we have a Mhium-Reft with a Crotchet-Reft after it, we commonlycount them asthree Crotchet- Refts. In like manner we reckon a Crotchet and a Qtiaver-Reft as three Quaver-Refts • and a Quaver and Semiquaver as three Semi quaver -Refts
Concerning the Minim and Crotchet -Re /I, I need fay no more, fuppofing you are already well e- nough informed in their meafure, by what has been delivered: The chief difficulty is in the o- ther two ^ to wit, the Quaver and the Semiquaver- Refls 5 which indeed, are moft us'd in Inftru- mental Malic.
Your beft way to deal with thefe at firft, is to,
play them, as you would do Notes of the fame
C 3 quantity.
2.~
ix J Compendium of Mujic.
quantity: placing thofe fnppofed or feigned Notes in fuch places as you think moft conveni-
Cntii Wrl flVe >J0U °2? ExamP!e, which being well confider'd and praais'd will do the bufinefs^
Example.
t p t t *w""jff
Praaice this Example, firft according to the fe- cond or lower Staff. And when you have made that perfea, leave out the Notes which have Daggers over rhem rand in Inftrumental Mufic are Bows which did exprefs them; and then it will oe the fame as the firft Staff. By this means you will get a Habit of making thefe fhort Reffs m tneir due meafure. *
The Notes you lee with one dafh or ftroke through their Tails, are Quavers. Thofe with two lueses are Semiquavers When they have three, they are Demifemiquavers.
§10 Of
Rudiments of Song. *}
$ io. 0/ Tripla Time. Triph-Time Minum
. ML
Semiquavers
WHen you fee this Figure M fttat the beginning of a Song it fignines, that the Time or Meafure muft be corrupted by threes, as we formerly did it by Fours, as in the iore- going Scheme. „ , „,.
* Sometimes the Tripla confifts of three Mnums to a Meafure. the more common Jripla is tnree Crotchets to a Meafure.
In thofe two forts of tripla, we compt or ima- gine thefe two words [One two'] with the Hand down s and this word [Three] with it up, fee the examples following with their proper tigures
fix'd to *em,
C 4 Tripla
24 ^ Compendium ofMufec.
Tripla of Three Minums to a Meafure.
12 1 12 g 12 3 12 3
1 2 3 12 3 i 23 123
SrpEpEgzlzaEir!ra=Flz?EP
iiSig
^
123 12 3 12 3 12 3
12 3 i2 3 x 23 123.
fe~
»i»—
Tripla
Rudiments of Song. %$
Tripla of three Crotchets to a Meafure.
123
12
12
123
l 2 V 12 3 * 23 123
iliiill
I 2 3 12 3 I 2 3 !2 3
123 12 3 1 23 123
There are divers Irish's of a (horter Meafuref which by reafon of their quick movement, are ufually meafured by compting three down, and three up, with the hand ; fo that of them it may be faid, that two Meafures make but one Time, and thofe quick TripWs are prick't fometimes with Crotchets and Mourns ♦, and fometimes with (havers and Crotchets. I will fet you one Ex- ample prick't both ways, with their proper Moods fixt to 'em, that you may not be igno- rant of either when they (hall be laid before
you.
Tripla
%6 A Compendium of Mufic.
Tripla of fix Crotchets to a Meafure.
Tripla affix Quavers to a Meafure.
fob
Befides thefe feveral forts of Triples before menrion'd, you will meet with chefe feveral Moods which follow, as 5 Quavers in a Barr, whofe Mood is mark'd thus g Nine Quavers in a Barr mark'd thus | and is beat 6 down, and 5 pp. Twelve Quavers in a Barr mark'd thus £ and is beat 6 down 6 op, the fame you have in Crot- chets, as the laft two mention'd, which carry the fame Moods and is beat the fame way.
The
Rudiments of Song* i>T
The like may be underftood of any other proportion, which proportions, if they be of tip greater inequality, ( that is, when the greater Fi- gure doth Itand above J do always fignifie Dimi- nution •, as \ calPd Sefquiahera proportion, which fignifies a Triplet Meafure of three Notes to two, fuch like Notes of Common Time, or as % which fignifies a Meafure of fix Notes to four of the like Notes in Common Time,
Which in this acceptation is the leffening, ojr ^bating fomething of the full value of the Notes, a thing much ufed in former Times, when the Triplet Moods were in ufe.
§ n. Of Diminution in former fra&icel
Diminution (in this acceptation) is the lef- fening or abating fomething of the full value or quantity of Notes ; a thing much ufed in former times when the Tripla Moods were in fafhion. Their firft forts of Diminution were by Note •, by Rcfts • and by Colour. By Note -, as when a Semibreve followed a Breve^ ( in the Mood PerfeS of the Left ) That Breve was to be made but two Semibreves, which other wife contained three. The like was obferved, if a Minum came after a Semibreve, in the Mood named ImperfeB of the More, in which a Semibreve contained three Minums.
By Reft -, as when fuch Refts were fet after like Notes.
By Colour, as when any of the greater Notes, which contained three of the lefler, were made black ; by which they were diminished a third part of their value.
Another fign of Diminution is the turning of the fign of the Mood backward thus 1 ( being
ftill
a 8 A Compendium of Mufic.
1*111 In ufe) which requires each Note to be play'd or lung twice fo quick as when it Hands' the ufual way. Alfo a dafh or ftroke through! the fign of the Mood thus § is properly a figrr of Diminution h though many dafh it fo, with- out any fuch Intention.
They had yet more figns of Diminution 5 as Croffingor Double-dafhing the fign of the Mood 5 1 alfo the fetting of Figures to fignifie Diminution j in Dupla, Tripla, Madrupla proportion * with o- ther fuch like, which being now out of ufe, 1 1 will trouble you no further with them. And ' this is as much as I thought neceffary for Tu- ning and Timing of Notes, uhich is all that be- longs to the Rudiments of Song.
*9
A
COMPENDIUM
O F
PRACTICAL MUSIC
the Second PART,
TEACHING The Principles of Compoftticn,
—
§ i. Of Counterpoint.
BEfore Notes of different Meafure were in ufe, their way of Compofing was, to fet Pricks or Points one againft another, to de- note the Concords * the Length or Meafure of which Points was fung according to the quantity of the Words or Syllables which were applied to them. And becaufe, in compofing our Defcant, we fet Note againft Note, as they did Point a- gainft Point, from thence it ftill retains the name of Counterpoint \
. In
30 A Compendium of Mufic.
In reference to Compofition in Counterpoint , I muft propofe unto you the Bafi9 as the Ground- work or Foundation upon which all Mufical Compofition is to be ereaed : And from this Bafi we are to meafure or Compute all thofe Diftances or Intervals which are requifite for the ioynine of other Parts thereto. J 5
§2. Of Intervals.
AN Interval in Mufic is that Diftance or Difference which is betwixt any two Sounds, where the one is more Grave, the other more accute.
In reference to Intervals^ we are fir ft to conE- der an Unifon 5 that is, one, or the fame found 5 whether produced by one fingle Voice, or divers Voices founding in the fame Tone.
This Unifon, as it is the firft Term to any In* tervat, fo it may be considered in Mufic as an UMteM^rztbmetkk, or as a Point Jn Goemetry. not divifible. n
As founds are more or lefs diftant from any iuppofed Unifon, fo do they make greater or lef- Jer Intervals 5 upon which accompt, Intervals may be faid to be like Numbers, Indefinite. But thofe which we are here to confider, be only fuch as are contained within our common Scale of Mufic ; which may be divided into fo many
u1C??k?r S€6lions Conly ) as ^ere be Semitone* or Halt Notes contained in the faid Scale h That is to fay, Twelve in every 08ave, as may be ob- ferved 10 the ftops of fretted Inftruments. or in St • v?S 0f a Coi™°n HarpfichbrL or Organ, Their Names are thefe that follow.
12. Diapa*
Trincifles of Compofition. g i
12. Diapafon. 12. OQave or 8tb.
II. Semediapafon. n. Defective %th. ii. Sept. major. n. Greater 7 tfc. 10. &pt. minor. io. Lefler 7ft. .9. Hexacbordon ma. 9. Greater 6t&. 8, Hexacbordon mi. 8. Lefler 6th. 7. Diapente. 7. Perfeft ?t&.
6. Semidiapente. 6. ImperfeQ $tk. 6. Tritone. 6. Greater 4th.
5. Diateffaron. $. Perfect 4th.
4. Ditone. 4. Greater ji,
3. Semiditone. 3. Lefler ^i.
2. Tbwe. 2. Greater 2d.
1. Semitone. I. Lefler 2<f.
Unifon. One Sound.
Where take notice, that the DefeSive Stb. and Greater -jtb. are the fame Interval in the Scale of Mulic. The like may be faid of the DefeSive $tb. and Greater qtb.. Alfo you may obferve, that the (Particle Semi, in Semidiapafon, Semidiapente^ &c. 60th not fignifie the Half of fuch an Interval in Mulic h but only imports a deficiency, as want- ing a Semitone of Perfection.
Out of thefe Semitones or half Notes, ar ife all thofe Intervals or Diftances which we call Con- cords and Difcords.
$ 3. Of Concords.
Oncords in Mufic are thefe, 3 d. $tb,.6th. _ Sth. By which I alfo mean their Oftaves 5 as lotb. 12th. 13th istfc.&c. All other Intervals, as id. $tb. jth. and their Oftaves, reckoning from the Bafs, are Difcords $ as you fee in the following Scale.
c
3*
A Compendium of Mafic.
9-
Concords. Concords. Difcords .
& 0 22
^-§+9-
*-e~fl
0 IZ
8 0
m-
•6-
6 0 20
^4§
5 0 10
(TO
S-fr
4- O 18
2 0 16
7 0 14
f-0-
As you fee the Concords and Difcords com- puted here from the loweft line upward * fo are they to be reck- oned from any line or (pace wherein any t, r~ I r Note of the
Perfect. Imfierfett. Difcords. ; £*/} doth ftand.
Again, Concords are of two forts \ TerfeS and lmperfeft, as you fee denoted under the Scale. TerfeSs are thefe, $th. 8tb. with all their 09* aves. ImperfeBs are a %&. 6tb. and their O&aves, as you fee in the Scale.
Imperfefis have yet another diftinftion -9 to witf tRe Greater and Leffer id, as alfo the Greater and Leffer 6th.
§ 4. Fajfage of the Concords.
FIrfl take notice that VerfeHs of the fame kindf as two $tbs. or two Stbs. riling or falling together, are not allowed in Compofition * as thus,
Not allowed.
Not allowed.
$ 5
8 8 8 8
But
Trincifles of CompoHtienl 3 J
But if theNotes do either keep Hill in thefame
line or fpace, or remove (upward or downward)
into the Oaave s two, three, or more Perfeds of
the fame kind may in that be allowed.
Example.
Allowed*
Allowed.
5*555 58
8 8 8 8
~M
Alfo, in Compofition of many Parts (where neceffity fo requires) two $tbs. or two Btbs. may be tolerated, the Farts palling in contrary Motion, thus:
Allowed in Cotnpofuionof many tans. ^ 8 8 8 8 $ 5 5 5 5 5
ThepafTage from a jti.to an 8f&.or from an 8*6.* to a srt. is (for the moft part) allowable h fo that the upper Part remove but one Degree.
As for ids. ox 6*6*. which are Imperfect Con«
cords j two, three, or more of them, Afcending or
Defending together,are allowable and very uiuaL
In fine you have liberty to change from any one,
to any other different Concord, Firft, when one
3 D °*
34 4. Compendium of flfufic.
of the Parts keeps its place. Secondly, when both the Parts remove together, fome few paflages ex- cepted, as being lefs elegant in Compofition of two or three Parts -, though in more Parts more allowance may be granted to them. The paf- fages are thefe that follow,
Paflages not allowed in few Parts.
i.
6868 35356565
The reafon why thefe Paflages are not allow- ed, fliall be (hewed hereafter.
$ 5. Concerning the Kjy or Tone.
EVery Compofition in Mufic, be it long or fhort, is (or ought to be) defigned to fome one Key or Tone, in which the Bafs doth always conclude. This Key is faid to be either Flat or Sharp: not in refpe£l of its fel'fj but in relation to the Flat or Sharp iL which is joyned to it.
To diftinguifh this, you are firtt to confider its $tb. which confifts always of a Leflerand a Grea- ter 3 J. as yon fee in thefe two Inftances, the Key Jeing in G. Greater
Trincifles of Compofition,
35
:k§~ Greater 3d.
."rgTi(?/«r 3d.
— &~Greater 3d.
If the leffer o,d, be in the lower place next to
the Key, then is the Mufic faid to be fet in a
fat Key : But if the Greater ^d. fiand next to
the Key as it doth in the fecond Inftance, then
the Key is called Sharp.
I will (hew you this Flat and Sharp ^L apply- ed to the Key in all the ufual places of an Oft- ave* to which may be referr'd fuch as are lefs ufual 5 for however the Key be placed, it muft always have its 5th. divided according to one of thefe two ways * and confequently, muft be either a Flat, or a Sharp Key,
Example.
flat. Sharp. Flat. Sharp. Flat.
^iliiiliiliiii
Sharp. Flat. Sharp. Flat. Sharp*
Flat. Sharp. Flat. Sharp.
niiiiiitpin
D 2
As
3 6 A Compendium cfMu/ic.
As the Bafs is fet in a Flat or Sharp Key •, fo muft the other parts be fet with Flats or Sharps in alt the O&aves above it.
§ 6, Of the Ciofes or Cadences belonging to the Kej*
HAving fpoken of the Key or Tone*, it follows in order that we fpeak of the Ciofes or Ca- dences which belong unto it. And here we muft have^ re'courfe to our forementioned $tb. and its two %ds. for upon thenrdependstheAir of every Cornpofition •, they ferving as JBounds or Limits which keep the Mufic in a due decorum.
True it is, that a skilful Compofer may (for variety) carry on his Mufic, (fometimes) to make a middle Ciofe or Cadence in any Key •, but here we are to inftrucl: a Beginner, and to fhew him what Ciofes or Cadences are moft proper and natural to the Key in which a Song is fet.
Of thefe, the chief and principal is the Key it feif-, in which (as hath been faid) the Bafs mult always conclude*, and this may be uied aifo for a middle Ciofe near the beginning of a Song, if one think fit. The next in dignity, is the $th. a- bove 5 and the next after that, the gi. In theie three piaces,middle Ciofes may properly be made, .when the Key is fat
Example.
Key Flat,
IilillpI||iil^lS
Key, 5 th. 3d. Key.
But
Trincifles of Comfofirion. 3 7
But if the Bafs be fet in a Sharp Key -, then it is not fo proper, nor eafie, to make middle Clofe or Cadence to end upon fte fiarg .3 A and there- fore (inftead thereof) we commonly ma*e ufe ot the 4*6. or 2d. above the Key for middle Clofes.
Example. Key Sharp. j
Key, 5 th. 4tk
Thus you fee what Clofes belong to the Key, both flat and fiarp: and by thefe two Examples fet in G,y ou may know what is to be done,though the Key be removed to any other Letter of the Scale.
$ 7. Hoiv to frame a Bafs.
i.T Et the Air of your Bafs be proper tq the Key
JL defigned. 2. If it have middle Clofes, lee
them be according to the late Examples. 3 -.The
longer your Bafs is,the more middle Clofes wnl be
required. 4. The movement of your Bafs muft be
(for the moft part) by leaps of a 3 A 4*6.01 $m
ufing degrees no more than to keep it within the
proper bounds and Air of the Key. daftly, i
would have you to make choice of a flat Key to
begin with 5 and avoid the fetting offiarp. ]Si0tes
in the Bafs, for fome reafons which (hall appear
hereafter. Let this fliort Bafs which follows lerve
for an Infiance^ in which there is a Clofe or bec-
tion at the end of the fecond Bar.
q o Example,
38 A Compendium ofMufic.
Example.
§ 8. How tojoyn a Treble to the Bafs.
TH E Bafs being made, your next bufinefs is to joyn a Treble to it : which to effeft, ( after you have placed your Treble Cliff) you are to fet a Note of the fame quantity with the firft Note of your Bafsh either in a ^d. 5**. or %th. above your Bajs i for we feldom begin with a 6f&. in> Counter- point.
Now, for carrying on the reft,your fecurcft way is, to take that Concord, Note after Note,which may be had with the leaft remove: and that will be, either hy keeping in the fame place, or re- moving but one degree. In this manner you may proceed until you come to fome Clofe or Seft- lon of the ftrain 5 at which you may remove by leap to what Concord you pleafe h and then car- ry on the reft as before.
By this means you will be lefs liable to thofe Difaliowances formerly mentioned, moft of them being occafioned by leaps of the upper part.
Only let me advertife you, that we feldom ufe Sths. in two Parts, except Beginning Notes. End- ing Notes, or where the farts move contrary ; that is, one riling, the other falling.
If you fet a Figure under each Note as you Prick it9 to figmfie what Concord it is to the Baft, as you fee in the following Examples, it will be fome eafe to your Eye and Memory.
Example.
Principles of Compfition* Example i beginning with a $tb.
39
fei^-4%P^
5 3 5
3 5 383
Example 2 beginning with a id.
^r!rzrH:l«d:t:i3ir3::«ari"ii
3 8
P
383 83^58 3 *
Example 3 beginning with an Sib.
pi +-s
6
Bafj
863 35863 58
Take notice that the Sj/5 making a middle Clofe at the end of the fecondBar,yourZVeWe may properly remove by leap, at that place, to any 0- ther Concord, and then begin a new movement by degrees 5 as you fee in the firft Example.
I propofethis movement by degrees5as the molt
eafie, and moft natural to iheTrebU part jnpiain
Counterpoint : yet I do not fo confine you thereto,
but that you may ufe leaps when there ihall beany
1 D 4 occa"
40 A Compendium of Muftc.
cccafion •, or when your own fancy fhall move you thereto : provided thofe Leaps be made into Imper- fect Concords, as you may fee by this Example.
Treble. ~ - £ H~:±! ^ ""I 1 J-J—Jl
935 35T 3 33 5 8
&?#• a;czpitzif:l:p2i!:3zd«ij:tdzz— 1|
Having told you that wefeldom ufe 8fKin two Parts, 'tis fit I give you fome accompt of thofe in the late Examples : The firft is in the third Bar of. the firft Example, where the Treble meets the Baft In contrary motion , therefore allowable. Jn the fecond Example are three stbs. The firft in the firft Bar, the TrSble keeping its place, and therefore al- lowable. The fecond meets in contrary motion *, the third keeps m place. In the third Example are two Bths. the firft begins the Strain, the fecond the Latter part thereof ^ in all which beginnings an8fZ>. may properly be ufed. Laftly,all thofe Btfo.which you fee ar the Conclufion of the Examples, are not only allowable, but moft proper and natural.
As for thofe two Sharps which you fee in„the fecond Example •, the firft of them is difputable, as many times it happens in Mufc; in which doubts the Ear is always to be Umpire. The o- ther Sharp depends more upon a Rule 5 which lsy that when the Bafs doth fall a %th or rife a qth ; that Note, from which itfo rifes or falls^ doth com- monly require the Sharp or greater ^d. to bejoynedto it. And being here at the conclufion, it hath a fur- ther concern ^ which is, that a Binding Ca- dence is made of that Greater %d. by joyning part of it to the foregoing Note, which is as frequent
in
Trincifles of Comttofition. 41
in Mnfic at the Clofe or Conclufion, as Amen at the end of a Prayer. Examples of it are thefe that follow •
Greater 3d
m
+£,
Cade iice 3d.
Cadence 3d
1
mmmwmm
Cadence 3d. Cadence 3d. Cadence 3d.
This Cadence may be ufed by any Part which hath the Greater $0% in the next Note be- fore a Clofe. p^ i r
There is another fort of Cadence frequent in Mufic (but not at Conclufion) in which the Greater 6th. doth lend part of its Note to the Note which went 'before* the Bafs Defending a Tone or Semitone, thus :
Greater 6th. Cadence. Cadance.
Greater 6th. j.
This alfo is apliable by any Part, or in any Key where rhe Greater 6th. is joyned to fuch Notes of the Bafs. t
qz A Compendium of Muftc.
I would now have you frame a Bafs of your own, according to former Inftru&ions, and try how many feveral ways you can make a Treble to It.
When you find your felf perfect and ready therein, you may try how you can add an Inner part to your Treble and Bafs : concerning which, take thefe InftrucTions.
§ 9. Composition of Three Parts.
FIrft, you are to fet the Notes of this Part in Concords different from thofe of theTreble. 2. When the Treble is a $tb. to the Bafs, I would have you make ufe either of a ?>L or an Sth. for the other Part; and not ufe a 6tb. therewith, until I have fhewed you how, and where a $r&. and 6tb. may be joyned together 5 of which more hereafter. 3. You are to avoid Stbse in this Inner part likewife, fo much as you cm with convenience. For though we ufe $tbs. as much as Imperfects, yet we feldorn make ufe of 8tbs. in three Parts, unlefs in fuch places as we formerly mention'd. The reafon why we avoid Stbs. in two or three Parts, Is, that Imperfe£t Concords afford more variety upon aecornpt of their Majors and Minors 5 be- fides, ImperfeQs do not cloy the Ear fo much as Per feds do.
We will make ufe of the former Examples, that you may perceive thereby how another Part is to be added.
ExanfU.
Principles of Composition. 43
Example 1.
5 3 5 *• * 3 8 3 5 B 3 5 3 5 3 5 13 5 3 8
Example 2. ( ^
3838365 8 3 P
i:fc:?rfr?:l:dri:!£z--3:Iri=|^f
5 3 5 3 5 3 3-3 58
Example 3.
863 35 863 S«
8 5 3 3 3 5 3 8
3 3 « 5 3 3 3 5 3 •
44 ^ Compendium of Mufic.
That feflat which you fee in the third Bar of all the three Examples of the Inner part, is fee there to take away the harfh reflection oFEflarp againft h flat the' foregoing Note of the Bafs : which is that we call Relation Inbarmomcal, oi which I (hall fpeak hereafter. As for the Sharps I refer you to what I faid formerly of them : On- ly take notice that part of tYieJharp id. in the Tre- ble Part of the fecond Example, is joyned to the foregoing Note, to make that Binding Cadence we formerly mentioned.
§ I o. Compofition of Four Parts.
IF you defign your Compofition for four Parts, I would then have you to joyn your 2d, Tre- ble as near as you can to the Treble \ which is eafily done by taking thofe Concords (Note af-! ter Note) which are next under the Treble, in manner as follows.
Example.
"''pliplllipplilil
5 3 5 3 5 38358
38383 8583 8
JBL^-fr-tt* i~« L ' 1
Principles of Comfofition. 45
I make the 2 J. Treble and Treble end both in :he fame Tone h which, in my opinion, is better han to have the Treble end in mjharp id.a- jove h the Key of the Compofition being jfof, md the Jbarp ?>L more proper for an Inward part at Conciufion.
I will now, by adding another Part {viz. a Te- nor) (hew you the accomplifhment of four Parts : concerning which, thefe Rules are to beobferved.
Firft, that this Part which is to be added, be fet in Concords different from the other two upper Parts. That is to fay, if thofe be a $tb. and iL let this be an Stb h by which you may conceive the reft.
Secondly, I would have you joyn this lenor as near the 2d. Treble as the different Concords do permit 5 for the Harmony is better when the three upper Parts are joyned clofe together.
Thirdly, you are to avoid two %tbs. or two $tbs. riling or falling together, as well amongft the upper Parts, as betwixt any one Part and the Bafs * of which there islefi danger, by placing the Parts in different Concords
Example*
J
46 A Compendium of Mufic.
Example of Four Parts.
Treble. caKstr
Plpilpfiil!
5 3 5 3 5 3 8 3^ 5 8
3838385 8 38
.85858 5358 3
""iiiiiiliiiii
. Here you may perceive each Note of the new fy added Tenor, let in a Concord ftili. different! from thofe of the other two higher Parts 5 by which the Compofition is compleated in four Parts. And though I have fhewed this Compo- sition, by adding one Part after another, which! I did conceive to be the eafieft way of giving you a clear underftanding of it 5 yet, now that you know how to place the Concords, it is left to your liberty to carry on your Parts (fo many as you defign) together h and to difl pole them into feveral Concords, as you fiiall think convenient.
§ 11 flow
Principles of Comfofttion. 47
11. How a 5 th. and 6th. may ft and toge- ther in Counterpoint,
IT is generally deliver'd by moft Authors which I have feen,that how many Farts foever a Com- pofition confifts of, there can be but three feveral Concords joy ned at once, to any one Note of the Bafs h that is to fay , either a 3 A is**, and Stb. or a 3 d. 6th. and Stb. * and, that when the $th. takes place, the 6th. is to be omitted 5 and contrari- ly, if the 6tb. be ufed, the $tb. is to be left out. Our excellent and worthy Countryman Mx.Tbo- mas Morley, in his Introduction to Mufc, Pag. 145. teaching his Scholars to compofe four Parts,ufeth thefe words, But whenyou put in a 6th then of force mujf the 5 th. be left outh except at a Cadence or Clofe where a Difcord is taken, thus :
which is the hefi manner of clofingi and the only way of taking 0 5 th. and 6th. together.
6
g::=z§J:grD±g-r:{|
All this is to be nn- derftood asfpeakingof a perfeB $tb. But there is another $th. in Mu- fic, called a falfe, de- fe£Hve, por imperfeft %th. which neceflarily
tequires a 6th. to be joyned with it : And tho1 1 never heard any approved Author accompt it for a Concord, yet is it of moft excellent ufe in Com- pofition h and hatha particular grace and elegan- cy, even in this plain way of Counterpoint. It is commonly produced by making the lower term
or
48 A Compendium of Muftc.
or Bafs-Note, Sharp, as you fee in the two In- fiances following.
I * ,6 J
Thus you fee how a $fi>. and (Sf&. may be ufed at once $ In any other way than thefe I have mention'd I do not conceive how they can ftand; together in Counterpoint * but when one of them* is put in, the other is to be left out, according to the common Rule.
^ ix. Composition in a /harp Key.
WE will now proceed to a Jbarp Key ; in which, 6ths. are very frequent * for therei are certain fiarp Notes of the Bafs, which necef J farily require a letTer 6th. to be joyned to them : As namely, 1. The Half- Note, or/#r 2d. undeij the Key of the Compofition. 2. The greater 3I above the Key. 3. Alfo the 3 J. under it, requi-| ring fometimes the greater, and fomedmes the left fer 6th. to be joyned to it, as you fee in the fub-! fequent Example ; in which the Notes of the Bafs requiring a 6tbt are marked with a Dagger under them, Treblel
Principle's of Compofitioti*
49
3 5^ 5 *8 3 3^ 8 5 3
Towor.
B*fr
Things to be noted in this Example are thefe : i. When the Notes of the Bafi keep ftill in the fame place, it is left to your liberty to remove the other Parts as you (hail think fit : An inftance whereof you have in rhe next Notes after the be- ginning. 2. Take notice (and obferve it hereafter) that theHalf-Note or fiarp Second under the Key, doth hardly admit an %th. to be joyned to it, without offence to a critical Ear -, and therefore have I joyned two 6ths. and a 3 J. to that Jkarp Note of the Bafs in F. 3. In the firft part of the fecond Bar, you may fee the Treble lending part of its 6th. to the foregoing Note, to make that Binding Cadence which we formerly mention'd, pag. 41. 4- You may obferve that now I permit the Treble to end in a Jharp 3d. which I did not approve when the Key was flat.
The Figures (hew you which parts are 6ths. to the Bafs, as the marks, which Notes of the B«fi
E re-
£o A Compendium ofMufic.
require them % where you muft know,that the Bafs in all fuch like Notes, doth afTume the nature of an upper Part; wanting commonly a ?i, fome- times'a $th. of that Latitude or Compafs which is proper to the true nature of a Bafs.
To demonftrate this, we will remove the faid Notes into their proper Compafs 5 and then you will fee thofe 6ths. changed into other Concords t, the upper Parts remaining the fame they were, or elfe ufing thofe Notes which the Bafs affumed before.
Example.
Treble. 22
z Treble
Tenor.
Bafs.
::t£trfi=Br1
, Here you may perceive, that by removing thole Notes of the Bafs a 3A lower, all the 6tbs. are taken away, except that 6tb. which made the Binding Cadence : and that alfowill be taken quite away, if we remove its Bafs- Note into its full La- titude 5 which is a $tb. lower h as you will eafily fee by the Inftance next following*
By
Principles of Com^afitioru f i
„<T1 -I* By tfcls which hath
-tfsEpffetp^l t>een fhewed, you fee :tiE^Efi£i:C-^il where Uhs. are to be ' *~~ r ufed In Compofition 5
•■ -/■"'■ -and how they may J>e
P4-:n^:3:F-:dE:;inl avoided when you Jrzrzrs: p:g-:f :j| pieafe. But I would *— u- i~? ^ave you take notice,
that Ba/ej confifting much of Notes which require 6ths. to £e yopei to t^wz, <*n? more apt for few, than for many Farts. The like may be faid of Bajfes that move much by Degrees.
§ 13, Of Trapfition%or Breaking a tfoti.
ONe thing yet remains, very neceflary (fome- times)in Compofition: and that is,to make fmooth or fweeten the roughnefs of a Leap, by a gradual Tranfition to the Note next following, which is commonly, bailed the Breaking of a Note. The manner of it you" have in the following Ex- amples, where the Minim in £, is broken to a $X. $th. and $th. both downward and upward.
In like manner may a Semihreve be broken into
fmaller Notes. Where take notice alftv that two,
E 2 t!yee3
yi A Compendium of Mufic.
three, or moreNotes,ftanding together in the fam< Line or Space may be confidered as one intin Note, and confequently capable of Tranfition,
Example.
WSMMM
In which, yoil have no more to take care of3but that the firft Particle exprefs the Concord?and that the laft produce not two $ths.otStbs. with fome; other Part. To avoid which (if it fo happen) the1 following Note of -the other Part may be alter- ed, or the Tranfition may be omitted.
We will take the late Example with its 6th$. and apply Tome of thefe Breakings to fuch Notes as do require them, or may admit them.
Example.
Treble* ZZZZZ^&ZZi
Tenor.
lg|||||i|l||to
Mil «5PE
H
iiililipiil
The
Priciples of Comfofttion. $ 3
The Breakings are marked with little Stars un- der them 5 which you will better conceive if you caft your Eye back upon their original Note.
In this I have made the ift. and id. Treble end tboth in the fame Tone, that you might fee the Tenor fall by Tranfition into the Greater 3 d. at the Clofe.
Thefe Rules and Inftruftions which I have now delivered, being duly obferved, may (I doubt not) fuffice to (hew you what is neceffary for Compofi- tion of two,Three,or Four Parts, in Counterpoint.
I have fet my Examples all in the fameKey,(™z.) in G.) that I might give the lels difturbance to your apprehenfion 5 which being once comfirm- ed you may fet your Compofition in what Key you pleafe, having regard to the Greater and Lejfer 3 J. as hath been (hewed.
$ 14. Compofition of 5, 6, and 7 parts.
BY that which hath been (hewed, it plainly ap- pears, that there can be but three different I Concords applyed at once to any one Note of the Bafs, that is to fay, (generally fpeaking) ei- j their a 3d, $tb. and Ztb. or a %L 6th. and Stb. I Hence it follows that if we joyn more Parts then J three to the Bafs, it muft be done by doubling fome of thofe Concords, v. g. If one Part more be added, which makes a Compofition of Five Parts, fome one of the faid Concords muft ftill be doubled. If two be added, which makes a Compofition of fix Parts, the duplication of two f of the Concords will be required. If Three Parts I; more be added, which makes up Seven Parts * :! then all the three Concords will be doubled. And : confequently, the more Parts a Compofition con- ! lifts of, the more redoublings of the Concords I will be required. Which redoublings muft be ei-
E 3 ther
54 A Compendium of Mujicl
ther in their O&aves, or in their Unifom. I men- tion Unifons, becaufe many Parts connot ftand lyithin the Compafs of the Scale of Mufic, bur fome of thofe Parts muft of neceffity meet fome- times in Unifon.
That I may explicate thefe things more clear- ly, I will let you Examples of ?, 6, and 7 Parts 5 with fuch obfervations as may occur therein : And being able to joyn fo many Parts together in Counterpoint, you will find lefs difficulty to com- pofe them in Figurate Defcant h becaufe there you will have more liberty to change or break ©ff upon the middle of a Note.
Example of Five Parts.
Treble. ZZZ"QZfjr-p~t~?^~fE~'G~
p5:fe|
3?383Sr3S3 58
2 TrebleT~
Tenor.
838583853 38 585358535 85
* $ B $ Z 5 8 5 8 53
Here you fee fome one of the Concords fiill doubled^ as may be obferved hy the Figures
which
Vrincifks of CompoGtfon. $5
which denote them. Your next (hall be of Six Parts • wherein two Concordswiil ftill be doubled to each Note of the Bafs.
Example of Six Parts, 3 5 3 8 3 5 3 8 3^58
8 38 5838 58^ £r 8^
585 558 535 8 5
, I J J i.J-J-Jf If
85 8585 8 5 3 5 _3
58585
585 85
Baft
Here you fee two Concords doubled •, in which, all you have to obferve is, how they remove feve- rai ways* the one upward, the other downward* by which means they avoid the Confecution ot Perfe&s of the fame kind.
£ a Example.
5T6 A Compendium of Mufic.
Example of Seven Parts,
3 5 3 835 3 8 3 ^X 8
8 3 8 5 8 3 8 5 8 ' , 8
* 8 S 3 3 8 5 3 3 85
3 8 3 585
!-!-
8 5
3 5 3
2 r<?»c?\
3583
Bafs,
5 ^ 5 8 5 8 5 8 S * S
Obfervations in this Example are thefe5firft that all the three Concords are either doubled * or if any one ftand fingle, (as that which makes the Binding Cadence muft always do) it doth neceffi- tate fome other Concord to be trebled. Secondly, that though the Parts do meet fometims in Unifo*
when
Principles of Comfofition. % 7
I when it cannot be avoided 5 yet they muft not re- main fOjlonger than neceffity requires. Laftly take notice, that the Notes of one Part may be placed above or below the Notes of another neighbou- ring Part ^ either to avoid theConfecutionof Per- feds, or upon any voluntary defign. The Notes !fo tranfpofed are marked with little fiars over ' them, that you may take better notice of them.
!§ if. Of two Baps, and Compofition of Eight Parts.
1 \ jr Any Compositions are faid to have two Baf- jy± fa (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 fupplys the office of another Part. Such are com- monly defignJd for Inftruments. But here we are
j to fpake of two Baps of a different nature • and that in reference to Compofition of Eight Parts ; which, whether intended for Church or Cham- ber, is ufualiy parted into two Quires ; either Quire having its peculiar Bafs, with three upper Parts thereto belonging.
Thefe 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 fubjeft, matter, or fancy of the Compofer. But when both Quires ]*oyn together, the Com- pofition confifts of Eight Parts, according to the following Example. In which you win fee two Baps, either of them moving according to the nature of that Part-, and either of themalfo, if fee alone, a true Bafs to all the upper Parts of either Quire * for fuch ought the two Baps to be, which here I do mean. And though it be a thing which
few
y8 A Compendium of Mufic.
few of our chief Cornpofers to obferve, yet I caj not but deliver my opinion therein $ leaving th< skilful to follow which way they moft affefr.
Example of Eight Farts
l Treble ZZZZZZZV£m.i:&JZ^.:t
HP
U
5335.5 3 6^3 8 3 8
3^8833833858 3
gg^ — .„j tFbP— H——^-^
a ^/?.
I Tfeiw.
S 8 5 5 8 8 5 8 8 5 3 8 5 58535833658 58
5583 3583335 85
2 Ttmr. Ht*T
^"3S:£S:£!:i3f::
33385856833 5 3 *rar
$ffi$*p
Principles of Compofithn. 59
As concerning the concordance of tbefe two Bafes betwixt themfelves h It muft be, in every relpe&ive Note, either an 08ave9 an Un\f<mv a Third, or a Sixth, one to the other: not a Fifth, becaufe the upper Bafs (being let alone, or founding louder than the other.) will be a tfb. to all thofe upper Parts which were OUavet to the lower Bafs. But where the Bafes are a ^L [one to the other, if you take away the lower \BaJs, the %ths. are only changed into 6ths. A- gain, if you take away the lower Bafs where they are a 6th. one to the other * thofe upper Farts which were 6ths. to the lower Bafs, will be Sths. to the higher. Where the Safes found in fi&i^M or OBave, the upper Concords are the fame to
The reafon why I do not affeft a %th. betwixt the two J5«/w in Choral Mufic is, that 1 would not have the Mufic of one Quire to depend up- on 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 Bafes with ail their upper Parts to be fuch as may make one entire Harmony when they joyn together.
One thing more concerning two Bafes is, that though they may often meet in ids. yet if they move fucceffively ia fimple %ls% they will pro- duce a kind of buzzing, in low Notes efpecially, (as I have fometimes obferved) which is not to be approved unlefs the Humour of the Words fhould require it.
' What we have faid of four Parts in a Quire, the fame may be underftood if either Quire con- fift of five or fix voices. Alfo, if the Mufic be compofed for three or four Quires, each Quire ought to have its peculiar Bafs, independent of
the
60 A Compendium of Muftc.
the other : And the more Parts the Compofi- tion confifts of when all are joyned together in a full Chorus 5 the greater allowances may be granted : becaufe the multiplicity of voices doth drown or hide thofe little folecifmes which in. fewer Parts would not be allowed.
This is as much as I think neceflary to be fhewed concerning Counterpoint, or plain Defcent, which is the Ground work, or (as I may fay) the Grammar of Mufical Compofition. And though the Examples herein fet down (in which I have endeavoured no curiofity but plain in- Amnion) be fhort, fuitable to a Compendium yet they are (I hope; faffieient to let you fee how to carry on your Compofitions to what length you fhall defire.
A I
6i
A
COMPENDIUM
0 F
PRACTICAL MUSIC.
The Third PART.
TEACHING The Vfe of Difcorcfs.
§ i. Concerning DiJ "cords.
Words, as we formerly faid of Intervals * g are Indefinite ; for all Interval,, except- I J ing thefe few which precifely terminate ihTCoDCoTds, are Difcords Bur our concern in this place, is no more than with thefe that follow, I*. The Lefer and Greater Secgd. The Leffer, Greater, and PerfeS Fourth. The .Lepr JmfeSive 'Fifth. The if . ^ f^ Seventh. By thefe I alfo mean their 08aves.
§ 2. How
D
6r
A Compendium of Mufic.
§ 2. How Difcords are admitted into Mafic.
DIfcords are two ways f chiefly ufed in Com* pofition. Firft, in Diminution ; That is, when two, three, or more Notes of one Part, arc1 &t againft one Note of a different Part. And this1 is commonly done in making a gradual trar?ii tion from one Concord to another $ of which you had fome Intimation Pag. ?i5 where I fpoke of Breaking a Note.
In this way of paffage, a Difcord may be aL lowed in any one-of the dominate -Noi:^ except; the firft or leading Note, which ought always! to be a Concord.
Example.
S 2 3 4 8 7 6 $ 87 6 5
^iiiiii^iiii
5 4 3*
3 4 5 6
3 43
^ 7 <5 7 45 3
3 456 3634 656$
To which may be referred all kinds of Break-! !ffl?l°r Dividings, either of the 8*Ji it felf, or of! the Defcm that is joyned to it 5 of which you
may
Vfe of Difcords. 6$
nay fee hundreds of Examples in my Book na- ned The Divifon Viol, 7,1 Part ^ the whole dif- ourfe being upon that Subjeft.-
Hear again take notice, that two, three, or pore Notes ttanding together in the fame line or foace may he conlidered as one entire Note $ and bay admit a Difcord to be joyned to any of jhem, the firft only excepted.
Example.
ipiglgiii
5432 87 5 §
~\: — z_:j_e:ii
Although in this Example, I fhew what liberty you have to ufe Difcords^ where many Not:S ftand together in the fame line or fpace, which imay pToperly be ufed in Vocal Mufic, where both the Parts pronounce the fame words or fyi- lables together 5 yet it is not very ufual in Mu- I fie made for Inftruments,
T
§ 3 • Of Syncopation.
He other way in which Difcords are not on- ly allowed or admitted 5 but of moft ex- cellent ufe and Ornament in Compofition ; is, in Syncopation or Binding: That is, when a Note of one Part ends and breaks off upon the mid- dle of rhe Note of another Part : as you fee in
' the following Examples.
Syn-
64 ** Compendium of Mujic.
Syncopation in two Parts.
liiiliilllgliS
876 6 $ 43 467 6 S 343 43 43^ 238
323 2323 23 46 4 3 8 5676 767 6 ?6]4s 4 3 8 343 4323 8
:3id-tz:fe:Big:l-pi:i::i fen;::]
s:q:rrj~-±izd "azf^ br fc i~ £ 1 -
876 $ 16 $6 j 6 5 4 3$
Vfe of Difcordi. 6$
Syncopation in Three Parts.
^£:i:E:|:b-E:E:Et~fe|fl^:ll
5 6 7685 6 765768
323 333433333
*4T/.3E:f£--:tP=
1 Trett e~_ZZ i
6 5 6 6
2 TrebW^^jC.
Baft
li|iilpppil=
3 3 3 4 3 4 3 4 3 8^
66 A Compendium of Muftc.
Thefe Examples do fhew you all the Bindings or Syncopations that are ufually to be found $ as \ •jtbs, with 6tbs h 6ths. with $ths ^ tfbs. with %ds 5 | ids. with 2ds. Why 8ths. and $tbs. are exempt from Binding with their neighbouring Difcords, (hall prefently appear.
In this way of Binding, a Difcord may beapply- ed to the firft Part of any Note of the Bafs, if the other Part of the Binding-Note did found in con- cordance to that Note of the Bafs which went be^ fore : and fomecimes alfo without that qualifica- tion wherein fome Skill or Judgment is required.
$ 4. Tajfage of D if cords,
DIfcords thus admitted, we are next to confi-i der how they are brought off, to render them! delightful *5 for fimply of themfelves they are harfh and difpleafing to the Ear, and introduced! Into Mufic only for variety $ or, by ftriking the! fenfe with a difproportionate found, to beget a greater attention to that which follows $ to thej hearing whereof we are drawn on fas it were^l by a neceffary expectation.
This winding or bringing a Difcord off, is al- ways bell affecled by changing from thence into! fome ImperfeQ: Concord, to which more fweet-i nefs feems to be added by the Difcord founding] before it. And here you have the Reafon why an; Stb. and a $tb. do not admit of Syncopation or: Binding, with their neigbouring Difcords 5 be-| caufe a ~jth, doth Pafs more pleafmgly into a 6tb.\ as alfo a $th. into a lotb. or 3d. Andas for a $tA ihough it Bind well enough with a 6tb. (as youj did fee in fome of the foregoing Examples) yet I with a $ih. it will not Bind fo well, becaufe a; 4*&. doth Pafs more properly into a $4.
Thefet
Vfe of Dtfcords. 6y
Theie little windings and bindings with Di£ cords and Imperfect Concords after them, do very much delight the Ear : yet do not fatisfie it, but hold it in fufpenfe (as it were) until they come to a perfea Concord h where (as at a Period; we underftand the fence of that which went before.
Now, in paifing from Difcords to Imperfect Concords, we commonly remove to that which is neareft, rather than to one that is more remote 5 fwhich Rule holds good alfo in palling from Im- perfecT: Concords, to thofe that are more PerfecT:.
$ j. Of Difcords '9 Note againft Note.
A
Lthough we have mention'd but two ways in which Difcords are allowed 5 that is, in Diminution, and Syncopation * yet we find a^ third way, wherein Skilful Compofers do often life them : which is, by fetting Note for Note of the fame quantity one againft another. And though it be againft the Common Rules of Com- tjofition* yet, being done with judgment and defign, it may be ranked amongft the Elegances? of Figurate Mafic,
The prime or chief of which, for their ufe and excellency in Mufic, are zTrhone and a Semidia- pente 5 that is, the Greater or Excejjive qtb. and the Lejfer or Defefiive $tb. Which according to the Scale, where we have no other divifions or diftincYions than Semitones or Half Notes, feem to be the fame Interval, as to proportion of found, leither of them confifting of fix Semitones 5 but their appearance in pracTice is, one of them as a \qthi the other like a $th. which, if placed one aibove the other, compleat the compafs of an \08ave7 in manner following,
F i Semi*
68
A Compendium of Mufic.
ZZZ^Z ZfZI_ril Semiiiiapentid-
Tritone.
Semidiapente-
j^^^gjpeggi^
123456
1 2
3 4 5 6
Their ufe in Figurate Defcant is very frequent, both in Syncopation and Note againft Note, as in Counterpoint. The Tritone paffes naturally in- to a 6th. the Semidiapentc into a 3</. thus :
=El£rppiEIE||rei^3E:rElI=:^ ^-frErfcpr~|jrp:-^?-:e-tJ— =
t <5
Tritone.
t 3
Semidiapentc^
The Parts or Sounds which they ufiially re- quire to be joyned with them, either in Binding or without it; are a Second above the lower Note of the Tritone-, and a Second above the higher Note of the Semidiapente 5 which makes1 that 6th we mention'd pag. 47, as neceflary to; be joined with an ImperfeS $th*
Exam-
Vfe of Difcords. Example.
69
■ ^._^»-_-— — 1— — — ■
plpiiip
t 6 t 3
ilililfp
Tritone.
Semidiapente.
§ 6. Of Difcords in double Trwfitiori.
I She wed you formerly, (pag. ?i J how a Note is fometimes broken to make a Tranfition by* degrees to fome other Concord.
Thefe Tranfitions or Breakings are commonly exprefs'd in Quavers or Crotchets-, fomrimes (though feldom) in Afinums. The Examples I gave you were fet for the Treble, but may be apply ed to rhe Bafs alfo, or any other Part.
Now, if the Bafs and an upper Part, do both make a Tranfition at the fame time, in Notes of the fame quantity, and in contrary motion, which is their ufual Paffage •, there mull: (of ne- ceflity ) be an encounter of Difcords, whilft ei- ther Part proceeds by degrees towards its de- figned Concord. And therefore in fuch a Paf- fage, Difcords fno doubt^ may be allowed Nets againft Note,
I|
Example,
70 A Compendium of Muftc.
Example.
89468 89468
3 9758 367 yW4 3 8
6 4 9 7 ? 3 4 3
Befides thefe which depend upon the Rule of Breaking and Tranfition, there may be other ways wherein a Skilful Compofer may uponbefign fet a Difcord, for which no general Rule is to be given h and therefore, not to be exhibited to a Beginner 5 there being a great difference betwixt that which isdone with judgmentand defign, and that which is committed by overfight or igno- rance. 4 gain, many things may be allowed in Quavers and Crotchets fas in thefe Examples that I have (hewed J which would not be fo allowable m Mwums or Semibrevei. - s > j
Vfe of Difcords. 7*
T told you formerly that Difcords are belt brought off, when they pais into ImperfeZt Gon- cS which is true Dcftrine, and ought to be obferv'ed 7as much as may bej in long Notes and SvncoPat on •. But in fhort Notes and Diminu- don we are not fo ftriftly obliged toobfervance of t'haVRule. Neither can we Afcend or Defcend bv degrees to a ftb. or to an Ztb. but a 4**, will Sme before the one, and a -jib. before the other
Again a itb. doth properly pafs into a Sr&. when the Parts do meet in contrary motion, as you may fee in the Example next following.-
And here you may fee two -;th both Parts Delcendfng betwixt the Bafi and h.gher Treble, not by overfight, but fet with defign.
§ 7. Of Relation Inbarmonical.
AFter this difcoufe of Difcords, I think it very proper to fay fomething concerning Relation Marmonical, which I formerly did but only mention.
p 4 Relation
Jt A Compendium of Mujic]
Relation, or Refpeft, or Reference Inharmoni- cal is a harfh reflection of Flat againft Sharp in a crois iorrr^ that is, when the prefenr Note of one Fart compared with the foregoing Note of ano- ther I arr, doth produce fome harfh and difpleaf- lng Difcord. Examples of it are fuch as follow :
jjVj* J_ J 4 S
■tiEra
The firft Note of the Treble is in EJharp 5 which confidered fcrofs-wife) with the fecond Note of the Bafs in E fiat, begets the found of a Lefer Second, which is a Difcord. The fecond Example is the fame Defcending.
The third Example, comparing £ Jharp in the #*A with B fiat m the 7><?Me, produces a falfe 5^. which is alfo a Difcord. The like may be faid of the fourth Example.
The firft Note of the Bafs in the fifth Exam- ple Hands in B flat : which compared with the lait Note of the Treble, m EJbarp, produces the found of a Tritone or Greater qtb. which is alfo a harm Difcord.
Though thefe crofs Relations found not both together, yet they leave a harfhnefs in the Ear, which is to be avoided h efpeciaily in Gompofition of few Farts.
• But yot muft know, that this crofs refleftion of F/tftagainii Sharp, doth not always produce Relation Inharrnonical.
Example
Vfe of Difcordsl Example,
n
pa*
ho .iPZL
£-£>-
For it is both ufuai and proper for the up- per Part to change from flat tofljarp when the Bafi doth fall a Letfer %L as you fee in the firft and fecond Bars of this Example. Alfo that re- Beftionof FJbarp againft hflat, in the third Bar, which produces the found of a LeJJer tfb. is not Relation Inharmonical. The reafon thereof you fhall prefently have. But firft I will give you a clearer Inftance thereof, by comparing it with another #6. flat againft fiarp crofs-wife, that your own Ear may better judge whatis, and what is not, Relation Inharmonical.
Example.
Good. Good.
Bad.
Bad.
Eaz§E ^^^^^^z^^i^
HarmonicaL
Inharmonical.
The firft two Inftances (hew a Relation of F fiarp in the Bafi, againft Bflatm the TreMe,which begets the found of a Lejfer tfh. and is very good
" and
74 '<A Compendium of Muflc.
and ufual in Compofition. The other two Inftai ces are F flat in the Bafs, againft Bfiarp in the TV, ble, which makes a Greater or Excejfive qtb. a ver harfh Relation. And here (by the way) you ma obferve rhree different qths. in Practical Mufi< piz. i. From FJbarp to B flat upward $ 2. From Flat to Sjfttf j and 3. From Fjfa* to Bfiarp, thtjj exemplified.
L^r 4th, jfVr/<?# 4th. Greater 4th.
As to thereafon,why Ffiarp againft fcjRit dot! not produce Relation Inharmonical, we are | confider the proportion of its Interval $ which (in; deed) belongs rather to the Theory of Mufic lor though the Ear informs a Pra&ical Compofeii which founds are harfh or pleafing •, it is the fpel culative Part that confiders the Reafon why fuel; or fuch Intervals make thofe founds which pleaf^ or difpleafe the Ear.
But we will reduce this bufinefs of the Lejferqth into Practice 5 that thereby we may give a reafoi to a Pra&ical Mufician why it falls not under Re lation Inharmonical. To which purpofe we wil examine it according to our common Seal of Mu. fie h and there we (hall find it to conlift of ncl more than four Semitones or Half-Notes •, whicfi is the very fame number that makes a Dkone 01 Greater iL ThisExample will render it more plain!
Leffer 4th.
Greater 3d.
X * 3 4
1 2 3 &
Now
rrk
ZJJe of Difcords, J 5
Now I fuppofe that no fraaicai Mufician will y that the two Terms of a Greater id. have iy harfh Relation one to the other s which •anted, doth alfo exempt the other (being the ie Interval) from Relation Inharmomcal, tho*
appearance it be a qtb. and hach/at againft arp in a crofs reflexion.
By this you may perceive that durances in le Scale, are not always the fame in found, 'hich-they feem to the fight. To illuftrate this little further, we will add a Lefer %A. to the ormer Lefer tfb. which in appearance will [lake a Lefer 6th. for fo the degrees in the Scale |ill exhibit it in manner following.
4th. 3d-. 6 th. 6th.
But this 6tb. in fight, is no more in found than a :ommon %tb. which we may demonftrate by the Scale it felf .-For, if we remove each Term a Semi- \one lower (which mutt needs keep them Bill at the fame diftaixe) we (hall find the 6th. changed !inro a $tb. in fight as well as found h and the Lefer tfb. likewife changed into a Greater 3d. as you may fee in this Example.
: Jlj fft — -j || And if we remove the
^5~±g^g :)iip- 1 latter three Notes again, Kltd:~lfclfd:- ip-tl and fet them a Semitom higher by adding a {harp to each Note, thus * that which in the firft Inftance ^^j-. — --11 was D flat, is now become C ^_ j^g-4p— -Jl Jbarp h and likewife B fat now $?$□ — ~~fc -- II changed into A fiarp. m
This removing of the Concords a Semitom higher or lower, as alfo the changing them into
0 Keys
7& A Compendium of Muftc.
Keys which have no affinity with the Cardin
Key upon which the Aire of the Mufic d
pendeth, does many times caure an Untunabh
neis in the Concords, as though our Strings wei
out of Tune when we flay upon Infhumen.
which have fixed Stops cr Frets, And this al
happens amongft the Keys of Harpfichords, an<
Organs, the reafon whereof is, the inequalit
ot lcnes and Semitones v either of them havini
their Major and Minor ; which our commo
Scale doth not diftinguifli. And this has can
ted lome to complain againft rhe Scale it fell
as though It were defeaive Concerning whicJ
1 wili prefume no further than the delivering o
my own opinion ; to which purpofelmuft firf
fay fometinng.
T
$ 8. Of the Three Scales of Mufic.
He Three Scales are thefe. r. Scah Diato-
■ nK%, 2- £ala Crom!lti™, 3- Scah Bfihark momca. The Diatonick Scale, is that which rf festo a ph. by three Tones and a Semitone, and from thence to the 8f£. by two Tones ana one! bemitone : which Semitone is denoted in both pla-'
Trie^5 3S l fh£Wed " th£ be8innipS°f this| Example.
Fa* Fa.
This is (in effea; the Old Grecian Scale, con-' hltingof four letrachordsot 4ths. extending to a double OSave; which Guido Aretinus, a Monk
of
Vfe of Difcords. 77
of St. Benedi&s Order (about the year of our Lord 960). changed into a form in which it now is : fetting this Greek letters f Gamma at the bot- tom of it, to acknowledge from whence he had it : and This (for its general ufe) is now called the Common Scale of Mufic.
The Cbromatick Scale rifes to a $tb. by a Tone and five Semitones; and from thence proceeds to an %th. by five Semitones more,
Example.
Some perhaps may find fault with this Exam- ple of the Cbromatick Scale, as being not the u- fual way of fetting it down : but I thought it the beft Inftance I could give a Learner of it, as to its ufe in Practical Mufic •, in which it is fo fre- quently mixed with the Diatonick Scale, that the h flat and $ Jharp which formerly belonged to I only, 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 called Cbromatick Mufic. And from hence it is that an Oftave is divided into 12 Semitones.
The Inbarmonick Scale rifes gradually by Delfes or Quarter-Notes •, of which 24 make up an 03- ave h and is fo far out of ufe, that we fcarce know how to give an Example of it Thofs who en- deavour it, do fet it down in this manner.
But
78 A Compendium ofMufic.
--BxD-#Q~#^e-t-Dxcctorftm&c.rz:
Bur, as to its ufe, in Practical Mufic, I am ye to feek* For I do not conceive how a natural Voic can Afcend or Dekend by fuch Minute degrees and hit them right in Tune. Neither do I fee hoW Syncopes or Bindings with Difcords (which an ihz chief ornaments of Competition^ can be per-! formed by Quarter-Notes. Or, how the Con- cords (by them J can be removed from Key to Key, without much trouble and confufion. Foi! thefe reafons I am flow to believe that any good1 Mufic (efpecially of many Parts) can be com-1 pofed by Quarter- Notes, although I hear fome ralk much of it.
Only one place there is, where I conceive a Quarter-Note might ferve inif ead of a Semitone •! which is, in the Binding Cadence of the Greater^ %d. and That, commonly, is covered or drowned' either by the Tril of the Voice or Jhake of the] Finger.
But fome do fancy, that as the Diatonick Scale1 is made more elegant by a Mixture of the Chro-\ fnatick; fo likewife it might be bettered by help1 of the Enh ay mo-nick Scale, in fuch places where thole little Diflbnances do occur.
I do not deny but that the flitting of the Keys in Harpfichords and Organs^ as alfo the placing of| a Middle fret near the Top of a Nut of a Viol or Theorbo^ where the fpace is wide may be ufeful in fome cafes, for the fweetning of fuch DifTo- iiances as may happen in thofe places : but I do' riot conceive that the Enhavmonick Scale is there- in concerned $ feeing thofe Diflbnances are fome- times more, fometimes lefs, and feldom that any
ofl
Vfe of Difeords. 79
| them do hit precifely the Quarter of a Note.
Now as to my opinion concerning our com- non Scale of Mufic •, taking it with its Mix- ure of the Chromatid 5 I think it lies not in the vit of man to frame a better, as to all intents and >urpofes for Practical Mufic. And, as for thofe! ittle Diflbnances (Tor fb I call them, for want >f a better word to exprefs them ) the fault is not n the Scale, whofe office and defign is no morel han to denote the diftances of the Concords ind Difeords, according to the Lines and Spaces 1 which it doth confift 5 and to (hew by what degrees of Tones and Semitones a Voice may rife
or fall. For in Vocal Mufic thofe Diflbnances are not
perceived, neither do they occur in Inftruments Which have no Frets as Violins and wind Inftru- ments, where the found is modulated by the touch of the Finger 5 but in fuch only as have fixed Stops or Frets 5 which, being placed and fitted for the moft ufual Keys in the Scale, feem out of order when we change to Keys lefs ufual 5 land that (as IfaidJ doth happen by reafon of the in equality of Tones and Semitones, efecial- ly of the latter. .
Concerning which, I fhall (with fubmiffion to better judgments; adventure to deliver my own fenfe and opinion. And though it belongs more properly to the Mathematick Fart oi Mufic, yet (happily) a praQical Explication thereof may give fome fatisfaftion to a Praai- cal Mufician, when he fhall fee and underftand the reafon.
§ 9r
80 A Comfendium of Mafic.
§ 9^ Of Greater and Lefer Semitones.
Flrft, you muft know, that Sounds have theii Proportions as well as Numbers. t Thofe Proportions may be explicated by line divided into 2, 3,4, 5, or more equal Parts! We will fuppofe that line to be the String of I Lute^otViol Take which String you pleafe, fo! it be true 5 but the fmalleil is fitteft for the pur- pofe.
Divide the length of that String, from the Nutt to the Bridge, into two equal Parts -, flop it in the Middle, and you will hear the Sound of an 08avey if you compare it with the Sound of the open String. Therefore is a Diapafon faid to be in dupla proportion to its O&ave.
Next, divide the String into three equal parts: and flop that part next the Nutt, (which will beat the Fret [A] if rightly placed ) compare the Sound thereof with the open String, and youj will here the difference to be a $tb. Thencd is a $tb. faid to be Sefquialtera proportion $ that! is, as 2 is to 3.
Again, divide your String into four equal! Parts ^ ftop that Part next the Nutt (which will! be, at the [/] Fret) and you have a 4th. to thq open String. Therefore a 4^, is faid to be Sef- quitertia Proportion, as 3 is to 4. By thefe you may conceive the reft towards the Nutt.
If you ask me concerning the other half of the String from the middle to the Bridge 5 the middle of that half makes another 08ave-9 and fo every middle on after another.
We will now come a little nearer to our bufi- nefs of the Semitones. To which purpofe wej muft divide the OSave it felf into equal Parts.
Firft,
Vfe ofDifcords.: Bi
Fitftin the Middle 5 which will fall upon the fret [/] Examine the Sound from [/] to [n\ (which is an OSave to the open String) and you foill find it to be a %th. frjr the other half which is towards the Nutt, and you will hear it is but a tfh.
Next, divide that $ib. which is from [/] to [n | into two equal Parts 5 and you will find that half, Which is towatds the Bridge, to be a Greater $£ and the other half to the? Nutt- ward, to be a Leffer ^L
L Then divide that Greater %1. into two equal Parts, and you will have a Gteater and a Lejfer Tone. Laftly, divide the Greater Tone (which wa$ that half next the Bridge) into two equal Parts, and you have a Greater and a Lejfer Semitone 5 the Greater being always that half which is nea- rer to the Bridge.
By this you may perceive that all our Muncal Intervals arife from the Divifion of a Line or String into equal Parts- and that thofe equal Parts, do ftill produce unequal Sounds. Arid this is the very Reafon that we have Greater and Lejfer Semitones.
Thereupon, is a Tone, of whole Note fas we term it) divided into Ninfc Pat tides, called Com* wa's : five of Which are affigned to the Greater Semitone 5 arid four to the Lejs. The difference betwikt them is called 'a*^/*, which fignifies a cutting of. Somfc Authors call the Greater Se- mitone, Jpotome 5 That is ( I fuppofej becaufe it includes the odd Comma which makes that Ago* tome. Thus you lee a Tone or Note divided in- to a Greater and Leffer Half; but how to divide it into two equal Halfs,1! never fee determined.
the famous Kirclber in his Learned and Ela- borate Murfnrgia Univerfalis, pag. 103 treating
G of
Si 'A Compendium of Mafic,
of the Math'ematick. .part of Mufic, (which he handles bote clearly and largely than any ;; Author
(I think) that ever wrote upon that Suljec]} doth fhtw us the Type of a Tone cur in the mid- dle by dividing the mi 3 Hie Comma into two Schi- Jms. But that Comma, .(being divided Arithmeti- cally) will have its Greater and a Lejfer half (as to Sound) as well as any, greater Interval fo. divided.
} The neareft Infcr eel can give you of a Sound parted in the middle, is an 08ave9 divided into a Tf'ffyne% and a Semidiapente * either of them con- fifiing of fix Semitones • as 1 fhewed pag. 68, and yet there, is. ibine little .difference in their Ra- tions^ Habitudes.
I will give you yet a clearer Inftance, by which you may fee what different Sounds will arife, From one Divifion of a Line or String into equal faxts. To which purpofe, divide that $t$ which' is from, the Nutt to \Jf\ Fret, into two eauai farts, with a pair of CompaflTes h (the middle whereof will hit upon tit] Fret J f it be not placed with fome abatement, for the reafons beforemen- tionecij ) and you will find, that the fame wide- nefs of the Compafs which divided the ftp. in the middle, and fo made a Greater and a Lejfer id, the fame widenefs (I fay).- appiyed from ,[b~] towards the Bridge.wlf in the firft place from[£] produce a %th. in the next place, a %th. and in the next af- ter that, an $th. according to this Line:
a |AgA.3 j.-jC^yg^ 3d.|fl?grfiSl Fifth \ tighth [ I J?
•^ 5 d h n <v \<&
But feeing you cannot conveniently hear the Sound of that 8/i. it being fo near the Bridge $ take the widenefs of the %th. from the Nutt to p] and you will find that the fame widenefs
which
;
Vfe of Difcords. 83
which makes a <>tb. doth make an 8t&. in the next place after it according to this Line:
[ Fifth I Eight 1 ^JS h ■
If you pleafe to try thefe difia.aces upon the Treble String of a Bafs Viol, you will have a pro- duction of thefe Sounds.
Firfl Line. ^ Second Line.
By this you may perceive that every equal di- vifion of a Line or String, doth ftiil produce a greater Interval of Sound, as it approaches nearer ro the Bridge: And by this which hath been (hewed •, 1 fuppofe you 'fee not only the Reafon, but Neceffity, of Greater and Lepr Semitones. Our next bufinefs is to examine.
§ 10. vVhere thefe Greater and Lejfer Semi- tones arife in the Scale of Muftc.
THis depends upon the Key in which a Song is Sett -, and upon the divifion of its $th into the Greater and Leffer %L and the placing of thefe s which determines wither the Key be fiat or Jharp, as hath been (hewed. We will fuppofe the Key to be in G. .
TheDf^nwc^Scalehath only two places ineacn 08avs, in which a Semitone takes place. One is in fifing to the ^th, The other in rifing from thence to the 8*6. And thefe two places are known by the Note fa 5 as formerly (hewed, Thefe two G 2 Sounds
84 A Compendium of Mufic.
Sounds denoted by fa, are always the LeferSemi tone from that degree which is next under them. So that from A to B fiat, is a Lejfer Semitone •, and betwixt B fiat and B Jharp (which makes the dif- ference of the Lejfer and Greater %&.) is for ought to be) always the Greater Semitone. The like may be underftoodof the higher /<*.
I know that fome Authors do place the Greater Semitone from A to B flat, and the Lejfer betwixt B fiat and BJbarp-, but I adhereto the other opini- on, as the more rational to my underftanding.
By this you fee where Greater and Lejfer Semi- tones take place in the Diatonick Scale. We will now cait our Eye upon them as they rile tn the Cbromatkk $ according to the Example I gave you of it. In which the Greater and Lejfer Half-Notes do follow each other fucceflively, as (hall be here denoted by two Letters* / for Lejfer, and£ for Greater.
Example.
I g l g I I g I g I
Now,if we fhould remove this Example a Semi- tone higher or lower •, the Lejfer Semitones would! fall in the places of the Greater 5 and contrarily, the Greater in the places of the Lejfer: which; rranipofition, is the chief caufe of thole little Dif- fonances, which occafion'd this difeourfe.
Your beft way to avoid them, is, to.ietyomr Mufic in the ufuai and moft natural Keys of the Scale.
85
A
COMPENDIUM
O F
P R ACTICAL MUSIC
The Fourth PART,
- TEACHING The Form of Figurate Defiant.
§ i. What is meant by Figurate Defcant.
FIgurate Defcant is that wherein Difcords ate concerned as well as Concords. And, as we termed Plain Defcant, (in which was .taught the ufe of the Concords) The Ground- work or Grammer of Mufical Compofition, fo may we as properly nominate This, the Orna- ment or Rhetorical Part of MuSc. For in this are introduced all the varieties of Points, Fuges, Syncope'sor Bjndings,Diverfities of Meafures, In- termixtures of difcording Sounds: orwhatelfe Art and Fancy can exhibit s which, as different Flowers and Figures, do fet forth and adorn the Compofition $ whence it is named tyelotbefafiori- ia vel j6gw0ta% Florid pr Figurate Defcant
G3 §1.0/
%6 A Compendium ofMufic.
$ z. Of the Greek Moods, and Latin Tones.
BEfore we neat of Figurate Defcant, I muft not omit to fay fomething concerning the Moods or Tones. Not fo much for any great ufe we have of them, as to let you knou what is meant by ihem ; and that I may not appear An- gular 5 for ycu (hall fcarce meet with any Au- thor that has writ of Mufic, but you will read fomething concerning them.
The Moods we mentioned in the firft Part of this Treatife, were in reference to Notes, and Meafure of Time, Thefeare cor cerning Tune.
That which the Grecians called Mode or Mood, the Latins termed Tone or Tune, The defign of either was, to (hew in what Key a Song was fet, and w ich Keys had affinity one wiih another'. The Greeks diftinguimed their Moods bv the names of their Provinces 5 as DcrickLidianJonick, Yhngian, tfc The latins reduced theirs to eight Plain-fong Tunes ; and thofe was fet in the Tenor: fo called, becaufe it was the Holding Part to which ihey did apply their Defcant.
Thefe Pla?n-f>ngsdid feldcm exceed the Com- pits Dffix Notes or degrees of Sound 5 and there- fore were Ut and Re (as I fuppofe) applyed to the two Idweft, that each degree might haveafeveral appellation : otherwife, four names, as now we ufe, viz. Mi, Fa, Sol, La, had been both more eafie, and more fuitable to the ancient Scale, which confifted of Tetrachords or tfbs two of which made up the Compafs of an OSave ■ From chefe fix Notes, Ut, Re, Mi, Fa, Sol, La, did arife three properties of Singing ; which they named B ghiarre, B MoUe, and Froperchant or Na- tural B '^uarr^ms when they Sung Mi in B jthat
Cliff;
Figurate Defiant. 87
Cliff being then made of a Square form tins, k and fet at the beginning of the Lines, as we now fet force one of the other three Cliffs. B MoUe was when they Sung Fa in B. Fropercbant was when their Ut was applyed to C •, fo that rheir fix Notes did not reach fo high as to touch B either flat ot Jharp. But in our modern Mufic, we ac- knowledge no fuch thing as Prr-p rchant h every Song being, of its own nature, either/?* or fiarp : and that determined f not by B'sfat 01 Jharp, but) by the Greater or Leffcr 3 1 being joyned next to the Key in which any Song is fet.
Thefe Moods or tones had yer another diitin- cYion * and rhat was Authenticity ^r PhgaL This depended upon the dividing of the OSave into us$tb and Atb. Authentlck was when the %tb. flood in the lower place ^ccordingto the Harmo- nical divifion of an OSave. Flagal, was when the %tb. poffeft the upper place, according to the Arithmetical divifion thereof.
Example.
Authentlck ' Pf*f;
HarmonicaU Arithmetical.
Many Volumes have been wrote about thefe Moods or Tones, concerning their ufe, their num- ber •, nature and affinity one with another^ and "yet the bufinefs left imperfeft or obfcure, as to a- ny certain Rule for regulating the Key and Air of the Mufic, though one of the greatelt con- cerns of Muficai Compofrion,
Mr. Morley (upon thisSubjea) in this Introdu- Hion to Mufic, pag. 147- his Scholar making this QSMttie, Have )ou no general Rule to be given Jar an
u 4
88 A Compendium of Mufic.
Inftru8ionjor keeping of the Key > anfwers, Nohfo* it muft proceed only cf the judgment of the Compofer\ yet (faith he) the Church-men for keeping of their Keys have deyifed certain Notes commonly calleji the eight Tunes &c of which he only gives Examples, and fo leaves the bulinefs. And no marvel they could give no certain Rule, fo long as theyr took their fight from the Tenor h in which cafe it muft of neceflity be left to the judgment of the Com- pofer or Singer of Defcant, what Baft he will ap- ply unto it. But, according to the Method for- merly deiiver'd in this Treatife. where we make the Bafs the foundation of the Harmony, upon which the Key folely depends, as alfo the other Keys which have affinity therewith, the bufinefs is reduced to a certainty of Rule, both plain and eafie. (kepag. 34. Concerning the Key or Tone.) And though in Figurate Defcant we often have occafion to apply under-Notes to an upper Part, as you will fee hereafter, yet the whole conduct of the Compofition, as to the Key and middle Clofes thereto belonging, is the very fame, and therefore to be obferved, according to what we there delivered.
I give you this brief account of the Moods and Tones, that you might not be wholly ignorant of any thing that belongs to Mufic: To which purpofe I have contrived this little Table: col- le&ed out of ftch Authors as number 12 Tones or Tunes an- fwerable to the Grecian Moods *, viz fix Authen- tick, and fix Bagal.
Autbentick,
1 Dorick 3 Phrygian 5 Lydian 7 Mixolydiai yJEolian 1 Ionick
rIagaL
2\Hypo-Dorick ^Hypi ^Phrygian 6 Hypo Lydian 8 tiypo-Mixolydian
loHypo-JEolian
ixHypo-Ionick
~ The
Figurate Dejcmt. 89
The firft Column (hews the Keys in the Scale of Mufic to which thole Tones and Moods are affigned. The fecond expreffes the order of the Avtbentick Tones : known by their odd Num- bers 5 as 1. 2,5,6^. The third Column contains the names of [he Grecian 4uthentick Moods. The fourth (hews the Plagal Tones 5 knoytfn always by their even numbers * as 2, 4, 6, &c. The laft or fifth Column contains the names of the Gre* pian Plagal Moods 5 diftinguiflied by the Par- ticle Hypo.
Where you may obferve, that B mi, is exempt from having any Tone or Mood affigned to it: becaufe ifff, doth make an Imperfeft <>th. there- to. Howbeit, Bfay is become a Key or Tone now : much in ufe, eipecially in Mufic compofed for ijnftruments.
But, whereas we read fuch ftrange and marvel- lous things of the various affections and defferent 1 effects of the Grecian Moods 5 we may very prof- fcably conjecture that it proceeded chiefly from their having Moods of different meafure joyned with them 5 which, we find by experience, doth : make that vaft difference betwixt Light and f Grave Mufic 5 though both fet in the fame Key, find consequently the lame Mood or Tone,
§ y Of Figurate Mufic in general.
Figurate Defcant (as I told you) is that where- in Difcords are concerned as well ^though not fo much,) as Concords. You have already been taught the ufe of both in Compofition 5 and Thefe are the Two Materials which muft ferve you for the railing of all Structures in Figurate Mufic. To give you Models at large, of all thofe feve-
ral
9 o A Compendia m of M<* fie,
ral Structures, we?e to write a great Volume not a Cempendiwn* It will be Efficient that i le you fee the Form of rjigurat.e Defcant; and tnai I give you fome fhort Examples f fuch things as are of moft concern : with Intimations (m near as I can) for their contrivance We will begin with fetting a Bafs to a Treble, as we for- merly did with making a Treble to a Bafs.
§ 4. Hoiv to fet a Bafs to a Treble.
¥ N this you mult reckon your Concords from I the Treble downward, as in the other you didj from the Bafs upward. Which is but the fame thing in efTeS;* for, a %a\. <>th. 6tb. and 8fZrare ftil] the fame, whether you reckon them upward or downward.
But, whereas in plain Counterpoint, I did orderj the Bafs to move on, for the moft part, by leaps; of a 3, 4, 5;, &c. ("which indeed is the moft pro- per movement of the Bafs in that kind of Com- pofition -J here you moft know, that in Figurate; Defcant, thole Leaps are frequently changed or broken into degrees, as you may eafily conceive by this Example.
L bf- h~r M-p - — -'rftlr-v "" * G "
s And therefore it is left to your liberty to ufe either throne or me other as occafion (hall re- quire. Only take notice that if in thefe Break- ings) the farts do Afcend pr Defwena together by
de-
Figurate Defcant. gi
Jegrees, it muft be either in 3<fo. or 6ths. If they move contrary by degrees, (^that is one ri- Bng, the other falling,) you have liberty to pafe trough Difcords as well as Concords, according to what 1 (hewed of Difcords Note againft Note. For the reft I refer you to the Principles former- y delivered in Compofition of two Parts. And f your Treble do chance to hold out any long Note, you may let the Bafs, during the time, pafs on from one Imperfetf Concord to another $ psfroma 3 d to a 6th. or the contrary. The like may be underftood of the Treble, when the Bafs holds out a Note.
Example.
Alfo your Compofition will be more neat, if you can ufe fome formality in your Bafs,hy imi- tating and anfweringthe Notes of the Treble in iuch places as will admit it.-
We will now fuppofe a Treble made by fome other perfon, as indeed, this way, which I am about to Prick down ("made by a Perfon of Qua- lity^ and given to have a Bafs fet to it.
Example
gz A Compendium of Mufu.
Example of a Bafi made to a Treble.
m
5?EEt*E-
i
-B-
Here
Tigurate Defcant. 93
Here you Tee the 'jtafs ftifl anfwering and imita- ting the Treble, (fo near as the Rules of Compo- fition do permit) fometimes in the OBave, as you fee in moft Part of the firft Strain $ and fome- times in other diftances, as you may obferve iii the beginning of the fecond Strain * but Kill keep- ing clofe to the Rules of Compofition, which muft be chiefly obferved. This is as much as I think neceflary for letting a Bafs to a Treble.
And by this you may perceive how different the Form and Movement of the Parts in Figu- rate Defcanr, is from that of plain Counterpoint: Foj, in Thar, the natural paflage of the Treble is, for the moft part by Degrees, In This, you may ufe what Leaps you pleafe, fo they be airy and formal.
§ y. How Parts pafs through one another]
AGain, in Connterpoint^ch Part does ordina* rily move within its own Sphere. In Fi- gurate Defcant, the Parts do frequently mix and pafs through one another : Infomuch, that if there be two Trebles, you (hall have fometimes This, fometimes That, above or below, as you fee in tha following Inftances.
^ . f jfc ^ *
, . J J . f !«JL |j3| MT-4 #— -
1 The
<&4 A Compendium of Mafic.
f he Hke may be understood of the Inner Parts, or of* the Bafes, when the Compofition isdefign-i ed for two. Howbeit the higheft Part for the time: feeing is ftill to be accounted the Treble: and thei loweft Parr, whatever it be, is (during that time,) the Bafs to all the Parts that ftand above it.
Laftly, whereas in Counttrpolnt I commended tinto you the joyning of your upper Parts fo clofe together, that no other Part could be put in a- tnongft them § in Figurate Mufic fefpecially for Instruments) that Rule is not fo flriftly obfer- ved I but each Part doth commonly move accor- ding to theCompafs of the Voice or Inftrument for which it is intended. But the Principles of Compofition, asrthe choofing, ordering and plac- ing of the Concords, are the very fame we deli- vered in plain Counterpoint: that is to fay, In two or three Parts you are to avoid Stbi. except in fech places as there mention'd : In Four or more P#rts yoa are to difpole thofe Parts into feveral Concords, as much as you can with convenience.
• | d; Concerning the Confecution of Perfects of
the fame kind ; and. of other Dij r Allowances
in Compofition*
Told you (pag. 12.) that PerfeQs of the fame ^, kind, as two %ths or two %ths riling or falling together, were not allowed in Compofition. hlfo(pag. 9-3, 54-p I fhewed fome other Paflages, prohibit- ed in few (that is to fay, in two, or three) Parrs. Here I will give you the Reafon why fuch paflk- pes are not graceful in Mufic : And flrft concern- ing the Confecution of $tbs and %tbs.
Thefe two are called Perfe8 Concords; not on- h becaufe their Sound is more perfeft, (or more
per-
i
Figurate Defiant, 95
perfd^y fixed) rbrn that of the other Confo- rm ms wrrch are fubdrdinate to them h but alfoy Becrufe they arife irom the firft two Proportions ft at are found in Numbers, viz. an Stb horn Viiph, and a sr& from Sefqiii altera^ as 1 fhewed |gg. 79, and 80
Now, as to the Difallbwance of their follow- ing one another of the fame kind -, you may ob- ferve, that our Senfes are ft ill delighted with va- riety • as we may inftance in this : Suppofe an excellent Dull of Meat, prepared with greateft in- duftry to pleafe the Taft, were fet before us to feed on $ would it not be more acceptable to havefbme variety after it, than to have the fame over again > The very fame it is in Sounds prefemed to cur Ear $ for, no Man that hath skill in Mufic, can hear two perfeft <>tbs or two 8tbs betwixt the fame Parts, rifing or falling together, but bis Ear will, be difpleafed with the latter of them • becaufe he expecled in place thereof fome other Concord.
This Reafon againft the Gonfecution of $tbs and Sths being admitted, we will now proceed to the other Difallowances $ which, upon due examination, we fhall find to arife from the very fame confequence.
For the better underftanding of this $ you muft know, Firft, that every Difallowance doth end sither in an Stb or in a $tb (by thefe I alfo mean their O&aves.) Secondly, that a Difallowance is commonly generated by both the Pans moving the f?me way. Thirdly, that every leap in Mu- 5c doth imply a Tranfition by degrees, from the brmer to the latter Note, by which the Leap is formed. Laftly, that thole implicit Degrees, 'by reafon of both Parts moving the fame way) o always produce a Gonfecution of two (if not
ore) Perfects of the feme kind.
To
$6 J Compendium of Mufic.
To render. this more clear, we will take fbm£ of thofe PafTages not allowed in pag. 34. and fcreak the Leaps into degrees, according to what I (hewed pag. %iy$i. of breaking a Note, as you
fee in the following Examples :
6i 8 8 j * 8 8 $ 8 ^8 8
38' 88 8 35 flf 3 i jtf
iliiiSilppIIi
By this you fee, that if 60th the Parts move the fame waiy, one of them by a Degree, the other by a Leap 5 that Leap (\ fay) being broken into Degrees, begets a Confecution of two PerfeS$ of the fame kind •, And where both Parts Leap the lame way, if you break thofe Leaps into De- grees, there will arife from thofe Degrees, Three of the fame Perfects. And this implicit Confe- cution of Stbs. and $ths. arifing from thofe De- grees, is that which renders fuch Paffages left pleafing to the Ear, and are thereupbn narfied Difallowances.
Thefe which I have (hewed may ferve for your understanding of the reft * for they are all of the! fame nature, excepting One, which Mr. Morlej
and
pii§{
Ftgurate Defiant. 97
and others call bitting an Stb. on the face 5 that is, when an uppet Part, meeting the Bafs upon an Stb. doth skip up from thence into fome other Per feet Concord, thus: _--_-.«
But whereas 1 told you, and have g:H-3""f (hewed, that a Difallowance is com- —- :drgrj monly generated by both Parts moveing the fame way 5 you muft know, that all Paffages of that fort are not Difallowances $ for, you will hardly find a Difallowance where the Trible removes but one Degree -, except that which I (hewed in the firft Inftance of the late Example, where the Tre- ble falls by Degree from a 6th. to an Sth. or (per- .haps) where the Bafs fhali make an extravagant Xeap fas it were let on purpofe) to meet the '.Treble in a $tb. or 8tb. In any other way, I do mot fee how a Difallowance can occur, whilft 1 the Treble removes but one Degree, though both IParts rife or fall together. But if the Treble or 1 upper Part do skip, whilft the Bafs removes but rone Degree, (the fame way,) you may conclude iita Difallowance.
I will give you Examples of both thefe Ways ithat you may compare them by your Eye and Ear 5 and fo you will better perceive what is, and what is not allowed.
Example.
Pajfages into the %th. Fajfages into the 5th.
t=qteEtl 3:!:- j-j
pBrglSlffei
Good. Bad. Good. Bad. Good.
H
If
$8 A Compendium of Mafic.
If you try the Sound of thefe two Ways with an Inttrument, you will perceive that thofe Paf- fages wherein the Treble removes but one Degree, are fraooth and natural ^ but in the Other where the Treble doth Leap, the Paflage is not fo plea- fing to the Ear.
The Reafon whereof fas I conceive J is, be- caufe Leaps are the proper Movements of the Bafs^ and Degrees more natural to the Treble part, as I formerly delivered in Plain Counterpoint: And therefore, lb long as both Parts proceed in their natural Movements ( the Bafs by Leaps, and the Treble by Degrees^ the Gonfecurion is not fo perceptible, becaufe h gives no offence to the Ear h for that which is proper and natural can- not be difpleaflng : But if you diforder this na- tural Movement, -by making the Bafs to move hy a Degree, and the Treble to Leap the fame way into a Perfect Concord, the Confecurion thereof prefently begets a Difaliowance.
Laftiy, take notice, that moft of thofe Paffages we call Difaliowance, may be tollerared in the Tenor or 2, Treble^ (being covered by a higher Pan though, in the higheft Part, it felf^ they wouic not be allowable : And therefore when your TrebU or higheft Part (hall make a Leap, (which is fre- quent in Figurate Defiant) your chief care mufl be, that the faid Treble or higheft Part (comparec with the Bafs) be not guilty of any Difaliow- ance 5 of which there can be no danger, if the Leap be made into Imperfect Concord.
That you may better remember them, mofi Difaliowances may be referred to thefe two Heads ;| 1. When the higher parts skips to a $th or Btb\ whilit the Bafs removes but one Degree. 2. W he both Parts skip out the fame way into a <>tb 0 %th.An& this is as much as 1 think necefl y con ff raing Difalkwancs* § 7. Con
flgurate Defiant. 99
§ 7. Concerning the Confec'utlon of 4ths. and jths.
I Formerly (hewed you (pag 74.) three diffe- rent qths viz. a LeJJer sl Greater, and a Mid- dle 4th named Diatejfaron, which for diftinclion : I call a Perfect $tb. becaufe it arifes from the perfect dividing of an Ofiave into its qtb. and $tb. ', as well according to the Arithmetical as the Har- ] monical Divijion thereof.
Thefe $6*. are fo neceflary,(or rather unavoid- able) in Compofition, that you (hall fcarcely fee Two, Three, or more Parts pyned to any Baft, but there will frequently be one of them I betwixt fome two of the upper Parts.
Again, Three Parts cannot Afcend or Defcend together by Degrees in Mufical Concordance, but there muft (of neceflity) be a Confecutioii of fo many qths. betwixt fome two of the up- per Parts.
Now, if that Concecution confift of different 4tbs. mixed one with another, it is very good : But if the tfhs. be of the fame kind, the Con- fecution is not fo allowable. The Reafon there- of is, that 4*6*. are the Refemblances or Refi- nances of $ths, as may be feen in This; that if you tranfpofe the Parts which exhibit thofe tfbs. by placing the Lower an OBave higher, or let- ting the Higher an OBave lower, thofe qtbs. will be changed into $ths. as you may fee in the following Inftances.
H 2 JExamfe.
ioo A Compendium of Mufic. Example.
* . * *
pitliliplill
Pipliii
Three 4tbs. betwixt the I Three %ths betwixt i Trbie and Tenor: | the I Treble and Tenor.
The Notes tranfpofed are thofe of the Tenor in the firft Inftance * which being placed an Oftave higher, and fo made the Treble or higheft Part in the fecond Inftance, begets three $ths. inftead of the former three #hs.
The queftion now is, whether thefe three $ths. being pi different kinds, be not allowed in Com- pofition. (if they be allowed, there is lefs doubt to be made of the tfhs. they being alfo different.) Here is no Confecution of Perfects of the fame kind 5 for the middle $th. is Imperfect : Neither is there any harfhnefsor diflbnance offered to the Ear, fo near as 1 can perceive. And though Mr. Morley (in his Introdu&ionjag. 7£.)with other pre- cite Compofers of former times, did not allow aj perfed and an Imperfect $tb. to follow immedi-j ately one the other ^ yet later Authors, as well Writers as Compofers, do both ufe and approve it.
See
Figurate Defiant. 101
See Kircber, in his Mufurgia Univerfalh pag. 621. Delicentia durum gitintarumh where he cites Hi- eronimus Kapfperger, a very excellent Author, ufing i two $tbs. on after another, in divers places of a I Madrigal, with much Art and Elegancy 5 and in the very beginning of the fame, makes nofcrupie of fettingfour %tbs. PerfeB and ImperfeS one after another. The Example is this which follows.
As for my own Opinion, I do not only allow theConfecution of two $tbs. one of thim being ImperfeS, but (being rightly taken) efteem it a- monslt Elegances of Figurate Defcant.
This I fpeak,fuppofing them to be in lhortNotes. But if the Notes be Ion*, as Semibreves.znd fome- times alfo Mhmm*9 I flTould then rather chofe to have the PerfeB jrft. to hold on,tillthe other Parr, remove to a 6ffc.before it change to an ImperfeS $tb As for Example. Not thus, but thus, ot thus,
^iox A Compendium of Muftc.
mz
i-B
§ 8. Consecution of -^ds. and 6th s.
TWo Greater ids. can hardly follow one the o- ther, without Relation lnharmonical 5 yet in
rifing by degrees to ~— j ] x ^7
a Binding Cadence — ^3^g::tp"& they are allowable, ^zS^rrJzp as thus:
In which an In* ner Part will pro- perly come in, as you fee in the Ex- ample.
And, by this you may perceive that Relation lnharmonical is fometimes difpenfed with h which muft be referred fnext after the tat) to the judgment of the Compofer.
Two Leper ids. may follow one another in degrees, as thus :
3 8 7
5
-rrk-e
zftoz znz§
But in Leaps they will not do fo well.
PrzS^-f!#£:
Greater 6ths. are anfwerable to Lefer ids. and therefore may follow one another, as you may fee next following :
Lejfer 6tbs. are like in na- ture to Greater 3 ds.znd there- fore the Confecution of them is liable to Relation lnharmonical.
|:{?E-:"
za.l
Thipyou haveafhort account how tfs and 6th
may
Figurate Defiant. r03
I may follow one another when thev are of the fame • kind As for their change from Greater or Lrjjer, or
the contrary, it is fo natural, that you cannot A- Ifcend or Defcend, either in ids or 6th. but it
muff be by a frequent changw from the Lejjer
to the Greater, or frcm the Greater to the l»ff#. Now, as to their PalTage incc other Corcoros h
the moft natural is commonly that which m*y
te done with the leaft remove.
Hence it is obferved, that the Leffhr 6tb relies
more naturally into a %th, and the Greater -6th. \ into an 8*6. as you (hall fee in the following ■ Inftances.
Lefer 6th. Greater 6th.
6 8
6 8
6 5 6 5
Cadence-of the Greater 6th.
ipy^'JiiliSlteli-^
E^fccr
ri7ll==xi — 4-e-l
Thefe little removes by a T««e or &■>*""; do connect or make fmooth the Air of the Mute, in paffing from Concord to Concord ; which by greater removes, would often feem diqoynted.
1 will now fpeak of a Fuge* which is the prime Flower in Figurate Defrant.
104 A Compendium of Mafic.
§ 9. Of Fuga or Fuge. HTHis is fome Point, (as we term it in Mufic * confiiting of 4, 5, 6, or any other number of Notes 5 begun by fome one fingle Part, and then ieconded by a following Part, repeating the fame, or fuch like Notes s iometimesin the Unifon or Wave, but more commonly, and better, in a 4th. at ph. above, or below? the Leading Part.
Next comes in a Third Part, repeating the fame Notes, commonly in an 08ave or Unifon to the Leading Part.
Then follows the Fourth Part, in refemblance tothefecond.
The Fifth, and Sixth Parts (if the Compofition eonfilt of fo many; do follow or come in after the fame manner, one after the other 5 the Leading Parts (till flying before thofe that follow 5 and from thence it hath its name Fitga or Fuge. The Form of it you have in the following Example.
Example of a Fuge.
Figurate Defiant.
105
ipfiiiipipi
EZ
U-^:
:rr-rlz:Ert:t::
I 1
ip^
ii
P=
-31
k~ zjli .:
i£2=l^7ar5pJror::t
iiifliiili
Here you may obferve, that though the lead- ing Part begins with an even Note, yet any fol- lowing Part may come in upon an odd Note5 with an odd Reft before it, when the Fuge doth require it, or permit it.
Likewife take notice, that you are not ibflriftly obliged to imitate the Notes of the leading Part,
but
106 A Compendium of Mufic,
but that you may ufe a longer Note inftead of a fhorter or the contrary, when occafion (hall re- quire. Alfo, you may rife or fall a tfh. or $tb. ei- ther inftead of the other $ which is oftentimes re- quifite for better maintaining the Air of the Mufic.
§ 10, Of Arfm and Thefin.
SOmetimes the Point is Inverted, or moves per Jrfm and Thejjn^ (as they phrafe it $ ") that is where the Point rifes in one Part, it fails in ano- ther, and likewife the contrary ♦, which produces a pleafing variety ; A Figure of it you may fee in this Inftance of the former Point.
Arfin. Thefin.
An Example of it you have in that which fol- lows.
Example of a Fuge per Arfin & Thefin.
fe— i~I
Thefin.
Miiiiiiiliiiil
Thefin.
Arfm. W
Figurate Vefcant.
107
ligt^iip|i|
Jhejin*
Arfin.
Tkepn.
Ill
Arfm.
1 i -
fcllfe^EtH
-*— t-D-
P
Thus you fee the Point per Arfm Of Thefn, fo near as I could contrive it in fo fhort an Ex- ample : only in the -jtb. Bar, the Tenor doth not precifely exprefs the Point * which I note
unto
I ©8 A Compendium of Mufic.
unto you, as being better (of the two) to injure the Point, than the Air of the Mufic * the de- figu of a Compofer being to pleafe the Ear ra- tker than to fatisfie the Eye Here the Point wasexpreft both ways in each Part 5 but it is left to your Liberty whether you will have one Part maintain the Pointer Arfin, another per Thefin^ or what other way you fhall think fit to mix them j every man being 'Matter of his own fan-
cy.
Sometimes the Point backward thus :
w^MtM
Arfin*
Reverted.
pSifpi
Thejtn.
Reverted.
is Reverted, or turned
But then it muft be fuch a Point as hath no Prick- note in it j be- caufe the Prick will ftand upon the wrong fide of the Note when the Point is Re- verted.
§ ii. Of Douhle Fuges.
SOmetimes the Mufic begins with two or more different Points, which the Parts do interchange by turns, in fuch manner as they did in the late Inverted Fuge per Arfin & Ihefin : An Example whereof you have as follows.
Example.
Figurate Defcant. *©9
Example of two Points moveing together in Fvge.
I JL_I
¥^FF?rr^
:t--El&c.
By thefe Examples you fee what a Fuge is. I will now lead you towards the forming thereof as Children are led when they learn to go.
§12. tiow
lib A Compendium of Mufic*
§ 1 1. How to form a Fuge.
HAving made choice of fuch Notes as you think fit for your Point, Prick them down in that Part which you defign to begin the Fuge.
That done, confider which Part you will have to follow next $ and whether in a qtb. or %tb] above or below the Leading Part. Perhaps the latter end oi the Fuge-Notes which you have Prickt down, may agree therewith. If not, you may add fuch other Notes as may aptly meet the following Part at itscomeing in.
Next, prick down the Fuge-Notes of that following Part * and add what other Notes may- be requifite for meeting of the third Part, which (properly; will come in upon the Otiave to the beginning of the leading Part.
Then carry on the third Part, by adding fuch Notes as may meet the beginning of the fourth Part, as it comes in upon an OBave to the be- ginning of the fecond Part. And, if you rightly conceive my words and meaning, your Scheme will appear like this which follows, according to the firft Platform of our firft Exampe of a fingle fuge.
Examylel
Ftgurate Defiant. Ill
Example of the firft Platform of a Fuge.
^!ipMpi=;=ti
Having done this, you may fill up the empty places with fuch Concords and Binding as you think fitted for carrying on your Compofition* until you repeat the Fuge, in one of thole Parts that begun it ^ which may be done either in the fame, or in any other Key that will beft main- tain the Air of the Muiic ^ for good Air is chief- ly to be aimed at in all Mufical Competition, And this repeating or renewing of the Fuge or Point, feems always more graceful when it comes in after fome Panfe or Reft : by which means more notice is taken of it 5 as of a man that begins to fpeak again, after fome little time of filence.
The fame method I have fnewed in four Parts, may alfo ferve you wherein the Parts be more or lefs.
§ 13. of
[I ix A Compendium of Mufic.
§ 13. Of Mufic Comfofedfor Voices.
•TpHe ever renowned Difcartes, in the beginning
I of his Cempendhm of Mufic, infinuates, that, of all Sounds the Voice of Man is molt grareful$ becaufe it holds the greateft conformity to our Spirits. And (no doubt) it is the beft of Mufic 5! if compofed and exprefTed in Perfe&ion.
More certain it is, that of all Mufic, That ought to have the precedence which is defigned to fing and found forth the Praife an4 Glory of the Incomprehenfible SOURSE,SO UL, E S- SENCE, and AUTHOR of all created Harmony.
To this intent, Hymns, Pfalms, Anthems^ Vet- Jicles, Refponfaries, Motets, &c. are fet and Sung in Mufic : of which no man is ignorant that hath frequented either the Churches beyond Sea, or the Cathedrals in England.
Of thefe forementioned, fome are compofed in Plain Counterpoint ;, others in Figurate Defcant, with Points, Fuges, Syncope's, Mixtures of Dif- cords, &c. according t® what we have fhewed and taught in this prefent Treatife. * In this divine Life and Application, Mufic may challenge a preheminence above all the other Mathematick Sciences as being immediately im- ployed in the higheft and nobleft office that can be performed by Men or Angels.
Neither, in its civil ufe, doth it feem inferior to any of the reft, either for Art, Excellency, or Intricacy.
Wherher we confider it in its Theory or Mathe- matick Part, which contemplates the AfTeclions, Rations, and Proportions of Sounds, with ail their nice and curious Concerns.
Or
Figurate Defeat. 1*3
Or in its Pra8kk part which defigns, Con- trives, and difpofes thofe Sounds into fo many ftrange and fiuperdkus varieties^ ard all frenr the corifeqenee of ro mere than three Con- cords, ard feme inteivenirg Difcorcs,
Or in its Aitrne, or Mechanick Part, which Midwifes and brings forth tbofe Sounds-, either by the excellent Modulation of the Voice, or by the exquifite dexterity of the Hand upon feme Infhument-, and thereby prefents them to out Ear and Underftanding ; making fuch Impref- fion upon our Minds and Spirits, as produce thofe ftrange and admirable Effecls, recorded IHiftory, and known by Experience.
Any one of which three Parts of Mufic, con- fider'd in it felf, is a moft excellent Art or Science. [But this is a Subjeft might become a better Orator.
Of Vocal Mufic made for thefolace and civil delight of Man there are many different kinds *, as namely, Madrigals, in which Fuges and all other :Flowers ot Figurate Mufic are moft frequent.
Of thefe you may fee many Setts, of 3,4,5;, and 6 Parts, Publifhed both by Etrglijb and Ita- lian Authors. Next the Dramatick or Recitative Mufic 5 which (as yet) is fomething a ftrange* \o us here in England. Then Canfonets^ VUanel- la's, Airs of all forts h or what elfe Poetry hath contrived to be Set and Sung in .Mufic. Laftly, Canons and Catches, (of which we fhallfpeak thereafter) are commonly fett to Words: The ifirft, to fuch as be grave and ferious : The lat- ter, to Words defigned for Mirth and Recreate *>n. Of thefe you may have Examples fuffi. cient in a Book of Catches fold by John Cullen, at the Buck between the two Temple-Gates^ Fleet- flreet,
I § 14 Of
i 14 A Compendium of Mufic.
§ iij. Of Accommodating Notes to Words.
,\A7Hen you compofe Mufic to Words, your j * chief endeavour muft be, that your Notes do rip&y exprefs the Senie and humour of them. If they b2 Grave and Serious, let your Mufic be fiachalfo : If Light, Pleafant, or Lively, your M 'fie likewife muft be fuitable to them. Any piffiorl of Love, Sorrow, Anguifh, and the like, is aptly exorefs'd by Chromatkk Notes and Bind- ings. Anger, Courage, Revenge^ &c. require a more ftrenuous and ftirring movement:. Cruel, Bitter, Harfh, may be expreft with a Difcord ; which nevertheiefs muft be brought off according to the Rules of Compofition. High, Above, Heaven, Afcend : as likewife their contraries, Low, Deep, Down, Hell, Defcend, may be ex- prefied by the Example of the Hand •, which points upward when we fpeak of the one and downward when we mention the other ^ The! contrary to which would be abfurd.
You muft alfo have a refpeft to the Points of your Words $ Nor ufing any remarkable Faufe or Reft, until the Words come to a full Point or Pe- riod. Neitner may any Reft, how fhort foever, be interpoitd in the middle of a Word 5 But a Sigh or Sob is. properly intimated by a Crochet or j£zi aver Reft, La Illy, you ought not to apply feveral Notes nor (Indeed) any long Note, to a fhort Syllable, nor a fhort Note, to a Syllable that is long. Neither do I fancy the fetting of many Notes to| any 6ne Syllable (though much in fafhion irt former times ■$ ) but 1 would have your Mufic to be fuch, that the Words may be plainly under h itood.
§iS.<i
figurate Dejcant. tif
§ i j. OfMuftc defignd for Inftruments.
WE muft now fpeak a little more of Mufie made for Inftruments-, in which, Points, Fuges, and all other Figures cf Defcant are in no lefs (if not in more; ufe than in Vocal Mufic
Of this kind, the chief and moft excellent, for Art and Contrivance, are Fancies, of 6, 5.4, and gParts, intended commonly for Viols In this fort of Mufic the Compofer ('being not limited to Words; doth implcy all his Art and Inventi- on folely about the* bringing in and carrying on of thefe Fuges, according to the Order and Me- thod former ly (hewed.
When he has tryed all the feveral ways which he thinks fit to be tifed therein •, be takes feme other Point, and does the like with it : or elfe, for variety, introduces fome Chromatids. Notes, with Bindings and intermixtures of Difcords * or, falls into fome lighter Humour like a Ma- drigal, or what elfe his own fancy flnll lead him to : But ftill concluding with fomething which hath Art and Excellency in it.
Of this fort you may fee many Copofitions tnade heretofore in England by Alfonfo Ferabofco "Coperario, Lupo, Whhe^ Ward^ Mico, Dr. Colmani and many more now Deceafed. Alfo by Mr. Jenkins Mr. Lock, and divers other excellent Men, Doftors, and Batchelofs in Mufic.
This kind of Mufic (the more is the pityj ?s now much negleQed by reafon of the fcarcity of Auditors that underftand it : their Ears being better acquainted and more delighted with light and airy Mufic*
\ 2 The
1 1 6 A Compendium of Mafic.
The next in dignity after a Fancy, is a Vavan* which fome derive from I'adna in Italy *, Ar fir J ordained for a grave and fivtely manner of Da 1- cing, (as molt I niuu mental Mulics were in th r feveral kinds, Fancies and Symphonies exee >t- ed fbut now grown up to a hight of Compo-j
, iition made only to delight. the Ear.
| , A Pavan, (bzh q£ 2, 3, 4, 5, or 6 Parts J both commonly confilt of three Srrains-, each Strain td be play'd twice over. Now, as to any piece c«
; Mufic that cqniifts of Strains, take thefe fol- lowing OMervations.
ij: All Mufic concludes in the Key of its Com«^
;pqiition.y which is known by the Baft, as hath
hem fhewn. This Key hath always orher Keys
proper to .it. for middle dole, , (iee/7^ 26, 37.J
If your Favan (or what elfe) be of three Strains *
rthe firit Strain may end in the Key ot the ComH
..pofirion,. as the lalt doth : but the middle Strain muft always end in the Key of a middl*
'.Ciofe.
Sometimes the firft Strain does end in a mid die Clofe $ and then the middle Strain muft enc in fome other middle Clofe $ for two Strains following immediately one another, ought noi to end in the lime Key. The reaiun thereof is obvious * to wit, the ending itiii in the lame Key, doth reiterate the Air too much $ and different endings produce more variery. There^ fore when there are but two Strains, let the firfl end in middle Cloie, that both Sttains may not end a like.
J do qonfefs I have been guilty my fe!f of this particular fault (by the Example ot others) in feme things which f compofed long finte ; but I! willingly acknowledge my Error, that others may avoid it.
Next
Figurate Defiant. A II 7
Next in courfe after a Pavan follows a Galiard, confining fometimes ;of two, and kmeumes of> three Strains Concerning their Endings, I re- fer yon to what was hit laid of a Pavan. This, (according to its namej is of a loftly and frolitk . movement. The Meaiure of >c always a Tripla,, of three Miliums to a time.
An Jlmare ( fo calied from the Country whence it came, as the former from Gall a ) is always fet in Common Time like a Pavan , but of a quicker and more airy movement, it commonly hath due two Strains, and therefore the firtt ought to end in a middle Key.
In theie, and other airy Mufics of Strains, which now pafs under the common name of iAirs, you will often hear (ome touches of Points or Fuges ^ but not infifted upon, or continued, as in Fancy -Mufic.
I need not inlarge my Difcourfe to things fb common in each ones Ears, as Corants, Sara- barids^ Jijfgs Country Dances , &c, of which forts, I have known lome, who by a natural apr- nefs and accuttomed hearing of them would make fuch like (being unraught^ though they had noc fo mnch Skill in Mufic as to Prick them down in Notes.
:Seeing this Compendium cannot contain Ex- iamplesof allthele which I give you account of, I would advife you to procure fome, of fuch kinds as you molt affecl: $ and Prick them down in Score, one Part under another, as the Exam- ples are fet in this Book : That they may ferve you a Pattern to knitate.
But let them be of fome of the beft efteemed, Compofers in that'kind of Mufic,
I 3 You
1 1 8 A Compendium ofMufic.
You need not feek Outlandifh Authors, efpe- daily for Inltrumental Mufic^ no Nation fin my Opinion) being equal to the Evglifl) in that way 5 as well for their excellent, as their vari- ous and numerous Contorts, of 3, 4, 7, and 6 Pans, made properly for Inltruments, pf all Which (as 1 laid) Fancies are the chief.
A
U9
A
COMPENDIUM
.0 F
P RACTICAL MUSIC.
The Ffth PART.
TE AC HING The Contrivance of Canon.
§ I. ConcerningCanon.
A Canon is a Fuge, fo bound up, or re- trained, that the following Pan or Parts muft precifely repeat the fame Notes, with the fame degrees rifing or falling, which were exprefled by the Leading Part •, and becaufe it is tyed to fo ftria a Rule, it is there- upon called a Canon.
Divers of our Country-men have been excel- lent in this kind of Mufic : but none (that I meet with) have pablifh'd any inftruftions for making a Canon.
h
Mr.
i 20 A Compendium of Mafic.
Mr.Elway Bevin profefTes fair, in the Titles Page of his Book * and gives us many Exam- ples of excellent and intricate Canons of divers forts s but not one Word of Instruction how to make fuch like.
Mr. Morley in his Introdu&ion to Mufic, pag.
172. Says thus [_A Canon may be made in any di-
Jiance comprehended within the reach of the Voice^
as the 3, ?, 6, 7, 8, 9, 10, II, 12, or other^ but
for the Compojhion of Canons no general Rule can
be given, as that which is performed by plain fight \
wherefore I will refer it to your own Study to find out
fuch Points as you. fiaR think fittejt to be followed,
and to frame and make them fit for your Canon. ]
If, as Mr. Morley fays, no general Rule can he given, our Bulinefs muft be to try what helps we can afford a Learner towards the making of a Canon. I am the more inclined to offer un- to you this little 'Effay upon ir, becaufe the Ex- ercife thereof will much enable you in all other kinds of Compofition •, efpecially where any thing of Fuge is concerned, of which, it is the Principal. And I will dire£l you in the lame Method which I did before in contriving a fingle Fuge; that is firft, to fer down your material Notes • and then to accommodate your ojher Defcant to thole Notes.
§ 1. Canon of Two Parts.
H7 E will, for more eafe, begin with two Parts 5 and I will take the firft two Semibreves of a former Fuge •, to let you fee the way and man- ner of it. The Canon (hail be fet in a $th. above and then your firft Notes will Itand thus :
By
£33
--n G-4
Contrivance of Canon. 12,1
By 5f&. 6th. jth.&c. above or below is under- wood the diftance of the Key betwixt the begin- ning Notes of either Part.
Having let down your beginning Notes, your next bufinefs is, to fill up thu vacant (pace in the fecond Bar, with what Defcant you pleafe ; which may be done in the
manner. '>
Now, feeing that this
following Part mud al- io fmg the fame Notes in a $tb. above •, it ne- cefTarily follows, that you muft transfer the faid new Notes, to the upper Part ; and apply new Defcant to Them alfo : and in this manner you are to proceed from Bar to Bar $ ftill applying new Defcant to the laft removed Notes.
In this manner you may continue Two Parts in One, to what length you pleafe. A fhort Ex- ample may fuffice to let you fee the way of it ;
Example.
Take
l%% A Compendium of Mufic
Take notice, that the Canon ends where you fee the little Arches over either part. The reft is only to make up the Conclufion, as we com- monly do j uniefs we tefign the Parts to begin over again, and fo to go round without a Con- clufion.
In the foregoing Example the following Part came in above the other Part $ we will now take a view of it coming in under the leading Parr, and after a Semibreve Reft. The Method is the fame *, only in This, we muft remove the new added Dslcant downards, as before we carried it upward 5 (till making new Defcant to the laft removed Notes.
Example.
m
__&-_
:nxn
gs-.-=*
lililil
Whether your following Part comes in after a Semibreve or Minum Reft^ more or lefs, the me- thod is the fame 5 as you may fee in this next following 5 In which, the lower Part comes in after a Minum Reft,
Example.
Contrivance of Canon* Example.
ii 3
pililiiifiiS
jxi^-^lbjii
"^WT*1 lv
P
Neither is there any more difficulty in let- ting your Canon a -jtb. $tb. or any other diftance either above or below, than in thofe which I have already ihewed •, as you may fee by the next following fett in a $th. above.
Example,
Hiliili
This, I foppofe is fufficient to let you fee,' with bow much eafe ( being a little exercifed in it ) Two Parts in one may be carryed on, to what length or fliortnefs you pleafe.
§ 3. Cj-
1*4
A Compendium of Mufic.
P
ill
§ ?. Canon of Three ?firt$.
^7E will now make tryal of Three Parts in Oneorryed on by the lame Method. Jn Which the Notes of the leading Part muft be re- moved upward or downw according as the following Parts come in, either above or below the Leading Part.
I will firft let down the Beginning Notes of each Part, as I formerly did of a fingle Fuge, that you may fee the rnft Platform thereof, thus :
That being done; the firft bufhefs is, to fill up rhe fecond Bar of the Leading Part, with fome Note or Notes which may agree with that Part which came in next after it, and add the faid Note or Notes to each of the other Parts in this manner:
Then fill up the third Bar of the Leading Part with fome Note or Notes which may agree mth both the other Parts 5 flill adding the laid Note or Notes to the other Parts. And thus you are to do from Bar to Ear.
fczzizzz:!
E-zgfe;
S3g
0-
But if you perceive that your following Parts begin to run cou.jcer one upon another by thefe additional Nores 5 you mull then/ry fome other way j either by putting in a Rett, or by alte-
ring
Con! rivane? of Canon, \%$
ring thecairfe or Notes of the Leading Part: and in this Particular it is fas Mr. Morley faid) that Canon is performed by plain fight.
Example of Three Parts in One
rzr~=!r~z!:~:irJ.-?z:^ig:Cjz9^&§l:p-9
li^iiiiiiii
tea
p:^=ysp?=-|
If you would have your Canon to go round 5 the conclufion muft be omitted * and each Part muft begin again, when it comes to that Note which is marked with a little Arch over it, where the Canon ends: And the Refts which are fet at the beginning, befoie the following Parts , muft be left out. And then the ufual way of Pricking it down, is only the leading Pjrt, let alone ^ with Marks directing where the other Pans come in, as follows:
A %d Canon in the $th. below and 4th. above. Hear me O Lord, and let my Cry come to thee
§4.0/
IX(S A Compendium of Mujic.
§ 4. Of Canon in Vnifon.
THe ftme Method might ferve for a Canon in Unifon : That is to fay, The leading Part mu ft he accommodated to the following Part, when it comes in $ and to both Parts when they found together.
But I will give you a nearer Notion of it : In reference whereto, you may confider, that fee- ing each Part doth begin in the lame Tone, it neceffarily follows, that the foregoing Parts muft move into the Concords of the laid Tone h ei- ther Attending or Defending h and by this ftieans the Sound of the fame Tone will be con- tinued fo long as the Parts move in the Con- cords of that Key.
As fur Example,
\ZZQ
zq:Jzq
.D
IS
te:
By this you lee what Concords your Canon muft move into •, your care being no more than to avoid the confecution of Ferfe&s of the fame kind, and to difpofe your Parts (fo much as you can ) into different Concords*
Examples
Contrivance of Canon. Example of Canon in Vnifon.
1*7
PiiiMiplipliii
pliiiiiiipii^
piippaii^Pli lipiilpiiipiiii
— b-
iiiippiiil
§ 5. Of Syncopated or Driving Canon
T Here is another fort of Canon in Unrfon, in which the following Pans come in up- on a Crotchet, or upon a Mintim Reft, one after another * and this kind of-Canon may beapplyed to any Ground or Plain-fong confiding of Semi- breves, or o\ Breves, if ycu double the length of 'the Defcant Notes
1 will firft thew the way of it upon Semibreves, moving by Degrees.
Example*
1 18 A Compendium of Mufti.
Example,
pftliiglpiiti pilpi'iriiipli
3s£-£>
3 ^ 5, 3 * 5, 3 6 5
3 4 S> 3 4 5 3 4 5
ifcQtessK
:Q_:
_ e-
zfcazdb
**g
The Figures fhew the Concords of the Lead- ing Part to the Ground both Afcending and Defcending, If the Ground confift of Breves, the length of the Defcant- Notes mult be dou- bled. And this I think may fuffice, to let you lee the order of your Defcant, in thofe Places where the Ground of Plain-fong fhall rife or fall by Degrees.
I will now let you fee how to order your De- fcant when the Ground fhall move by Leaps.
In which the movement of your Defcant muft be from ^d to id and your leading Part muft alfo meet each Note of the Ground in a %&. both which are eafily affefted, as you may fee by the following Inftances.
Alfo
Contrivance of Canon.
129
sppp
-:i:ii:=B:5te):£Js:&: p~:z^|I:^?:-|:f|E:
3 3 Or *&aj.
Alio you have liberty to break a Mimim into two Crotchets , and tofetone of them in an 0<f?^;5 above or below, when there fhaUbeoccaGonforit*
You (hall now fee the former degrees and ithefe leaps, mixed one with another in this fol- lowing Example.
A 4. Canon in Unifon to a Ground.
siasppae
:?Et:
3 * 5 3
liliiiitf
3 65 36s
^illJliplSiiiiii
HP
1,
K
130 A Compendium ofMufic.
Here you fee the Leading Part (till beginning upun a 3 A to each Note of the Ground : Alfo a 6th. and %th. following after the 3J. to meet the next Note of the Bafs when it riles one de- gree ; according to what was (hewed in the Ex- ample of Degrees.
I will now fet down this Canon in plain Notes, that you may better perceive, both the Syncopa* tioo,and aifo how the Parts move from %L to id, excepting where the Bafs removes but one degree in which places tkey make a leap to a 4th. Alfc you may obferve, in tbe leading Part (and like- wife thofe that follow^) two places, where a Mi* mm is broken into two Crotchets^ and one of them fet an Oftave lower, for better carrying on the Ail of the Defcant, and keeping the Parts within due Compafs*
Example.
25k pt; :E3i|: Jg^b^gz^^^^
m
~h:z
-^zt «*-
We will try one Example more in this way. upon longer Notes of the Ground 5 the Defcant Notes being made proportionate thereto.
4
#-
i
Contrivance of Canom A 4. Canon in Unifon.
'i--4 !e-
1*3*
!±fctat#t
a
^i:J:_:l:iii:lre-I:--ii:di3t^Qrfr^n
liliilijliiiiil
sn:|-e-
?sirDrire§rn
K#
rxi:
In thefe Syncopated Canons you may obferve^ that Two of the Parts do move up and down in an even Mferiiue; and the other Part ( by reafon of its coming in upon an odd Reft ) doth drive or break in betwixt them.
K 2 A
I3X A Compendium oj MufiF.
J After the fame manner of Syncopation or dtU virrg, Canons may be made (though not upon i Ground) the Parts being let a 4th. $th. or $th. ofle from another h as you may fee by thefe two fell lowing made- by the excellent Mr. Matthew Loch Compofer in ordinary to His Mijeliy.
A 3. Canon in the 8th and dth. below.
§ fe! rite ?Kn:i?:f :ifF §%-ii
~-;:|z:qtq:qH3^|qd:JdrJJI=±drl~
p^l^l
iHi
tall
msmmsm
A 3. Cawow z* the $th. below and 4th. above.
!±?pf
In
TheRuIe or Method of which is this 5 that the
Parts (whether Afcending or DefcendingJ proceed
from tf. to 3 J. like the former two Canons in Uni-
fan : And break off to a 4th. the contrary way, to
fceep the Canon in due decorum h which otherwife
would Afcend or Defend beyond due limits.
The
Contrivance of Ctrton i j }
The pofiticn of the Pars, is according to the
larmonicd Divifi n of an CBave, which hath its
\th. in the lower place. The Diving Part is the
ub Ofiave ^as you may perceive in their Exam-
)les.
§ 6. Of Canon & Note Higher or Lower.
CAnon a Note Higher, is when each Part comes in a Tone or Note above another ; as you nay fee in this next following •, made by the fore- lamed Mr. Mat, Lock (to whom I do acknowledge hyfelfmuch obliged, both for his fuggeftions nd affifiance in this TreatifeJThis depends up- »n fight •> and therefore no Rule to be g accepting the helps formerly mentioned.
Canon a Note Higher.
n ;
r|r--|-:9-|.
-«n — IA*
.<— izi.C-Q.r:
r:T:J=;:J-?-tp:^i_|-g1:|---|-'pB^
= H|ip:p|:pi|:p3;|~e£
Canon a Note Lower, is when the Parts come n a Tone or Note under each other *, as you may ee by the next following ^ made by our firft pro- ofed Method * with fome little reference to fclit.
K?
'sample,
ity A Compendium of Muftc*
Example.
iii'iiiiliiiipi
sm
Which may be Prickt in one fingle Part, and marked in manner as follows.
A 3, Canon a Note lower.
^S|fcS^ffiiE;ppEE^
^:p:ii?:g}! Wnere Note, that the fol- ^c:pEz:t:r Iowing Parts come in, as they M? tr " * Rand in backward order, be- hind the leading Part. 4nd this is the belt way of parking a Canon 5 efpecially, when the fol- lowing Parts come in upon feveral Keys 5 which,
ipay
Contrivance of Canon, 135
may be known by the feveral Cliffs, which de- note thofe Keys, and do alfo fhew the compafs of the Canon.
§ 7. Of Canon Rifwg or Falling a Note,
T Here is another fort of Canon which Rifes or Falls a Note, each time it is repeated 5 and may beCcrr.pofed by our firft Method 5 on- ly you mult contrive it fo, that it may end apt- ly for that purpofe.
Example.
Canon Rifng a Note each Repetition.
Canon Falling a Note each Repetition.
3»
^:T4:ira:!i§li EHc
^--^-'-—F-
CI
-,—.!
$8-0/ Retrograde Canon, or Canon Refte & Retro.
SOme Canons are made to be Sung Reffe C? Re- tro (as they phrafe it 5) that is Forward and Backward ^ or one Part Forward and another Sack-
K 4 ward
136 A Compendium of Mafic.
ward. Which may feem agreatMyftery, and a buimefs of much Intricacy, beforeone know the way of doing ?t : but that being known, it is the eafieft of all forts of Canons. This which follows inail ferve for an Example of it.
Canofi Re&e & Retro. Reverted thus,
Plliililigi^jiiij
Either of theft j alone, isa Canon of two Parts , one Part finging forward 5 rhe other beginning waH Thngrnds a»d.finSing-thc Notes8 ha £ ward The Compofition whereof is no more than this which follows.
Only the end of one Parr, is joyned to the end of the other in a retrograde form; as upon examination you will eafily find h
on the ftroke which you fe! dCn'to^ j ffliddleof euher And after the fame manner y?u may add mote Parts to them if you pleafe ? There is another way of Compofing Mufic
o Wf£%?f?.w"d 3nd backwardCmuch to the Wefka 1 which is, by making the Parts
Example,
Contrivance of Cannon.
*37
Example.
1 Treble, ng
2 Treble
1 Bafs.
2 Bafs.
■piiliilTpi
s:&.
Here you have two Trebles and two Baps 5 which, as they now ftand, may be played or lung, as well bacward as forward ^ and will referable a Leffon of two Strains : the firft forward ^ and the fecond Strain backward •, as upon trial you u ill perceive. But if you would have one Part tobefung backward whiift the other fing for- ward -, you muft then rum one of the Trebles^ and likwife one of the Bafes} the contrary way ? and joyn them together, fo, that their two ends may meet in the middle of the LeiTon ^ as you fee in the following Example : and then the Harmony will be right, whether you fing them backward or forward ^ or one Part forward and the other Part backward. Likewife, two may fing the Tre- ble 5 one forward, the other backward 5 and other Two, the Bajs in like manner 5 and then, it is a Canon of four Parts in two.
Example.
x 3 8 A Compendium of Jkfufic* Example.
iii'iliiiteiii
In like manner you may compofe Six Parts in Three-, or Eight Parts in Four, by adding two Alts, or two Tenors, or both $ and then joyning their ends together, as we did thefe trebles and Baffes.
By this which hath been (hewed, Ifuppofe you fee the way of Retrograde Defcant. But I muftadvertifeyou, not to fet any Notes with Pricks after them, in this wav of Re&e & Retro 1 becaufe the Pricks, in the Retro will (land on the wrong fide of the Notes. Aifo, you rnuft be wary how you ufe Difcords therein 5 left, in the Revert or Retro they hit upon the beginning in- ftead of the latter part of the Note.
§ 9- °f Double Defiant.
IT is called Double Defcant when the Parts are fo contrived, that the Treble may be made the Bafs, and the Bajs the Treble. I will give you an Example of it in Canon : per Arjin & Tbefin that (for brevity; I may comprife both under one} as in the Example next following.
Double
Contrivance of Canon*
i?9
Double Defcant on Canon per Arfin & Thefin.
illilifplip
ppiilli
g^silpi
This may feetn a difficult bufinefe to one that is not very ready in his fight, but I (hall render it as plain and eafie as I did the firft Examples of Two Parts in One 5 for it may be performed by the fame Method. Only in this, you muft invert the Notes as you place them in the following Part h accomodating your New Defcant (Bar after Bar) to the Notes fo inverted $ as you may eafily perceive by this Inftance of its beginning,
But I muft give you one Caveat ; which is, that you muft not ufe any <ytbs. in this kind of Double Defc 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 $tbs. will be changed into tfbs.
The
initance or its oeginmng.
====«£*
mmm
140
A Compendium ofMufic. The Reply.
mMmM
The Canon begun inUnifon*, which, in the Reply, is changed into an Sth. But the fame Me- thod fervesiriwhatdiftancefoever it be fet.
§ 10. Of Canon to a Plain Songpropofed.
I Shewed you -formerly how to Compofe a Ca- non in Umfon to any Ground of Plain-fong confining of S'emibreves or Breves h and gave you Rules for it. But this which I am now to fpeak of, cannot he reduced to any Rule, (that I know) as depending meerly upon fight : and therefore all we can do is only to give you what help or affiftance we are able, towards the efffeaing of it. We will take (for Inftance) one of Mr. Elwaj Bevitfs-not to be named without due praifefor his excellent Book of Canons, Printed 16? 1. where you have Examples of Canons upon the fame Piain-fong in all the diftances contained in an OSave% of which this is one.
Now,
Contrivance of Canon.
Iplglll
Now, as to the Contrivance. Firft you are to confider, what Notes will ferveyour pfefent pur- pofe for the Leading Parr, and alio fute your fol- lowing Part in reference to the next Note of the Plain-Song. When you havefound out Notes that will fit both thefe occafions, Prick them down -,
and then your beginning # *-*-P-*-Q.n-f
will ftand in this manner, -;;:;; zz'Jpz: ;:E:E:J
Then you are to fill up the vacant Bar of the Lea- ding Part,withfuch Notes as may alfo ferve the fot- lowingPart in reference to the next fucceeding Note of the Plain- Song ; thus,
HIPP!
And in this man- ner you are to pro- ceed, from Bar to Bar h ftill filling the empty- Bar of the Leading Part, with fuch Notes as may agree, both with the prefent Note of the Plain-fong, and ferve
Yqi A Compendium of Mufic.
lerve the following Part for the next Note of the Plain-fang alfa.
The fame Method is to be obferved though the rlain-fong be placed betwixt, or above the other Parrs. As alfo, whether your Canon be let in a qtb. 6tb -jib. ytb. or any other diftance either above or below h as you may fee by thefe two following Examples :
Canon in the i%tb. below.
i-zinxn:
-e— ♦--
r:a_i3
gfcg^ ^^^^.^^.^q^
Canon in the ytb. above.
G\~G
e — •-
liiSpli
Contrivance of Canon. § ii. Of Catch or Round.
Hi
IMuft not omit another fort of Canon, in more requeft and common ufe (though of lefs dig- nity) than all thofe which we have mentioned 5 andrhat*is a Catch orKound : Some call it a Ca- non in Unifon^ or a Canon confining of Periods. The contrivance whereof is not intercate: for, if you compofe any fhort Strain, of three or four Parrs, ietting them all within the ordinary com- pafs of a Voice 3 and then place one Part at the end of another, in what order you pleafe, fo as they may aptly make one continued Tune 5 you have finifhed a Catch :
Example.
-©-..
sgS
Here you have the Parts as they are Compof- ed $ and next you (hall have them fet one at the end of another with a Mark directing where the following Parts are to come in-, as you fee in this following Example.
A
144 d Compendium of Mufic.
A Catch of Four Parts.
«*
"DO*6'8""-
Having given you thefe Lights and Inftruai- ons for the Contrivance of Canon, which is the laft, and (efteemed) the Intricate!* PartofCom- pofition 5 I muft refer theExercife of it, to your own Study and Induftry.
And now<I have delivered (though in brief) all fuch Inftruftions as I thought chiefly neceffary for your Learning of Prattled Mufw% But it refts on your Part to put them in Practice: without which nothing can be effefted. For, by Singing a man is made a Singer h and by Compofing he becomes a Compofer. >Tis Practice that brings Experience h and Experience begetts that Know- ledge which improves all Arts and Sciences.
finis.
■711*1
-*JP. i.i,IMipil- ^PPPPIP^^