Full text of "Syntagma musicum Bd.3 1619"

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SYNTAGMATIS MuSICI 

MICHAELIS PRAETOStt C- 

TOMuS TERTIuS. 

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9IU1& O&avis $u obfer- 

vircn: 

3. S33K Mental ifltttfC&C Mt> atltW Termini Mufici, 

a(6 : Ripicno j Ritor nel lo,fortc,pian:prt fto, lento; Ca- 

pella; Palcbetto, wife \>\d&ntor<mctyrn\ivtt\U\)<ntnlw$t 

foraudjen^ielnftrumenta Mufiolta iuvnttrfcbcttcn/Sfr 

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Jgftcfttat groffofinfiigm jp>crrcii/ate MoeccnatU 

bus ac Patronis fingulanbus artis MuSI- 
C AE,ac Muftcorum Ever- 
gctis. 

Oatmac& 6b Durcft ®OZZts wlitbtnt 
8tiaW/in^t^ttefonWrbareSKfl^etJn5Slr- 

bcu/tm Syntagma Miriicum 5 ft)cl(^C^ tnQuatuorTomosdu 

ftribuirct, wttiD atter^attD Muficalifd^ ftufcoi otw w&orf 
utef ffe fo ad Muficam gc^drrt/ Darinmn fagriffcit/ 3romaf- 

fen foft1Je£at$ Dcm Gcnerali Titulo tMD Indice fftftkuffd' 

ger ju t>crncnun / Slllcti ju iclji^r jat t>nt> bei> Dcr licbm 
pafbritat aufffommmWn recbtjcfraffcwn ctnbrfinfitym 
£icb&ab<rtiWr cPlm Mufic jam bcfieti }ti (imirowgctra* 




get* : 91$ &a& itf) aug &ett wrwmbfteti t>«b bcfw&rteffcri 

Scribenten , in Primo Tomo , de Mufica Veterum facra vel 
Ecclefiaftica , Religionis cxercitio accommodata 5 fimul & 
dc Mufica veterum Politica, in ufu & lufu extra Ecclefiae li- 
mites ingcnuo &liberali Mc^atlDclt. 

$miMt>rf( id) in SecundoTomoaller Muficaltfc&en 

Inftrumenten ( fo JU tttlfer fcgf gtfl Jcit in Europa , jotwl CM 

anfrrn al$ fciefcr flrtcmim ©cbraucf) )'^amen rSlbt&ci' 
lungJ^ljonySlbrig tm& Contrafa&ur, trnfrlttatf me&r toon 
fcenfdbcn )u uriffcn Den ntytm : ©ann aucfc twn tnifercr 
jett Slftcn tmD9?ett>tti Orgefa/ torofdbcn befc&reibutig/ 
Difpofition, Cigcnfc&afftcn/ tm& wag fonffcn tw&r t>emjcl* 
bm Connex gin* tm& ju gc^rtg : ©or OrgamfUn / jfn* 
firutmntifictt/ Orgcl'Mfc jnfirumcnmwcber/attd) anDerc 
fo Da (u(i i>nD (iebe jur Mufic^abcn/ tidtifl ju tti|fen/ t>nO 
mrniufftfg ju Icfeti/ befcfcritbcm 

@o&a6ic& mm in Mcfcm TertiotmD fof#nt>ero 
Quarto Tomo , tag fflrwmbflc fo cittern (fapellmctjfcr 

Phonafco tm& Mufico Pra&ico , @OtlDcrlict> jcgiger jcit/Dd 

Die Mufic fo f^ocf) geftfc got / tag fafi nic&t ju gf euben / bte< 
fdbc numefcr (jfl&cr mvtt fommen fomicn / ju trfffcn wii 
nd^tcti (tin ttrtrfr/br grf flfen tmD twrfaffet* 

3M aber jefco / fon&crticb in ^talia / a\\$ Dermaffen 
vitl Muficalifc^c Compofmonc^ wtiD ©ef<$ ngc / fo gar toff 

cut art' 



tin mifccrc Sir* /Sfftanfer tmb SBdfc / a$ t^or Der jrff/ tuff* 
gcfcijct/tonD mtt jfyrcti applicationibusan c £ag foramen &nb 
jum^rucf wrfertiget fein t>nt> nod) tt>er&en/t>arinncnfo 
matic^crfcr) t>nbefame 1[taltantfc&c Vocabula, Termini twD 
modi bcgriffm t>nt> twl)an&cn/&a ftc& em jefcer Muficus 
Dartn ntd^t n>oC rtcfeten t>tiD fetyefot fan : Cum fecundum 

Scaliger* Philofophorum oculum >lib. is- deuuf: I* L.c.uh. 
unius vocisunatantum fit fignificatio propria ac princcps: 
ca?terse,aut communes , aut neceffaria: , aut etiam fpuriae: 
Cum nomina fint rerum nota?; CuxinTopic:& dt Finilms Arifi:^ 
T^.rerum notiones idemSi*tigM.7.Poetx.ixtmmfjufJiJ\[JULT(L 

Anft : /. Rhct: foXeijULcSct J@tf WfJieioL, PUto in Sopbtjf. ©0 §Glb 

3$ in Wefen Tertium Tomum, i. <£rfittc& &ie Jit* 

men aller 3raltamfc&en i §ran$flftfcl>en / ^ngltftyen / 
tmn& jefco in ^eutfftfanD tMtcften ©eftfngen / t>ero> 

felbcn fignification , diftribution t>U1lD defcription : 

*♦ £um 2lntwn / wn ethefan antorn tontcrfdOte&e^ 
nen ©ac&en / fo ntd)t allrin gemeincn / fontorn and) / 

toll Wtmfymtn Muficis Thcoricis tMfcPradicisjn twffett 

ntd&t t>n Dtcnlict)/ rtc^rtgc tmbwrfMnDfid>c erftc^rungge- 
t^nn: ^nbDamtttrfe j*jumX)nrten/Wc3taJ^nifc&et)n& 

antore Termini MuficitHlD Vocabula JllWfJc^m/Dteln- 

ftrumenra Muficalia in ^taftantfeber ©pracfe ju nennen 
t>n& abjut&erten : ®er General- Bafs(weld)c£ gar ctnene> 
ftc 3talianif$c Invention, auf$ Derma(|en (jerrlf #/ mtyttcf) 

):( 5 $3crcf 



SBercf t>or £tapdffflef ffer/ Dire<2or es, Cantores, Or$Mi* 
fun tmD Stoutwifien/ t>nt> fxp t>«£? in %cutfc^(ant> pcb aflcr 
crft beginner IjerfiJrjw&uu/tmDin gebraucfcju fomtwn) 
ju tradircn tmnD rccfet $u gcbraucbett ; ©cjfelefc&tti n>fe 
tuancmConccrt,?mtf^ otar itottfnijc&c Motctamjbtoff 
Diet Muerfcbfet>ene£&or ge|it^t/mit guter bequemligfefc 
difponinn wiD anoronen fdnne/tmn&roatffonfienatt&re 
mc(}r @<Kben Dartimcn begriffm/tt>efcbe£aUe*meifien> 

tfycilg Dff jefclge neiM Silt fcer Mufic accommodirct t>nD ge* 

ric&tct i @o 3c& Sum tbetf aurf ecfic&cr 3taUanf ftyctt Mufi - 

coium prafationibus 5 £um t$et(4Utf Ctltcfcer ItaIorum,t>nD 

fcerer fo in Italia verfiret , mflnDttcftcm 35erfcbt ; ^um ttyeif 
aucb autf meinen felbfi efgencn @)eOancfm twn& gerin* 
gen invention txrfaffee / confcribircc wwD jufammen 
tracer* 

SMbannmm (?.^»«t)J5crrligWt:fo»olW<iin 
^ciU^ti SWmifc&en 9Wc& t>nnD gang Europa fcoebbe* 
rfifjuuetrnD^Dfe ©tabtWflrmbergf/nicbt altrin em Rc- 
ceptaculum t>icler ^wltaaffc&en tmDSenetfonifc&en #anD> 
lungen/fonDern aucb*ornemlic&/ nwtfMuficam anfan* 
get / Dfefelbcton&DerafcIbetiCakores|e6cricit vcneriret,t)ttt> 
fcocbgebalt en / wit fofc&etf Daraufl ju erfe&en/ Dag fie nicfet 
aUetn Den fcberautf wrtrefflicben Muficum Orlandum dc 
i a(To t>on ©rnDtin §lant>ern btiwig/§ftr(H: ©urebfeuebt: 
ur234i)ern SapeUmeifJern ju Deceit (3mmaffen cr fol* 
$*£ felbften in einer pratfation fe^r &pc& ritymeofo wet 

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mi<b $ernac&er autre wwreff ftcfceMuficos fe&r gefiebct t>nb 
9ee!>ref / fonDcrtt auc& in fcerofelben © tat* ju je£>er$eit t>or* 
mff (icfjeMufici emffanton/wuer weleben bann if* Der roefe* 
berityrobte Muficus,Componift DiirtC Organifi 3o^anti 

JJCO #Q0ler/flKb&cr GUC& feme Fandamcnta in Italia ju Qc 

ntto$9ct)to\n1)o$btr6t)mbtcm tmb twtrefflu&em Com- 

poniftcn Mfc Draanfften Andrei Gabriclogcleget ; 3w 

glefebm aud) &efTen^rut>er / £afpar JP)a£(er/ 3$jatiti 

@aW/£&rf fioff '$!lril/tmt> atltere in hoc laudabili exercK- 

tii gencrc <£ tyc tmnb 9?u£ro erfangt. ©a berni auc& W{? 
(fti)ufdmpt /ba£ nfef^r germgefon&erntorne&meSauff' 
vhiD jf)AnDe(0£eute bafclbften nic&t altetn fonDerba&re grof^ 
jefuft jur Mufic trajjen ; ©onoerti aud> Dicfilbc t»or ftc^ 
gmi&embffy excrdren, affo t?itt>fclc&cr geftalr/ &af?#r« 

Opera Muficalia Jttni ^rtld bcfdrDert tm& publiciret , thrift 

fic& to*&ur<& euien fmfitrbU($en %imen comparirct tw& ju 
ft^cgen gebrac&f fcaben/ etc 

©ietpetf Denn &arau# Jtt fe&en tm& gemtafimt erfc&e(* 
net /«ne £. €• tmb Joerrtyt : twe <wc& Derm Gives twD an> 

DeHDatt^te miff Muficam tarn Vocalem quam Jnftrumcnta- 

lem,ejusq;Cultores a<t)to\ tmb&aften/ Derofelbcn felbjien 
t tot Wfl fetjn / t>rml> public* & privatim jjebrauefcen / Dafjero 
Ufto befler txwon judiciren tmD Crt&cilen t dnncn : 

2ilf5 &ab torofelbett/ d$ Philomufis tmD fpcftgc 

Careen Mufophilis,3tf[) Tcrtium hunc Tomum Operum 

meoram Muficalium,tt>e(c&er nrte twetwe&net/tHM fc^igcr 
' wnw Sire wo 3ta(trni(fc^cn Sftanier in for Mufi c> morsu 



€*<J*tnrt£crrKgf :fbnterfld> droflc guft tmt> ©efoflm 
tragcti/tra#irettmtiD fyanDdt/ t>nrerMen^licf> dedicircn 

tmD offeriren ttJOflemttUt ^0^Ctf£Jigcr^3itt/f0l(bc Dedica- 
tion m tnigutem tif d)t ftttwrtttercfen/foiifcrti angcregtetf 

jwar flertngcg ^rflttdtWtl/pro innati fua humanitate& 

bcncvolcntia,fic^ gro^gftnfftg beUebcntmDgcfaUcn/tm& 

SJttd) t>tiD We 5?^efnlgett de meliori nota commendiret 

ftin (ajjat . ©a* tx#t wrtrafteti fcfcc ju <£♦ <?♦ twn& 
jperrli^^* fieri glid^/DnD Dcnfctben nac&mcmemgeritt' 
gcntwtnflgcnaUc befcdglicfte tontcrtmllig -* bcrcftgefliflmc 
©tenfie jutrftKifcn/ erf crroc f c& jetorjefc mtyfcftUMg twD 
^ct>ltrf> bcflifpcn- 

©tefelbe torn ©tiatanfc&ufc&e* SUfmec&rfgen $tt aflero 
glfirfltcfcn®ol(ton&/tmn& frtetfertigen tHegferuttg(?fe' 
mit gcttwltcf) empfe&tenD* SDamm SBotfftnWtoel/am 
i4^ona«SJiaij/3m3a&r5&rtfl</ i*i^ 



Michael Prartorius C* 



IN 




Jfr rijti CLARISS. 

Dn. MICH.PRAfcTORII. 

. Harmonicos Conccntus penitus 
divinos. 
GEORGII REMI Epodc. 

Raxerat AMPHION, Thcbanacconditor Vibis 
( Fides fi habenda fabulat eft) 

! Saxa fono Tcltudinis : indomitosq, Leones 
DoOi lyri ORPHEuS Thracius. 
NIL DEMIREMuR faftum. Mircmurat ifhid, 

Intra mancntcs corpora 
SubvchercHasanimasnoftras IN SIDE R A cantus 

PRAETORIuM dulccdine. 
Nam quis tarn ftupidus , ram blcnnus, bardus $ excors, 

Tarn plumbeus mortalium eft, 
Cclitlbus qui non fcfe putet eflc bcatis ; 

Et Angelum additum Choris 
Sentiat , ut primum Polyhymnia fuccinit *de, 

Et mulcct ima pe&ora? 
ORPHEuS SAXONICuSjquinTa GERMANICuS 

Dicerc, PRAETOR I, mihi : ( ORPHEuS 

Immo J E SS AE u S noftris mihi credcris oris 

Datus alter ex alto Polo. 
Vive , hofpes-fofpes terris: poft funcre, ccio 

Ccrtabis Angclis Chely. 

cb, b. c. XIX. 

4 

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ttn gwcfcn/fcajj jr$mb tinwfo voiuugcfc auff in prxftantifsimotumMufico- 
rmntfcholis ( wcldK / antam IdWtdjai Nationen fcimtif nid)tc*fancnv 
jmn i j<oerj<tt in Jtalia gcfun&cn tnoonKijo nod) ju fnom) crjogm/wmd 
fundarpentalirerinformirct »nnt> angewiefcnt»orom/okf<9)rtfcS auffftcb 
mbnun/wtno von ccmn fadKn / itjcrcl)e alt>tVr nur tftri$lici)*nn& tn\t nxnujcro 
tmtyM/ nad) fdncm I>ot>cm Stoffantx accuratius tonn* t»dft«iffttg<t tra- 
(fl:iren ttidct)fc : SMmif >nuncr je mc|)r »nno m<$r oct mangel in Muficis 
txftatuti rin gams t>oUf ommen QBercf an* ^tcct)t ^crfTir ttbmtmton Pofteri- 
tetconfeenret »no jjinKrlafltti nmroe 

Q&tiUUt Dteftffetn fffjnltdK* n>unfd)*n »nnt> ktfgttni nod) jut 
Idf jj>m«nid)f 3<wej)W worcm/ wino c\b<t wdanfdjnlidK t>no gefc&rrc &w</ 
ftrityfticfftf fein Scriptum frurdjlcfcno approbirct , wmo Mid) Cantorcs 
tmno Phonafci , fo ju fold)er Concert Mufic fccgttrig fcijn wino inbrunffo 
$t8Mt\<Mi$mtta$m I j>naMef£i$ bcv> ^jjmc tomb Publication oepben »ot 
DK|cm wtno a«d) nod) jeiso anl;altcn " 21(0 ^af <r fcrncr ntdjf ttwcrtafTm 
(dnnm nod) fotfen/ m&tntgftdKn jut Inftruction vnnt fftadptdxung/mif 
tw(Vm fcimm gtringtn tpon &DH 3!> mc flneMgUct) wrtiej)<Mn Talcnto 
Wbitnmi tamtrfn wifcrm aflsmtctnem Stotttfanoe Germania / Me §Mc 
Mufic )cm<f}rrn^^ mcjjr mddnc florirenwino ju voffiaani &tanic tonnd 
2Cuffnc(jmm 3<brad)f twrfcm ; #nno rtdfo'cty ttr cr|fc oatf £1$ 3<brod)<n/ vn& 
fcic SSajjn <Ktnad)f . 

3Btea&er&K^cffDttflmb|fmMnb 2$owcff(id)jfc Inftrumentiften* 
£)r$ant|fen tmno £auttniffcn fd)w^t(id) oaju fdmun $ebrad)f twrtai/ ftcfr 
bcpanocrnltfrm ju fajjm / wontdn rinalbttrt' awor ftd) amGctytfrcctywr* 
grfffen/ wine nw feincm wiswicjcn tmno.vngcfctytfttn raflcn wmb rafpefn/ 
dud) vnltcWdxn Quintifiren etne QMnmfcbe / vnatmtftriftt SOMoott) 3<* 
maebmmooer anttrenjDfyrm ornnajfrnmit SBffjefaamaqrfasct/ oaf ft< ffit 
^Bnmutj) fdb(f afpbafc iwd) ocr *auf<n obcr inftrument grciffen / wmo nacfr 
^or^Affcnm Toccaten *mno praeambulas tim ganijHcblicbeMnoanmuH' 
gt Phanufiam vnnoFugammif ^un(?ud)m »no 2Cttta<n Diminutionen, 

):( 8 Paffa- 




&(lm <$omc§mm Muficis, ffapeUmrtffmt 

DUD Phonafcis ^eiltfcfecr Nation, ftflnfc&Ct btr Autor 
mim gcfrfifcrttdjcm ©rug tmt>nac$ &tmto* g<W§r/ 

Itotavdt tot* furwm&ffc to Mf<?m £)W«mTomo$yn- 
[tagmatisMufici, ttldfUn fj)dte&tf Autorisd<jenc$<* 
Itoincfm wmb Invcntioncs fan / wefdK tt bo) ^nora* 
tains tmfcrfd)ft&encr <£fmr : tmt> $tirff (fttyen Concert 
IMufic an vmcrfcbfcttmn £)r«rn fonderd'eb obferviret 
>vn&fWf&t'3m act)t^cftomm<n /auct) tarctytaefferctf n«dv 
,,,.. . -,.^. ^_„uftnnm»nnfc fcencfcn in artfmttMm Concerrenadu- 
fum transferiret ,aucl) <nt>U&) auff' wm& au papier ^« : £)t>n attcinc/ Dap 
<£r crfidjer Italorum Information ( fo er aflkreft / &o to'cfc* fctn Concept 
»nnt> SBcrcf faff wm<£nK&t1>xsti)t I tint* ttyft* in eijTic&en Prsfationibus 
ibrttim&nict auffofsangmmConcertenjjin tmnbnMKr$<fun&«i/2(n&«tf 
£&ril* afcer *on sw<n tasftn / bU in Italia verffret, buret) WmWfym $&(' 
tiiat <m^nommm ) tn W<fm Tomitm mir <m$ebx&<bt »nnt> $<fa(t ty\t. 
I&nnlf aber ibmc expericntii edo&osarntd>f wbcnmff / &ajj fonfcttttcr; bet) 
cvulgation Stow $&fi#tt jtd> affesett $ftifj-©ftintt frnbm ; weld)* au* 
2(n3<b<>rn«$taMfclKt Stoart / iwfgcmrfiue TCrbdf ju fa&efo / tmn& toy it* 
toman fttrfitgfcMtfg otoworgar tKrJa'fetfaau mac^n/jum jtfenften ftd)6c^ 
mftbcn:2C(0l>trm cr alTc Mftr 'Stonft £rfat>r<nc/ft< woUen taefc (Wnc Htbtitin 
optimam partem interpretiren,candide" tymn cenfuriren , and) wMMt' 
ftim ycrfte (JVrn/3t)me»nDatt<ni)<rMu(ic-itcbl)a6etn jiifonferffc&cm Sftu? t>n& 
^rfrtf^It<jfmmr»e^communiciren,et>er Iffcnrttcb tosrcbfctn S)rucf ()er* 
fur wifcan'Sasgcbcn: Siquidemoculi Temper plus videnc,quim oculus. 



Paftagten , Trcmolctten mfo Tiraten fftr bit Iwu fcrfo$w iwto {Kmacfecr 
fd^&^^nbcwrHmit/^nn&ntd)t»i(fm/t»<nn fle»i<t>«*m& auffbfanfoU 
kn - ^53ic ian$t ju»or fcitton Horatius , wtil n)me ofcn< WKiffd MeMu/id 

Omnibus hoc vitium Cantoribus , inter amicoj , 

Vtnunquanrinducant animum cantare rogati; 

Injufsi minquam dcfiftant. 

Gbtntt moffm »<rf)offf tor Autor, anton / fo fciefmt (Mftbctt tnnb 

li<M<d)<m Studio nad)$<jos<n/wi& ttwa *i<l%ctyxin Italiawin&antxrnJDr* 

Krn(t>a|)in£r propter valctudinem, occupations, & multaaliaincom* 

moda md)f gdangm m£$m)iNdcr wrmffttcba Muficorum convention 

Jtunfr' »nn& §teuntfcfaffr$cj)a&f / wn fcnfd&igtn aud)&<ffcrm<i$mtmfa> 

rfctyer worfcm/ 2Cnldwn$Mnfc2fottt<6 m &bmi ton^adjmfmtfrnftcbm 

pnntn/ wmftftr* Talenta nuftt in Mt <£r&c #roagrafcm'/ fonbcm gam$wttt$ 

an&tru ju communiciren : QBdcty* <£r &ann wn dmm jebtm candido & 

SinccroMuficoiMwfcfitfs erwawr- #nnt> wd( wir aUc scmdnem Xarcr- 

lari^c ju M<nm wntftorur ftyutoi 3 wt* wr&un&m feqn / af* tttrfc CEr nttfef au* 

Gfyrgrig o&er dnm$tofT<n$fl«&mm wtMXuim &a&urd)|u<rja3ro/©onfcmi 

laufctxr Nation w $ur< vnn5 Dm #<fya&<rn&<r Mufic mmfcflm/ frfnat 

Quartum Tomum Syntagmatis Mufici oDor MgA07T0<iCtV autf fttf Io- 
fephiZarliniJoan-^ariatArtufiijPetri Poatii^M.HoratiiTigrini ,aud) 
vidcr anbtttx &ortwftfic&m Automm Jprrftcfyn ©d)rtff«n jufamnwn s*» 
brad)t/ &urd) tfff cm licfcm JDrucf 0.® c« in town an 3ag $<fcn: ^Bcr^^ffcnr- 
(id) <#wflr&mt>fd fromme wt& gut cJj><ri|<n gtfimftfn twrftn / tvrfcbe nicbf «ffd' 
w fofctKfdntSr&df mit ©ancf-mimrt&m 3<fcffi«m @<mttr<»cr^m Mrtcr* 
f ronai / fontxrn aucfy anfcfK Wrf<r Jttutfl ex prorcffo luatt&am/amuma&wn/ 
ftr<©c5)rt(frm/ttdcb< ffrnod) in Ad verfanis, Jt^on anrftfecty |w brmgcn/ 
Mrfad) win* # fe§ai)rff Mfytim. QBie <Sr &cnn mcj)r0<&ac!wr Autor »om 
Henrico Baryphono ,Quedelb. Scholar Phonafco t>nt> Mufico Angulari 
fonfcrli $ JoffWtt twrtonicty oHdn fcfc Opera, fo a in ftintn PkjadibusMu- 
ficii promitiret , fonfcrn aud) «n*w m<(>r/fnfontffl$df afearWeExercira- 
ttones Harmonicas, in wddjmaflktf/ttatfadTheoriam wtfPraxinju wif* 
fmwn ntom/fo$w'ff<ni|f/$<rfifo jitgebm fdn&toncfm tra$m inert) aniwe 
M<fcr jRtift({ 6<5lcri5<(mscr<iitfR>A(r<n : JDojuKmwr Auto* Mfte Syntag- 
matis 



mmm ■ — — — — • -— W ^^^^mm 

roatis tm gnttrinmStudiisfum to|tcn/$mt M/umptus wu> tnfojfcnjum 
irucfm/&efcrnftd)mcbf an&cre $ut< ieuKfcarwfmfcm/auirapeiKliren wiffig 
an<x\>ft<nt)*b<tiwtt: ©amif nod) torn ^jxmpd fret Icalonun and) to Ger- 
mans noftra patrta Wt Muika g(d$ afc axibcu Sciential wt& Difciplin* 
nictjf aff^cxcoliret,6<fon&<rn oud) propagiret,vmb ju©of«* dmgem^ofr 
wt& 9>rdf / aitd) ® ot ffwrdjrijm JJcrijm / fdtgcr Recreation mo $rg6gtisfctf 
wcif mijfec&rdtrt tvcrteti m6g<» 

^)tcmir Mi tretvtKr^n &fer ©&tftd><m <Sd)ttm <fflpfe{>k»&/i»d' 
dja Mcfcguf<t>no wofmdnoite Ztbdtim b(\Xtn$atmbxodmcintnb<xttmtnt 
tntf ju fcmcm $uf <n t>nb $to& ac&roucijm / tmnft &<m Autori tttlt fcldxr gut et 
tvolmdiunoer affc&ion, ttctvcm J^cnjcnvno ®cmut /al$£r$e$mi{)raet>mtt> 
alien ficbcn Muficis von gruno frintf iiuurjfm JJxri$<ntf $<|utnct wt& affeftio- 
nirec if? / |u<jcf (>an fan vnb Mri&cn tvoSe. 

lesV In te (pcro,non ConfVnDar In aeternVM* 

3« WcfcmTomo Tciuo fmfc t>Kp 

^m (frftcn SJcfl. 

Von Der 5?el>eutmi9/2lbt^iIuri8t)ttt)S8^tt<bttttgfa(t 
alter %tmm for 3taKatiifct>en/§rattftdftf^cn/€ti8^ 
fffticn wibfctfacr icittn ^aitftyfauD trtli#ert©c- 
f<f ttgen : Site/ 

i. Conccrtcn. pag. 4. 5. 

2. Moteten, FalJb Bordoncn ; p. 6: 7. 8. p. io- 

3. Madrigalien,Stanztn,Seftioen,Sonetten;p«ii.ii. q.14. 15- 

4. Dialogen,Canzonen,Canzonetten,Arien; p,i6. 
f. Meflanzen,Qaodhbetten; p. 17. 

6. GiafHnianen , Serenaten , Ballcttcn ; p. 18. 19. 

7. Vinerten, Giardinkren , Villanellcn; p. zo. 

8* Pr*ludi€n,Phantafien,Capriccio.Fugcn:Riccrcar. Sinfo- 
niac;Sonaten p, i/ f «♦ )•( 7 ?« lQ " 



I«i 



p. Intradcnjp.ii, 23. 
10. Toecaten ; p. ij. 

x 1 . Padovane n,Paflamezen , Galliarden ; p. 23. 24. 
7 2, Branslcn,Couranten, Volten, AlemandeBtmfcMafcharadcn 
pag. 25. 16. 

§m I L "Xp" 

1. InLigaturis; p. 19. 

2, Proportionibus , Tripla , & Sefquialtera : p. 2p. 33, 
j. Brotundo, b quadrato,^: canccllato; p. $0.31. 
4. Numcri5t>n«tb<n5>4Ufcn: p.|3* 

f. Virgulis &«} Dm Notcn : p. 34. 

6. Modis feu Tonis : p. jf . ad 47. 

7. S ignis wit) Chara&cribus, p. 48. ad 7s* 

Sextupla : pag. 7$. ad 79. 

8. Elcvationc mt deprefsione Taftus : p. 79. 80* 

9. Tranfpofiticme,Cantilcnarum» p. 8o* ad 85. 

1 o. $Unnun$ &<r 5>arwn o&tt ©ttmmai : p. 85* 16. 87. 
1 1. Starafctxitomg iw Sfcorm : p.88.8p. po. 
i2.2toM<iifat)^m@<frrmict) totOftaverumb Vnifoncn juobfcr- 
▼iren. p. pi. ad ioi» 



%m in. X^rtU 

QB^M<3wiltantfd)<»ni)att^eTcrminiMufici: ate/ p. 125. 

j. Inftrumentjnftramcntift; Parti conccrtatc; Chorus Vocalist 
Inftrumcntalis;ChoroMutato,ChorodeViole,&c. Ripieni, 
Ritqrnello , Intcrmcdio : Forte , pian : Largo , Lento , prefto: 
Bafleito,Accentus,Trillo,Gruppo,Trcmoletti: p. 10;. ad 

2. Capella: Palchetto: p. 11$. 

*. Capella Fidicinia: Chorus Sympnom*:$tMt(fct)m. p."6. 

4. S)te£Ku(twftfcl)eInftnjmentaabattfj)d(<n: p. «£• 

5* 3n3fa(tan^cr@prad) iu mnnm: p- iw- ^ 



6. £>cr General-Bafs ton <in£)t$ani\l<nil<Munifttn »nD anfccrn jugc* 

brauciwi: p./ 2 4. 
1 ( J£>im><m fW / ob ©oft ttfil to furijeri / dtt aufifttyrttdjtt Tra&at *er 
fmtgc £)r^ani|Un /fo jict) jum atifang ntd)(fo riscnrttd) wiofralte oljnc mcj)< 
mit^nugfamcn^cric^fv>n&^nmrict)f i>ann ftnfccn fonnm/wita&fr&crfftr 
fommcti.) 

7. (£m Concert mtf Inflrument-witto 5W<ttfcl)m ©timmm «»ff 

vntcrfd)tet)(n« Choros ear bc<iucm»nt> Uic^fiicl) anguorMtm. 
pag. //2. 168. 

8. <£tficb< wiffrfctyttttnt mandierfa? 3rtm wiftSRatiimit Aflfor&an& 

tot Autoris »n& antxwr Concertcn / dud) mtf ^ftttiflMttm 
M&^ett^aucfmanworfrnen.p. 169. trip iP7.$)*t&flt^Aim 
rtn Index Generalis Polyhymniarum & aliorum Omnium 
Operum Muficoru ejusde Autoris M.P. C. p, 19%. bif 24.4. 

9. Inftruftio pro Symphomacis: SQ&cldxr 3C(fa&jUtta<^na&mm 

6ct)ii(cn abiimclucn' »n& ju Mi$ct%totiam{<fym Ztt wt& SDfcO' 
ntcrtmftnfjm {ugcwehnm fctjn. p. zap. bip 140. 
/o. <5m aupfityrftcber Index wt& DCc<jif?cr. p. 244. 

Triga Epigrammatum : ubinomen au&oristradpo- 

fit-um o&btics repcritur . * 

I. 
, Rastorl intbnuit vox Mufica in omnibus Orbis 

Parribus,&nemoeft,auin coIathanc,&amet. 
Propterei. erectus Cantui fuper-addcre Cantum 
Pergit;& sternum voce fonare Deum. 
Fallor;an hfcaliquis Iatet Angelas; ifta profatos 

QuamLAuRl MORES Muficus hie CAPIET; r. 

Immo dixit ira. r. Praetori oculifctme. COEH *, 

RuMPEq; furanimis ASTRA vaga harmoniis v , 
Sic Tua laas crtfczt, Daphne ot ad lahra fluminis ampli; 

LVTHERIqjORAM poft obitum CAPIES, j. 

II. 

Mufica noftei amor : nofter Pnttorius inffr, 

Null* prae hac rapiant me magis ilJecebra: . 

)••( S Cuis- 




, TERTII TOMI 

. PRIMA PARS. 

Seu> 

Mifccllanca dcEtymologia & defcriptionecantionum 
non folum apud*Italos, Gallos, Anglos, verilm ctiam faacme- 
moriaapudGermanosufitatarum, &dm ufultcclcfiaftico, 
quam Ethico, Politico & Oeconomico dicatarum. 

dtfUt Xfytll 

gtarinmn 

5Dtc S3c^cuf ung tw^arwn/ $£>it au$ 95e 

fc^rcibund faf* alter 3ta(tdnff(&er/§^«^Wer/ gntfv 

Madr igalicn , Canzoncn , Villancllcn, &c» 

Q3n& wtrt terfelbe in tirtc&fWgetifccn 1 *♦ £«* 

II. SSon t>m ©cfdngen/ wlcfie ©cijUicfcc *>nn& gratott 4(tfc^r wftfoljc 
£qrK (ja&m : 2H$ / Conccrti , Motet* mb Falfo Bordonc. 

% Wei* 



Quisqj fimm tcneat folennei Negotia tra&et 
Qujsq; fua:Harmonica me jurat arte frui. 

HidcHORIS CREO dnlce PALATIuMiftcintusitiUfa 4. 

Invemet coeli , qui penitrabit, Herum* 

Confluttc hoc homines, Pietas quibus aurea cordi eft, 
Et quibus inq; oculis eft Deus , i«q; animis. 

Hie eft dulce palatium : In hoc celebrare licebit 

AEtcrnum Heyigenis hoc fupcr orbe,DEuM .• 

III. 

Prartori.NxTV CLIO es MIRE ASPERAi porrol 5* 

Et METR A PuLS A HEROICE in omnibus urbibus Orbis , 6> 

DcDominoomnipotcnte;CHORlS LAuTE IMPER A;St aures 7. 

Etinentes hominum , O SATIA PuLCHERRlME amandae 8. 

ArtUope : Imm6 ORPHEuS ACER Tu MILITA* in Odis o» 

? Nemo tibi par eft , quantum Ccio, nemo foturus. 

E TE PRIMA CHORl LAuS eft ortunda : fcquuntur 10, 

Si qui fun t alii notam dulcedinem 9c artem 

Praecori dile&c , Tuam« PAR nempe ferenai 1 r. 

A MERIT O LuCI ES: fulgetq^ per omnia terra: 
" Climatajut Artiti, Procercsq;, Ducesq; fono e6dcm 

(AuRl IS MORE PLACET jdeTe ore frequentcloqaantur* u. 

Hi quantum eft illud Pratt orit hi quantus es ip(e t 

Perge modd: CL AMORq; PIu$ porro AETHERI&Orbi i}. 

Conftetin sternum . I E S a M Tua lancH C RE P A TO 14. 

Et vox & L YR Ai nt olim optatae in mortis agone 

Confidente animo de Te ifthxc dicere poftis. 

PRO CH AJUTE ilia ME A LuSI omnia Cantica quondam. /f- 

EtCLAuSI METRA ORPHEI:&CLAuSI RITEOPERAM 

Qualis in omne Cayftri avisalba ubi terminet aeyum* (omncm J16./7. 

Quasa,; Loquacious inferipfi quandoq; Papyris, 

HAE SCRlPTuRAE OLIM de mc bona quasq; loquentur. it, 

Prsgdf.ftkt&t & tumiiltMdtim, 
Job. Stcinmctzius Sccundus, Phil : 3c Med: 
D. Poet. Imperials Lauriger. 

JERTH T. 



9?tff<nfr&fctt>3($/ Madrigali a, Stanza, Seftinitmb Sonctti, 

I V f Dm t>m ©efiirt^n / «>dc$e mltttrtp pofltrftty 2e;« / fcodfc 
ll^t to^ffttt^crfm$afrm>3(»/ Dialogi, Canzoni, Conzonctti 
Vtlt> Aria. 

V. ^onfrmSeftfrtam/ n)e{c^e<iit$ma«c^<H<9ertrfm|tifattM 

mm gfjftcf rt : 2W$/ Mcffa nza *>nt> Quodlibct* 

VL WonDm^ffandm'fw^mGaffarcnionD $Rummtttytn$<* 

fcraudjf ttwfcm ;2W*/Giuftiniani, Serenata vnt> Ballctti, 

VIL 93on^en©<f4n3m/tpctct<t>ottl)m2trtcftcrnvnb55ati>riw 

Kit gcfiUttCntttrbClt/afe Vincttc, Giardinicro vmfc Villancllc* 
IIX, VWtttClt Prsludiisfar ficfc fcfftfl s 30^ t»a ftnt/ Phantaficntont) 

Sonatcru 

IX. Wtnktn VrxludiisiUmXanfc :3tt$ Intraden* 

X* <Son fttt Praeludiisjim Motctcn vtfo Madrigalicn , afoTo* 

eaten. 
XL WontenX&ntnn/frauff$mitt< PafonbXtitt&tictyttialt/ 

Padovana, Paflamczo tmt> Galliarda. 

X1L WmttnX&mttwfanitfitatff&wific jfafitttiErittdcrtcfycfs 
2ffe/Branslc,Courrante, Volte, Alemande vnfcMafcharada. 

JOa* L <£tyiuU 

fc&cti / gran^afifc^eii / <£ tigitfc&en /twft mtmcgr in 

fatt$m, 

3«»df nwncfttt §faf&ri<j<r offrmate $m wiftm woltti »a* Dccl> 
tri<mtcrf(bKt>m%\amt\ &<r3f«(t<5nifct)cn vnD Sranijojtfcbcn ©<* 
ffogt feteurat mdcbmt > <So j)a6<icl) fo(d)c$/ wwict)* «u* tfcfcr»oi> 
iwjimr Autorum €>d)rtfff m sufammen <jcbrac^f / jar na$rid)f nn& 
afljfor anKwawoiTai / ftanfelid) WtwnW fcajjclfaim &$m aiifftu- 

tic^mcn/ 




ncfcmm/tmbtnfuccum &fanguinem$uvertiren. ^fonmnA^fofd^Cati. 
tiones,©*f3tt3<M&$0W0&<i^nfaf?a^ 
fConcerti 



fcrio j Motet* 
ut 1 & 



»» 


■r* 

FT 

s 

tt 

& J 

9 



cum 
tcxtu < 



UalfoBordonej 
Tcxtu 



"> quae partim in rebus faeris>partimpro- 

Lphanis, ut Heroum laudib. & Pancgyri- 

cis folennitatibus adhibentur. Cap, z« 



loco 

fo, 
qa<£ 

con- "J 
fide- ! 
r&tur 
I rati- 



Integri,qiu ut 
conftatrcr- I 
fibus 






one 



I 
I 
I 

Ivfus. 



L 



Sine | di 
textu 1 



dia vel j per fc I 



ut 



V.Chore* paflfuum 



fMadrigaiia^ 
fcertis I Stanza Lr*-« .-' 
< Seftini | C *PJ- 
i ^Sonetti. J 

< f Dialqgi -\ 

1 Incer j Canzoni > - 
1 tivuti Ganzonetti J ^P'4* 

oufuti,utMeflanza 

SeuQujodibet.C.5. 

I^Politici rGiuftinianrt 

J ut \ Serenata VC& 

', Ualletti J 

LOeconomici fVinctti "^ 

ut K Giardiniero f 

(JVillaoelle J 

fPhantafia ^ 

" ^ . Icap.8. 
Symp noma: > 



C.7. 



^Sonata ^ 

▼el ad r^^ oream » ut Intra da,C p. 

^Cantilenatn, ut Toccata. C.io. 



i 



Ccrtorum 



V.Inccrtorum 



Z% 



rPadovana 

J Paflamezo 

iGalliarda 

TBransle. 



} 



Cap. xi< 






]Courrante. [Cap.n. 



< Volte. 
j Alemande. 






VMafcharadaV 



Xcn 



^0ttfcenm<£cj3ngcn/ QBclc^c ©dftRc$etm& 

gratntctiffyc ft>etctic^c ^ejrte tjabcn : Site / Concer- 

ti, Motels, *mi> FaUbBordoni. 

i. C A N T I O , C O N C E N T u S , feu Symphonia ,cft diverfanm vo- 
cum modulation Italis vocatur Concetto vel Concerto, quod Latin is ellCon- 
certatio, qua Var ix Voces aut Inftrumenta Muiica ad concertum fac iendum 
committuntur : Suavitasenim nontam inartifiicio,quam in ipfayariarione 
confiftit : Germanice cm (Soncerf . 

Vfurpatucautemhoc Vocabulum Concert i. in genere , quoquavis; 
Cantione Harmonic* : < 293M< totontinwnufymtt Muficusin Italia, LudoWcus 
V iadana ftint Cantiones,vffbiotewe von jfjm < rftmfcne fd)r anmwfcjcwi&nufr 
hm Zxt <jertd)Kf / mft &<ltt tauten Concert inti tuliret , vnD in t>cr wr&ctS<f«$f m 
Praefation vw cr anttm DKftf angtfcttf tf : £>afj tf oar (let (pa, &ij)m ^efctjen/ ftimif 
ttid)t ^ar juvid 5>mifcn inferirernmrfcen/ befonfeern/ fcaf to'cfc Concerten md)r 
Ikbiitftit I Cadentien vnb^ffatj^'cnm fid) i«mi / 2Cttd) rin jcoJtdK* QBort / * :;& 
^c|fmSyllabenexadef<tncn^Ofcnrefpondirenm^e / tontit fcieguljdwattc 
QBo«\)nbSentcntias&c(!o{c?d)f<rdnnc!)mcnt>ni>»crftcf)cnfontfcn» £tfj)a&e;t;n 
aber. fjtcrjufonfcttKd) bewoam/ to'eweil et gefc^cn/ to$ off tmaltf cine Mutet vow* <*» 
DDer mcijr ^rimmen f n fete £)rad gefimgcittt often/ fcer ^anaa* oiw Cantorn aber/ 
fonfcetud) m &<n Jvlo'ffern/ fcf «n vbet sunn) oDcr &tet) gewefeny vnb affo aus? mangel 
iw anfctm ©fimmm £>er Symphony an &'<bli<jf eit *>n& gtcrfcc vtef «t!$o$cn / fonder* 
ltdj / mil Die Aujfeefoffcnc ©rimmen mir fugis, Clauful is, &c. (2Bdd)cn in ten an* 
fcern €>rimmcn /fo mic Muficanten befMcr l fan$e9>aufcn$ure fpondiren pjfram) 
crfuffcf ftyn : 2*nfc own fcatf nad)tanam»n& w'ffat pwfm ^cr 3:<)*f muriliret wind 
Ifrfffimmrff btn Auditor en w'cCOct fcrufj / *n& txn Cantor ibus mttyc vnfrarbdr $u* 
n>ea< bringer : £abc t>fronx$m J£)an& an We $<t>er adc<jef imt cslicfce M utet ten auff 
ctncfon&cr(td)cConcertatn>ci'femtf ctmr/i»o. fcrei) wtt>4. @f!'mmen<jefei&ct/ vud 
foni)crttctj a«r £)r$d accommodiret : SBeCd)* antcrcn fo vid iu\l i>ui> sbdicfoma, 
gemadjf / fcaj fte nfd)f affdnm oen £au)>f.Svird)<n m OCom dffcmlid) in groffcv fre- 
q u^ntz jefungen / fonftrn auc^) »icl »omct)mc ingeniajur imitation excitiret »n t> 
ang<vdicr$aben. 

2Bk ^ cenn and) am 'Sage / tap jcijt^cr jeii in 3f alia fa|! affc / eUx ja He met* 
(lm Componiftcn gar ivmi^ von Madrigalien, nKiff cffl&dfe ab<r t>ff Dicfc vn^ ^cr' 



gidcftm 2frf gtricbtcftfrjtr i;ertiid)* ©odjcn/ wcldK/tc mit dnar dntf$<n/i»0/ br«>* 
tn Mb wr ©ftmmm cum Baflb geoerali pro Organo (bmon j)UU<n ina. parte 
mtr iriefjrermfof gefaaf n>erbcn)fn brucf t)erfftrfemtmn(a|fotrConcertos,conccn- 
tus ar Motertas indifferentsr nenwrt vn^ infcribirn fc 

A3iiD wtewol jtc bt< Ic&tmifty Cantiones tb<t Motcttcn, fe»fer 4* mit 5.^ 
7. 8. ©rimmm <jefcijf / mdffotf j)dbf Sacras Cantiones, facros Conccntus& Mo- 
tettas iritituiiren : <5a bcftnt>efc^ bod)/b<*(* biefcSBfrftt Concert, Cantiones, 
Concentus, Motettas dntftmebaa aubmvor ©d|f (idK&fdnif$e©tfans< wm5 
Cantiones wrffejjcn. <2Bte bannber Stcfl^oNafimbenijntcl)(a4«nf(ftn<Miflen 
wib fpfahncn aff 3* Sjjown nw 12. €>ttmracn ; font* m aucj> W< anbern mtt *. f . vn& 
tveni^ern 0rimmin/ Concertos Ecclefiafticos intitulirct. 

2. Infpecie a Conccrtando, S3knn mativmcr dror gatwn @efdifd)Afff bar 
Mu/icorum c?fkk)c / *nb brcorab bt'c beffownb fnvnembjlm ©cfetfm^aui fudjf / 
Dap fte voce humana, tmfc mif affcr(ct) Inftrnmenten, ate gmdfm / ttojasmm / 
S$!ovf< n>nD Sucrftfttcn / Jttumbfcorncr/ Soften obev ©oictanen/9CadT«m/Vio- 
kn dc Gamba , arofmib fCcinc ©ttygm/ &utf f en/ (EfaWcpmbdn/CfUdof/^o^dffcn/ 
©bcr Or$dn/ eff.»n&ft>tctK^7aincn^abmoDacifun&cn»et^nm^cn (btwon im 
ttitun tytil btcftf T o mi mit cr $<("<*# rocrbm foi) dncr nad) b<m anbern (SJorwdfc 
mbwcdjfdn / wib gfdd) ge<jcn emanber jfrdttcn/ Affo / bag <* jmmcr dncr ban an* 
bem $m>or rfmn/ »wb ftct) bejfat)er<n tojfcn wil 

S)ctytt and) batfSBorf Concert! ftd) anfd)en fcfl? / <rf$ iwmifttf loir &f dnl* 
fd)cn verbo Concertare 3 wddKS mfccnt<m&rcf<!bttmn*dn Jjdff/ fdnm ^rfyrws 
jjafec, SwiKmlid) Mb ci$cnbfai)er d<xifttiitfti®tfan$<inCot)Cirtsuntimmt 
warn cfwa dn nicbrtser obcr f>oj>cr (Sjjor 3c<jcn dnanbet / fcnb jwfammen fl# ttfrm 
laffm : QSddKart / ob jtc wo( AiictjmCantionib, Sex. vocum gcbwwdjf wfrb/ fan 
csbod) ntrgcnb bcflVt/ atetii benen / fomtf totden^timmmtpf a^.4. 5. obcr mcj>t 
(S{)or $<fei$f fnjn / anscorbnetwertKn. 

§)it October ncnnmtf <jarappofite* i confortio dn Contort, 2Benn erfr 
djc fperfoncnmif aflfcrtei) Inftrumenten, ate^rt^mbdcbcr^roffvmncf / grof^ 
Intaf $> wd& ar ffy iautttn/ ^covbm/ Sanborn / spenorcon f Stftcrn / Viol dc 
Gambftdmr f fdnm S5ffcam®dg/ dntr £tit«f dfr obcr ^5fecff!ott / bffwdlen aucD 
dncr fh'llcn ^ofoitn ober SXact cf jufAmmcn trvdncr Comptpiy tmnb ©cfettfdjafpf 
garffia/faitfr^nbtttbiK^accordiixn^tlibntAmmtr^cr^ 
jufomnKnjitmmm, 

A * a. MO- 



» Pofu- 

^crunt. 



2. MOT ECT A> 

- S)o* SBow Moteta wtt& wit MKrfctjic&mm Anton* *jf wrctfcijtcMictK 

i. lacob dc Kcrlc j Moteta in plurali Ncutro. "> 

fLechnerusfic Vtendal.^ \M ntettt .^ rinfceminino. 
2 * ij>hil.de Monte j MOtCKa jJnplur.Neutro. 

j. IvodeVento Motteta in plur. Ncutro. 

TLechnerus: *\ vmi-eAa finfoeminino. 

4- i^Vtendai& Riccius j MOCCCTa ^in plur Ncutro. 
f. Vtcndalctlvodevcnto Mutcta infoeminino. 

Alphonfus de Monte Dolio Comes j Moteta , Motcda , Modeta 

auc Muteta, italitavocabuIaefTeputat. 

Porrd unde nomen Mote&ae origincm traxerit, variac funt opiniones* 

Quidam,quibus Philippus de Monte aftipulari videtur, M V TE T AM , 
quafi mutatam , amutando, eoquod Harmoniae& fugs invicem quafi com- 
matentur,nomentraxifle,volunt.Sienimverrusdicitura*vertendo,quoddi- 
dionespriusmultipliciterTertend«&invertendaefint,prmsquamverfusfiat: 
Non incommode etiam Muteta vel bona cantilena a mutando nomen habere 
pot eft : Bona enim Cantilena raro n"et , nifi ca mutatis fugis, Claufulis,inter- 
valiis,&progrefsionibusvel centies emendetur. 

IohannesMagirusputat MOTECT AM quafi modo te&am did 3 quod 
modus feu Tonus in illistacitc'& quafi te&elateat. Moteta enim certi eft mo- 
di vel generis cantilena. 

I. Lippius verdM O T E T A imotando, quod gravitate fua, & naturali 
quafiartificiopenitifsime moveat. 

Et Iohan Pctreius Typographus olim Noribcrg. in pr*fatione quadam 
fie ait : 

Seleftasprxftantifsimorumartificum Cantiones, vulgus Italorum ab 
elegantia McdulationisMODETAS vocat. 

Qtomit ctotx &crMuficusbencvoIusn>ijfmm&jc/ t&U tnbmk\)(t^t(tdt tt» 
M)< Mufici Autoresltali fctefcSftamcn Concerti , Motetti, Concentus, &c. eljtt 
mutf^b^bTM^t^Uni^aUi^fol^bM^in cfWtfdemonftriren mt> 

Motet- 



Motctti* 

Seraphini Patt* 4 1,3.3.4.^. 

Biancheri 

Antonij Fabri 

Hieronymi Bartei 

Fattorini. 

Benigni Fontarwe 

Severi Bonini 

AlefTandri Gualtherij 

Iofephi Vecchi 

Benedi&i Binaghi 

Cocciolae. 

GuiliclmiArnoni 

loan Baptift* a 1.2.3.4^. 6 > 7 •&♦£• 

Gio: Crocc 

Francifci Anctij 

Bemhardi Strozzi 

SimonisMolinarij 

Francifci Capclli 

Ioannis SttfFanini 

Andre* Bianci 

Petri Pauli Lavenfis 

Petri Pace 

Bartholomei Barbarini 

Girolamo Maxinoni 

FridericiCalvene 

LudoviciTortu 

AurelijSignorctti 

Michaelis Angeli Amadri 

Iofephi Galli,&c. 

Concern 



Ladovici V iadanx 
Antonij Burlini 
Amatui FranzonL 



U2.3.4. 



AndreacGunx 
ArchangeliGotti 
Antonij Tornioli 
Archangeli Burfaij,] 
Antonij Cifrat 
Antonij Mortarij 
Bernardi Corfi 
F. Bemhardi Viadane 
Bernhardi Borlafc*. 
Benedict Regij 
Bernhardi Strozzi 
Conftantini Bafelli 
Caroli Philaghij 
Catharins Aifandrear, 
Chriftiani Erbacchi j 
Donatide Bcnedi&is 
Francifci Pappi 
Felicis Gafperini 
Francifci Poisidoni 
Finetri. 

Conccrti 

Gio: Croce. 
Gabrielis Pollnti 
Gio: Steffanini Fontanx 
Gio: Ghizzolo 
Hercoli Porta 
HortenfijPollidori 
Iacomo Moro Viadana 
Ignatio Donati 
Iofephi Guami 
Mezzegorri 
Michaelis Maleherba 
Martini Carfare 
Philippi Albini 
Raphaclis Rontani 



Viccn- 



8. 



Vinccnti) Putei | Frcgufij 

Vinccntij Paflermi | Fabio Biccari 

AdamiGumpelzhaimeri,di.2.3.4.5. j Felicis Anerij 

AndreaeGabrielis 6.7.8.p.io*! Francifci Suarini 



Antonij Verfi n. u*i6* 

Auguftini Agazzari) 
Auguftim Sodorini. 

Concern 

Andrex Pevernage 
Benedi&iMagni 
Biafij Toman* 
ChryfoftomiRabiconi 
Curtij Mancini Rotnani 
Diverforum Autorum 



Gio : Damafceni 

Gio: Francifci Ramelli. 

Geminiani CapiLupu 

Iulij Radini 

Leo Leoni 

LudoviciBalbi 

Is icolai Parma 

Ofculati. 

Petri Lapp! 

Pauli Quagliati 

Piccioni, &c. 



J£)teruwttffnt> erfldjc Autores, bitbtytx SSBorrcr (Concerti wi& Motetti) 
3<&raudKIt : %[$ Antonius Faber,»n& Simon Molinarius. T homas Cediinus 
infcribirt frine Bicinia, Motetti Concertati. %nt><t< I Concentus : Sacra Can- 
tica : SacrasCantiones, Laudcs, Harmonias, Margaritas, Dei Laudes,divi- 
nas Laudes, Melodias facras, Spirituales, Tympanum ccelefte,&c. 

ObnamWtfcdfomit 2. 3.4.7. ^ftmmmgcfcRfcCantionesgarfM^tcl) / 
ConcertiQcntnnttmxton tSnnmi autfDcnSfrfaclKn ; Qimtiiin <tli<fy<n tic ba)tci 
frret) ober w<t €>«'mm<n / etna Dan antcxn tic Harmoniam, ml bet) (tlictjcn lit 
^affagljtm ofcetdimiautiones twctyfiiafrcn/ m\l memfytt gefun^m / nacfyma' 
d)<rt / bannfato justa'd) jufammen fatten/ »nt> affo $(dd)fam mirctnanlxr concerti- 
ren,wer etfanm btfttn t)erau$ bringen fan : ©aftfn fcrnnaucl) memeinPolyhymnia, 
Tertia & Quinta (pmnimbxitttn tytii) aucty Utin let 2.^4.tmbfunjffen2Crf 
«,mci)feffet)n: 

^o^bcnlC^licmcAflcnicbmlctfclbcnTixtCantionesmnlConccntus 
mir &em Sftomett Motetti infer ibiret : £)te twntgffcn aber &en wu erfcrjetfc gcjaif en / 
dap &te Motetten *jfrcd)K £>r(aiU>ifd)c Motetten / &te Concert aber *ff $D?a&ri<ja* 

^rKcDe»offmaudjWe(<it»ttr<rfcl)e\)bmad)<n: £)ajWe Concert, t>fferttdj< 
*werfd)tefrene <S &or sericfy w meiffcw j>ctf^ ojme fonfrerbare Variationes tmt> Ob- 
fecvationes ftttSugmgarftykcijf ; X>t< Motetten akr major i induftria& artifi- 

cio* 



ciotmt>nict)ft>6tt S.&timmMQtfwwtxton-SSSclihtsfitiicito aud) ftftUffttafftit 
faftnott j ©infernal c$ in oe* loan Gabrielis primo libro Symphoniarum facra- 
rum, bit Cantiones mif 6. 7. bi$ toffi^. ©fimme tt / vffz. 3. wife 4, <££or $erfd)fet ( 
fcuTidjnid)* aUctnMotetcn, oiewdtft*t>ffWered)feMotetten2&t/ &eren (!#&<* 
OrJandu&(quem in iftogenerehacnoftra memorial Primas tenere arbitror) 
ge&raudjef / gefeisef : intern aud) Concert en , ti<wHt fte »ff tmeerfdtfefcene (Efcot 
smdjttt fep / wi& tic Vocal^timmen alddjfom oarinmn mif dnan^<r concern- 
rcn^enennef wetfcen mujfen. 

Stt&obwoUoh. Gabrielis, Lambcrti de Saive, ttib airterer f&rnef>meit 
Muficorum Cantiones Ecclefiafticar wt& ,£ird)eitConcert, mif Dem^tf f ef/Sym- 
phoniz facrae five Motettac, inferibirt, Wrt affo tafcUTd) foidx Cantiones,tve(d}< 
mtf Conccrtat@rimmm/ jujldd) and? otferfjant) Inftrumenten an$uortm<n7 wr> 
ff anfcen werfcen ; SBe(d)e*i 1 <nn aud) red)f wo biHtc^ Symphonia > lag if! tin licbU* 
ct)cr Concentus, iufammmffrmmuttgwbanmutigt Harmonia genennee wtr&. 

<5o befmeef ftd) oodjin mejjr geoadjfem Ioh. Gabrielis (ei$f pubheirten o- 
perc, fcajj cr ^nrcr obgenantfem QBow Simfonia (aliis Symphonia ) aud) fctef<5 
wilwrftantm^bmiMimmte ofme Vocal^rfmmenalfdnmif Inftrumenten , 
te fqn nun V iolen, g>ofaunen »rib fcerojddje n muficiret twrfcen for. 

<2Bie &amt aud) Ludovicus Viadana fdne Canzonen fo <r mtf 8. €5ftmmer* 
t>ff afferfjano Inftrumenten ju gefcaudKn gar fej>rfdn*ml> arria/gefeifef / mil fciefem 
Sftamett SinfaniaeMuficali intitulirct.£)aj)et id) frannin Differ Signification fold) 
^ortSinfonian^dd)^fa^iUd6vaud}m/^rfad)6(fommcm 9Bie fcannaud) 
Dor ^nferer jdt/ weld)* a&er nunmefct aWommew &a* 2Borf Symphoniao&etSym^ 
phoney artraudjt worsen : SBetm man &en4>au|mann ooer ©fatyfdffer mif fei* 
ncr aaniK n Symphoney , t>a* iff mtf afferjbano Inftrumenten , ate : gintfeny 5>o> 
faHncn/^romm<tcny@<T)^n/SWftm/^rumt>J>o*tnan/ ©ofaanen/ <tt. Jwt for* 
fcetn faffett. 

• ■ 1 ' •' .i' P'i 1 1 11 1 n — ■ tmmm —mmm 

FALSO BORDONE. 

1. §ur$er|Teweroett fcie^fafmen/foimanfanaoet^efper/ ateNota contra 
Notamtn dncr rdge nad) dnanfcer in unifonQ<jefei$ef feijn/ Pfalroi Falfi Bordoni 
genennet : <2Biewof in oenfefben nunmejr Ux S5af in fcet Qujnta tmter km Tenor 
iffejdf gefunttn wixtil fo bu Harmon iam gut *>nfc Complct madjet . 

z> ^ct)^nItalisab<rt|lFALSOBordone,wdd}^l>ifSwtt50fmFAVLX 
BQVRDONmmun/ tvenn dn^rfandmirdtdSextenna^dnan^r^fundm 



10 



Trtrb/ alfo baf ber Alt wmDifcant cin< Quarta , wtb bar Tenor vom Alt dne Ter- 

tiaitieMridcr/ wi olf» obc due Quartan wwn dn Tertia refpedtu medreVocis iff. 

Erat autcm vcteribus rcceptam, ut iucundifsimae harmoniarum excur- 

iioncsintcrdumhacrationeinftitucrcntur. Sedcumvcram Bafin non habc- 

ant, &Bordone Italischordam, qn*u7raTWI/feumaximaminTeftudine 

proximeTeqmtor,%nificet,FalfoBordone appellator. S>ftm btcTcrtia l)af 
fyxm naturlidjm €>tij ntd)f in in Corns gravibus & inferioribus, befonbtttt in fo- 
nts acutis& fuperioribus. 

3. SSnb tvtc fur* britf c Bordonc dm <jr ffe Jpummd / wddK ba&tt taufdxt / 
fummet wib brummet / interpretirct n>f rb : 3lfo gtbt bicf<2Crt f rim uebudK/fonbmt 
rmifct)cnb</fummmb<t>nb brummcnbcHarmoniam : 2$nbfo(dK$tt>escnfol<im' 
$ct2$rfadKn. ^rftftd) wdl buTertia jl;ren locum naturalem (otfn fonis fuperi- 
oribus, nricau* ben numeris Harmon icisradicalibus & proportionality* 1.2, 
3.4,5 ,6.8. wib fol$<nb<n SchcmatiGnoju <rfd)cn. 

£<mt i.wib2.&*(tiid3tf dncoaa- 
■vam in fonis inferioribus. ^U abcr 
'§wffd)<n 1. tmb 1. tone anbere mtf fc(j«t)(/ 
.offofff smifefttn Gwmb gweber Quinta 
nod) Tertia. 2Mb j. ab<r bef?eri<jef due 
-Quintam ; 3Bte 3. wib 4 . dne Quartam 
'in fonis intermediis. <£$ fan Afar <j(ci* 
"cfyer $e|?aff bt< Quinta in Tertiam Ma- 




6- 
■f- 



-^ _Quarta 
- \ Quinta 

= ^—^Sava"" 






jorem vno Minorem (wegen btfybat jidfcrjtti 1. tub ?. frinc miffe($AJ>Q nicbf al^c* 
f j)d(ef werben. (^nbttd) btfttridtf 4 . imb f. Tertiam Majorem : f . abcr Mb 6. Ter- 
tiam minorem in fonis acutis & fuperforibus. 

J£)fcttM«J ffytt man nun/bafj Die Tertia j j>rcn Locum naturalem ntd)f in fonts 
gravibusjbefonbern in acutis £abe : 78nb tvdlbt'e Harmon ia am bejfen / m t*e(ct)er 



bte Confonantiae an jtjrengcburcn ben wib mtxvcli 
tf)cmorK$ffacfWcr&en/vn&bi< Tertia in fonisa 
cutis dndtcblidK Harmoniam nwd)Cf : 3fefo(aet 
barautf/bafjfte in fonis gravibus dncn frawrioai 
vnfiebftcfyen vnb raufdjenben conccntum i«»C3< 
brmart. ^feslddKrweifebtcOc'tava in fonisacu 
tis& fuperioribus dnehiulcam harmoniam wr< 
urfacrjef : SE&ie mebitfen Schemate , bartnncn ber 
confonantiarum fedeswwb ferles naturalism- 
tertirctn?frb/jufcj)m. 




*» 



■ y O& ava 



Quinta 



a.) Quarta 
A.) Terti a mi nor 
) Tertia major. 



v 

1 



n 

mm^mmmmmmmmmm* ■ i. ■ ■ i ■ ■■ ' ■■ M i » . ■ > - ■ ■ 

SD«ntt Madrigaletft tin Nomen Pocmatis , mb !rid)f Cantionis,»<fctxt %(yt 
mciftmd)<ilt*M bm Francifco Jetrarcha, Bocatio, Petro Bembo,vnft Dante, 
gcnorainm fatu 

<£*Uft pd)«6ttaitf<()m/«to^nneMadrigalcdcrivirtw<tNmi.Qiiafi ma- 
drc dellagala , mater de fententia : SStamt Mcfc 9>oefm tintn #mij<tt fenfum tit 
8.?. obttio.%rfmob<ttyfyMi<tomtbtnod}mni$ttbwaffm: JDcnfdtat tot 
nt'mpt dn Conjponift frfjjwdlm jh ctncm tf>nl alMiK/ Mftocffm nuidjf tt aud) jiKcit 
tbct(&arau^; < 2Bf<inL.Marentiji>n&an&acr Composition gnugfam ju <rf<hm» 
l&oa6fr<jdfl(tct)n'nfo»ulrn)m(n otore$>m gtfdtfrtm/wtttfmComponiften 
}Ut Harmoni 5<f«s<r vcrbm/ fo tmmmt <$ Madrigalia Spirituals. 

2 . Qoafi Madrc della gaia , cUt fcff 8ronitfft|a) gay, quodjeft laetiti* , lac- 
tus, ofcraud) Madrc galante, hoc eft, venuftus, lepidus,bellu$, elegans,qua- 
fi mater alacritatisrel lactitix ,$(* uifttgtnttMiClK&fcr/ WdlfKtfWOtf amttilff* 
$<r/ frifefcer wt& frflict)<r/nK&ct W< Mateten , Imm. 

}. Qiufi Mandri-gale, hoc eft, Carmen paftoralc, diftum i Mandra, vi- 
delicet^ gregibus ovium , quod ejufmodi r uitica carmina inter pafcendum 
cancrent : StffcrnttfTm nod) tyuH&ttwi bit Jtfmtnmb ©cWfcr ntff fcr ©act* 
pfdffeit #rm ©cltfftfdn»or$upfd|fmpfl<3ro : Mandriale enim &Mandrian vo- 
catur Pallor feu cuftosovium. 

Excmplumcx F. Pctraicha. 

Madrigolo2, 

PEroh'tlvifod' Amor forunn infegnx. 
MeJJb mtfeUegrinAilmio cervtno, 
Cb* ognig/tra mi fAread honor men degnt- 
Bleifiqnentoficfer fherbevcrdi 
Fdidir I' alts voce d$ lonttno : 
jibiqnantipaftperUJcrvapcrdi : 
Albr mijhmfia P ombra d' un belfsggio 
Tuttofe»fefc,e rimirtmdo inform 
Tub afpdfertglidfi ilmio vUggio 
JE tornfindietro qiufi 4 mezo ilgiorno. 

2. STANZA. 

Stanza, 



II 



gum anbern/ wert tie Quart* nad) cffidjcr flttajmmjj / confonanti* perfc- 
&x,mb terfclbcn nict)f jwet)/ s<fct)wctsc tenn rnejw j<\ nic^r awctjconfonantix im- 
perfca«absq; vitioauff cinanberfolaen fennen/ fo wtu tarou* fofacn/ tap cm 
fefctyer Concentus ntcty iu approbiren fct> 

4* 3um»f<rtfmf<Urminobliqua^^S relationcs non Harmonic* fdr/ 
wefdje tie Thcorici ntd)f &tM aula jfentt>offen/n>etf c* ritio fi progrefTus. $)cttlt 
ttenn Me Tertia, wclcfye in fonts gravibus gefcij<t/pcr o&avam in fonos acutos <r# 
fjobcn witbi fat man fo wel Qijintas jwifdjm ter obern wit mtffcl <^rtmme/aftf man 
SuwrQiiertassc&abfJaf. 

5. ^0 fWten auctyjrte Clauful* finales cujuslibet toni , falfi Bordon genett* 
na!DannBordonipropridf<t)iiDfa«m^nbgcb#m<an^(dfcfrn/ato<nd<A)n& 
Stnri ffc wttfc etnetf tinge* : QBie autf ten Antiphoms (ubiCIauful* finales cum 
GlaufulisfinalibusTonoruir & Bafibusvidentur ex parte efleincert* & fal- 
fa) ju fefKn»<2Bobet) tonnau ermnern/ tap cr (tctjc wt mitten/ ter Tenor j>ab< »imt 
fityrc femenSftamen m&) & Bordon , quod eft Lati nc Tenor, Germanic^ cm 
STENDER, tcr »mer cmcm Zft am$&aumc/ fo »ofl ©cwa'ct)* jjengcf/afecm ©nV 
jm^fe^wtrt/toraufftxr^anijc^aumrujrt: £)tetatecm 3<Kob**tmtS&u'4,ci> 
f?ab (Bordone, el' hafta che porta i\ peregrino per viaggio) tenn cm Peregri- 
nator otcr SMertfman in tcr £ant fatimrt ftct) taran faltm mufj i^um tin bau< 
me mit £tfcn befctyascn/ta man em £aufj mft ftfuscf/nm t ttc$aniie*a|f vffru&et :S)(t 
gtmm<rfaifcn<nncn^Bordonale«nm^:rdd<r;2(ffofolf<tcc Tenor bet) tenia* 
lemern tcnSflamm *>bcrf ommcu tjaben/ stetd) trie cm Bordon, tcr ten $mn<n @c* 
fan3*mcr!)affenfor.SStcft>o[Arift^ 

irirt:QuiTenoris nomen a T6nos,id eft, accentus } dedu<Sum efle teftatur lib* 
i.e. 5. Vtenimaccentu,vocabuli quae naturammetimur, fie harmonix natu- 
ram confideramus potifsimum in Tenore. 

2Cbct fjtenoonfm IV. Tomo $<lttbt<$ ©off mtr mcfjrern. 

^erantern^trd)en@efSn3en DenominationesrntSvfpnmaitntm I. 

parte Torni Primi auf3fuj)r(tcl) em^efuJHCjrftWten. 

©a* ULUtyittL ~ 

2hm&m®«fanaM/wfc$cwtrt^^ m $<n>#n < 2J«v' 

f<« jjaben :al$/Madrigalia, Stanza,Seftini,Sonetti. 
/. M ADRIG ALIA. 
©feMadrtgaliajWiemtcljnccbfffo^ente/a^DialogijStanzajSeftinijSonetti, 
CanzonijCanzonette, fjaben jjivcniftamen nicijf *>on tcr SOMota) te* ©efansetf / 
fontemitextu&verfibus, S§ tj %<tm 



13 

Stanza j id eft, Domicilium feu habit aculum,<m< <£mm<XI fcarimufWA* 
wrfctyoffm/tnft rin jc&ttf<ttnmfon&<rtfd|<n©<bapp otor§ad) j>«f : <£fcnfortd 
©ff<ij</ mmMcf) 4. 5. eta 6. mttyr otn tninba n<ct)f / nwdjen Me<po«m / wtitrir* 
gene nncf/ Prima Stanza, fecunda Sranza,&c. g(dct) a(* primus ftrophus,prima 
pars , &<r crffc ©d)app/ ®<fa ofcr ^1 / tor utitxt ©djapp otor ®<ft» 5 SSnnb f* 
wcC^j)d(macl)maiict) iicComponifkn fcarmttf :£n&$ekauct)m<*awJ)alfo: 

Sccund \ ftanza > ideft >P ar *- 

Tcrtia * J X><r cr(f c/ ottDcr ot«t triffe 'QetL. 

3. SESTINI, 
SeftlnUmimero Vcrfuum nomen fottiimtv« 9 lHd$tf<fy*tibtin1$fo$ 

nxcfefefr/ tmbramte iwc&arumfc in t>t<f<fWsc jcikn/t>arinn ffc*u*or$<|fontonf<i0n/ 
ncponirt»tt&«U. 

Excmplum exFctrarcha. 
Seftina^.. 

/. 

CHi efermato di men at fun vita. 
Su per I* onde fallaci , e per UfiogU 
Sceuro da morte conunpicciol legno :■ 
tfonpno molto bntan ejjer dalfine j 
Perofirebbe da ritrarfi in porto > 
Mentre algoverno one or cede la vela. 

If. 
L aurafiave ; a cuigeverno, e vela 
Commifi entrando a I'ammorofa vit* 
EJperando venire a meglior porto f 
Pot mi conduise inpiu di miUeJcogli 
E la cagion delmio dogliofifnc. 
Nonpiu d'intorno hsvca, ma dentroal legno 

M $ Chi*)* 



14 

// /. 

Chiufogran tempo in quefto cieco legu* 
E'rraijenzalevarocchioala vela, 
Ch'anjci'lmio dimitranjfortavanaalfint.j 
Poifiacq*cafoi>cbemfroduffew vit* 
Chiamarrmtantoindietro dagUftogli 
Ch'almen da lunge m'AppArijJcil forte, 

ir. 

Comelumedinottein akunforto 
Vidt maid 1 alto mar nave ne legno 9 
Semnglieitof/eotemfefiate, ojcoglii 
Cofidifidalagonfiata vela 
Vid' to lenfignedi quell' altra vita 
EtaUorfiffiraiverfo'lmio finest 

Nonfcrcti iojiafeeuro ancor delfint_j 
Che volendo colgiorno ejferea fort 9 
I. gran viaggioin cqfifoca vita $ 
Poitemoy che mi veggie in fragillegno 
Efiu, ch'inon vorrci,fienalavelo 
Del vent 0. che mifinfiin queftiJcogU. 

VI. 

S* to ejco vivo ie dttbbiofijcogli 
Et arrivo ilmio efiliaadun belfine^ 
Ch' ifirei vago d$ voltar la vela 
E tancorgittarinqualcheforto : 
Stnon ch' i or do, come acce/o kg/90 



4- S$ 



if 



Si m' } duro 4 UJJkr /' uftta vits 
Signor dc U miafine y edeU vita, 
Prims ch* ifitcchi illegno tra lifeogli 
£>rizza a bur on oortol' a ff An At a vtU* 



+ SONETTL 



J O N E T T 0. 

IO cantarei d' amorvfi nova mcnte , 
Ch* al fommo cielo il di mille fofpiri 
Trarrei del petto & mille altri defiri 
Racccnde rci nc la gelata mente , 
Vedrei lo fpirto mio cangair foventc 
Gli afFctti vani , & per pietofi giri 
Eftendor fue vertu fenza martiri 
Si come quel , che di fuo error fi ponte. 
Non piu rofe vermiglie infra la neve- 
Qui corchorci , ne argenro, oro, & avorio, 
Ma'l ben, che fempre in ciel fi fpecchia 8c guarda 3 
Sel» alto Creator nel mio cor breve 
VenifTe , & io potefle dir , mi glorio 
Signor, che piu la gratia tua non tarda. 



©<*£ 



ElvoltOyche teifegue, ou' elk U men*. 

Si twrba , e r afferent > 
Et in un eJfcr,picciol tempo dura \ 
Onde a la uifta,huom dital vita ejperto 
Diria 5 quefli arde t e dtjuoftato e inccrte. 

2. ©tyirt auctoflKcfyeofmeSgrf trot tutm^tytni tMiDarrigw Sanfafleitfcff 
4.y .6.$.ic. ©ttmmcn componirt: £)oi)inmt an Me <tft< Fuga t>on forwit mrfpov 
f jjrifc rcpetirt wrt> b&tmit bcfctyojfmtwrD : ^Bdcl^eaud) Ganzonen »lrt Canzoni 
3«tcntw wrfcen. 2Bk Dann fofctjcr 2frf gar »i<( tm& fct^ttc Canzoneri f n 3f alto/ &<• 
tcra^<^IohanGabriclismifwcni3tnbt>tc(©ffmmmpublicirtw<tt)m» 

* CANZONETTE. 

3ff 5o^ Diminutivum,tmt>fh)nt> aud) targe lieMrfnoftr #Wfto$ef3n#/tocb 
aKejcfc mffwcUltcbenScrKn: SMe Ganzoni a&er f><iknfcjm>rifm^^|fHdjie 
^crt/ *mt> atefoann werfcen fie gemnnef Canzoni Spirituali. 2$nt> fa Wefen Canzo- 
netten wirD metffcnfj)<tl$ Wc<rf^»nl>{w9Cn)crepctirt,tkmtt«(flCA8<riit(ftf» 

gffdmK^W^^Brtf^^SK^^/ wefdxemerou* fefwmefawtt jtapffe 
affo ftnotf : 0tnb fret) *>n$ aud) X) aitfd)e wc (rttdje #et>ertnft fdjowa Jteriicfoen ^er* 
een.2$nt> foldje *mfc t>er$(eicr/enfd)*w Arien mmten &ie3fa(uewn&erSchertzu 

" —--.. II- " HI I I I - I ■ -^ «V 

£>a* V. Qtjrfrd, 

Stott ben ©efdngm / 2Belc§<: au$ mam$crfcp 

©tflrf m jttfammen Qtftfyt fet>n : Site / Meflanz* 

tm& Qnotlibet* 

MEflanza feuMiftrchanza : 3f| em Qjiotlibet ofcerMixtur ton affttfty 
^r&tfero/unafalatadeMifHchanzajQBM^ 
libet $mmML&onmli<bMtoitU\nnnbmantf)<tkr) Motcttcn, Ma- 
drigalicn , wt& an&ern fccut fd)en welt lichen / aud} pof|tr(td)en &et>ent /erne 
f)atBc obcr $atw idle Text mtf fceitSftefofceqcn smDSftown/ fo fcarju wtfc fcaru&er $0 
fciif fc^n; fcerauflet <jcnommcn Amt> autf »iclcn (tfttf (m tmt> ftfcf (em 3(<id)fam em gajv- 
B<r9>dfjjufammm3c(!tcfcr^nD9<fTtcfwwtr^ 




Id 

Stotf IV. SapiKl, 

^onfcenm ©e(3ngcn / (bSBcftfetfe po(frtl% 

£V)W tw$ mdjt in gatffTtft S3<rfm ga^cn : %($/ Dialogi, 
Canzoni, Conzoncttcvnt) 
Aria. 

1 2e> Dialogi faniift dnmjtbtn Utant : £>amt Dial ogus 
' l)<tft dn ©efptfcb / ate warn d»<r tern antwn »ff t>cfclx^cn< 
Sra3<anwotw/w&«ns wteatrtttglrid) perChoroswnf* 

3 d«»<d)felfw^3nma(fmtttnttattcl)^tc^ri)t<Echo referi- 

^ ret w<rt>mtf mutt, 

CANZONI:£>&erCanzonealaNa- 
politana* 

® tt Canzonen |h)tt& p«)<rfo) : £mit i, w If d)</ t»k «ud) M< M$fl$<f)m- 
fc<Sonetti (LatineCantilena,Cantio } quae funt vocabula gcncraliora, Galil- 
ee Chan fon) finbt<tytmUli&itofa&uty<ntitbUiniM<m&nfin$<t. 2*trt Mcfclbe 
ftyttb »tt«rfc^tebltd) bty bm spawn/ fca&cn afcr nt'dp sfdd) tf d ® efw «>n^ 9fct#cn/ 
wrtfnbmfefom aucl) ntct)( aUcadr sl«ici)< 2trt / fa(M<M< Hymni Pyndarici, et>ct 
Od*Horariona% 

3Bk aUhi<ri>um(£?ttnyd<xu$m Patrarcha. 
CANZON, 17. 

Dlpenjier infenfier y di montt in monte 
Mi gut da Amor-, ch' ognifigndto exile 
Provo contrario a U tranqmJU vita. 
Se'njolitariapiaggia , rivol, ofonte 9 
Scrifrxduofoggifiedc amhrofivallci 
luis* acquctal' alma $bigottit*\ 
Earn* Amer I' invite 
Htrride, Horp'tAgnc, hortcme, hor s* ajfecar§ 



I 8 

£# fctntD al>cr Dcifc Ibm Quptlibetcn 

fcmjcvlCT? 2lmu 

i. Q:f(tcr)e Mat in ciner jcfcern ©fintmc eiiKH fcefimfcamnnb i*olff ommenett 
^ejrtiSS&icbannctntf /fo mirferjrttwlaefcflt/gefimbenttm-D / bain rincr &timmti 
igrjdff wi* ££SXSX : 3n ber anbern / 2tct) ©off wm JjXmnwl : 3" ber brirmi/ $a- 
jcr wfer im Jpim : 3n ber werbfen / QBit $eubm : 3" &cv funjf«n/ S)u ret) 2Cbam$ 
8«fl J dOltQ burd)$efuf)ref tverben : Autore Iohanne Goldelio. 

*. QsrtidK^aben jtvarin einer jeben €>timm<tnt n fccfonbcm ^t i afcer gar 
|Or|?ttmm<((»nb8Ct&ro<Jjm: < 2Bicm^Nico]ai Zangij QuptHbeu 

$♦ Qfrlicrje fyofcn fa alien ©timmen efaerfet) <&,« / wdct)<t a!*r auct) wwoflf on> 
ntentmb abrumpirt, *>nb ba(£) dtt anber barauffcrwtfer/ef tvit^ j SBt'etn SOMctyorttf 
$rancf enQuotlibetert :2$nb fa ben &et)ben Meflanzcn, Mirani a. 5, vnb Nafcela 
penaa6.iuerfer)en. 

£)a* VI. (Saiwef. 

©on t>m ©<4ngm/ 2Bd$e M ©ra flaf m fwfc 

Syjummerfert gebraud^t nwfrett : Site / Giuftiniani, 

Serenata ^n^ Balletti. 

1. GIuSTlNJANL 

(2j3nb ttti<b<\5vfyUnlut>kin (rudis & levis Mufica a quodam appellata)md^ 
^lict) mtf brerjen ©rimmen / in bet €>prad) de Bergamafca , wn finer eblen 
Curtifan mif ber@frtbf Bergama. 

.2. SERENATA. 

r %fttin1Lhnte$tfM$ittttb)rwttob<rm<tyc @firomett/SBemtmanbe$2ftenb£ 
fcff ber ©affen fpasiren/ ober ©affown tfe(Kf / vtit wic cg*?ff Vnivcrfitcten genennee 
»irb/bett3ungferncin@fanbtc!}cnobcr J^)ofcrcct)f mad)f / »nb tie Ritornellofca* 
Ittifctymmuficirt werben : £>a*on wafer im 1. Cap. be$ brtf f en ^f)Ci(s?. 

^. BALL/, v el Ballet ti. 

SDcren fa;ttt> jn^erfcij SJrt : 

i» ®rflW(ftfepbfont>cr(icr)e@efan3C/ bteam9tojett*mb$um'$am$ <je|im<$en/ 

town 



rp 

(&fnnBallareJKtflSaltare^a*tf?/^ane<n) Jtrcv 2(vw(tdK3ArfkMtctKt>n&Mi* 
mufigeBalleten i>om Iacobo Gaftoldo, t>r.& Thoina Morkopublicirtgc^inlXtt 
fwrfttt. 

2. £><r mtttn 3rt Bafli otxt Ballette \\ynb /tvc'dK fciwn 3:<jrf f^fccn : $n& 
wain fcicfWi<jcn mit €>d)affaitt)en otor spfriffm sum ramie $tfpitltt mtbm i fo jxijt 
* * ft ampita. ^niSvanfioftfdKn nnrntf man w un Ball, &a$fh}ttf alkvkt) ^au^ in 
genere,atoBranslc,Gourranten,Volten,©agliarden,&c. Ballet a&crfritt 
fonfccrftche^ani5C{«^itmmcrct)cn»nJ) ^ffjttgmacmadjf / fttfctycfttr Mafcarada 
flcfpkftf iv cv *<n ; £)kf<(&< tvcrftcn tfffttt fonfccrfr d)c In ventiones gcricljf <t I wm& 
jjar tin jci>ce Ballet <j<m«nf<jlfd) tm? rl;rif. i . ©k Intrada ,n?emi tit tytxfontn 
tn&criDJiimiiiercT) juuum<jan$crfclKmcn. ^.X5i<St<jutcn/ tvde^e He wvmafca* 
tirtcit 9>«fonm im fcd;cw nwen / auct) x>mbwect)fj(una fcer crtjxr / t>ni> fbnfftn t>ff 
Q*ucWa&<nm<tm9tms*/<Sratiii</ ^rian^f/ JSkrccfcr/ ^<d)$ccf<f/ot>a:aii&a* 
<S«cbm formkrm / wi& fat) toivcl) ciitanfccr wm&cn/ fcarauff town toe gams* Inren- 
tiontmD l.ffcntia^<23aU«tf bcj!,-i)c( Wifc$«kt)«ffff. 3* X)kRetrajeae,t»a$ 
if?&fra&$it$ofccrflimw/crtmtf t>k invention, t>nn&<$ani| Ballet tttnbtrcnnbU' 
fd)lo|Tcnnm-frwrtwtr&cnto'^ 

Ofctct) mit t»cr Mafcurada aujf. £)ed) fonio ft< / altf cm anfrt r fkKicl)cr ©cf<\n<]i / in 
2>cr Mufic nad) nxvor mit lnfti tsmencen ju $ikv*uid)cn mi&it wiftknftd) : ££te 
1) mm twfdim Sjccmpcin/ nc&enf? antwn uUvilct) §ramjofifd)<n *£4ni|<n vnfc #c* 
fcern/ ateBranslen , Couranten w& iwgktdjcnm mtincr Terpfichore gitugfam 
3« fmfcm 1 i>Afcl&|t tonn aucl) ijuwn mir m<f)rcrn <jcfa<jf tvov&m, 

Exemplum ex Petrarch a. 

Ballctto 6. 

DItempointemp9mififa men dura 
L'angelicafigura, e'ldolce rife , 
E t aria del he I vtfe 
Edegli occhi leggiadri meno o/cura. 
Chef anno meco homai quejiifejpm : 
Chenafiean di dolor t^ \ 
E monflra iuh diforcj 

C J Id 



La mi a angoftiofk , e di/perata mts 
«T ttnen cb' el uolto in quelfa parte girt 
Per ac que t at ilcore j. 
Par mi veder Amore 
Mantener mi a ragion, e d&rmi ait a ; 
Nefero trouo ancargiterrajfrnta , 
NctrAnqitilloegmJtAtodcl cormio. 
Chepium' arde* Ldcfio 
^uant»fmlajperan\a m* ajjeatra* 

S)a* VIL Sapftd. 

Won town &tfin$tn / 93M$e fron &m 9fcW' 

VintttC) Giardiweromb VilLane1le->. 
t. VINETTE. 

VInettc ofcet Vinatc tjl <iit AeMdn due* SBdnmdffcr* obetQBmise^ / 
fom9Kdn^marbdfen;!©anVinetto!)dflcmSffim^o6cr^ciK* 
md(?cr: Vincttc aber vinum cibarium ignobile. Vinate fctjnfc fcvmcN 
©<(oii3</ oDttiwrnttcI)* Kd)f tituliren fol / ©auffltrtcr / wtW in 
^cutfcl)ton&bct)w^m#fd6amnocl)»n3Cbrauct){tci); 2to& |?a(t icl) 
fcarfur/ tag f dtw ©wdf tit ofcr Sltfjftyfar to D<r 9Bdf / twau jf mcty «»a cm Ma- 
fic amc&Kt ofcttscfumjcnfaj. 

*. GTARDINIERO. 

Gardinicro ff? dtttf (Saw ners #rt>/ wit t>iti fo(ct)c &a) #«* Zxbtit t m ©arwti 
fitt#n » X)mn Giardiniero fcdff tin ©awrwr / Gardino tin ©art m / oDcr \da\inv- 
gamm. 

/ t VILLANELLEN, Villages. 

VilUnellentyafrmfcrnSlamma Villa,tasMff dn$)or(f/lMi&Vttlano, dn 
$8atwr:3ftm ViUajicUo,>apdiiniiiutivuiii,.wdcl)^fowdtji/ ate fubrufticus ; 

Indc 



1 4 

nacrjfucrjat ; SHewriltn fracrinmg cincr <jutcn §11301 rmr fontorM;r<m flcrfj viinD 
nad)&<ncfmau^allmn><ncfdn jufammcngcfuctjf ivcrDm mu(i / wk cnn? vff man' 
ctyetfo) 2rf vnt> nxtfc Wefd&cin cmantxr gcfugf / yjtodjfai/ dupii rr 5 p<? r J r .•&« m 
& indircftum feu contrarium , orfccwltct)/ f unfllid) wtD anniuri}f^ jufar.- ;: <: n <j<* 
tracer/ vn^bipiumcn^l)tn<\u03cfu|)rfiv<ri)cn fcnne. Nam ex hactigi.iu omni- 
um maximc 1 Muficum ingenium arftiniandum eft, fipro certa Mociorum na- 
turaaptasFugas eruere, atq; crutas bona & laudabilicohxrenna rite jupgere 
noverit, 

3 . Sinfonu : rcBiu: verv Sj m^honU. 

SInfonia,wfc tto&mangcsciitf tvcr&cn / ivirfc v>on fcaiSMftfiian &«I>:n v:v;T^.n* 
Jen/ wain anf«nar«oIT(Mn&i3<rConccntus,tnManier rincrToccaten,Pa- 
vanen, Galliarden obtx anbcrntcrgkicl) Harmony mif 4. f.<5.ofrttmd>t 
€f(mmm/aUa'n»ff Inftrumenten ct;n c!w*jc vocalfftmmm jugcbmtcrKn/ 
componirtnwrt.S>cr3(a'(lKn2Ci*f»on;!)iu , iU»iptvafaiim anfang (<jlctd) atocm 
Pracambulum *>jf &cr £>rac(/ and? efft im mind frcr Coneert@efdnam per Cho- 
rosadhibirt»n&$<bratlct)ttvtrfr: S5>tctm8. <£<\p.bt$briumty<il8l)itf<8 Tomi 
Tertij mtf mef)wm / aud) ivatf wit crm SBorc Ripieni,Ritornello,&c.ju wrffcfwi 
fct) / iu bcft'nDcn fcvyi tviri, 

*. SO NAT J, Somda. 

£ Onata a fonando, tcitb affo gammer / fcajj c£ mcl)f mff $totfd)at ©(immai/ 

NforrtttnatfdnmffInftrumenten,tvtc i>k Canzonenjinuficirttvir^; SDwt 

2(rf gar fcrjdnc m Ioh.Gabrielis »nt> anfccm Autoren Canzonibus *mfc Sym- 

phoniis ju ftnfcot fo)n. (£$ i\l abtx mcmctfcracrjtaitf Mcf<e? tor wu afcrjfl>&;ibaf$ 

MSonaten gar srartKtifcb tm&prd^ft$t>ff Motetten 2Cvt <j<fa$f feqnfc ; £)te Can- 

zonenabaroit rtdaifcrjtwm&ai SRown frifcty froltd)i>nnt> gcfdjtvin&c Jjinfcurcf) 

paflircn. 

£>ajj aud} mft Jem SBorr Sonata ofcer Sonada tor ^remmcrer m ^tfcMnD 
^an^B(afcn<jcncnn« warto/ift im8. <£mulbtftoium e tytitebUfi$Tomi Tenij 

mifmej)rcrmjutooriK!)mcn. 

^■— ■ " . . ■ 

£>a* I X. StyitcU 
93<M fatt Pncludiis jUttt ^(Wfce/ afe Intraden* 

INT RAD A. 
Intrata (vulg6 Intrada) rel Encr ata , id eft, ingreflus yel adims : ab intran- 

do> 



21 



Inde Vilanclla , £m SSawrfaMdn/ wddK M< SSawrm tmD s<mdnc .£anfcn>crtf ** 
Icuk (utgcn : 5)aj)fr Dann aud) bit Componiften offt not fonfctrmfktf tin 4. ofc« 5^ 
Quinten, $ldd)tt>ol abcr gar fclfe n jtfnfcer dnanfcer J>er (d$<n / coutra regulas Mufi- 
corum : (5(«d) rot* tic SSawrm nad) bet j?un(? nicb* ftn^en/ fonbmi nad) fccm <tf 
i()»cn<mf<acf :Snt>t|!<in<^5wrtfd) Mu(icauc;ncr^wnfd)m^afcn). (Eriicftc 
fofd)c ©cfansa; nxrtcn aud) gentnet Villotta, Vilatella, fcatmrd) fonficn ctn tf dn 
£)orff(dn wrff an&m ftmb. ©onftcn werfcen m Srancfrdd) i>tc SSawrcn^anii* / wtU 
d)t 9on btn Qtowrcn fdb j?cn invenrirt, t?ni> mit(5d)aKMe\)cn aud) @ci<jen / fca effe 
two 1 brtx) vnb mcjn* petfontn ju dncr (Srtmm 3<braud)f wcrfcrn / mit frmStamm 
V illagesgaimncf . 2Jn& bt p Jn'cjjcr »on Den ©tfanacn/ (0 $qrf e Jjabm : §ola,cn nun 
to'cofme^fe. 

S)a* VIII, Sajwd* 
SSon Dm Pndudiis wr pdJfd6jl:3fWafto^/ pgamaficn/ 

Fugen, Simphonieu vnb Sonaten. 
/. Fantafia, rett'ms Phantafiv: Capriati. 

CApriccio feu Phantafia fubitanea : SScnn dmr nadjfdwm tf <mtra plefi- 
cr tnb gcfaffiit dneFugam jutradiren tor ftcb nimpt / fcarinncnabcr nid)t 
fang hnmorirct, fonurnbafMncineanfccrefugam, tvfcetf j{micfn€>imt 
fompf / dnfftffet: £}cnn nwrtcbtncrmaffm / tvtctn towd)tcn$us<n ^ tt 
^crf ftorum cr {jclc^t tvotcn t*avff" / fo i|l man aud) nt'ctjf an Me Sorter sebunfcen / 
manmad)CtMdotcriKJit»3/mandigredire, addire,dctrahirc,fcl;rctnnDivmDC 
rtwic man woffc.^Sn* fan dncr in fold)cn Fantafientmb Capricrien fane jvunft 
t>nDartificiumc6cnfoworf?hcnfaffcu: <ginmnalcrflcr)afle£Dcffcn/ rcaSm fcer 
Mufictollcrabiletjl; mit bintomottiDcrDifcordanten , proportionibus,&c. 
ojmdnigtf bcfrentfcnscbraudKn fcavff ; &ocb froj? er ten Modum vn& bit Arianx 
uicbf gavjufcbrvkncrjvdfe/foi^cvnmterminisbldbc: '£arx>on an dm anient 
JDrf/gdwfo $ ®<m / mir indjrcimf o( <jcfa<$f nn-mn. 

j. Tttga : Ricercxr. 

FVgse nihil aliudfunt, ut ait Abbas D.Ioamies Nucius, quimejufdem 
thnnatispcrdiftindoslocoscrebracrerirltanontsPiiurarum intcrvt-ntu 
fibi fuccedentcs. Didac funt auteni afug>ando,quia vox vocem fugat , i- 
demmelosdepromcndo. Italisvocantur Rica car i : RTCHICARB 
enimidem eft, quod iaveftigare, quarrcrc, exquif ^rc, mit flcijj afoi jcl)cn / Miitf 

<L iij nad)^ 



-i/ 



do, vel introitu,ivc(d) man bet) jrojfcr J£>crr<n Smjus o&r 2Cuff$ugcn im ^urnfe* 

&a* X. CEaptrcf. 

©Ott &M Prscludiis J«r Motcttcn pfcer Madrigsdien : 
a(*tf<Toccatea« 

roau 

TOcata,ff?afednPraeambu!um, ofcflrPraeludium, \wi&)Cttin&Y$M\if(imtm 
et er(?(td) fcff bUDt&ll ot><t C lavicymbalum grcifjt / «|k tt ctn Mutet ofrer Su* 

<jnt anftyw / au* frincm &opff tortytt fantafirt, mir fd) Ud)f m crap (en ariffcn / 
imfcColoraturen, &c. Gfrurabcrfcaf Dtcfc/ act anixr dttanfrtt&t/ town tvdt* 
tfuffr 13 $u tra&iren tfyift mnitiy *m& crad)t e mid) aud) ju 3m'n<j/ dncm ofccr tow 
Mittrn^fcrfiUKti two* furaufdjrdbcn. 

$n&obid)in?ar tnd&mru'dK Tocaten von t>m mn<mbfttny<kli&m{<bm 
*n& < jfttelxrla , nt>ifdKn £>raamflcn aufammm bracbf / oud) fdbff m nod) memo: ©it* 
fait wrt QBentgf ctr ct (td)< aatjtt gefcijcr / in willtnt t>i<fclbi$t im fcrutf au publiciren : 
Coj)a^td?0od)no^juradft>mb3ctvtf<r^rfaclj<nnJt(Unm(t)t|u SBcrtfridjmt 
tvoden. 

©i< nwton «6<r wn fcm 3 w W mdntf < radjf en* / bafxr mit Sftamm Toccata 
atfo gtntmttt / wctl Toccare l)dfj tangcre, attingcxe, vnk Toccato, ta&us : @0 
fa<jcn aud) &ic 3f a(i4wr } Toccate nn poc o : S>a$ (>cif?/ fc<fd)fosf Datf Inftrumcnt, 
cfcer feegrdffr toeCSfawr dtrtwnfa, : ©aba Toccata <m iwrdjonff ottr be$rdjfun<j 
fcc* (Sfawrtf sarwof fangenenner werfcen* 



£>a* XL Sajottd* 

<S<m Den X4ngen / fo auflteennfle pa$ WD 

IEn«^rii§m:3(e/Padoana, Paflamezo 
tm&Galliarda» 

I, PADuANA 

Paduana, Italic^ Padoana, fof ttn3tamtn$atat ton to ^m&f ^a&ua in 
3fofi«/ &*fW|frn/ wfecdtcfecmcipiwn/ W<f<5C« DcrJMufic crff<rfuu&cn jtynfot: 

GalU 



2* 



Gallitnfc Angli ncnnmetfPavana. (£$iff afccrPavanectnc 2tWi>on&cf?enbt$cr 
»n& drawer ifctycr Mufic : QCtc bcnn t>ic Pavanen, wcmt fte in etm confort wn <kl* 
krffonfc KcbH d)cn Inftrimienten muficirt tvcrben/ ctn fonbet6al;rc / anmutigc/bar* 
nebcn aud) practise Harmoniam wn fid) ge&cn. 3ft a&cr fon/fcn furncm(td) ju 
<jrawcfifd)en 3:dniien ordinir imfc geridjrcf j SEBirb aud) m £n<jci(anb attorn jum 
Hansen &btautytifyatm<ifttnttytil$ 3. repetitiones,ber*n jebc 8. 12. obct i£. ta&, 
wcntfjcr abcr nid)t £abcn mu fj/ tve^m ber 4. ^rit f obcr Pafliium fo barinnen obfer- 
▼irt werbcn rauffen. 61c f)abcn nidjt tf fon bcrft'd)* i>on $uscn / bt jjweilcn pfTegcn fte 
cine §113 cfwatf anjufangcw (affen afcer bail) nad) / tmb befctyieflfen* © cr ^amj aber / 
fo man La pavane, tmbaud) Lapavam deEfpaigne nenntf/ tempt wfpvunglid) 
<mt £!fpanten/3nmaffenma;Tft|cf/ taf crmtt fontarHd)cn / fon5famcn/$icr(td)cn 
Q;nrmi/toni) 0f>anifd)er sratriref formiret werben muf . 

^, Tdffhmezo. 

Paflamezo a paflando, tranfeundo , bag man <$ar fanfft tmb affmaj)Kd) 
herein xtxtti wenn barnad) get amjcf twrb. Italis enim paflax, eft tranfire',permea- 
rcdecedere ; & paflamento, idem eft quod tranfitio. 

^nb aJetd)/n>ie cin Galliard funff flrtf t §atjmt> bojtfr dn Gincquebafs sewn* 
iter wirb : 2Cffo jjac ctn Paflamczo fawn fyaft fo wet 95afj / atecin Galliard , qiufi 
dicas mczo pafTo* 

y. GALLIARDA. 

Galliarda Italice Gagliarda. eft ftrenuitas, fortitude vigor , f n SranijoV 
(ifd)cr@prad) Gaillard obcr Gaillardife , mb Jjciff cine gerabe ©efctyttmbtarcik 
2((fo/ wenntd) cinen wolproportionirten 3eraben$?enfd)ennenncnftMf / fo fagc 
id) von jjjm / C eft un homme bien gaillard. 

2Bci( bemnad) ber Gaillard mtf 3crabi<jfetf wmb sufer Difpofition mef)r / 
atoani)crc^<lwjcmupvcrrid)tcf wevben/ atelatcro&ncjweiflfcfbcn Sftamcn bajcr 
befommen. 

<£$ wtrbabcr bet Galliard ad ta&um in acqualem, & Trochaicummen- 
furirt, t)ataud)/wicbcrPavan j.repetiones,bcrcnjcbC4.8.obcnz. tad/ went* 
gerabcr obcrmefcrnidK jjabenmufj. S)ic3M(i5ncrnctttten^tn acmcin Saltarel- 
li , bo fofweifenamorofifche ^crrc barowcr $efci|f fct)n / noddjc ftetn Mafcaraden 
fcfbjl |tn<jcn/ Mb i«$fetdj f onsen/ ob afeid) ( cine Inftrumenta bar&ei) wr jjanben. 

$06 



" £>(i* XII. GtpiuU mmmmm 

tMD ^ritt geri#tet : Slte/Bransle, Courrante, Volte, 

Alemande w& Mafcharada. 
I. BRANSLE. 

BRansle if tin Sramtfjifcfar t&tw : SBidWc&f wm Branslcr, totf Jdff tffttnt/ 
(id) rc$cn / ntyrcn oDcr between. <£* iff ab<r m Mcftn ^tingm tic Commcti- 
on »nfc btfW9im»$ nicrjf fo |xfff ig/nrfctn frcnGalliarden tmbCourranten,fon> 
torn gar gclmfc/ agdnmif ten jfofcn ol>ntfprun$c. QBatfabcrfur wiretfdj<9& 
in ^ell Branslcn »nb <mfccru$ranBcftfct)en l k&w<x\$$nlt<ittoirb I bctocn iftinbtt 
Prstfation mrflttr Terpfichore Mufarum Aoniarum w<iUxm<Mn$ 3<fd)<Jm ♦ 

2. COXXRANTEN. 

COuranten fjaben ben ^amen i Currendo oftr Curfitando , wdf MefefSe 
md|fcm{K«l*mitacntfT«n«&a c ^ 
rntt (auffm im ^anijm sebwucfof wcrtm. 

j. VOLTE, 

VOltc 1 Vertcndo ;3)otn Volta, Italice rerfura, quae fitaboratore, mb 
Volten Gallice jjdjt Mttbfcjrot/ Voltarc j Vcrtcrc, verfare : tntyttl tap 
man!tct)tnDi<f(fm^anQcmtt«n<ml><Tfd)»(n3«twid wnbfcjjrcr / toon dnar 
far jurant«n:^nnmup WVolta nurtrtfotrfri/ afettcCourrantenfo 
fc<r repetition fybUn* 

4. ALEMANDE. 

ALemandej)ci(lfo»id/a^dnbmrrcl)<^^KMdnot><r^4itQWn: JDnmAle- 
magna j)d|t Germania , wifc un Alemand dn SDfttffd)**. <E* if? abet Wcfcr 
^nunta)tfoferfta»n5i)ur(;tij/ fonfccm ew^fdjm^rmi'ttigettfnblangfrt* 
m<r/ a(tf btt Gall iard, (giwemafa fdnc extraordinari* motiones batinn 
gcbrrtucl)tw<t^m^Abcnbt|wd(ma.bipwd(m3.repetitiones,tmnirtrm^m^ 
t t)ci(e mir *ff 4. tad <jmct)f <f iff. 2$n& ob wolin fcro Pavanen mid) nur 4. tad o*<r 
partus ordin arie fevjn tmijfcn/ fo jmfc jjtf Dod) gegen bem Alemande in dupla pro . 
portione ; Stftf&ajj/ wannim Pavan in dncr repetition 16. tad otor femibreves 
wrban&cn/fo jin& im Alemande nut Jafo fo w(/ ncm(id) 8. ta&iu notis Minimis. 

j0 /. JC4« 



27 

TOMI TERTII 

Dc prxceptis quibufdam ad artem cancndi per 
ncceflariis. 



I* 

93on Ligaturcn. 
2. 
^33^ ftftdjc ?Rof m in t)eit Proportionibus Tripla tfttD Scfquial- 

tcra $n bcftcrcr *mt> meg wtStytumigf c u imSfttgcti wctcfemn fqptn 

333tCtmt>tt>0&a$ brotundum, q quadratum, ^ canccllatum? 

^ontimNumeris tmD giffcrttwucr Dm p<wfw 

^onbwVirguiistttinD emc^m/So wfmvnftfti fcrQftftfti 
^wtfc^n Dm 5toroi $efe$«frcfim&cnn>cr&<ii. 



16 

/. MASCHERADA. 

MAftharato» ItalisPerfonfita,Mi r chara,h.e.perH'na : H Midhcra, 
Latinc Larva , feu fades perforata vcl Larvac.i,ifi vff »Vui fib ci:i '-iVinn* 
mcrcv)/tvcnnjbrcrcthct)emif ^Arwnvnb .Hlcibcrn fut) wwumimm/ wu 
a!fo in ^Pftncfcicn/»n&fttmci)mrt>pcr|oiicnCo!lacionib'.ismucf!icrM'u 
iicerfcl)ctiim:^H&wir&au'l)&crfc(bt(jc ®efaiH»u&Mufica&jit)cr Mafchcrata o* 
fcrMaftharaaataw. QS:(d}e@;fdit()c/o&f7c5(eicbJ9refoi?dcr(!d)cMclodiain 
j)abm/ wit» sctvtjfc ^anije fh)it/ werfrcn fte bod) affejrit in SiRummtfai jUcrecm / v:i& 
in£Kafci}m/ obcr wie man ttnmmti in IwenvntitiyMi &afr scorer jitfrcuBal- 
lcttcn, &a*on obm $efa$f worDm* 

$nMtcfmfftnfftt(c9 $rr ^anijm/ w<rl>cn^rNpno*mand)crfe^ »wa> 
fvtytfm*$ftAmcn§u$ef<ijttvnl> $c<jcf>cn/ ftawnt n memer Mufarum 
Aoniarum Terpfichore mif mcfjrerm ^crid)t 
5U ftnfrn. 




m<t 



28 

j&i&mWttyt fitr£<r99<rtckt/wteman afoc^famm etotr Xafcetf 
gar (cic$t(icfe/ w<* Modi o&a: Tom an je&cr @*fang (V$/ crfcttncit 
Nnttc* 

3Ba$ wr t>nt<rfc&q>t> tot Tact $u §ai ttn : Stol* wk manc$er(ci> 
Signa \mt> Charafteresvornan in ctm j<t>m©efan9e$u fe$cn/ nocfj j c&t 
$u tmftrir |eit am $«frr4uc$(tc^ jicn : ^nD was ctnce jrt>m Qrtgwfcfeafft / 
audi ^ebcuttms fty* ®arm«<n dfctc^efafto wn tw fextupla tra&iret 
wt&$<j}ant><fcwirt>. 

®<Icfcer$<ffa(eto'fjwerten Variations tmnt> Starat&enmgentft 

dcpreflione Scclevatione vocis&Ta&usan^jfatfff WttDm Wnwn* 

9- 

SBioonb t>ff was maffm ct ftc&c Cantioncsimafcf^m tranfponi* 
xettpcrfrn mftffffi* 

3Bfctotc Partes, patftyen/ otarfcu Sttmmen/ wdcfje fon(?m 

Cantus, Alms, Tenor, Baflus,Quintus,&c. gfltcmtet wer&m/ tttft 
Numeris gar ftlgitc^ $tt ieicfenm / *w& $u vm erfcfetyfteit (Vpn : Satmrc Ij 
man flc^ tuanor totting ctiteeConcero vnt> aufif (etbmg txr Partiu m tic* 
jfo&#r*>nt>feKr2tfaiwr ftnftmMiittc* 

SRHtbitmtttfyUlKMChorimit Numeris $tt diftinguiren tmfc 
^U denominiren fapn&f 

2Cuefc t>ff wae we ffc t>ic Unifoni twt> Odaven |« geferauc^en / jug** 
laflVn Mb pafjirct w*rt>cn Mnnem 

©iefe 



/^Melodiam 

Ih.c. unica 
cantilenx 
voccm, 
quoad 



r Syftema, 
in quo 



I 

refpicit I 
▼el 



1 



I Ta&um:^ 
Vin quo* 



Sympho- /vocum/ 

l nl ubi I ^ 

VjConfonan 



+9 £> icf< laUU btyxtt Num. zSmtm atu &» 
rNotarum f Ligatura Cap. i. 



in 



1 & rTripla. <\ 

v.Denigratione&perfe&ioneinpropp» (.Sefquialtera, J ua P« 2 ' 

rb 



V.Signorum iK^ddfJioi^m^ ^ Cap.j. 

r cert as , dcs ignans patifas, quae fupra modum au5* 
j Per numcros vcl fupcrnos, vcl infernos pofluut notaru Cap. 
r Tradu&ic 
, Perliueas 
Virgula- ] 
Vrumubi i I Simulpofluntacquiefcere. Cap. 5. 

Ui - " 

>ro mediati- f Harmonica 
•< Autenta. 

V^Arithmetica Plagius. Cap. 6* 
rbinaria "^ f Spondatcunr\ f Torales 

Uonftituit< > „ (CirculosJ /fntegros.\ . . r Tai 

Lternana^ VTrochaicum.; r V^Dimidiatos •< ^iflc^QS. f q ui volunt^ 

rProgreffu.^ < V. J ta&mn VCcl 

^ Egreffu, J. Cap, 8* rSolos 

^Emphafi. J v.Numeros j vel 

\circuloadditos* Cap. 7* 
tiones Cap. 9, 

nes Cap. 10. 

diftinctiones Cap. it. 

•fedarumhomogenea:confecutiones* Cap. la* 



Tradu&io J 

j omnes, defignans ^Kt^l/dhUd * * n qwomnes voces 
imulpofllintacquiefcere. Cap. 5. 
Lppofitio in linea inferiori difcernens ta&um* Cap. f ♦ 




2p 

£)<** I. Capitel. 
DeLIGATuRA >fcu not 4mm coB/gdtstttcs. 
©OtKtftC&etl Ligarureiu 

Etcrum regula (prim* car ens c&udkJongA eft, pendente 
* fecund*: cur obfervaridcbcat non video , fed in Liga- 
, turatamdefcendentemqujimafccndentenipro Brevifem- 
& pet fine difcrimine habendamjudico : Prsefertim cum Liga- 
jturaifta fajamferm^exoleverit, & in officinis typogra- 
>phicisrarifsime.reperiatur. 
FgocumLippio,Haslero&aliisin hacrumopinione; omnesligatu- 
ras intricata&efle femoyendas, praecer unam hanc femibrevium b- : & ilia- 
rum loco hanc virgulam ^ ufurpandam efle. Ideoq; non tantum in Minimis, 
Semiminimis & Fufis,fed etiamin Brevibus & Sera ibrevibus, quod tim a no- 
flratibus,.qulmItaIisiamfadum.video,vitgulamillam loco ligaturae appo- 
fui, quo inter alia etiam choralis Mclodia melius obfervari pofsit. Nam fi ve- 
teres, ^^ , ligatashocfigno fcL noiaverint, etiam hoc tempore, ubi celeri- 

oriNotai urn traSiiutirnur ligatam virgulanon incommoddnotandam. efle 
puto. 

£)a$ II. dapitcl 

Be Not arum in Triple & Sefquialterademgrathne: 
&perfeBimz^~ 

3Bte ctfoc&e Tfeten titter T ^P Ia tmt> Sefquiaitera ju beffcrctr 

&ni> racket fcequrmlisfctf tm jmsmjujctci)' 

Br evem {J in tripla ,& Semibrevem 5"in S efquia Itera v roport.fi quan- 
do contra ta6 umcantator , denigrandam operac precium efle duxi,quo com- 
modiustadustaminTriplaquamSefquialteraobfervari&djfccrnipofsit. 

Prseterea & hrt monendum, perfedtionem hactenusaplurimis etiam in- 
fefqu altera obrervatamfuifie,itajUt ad femibrevem v quandoperfequen- 
tem £► perficitu^punclunulluniappofueriDt^ugredineq;, ubinecefsitasre- 

D 3 qui- 



jo 

quireret, perfcctionem ademerint. Recentioresvero pleriq;qui'o. etiam Sc- 
tlmsCalvifiuscalculumfuumadjecit hoc nonobTervant.fed Temper purxfTurn 
adfemibrevemZC , licet perfe&am in Sefquialtera , &adbrcvcmgin:ripla 
adferibunt, hacq.ratione perfc&ionem ut rem non adeo neceflariam tollunt. 
Fruftra n. fit pro piura,quodpoteft fieri per pauciora. 

Ideoq; licet in prioribus Germanicarum mearum Mufarum perfe&io- 
nemob(ervaverin;tameninpofterioribusoperibus Latinis & Germanicis, 
pun&i correctio ne candem abrogavi. 



£>atf VIII SatfKl. 

De b rotundi, quadrari & % aincclLti 
vero ufa. 



Q 



U X""" > ^ Vadratum locum in cantilena proprium quafi habct , vel in 
* •Clave b rraiiTpofitiSyfternaris,velin f. r^guiaris : Qaandofci- 

licetipfi inhannoniainferiorilocofubiiiiturquiota. 

Quomitegiturfui &F A inDiapentc, id eft, quando 

quinta diminutamuretiirinveramaddiro Semitonio minora, 
quol anreadeficiebat. 

Quando vero ^ cancellatum fignatur , non necefie eft , i»t Tonus Temper 
per Integrum Semitoniutn minus elevetur vel deprimatur, teniae enimmi- 
non vel etiam Textae minori tanrum additur , quo vertantur in majores. Tua- 
rumutraq;,dum in tcrtiam vel fextarn majors* , pauiat Jm elevar.do fonum , 
tranfit, ubrq; confoiiat, five fi lem Tuu.n atf'gcrir, five minus; conTonar , five 
finemhiumattigerit, five minus; id quoJ non fit, fi qiia^ratum notutum 
fusrit.EoenimaTsignato, nccdTj eft ,utn>tu!a ilia per integrum Temitoni- 
um minus elevetur, dcitatota cantilena in Chromapcum genus commute- 
tur , & extranfpofito fyftenute fiat reguUre, vel vice versa ex regulari 
fiftum. 

Quidam 



------ ■ ----- ,, I 

Quidam Melopcei, dumhocdiTcrimennon intelligunt.aliquidtamen 
de eo audeverunt , in Clave b illud Iq iiiadratum tantum & Temper , Ci ibi 
Chromatirum lignum figendum eft , Itribcndum putant , quxcunq; etiatn 
confonantiaeiopponatur , qua in re mihipuerilittrhallucinari vidcntur* 
LegaturSethusCalvifiusExercit 3 p. 13?. 

iftcbcnfl b<m if! aucl) afffjtcr fktflia, in ad)f ju tutymtn / *af? / ob jwar Ikfc Si- 
gna $: canccllatum x>\\ b rotundu von ben Hitm vorncmffr nwtb treff lid)en Gom- 
poniften o>tr nict)f / o&er ja ^r fclfcit / an ben drrern / Da fonflcn tot ©cfana. per fe 
rintfvon bfefat figms requiriret vnD crforDcrr / barter) fjcaddjncc worbcn i 23nn& 
baljcro nod) ja$o $it vnfto" jctr etftdje Componiften s(dd)<r $<ffalt Darbct) vftfyarrcn / 
Dnl>»ermct)ncji/c^ra)<janiimct)f^onno e f!Kn/ <£* tt>tflV&oct)diiKDer Cantor t>nn& 
Mufcusvor ftd)fdbfftntt>o(/ &a|j/ wcrm ctn Tntonuso&crSeinidiapcntevor* 
fetff/ tt dne rcd)f c Diareflaron, wtb Diapente, <cnb bet) ^cr C laufula forma! i tw* 
Semitomum (In^cn mb acbraudjm mu|]« : 2ffcm unica notula afcendente fuper 
la, Temper canendum efle fa, &c. 

S&ansmb bannaud) Philippusde Monte wtb anbcw mcfjr wrncfcrnc Mu- 
ficivttb Componiften jfj ttn Difcipulis fturd)OU0 niftt fjabcn paTsiren (affcrt woU 
Un 1 &a$ b rotundum in fofctym Sato barbae |ti $dd)nm. 3d) afcr bm $awjfid) bcr 
Sftajrtuna, / J>ap <$ md)f attdn fd)r mni wrnb b«nicm / fonbarn and) tjodjndf to. fh) / 
nfc affdnwr bic €>itoa,tt/bamif ffc injwm flna.m nit inrcrturbitetwcrbni : fonbem 
aud) ttor dnf&ff g< &t&bt rnftrumentiften wiOrganiften/wdd)cMuficam ntf wr* 
ff e jm / w'd wmigcr r<d)f ftn$<n Wnttett / wtb &a&<ro / wi< id) fdbffmaum offrcru g<« 
fcf)ent>nberfaj)rm /f«nen»ttferf(t)et)ot>imnnjumad)cn wiffm: 3« <jefd)ivda,m/ 
fcrtjj bcr Componiften jj)KCompofition alfo befdjajfen / to$ biefcb«)bc Signa, 
Chromatica an etfidjm dtfewaebraucbcf / an tritefcm ab<r ntd)f in a.d)f a,cnommm 
wr&mburffcn :£)arumb bmnbfc b<ffcCautlon wcl)r< / wennctfbkComponifteti 
an alien Stun ; £)ac$*><m n^en t|t/ ^dr(tct) barbae fd)mbcn/fo ()dtf man fdiutf 
nad)ftnn<ttfobd:2wdffd^9on no*r^tt 



Sic 



J* 



Sic yctcribus 



Sic mihi placet}- 






-b-^-- 



— & 



mm 



•» 




Semidiapente. 



Tritonus» 



L. X 




. Semidiapente 

sHii 



3 .Quinta. 




-——*-— 



4 5 r 

C& nun *w>or in alien bfcfcn Jtyempefo ciit jcbcr Canto r, aucfj c in 2tna& in fcr ^dmfcn ttfflai 
Mlttf}' &afj cr/ wnn folcfre ttib fcrglrt^cn Ititervalla in ctm ©efangt*>orfallcn/ not^iwiitjg frpm 
TtitonoWtCUart,ton&&ct)mScmidiapcntcbicitc^tc Qutnt nefcrncnmnfj / ttnl ersan&crs tnit 
^ ^timm aflequirn »it^ KC^ JttttKgcn &rittflen/ ® internal ff in Tritonus obcr Scmidiapente 
nati)rti$g<fting<ntttttatr<M :®o n>tjT<m bod^ccltc^e Organism / onbanberc Ijiftrumcnule* 
Mufici, wAOft offt ni$e re$t folmifiren otw (in^n tfmtcn / cius tot t>as antorc nicijf alfo ju m* 
terftevfen iQafettiwuttr VranoChorodia jang( j df j t roorbm. 

^fccwcUatscfttte £Citatcntn ®$ttlenmeif&nt(>ett6 btebrute Nocam in bmttoor^c &enbf £;* 
cntpcl fub num.5, oifo defcendcndo&cn Ditonum obcr tcrtiam majorcm , g fefdj ais n>cnn einb 
©art«»3<W«^t»tt^ 1w * ,u ^* ininorcm ^cr^5Semiduonum (togou SPobcaatodSwol 
l^nlXmCoinpottifteunl^(|tfp3«f«^t» Q >0<t 



3 3- 



oDer $emetmet/ fo mup man notjwenDta, Da* brotundum jum»n(erfd)et>D»nD3c» 
trtfT^nact) net) rung Dabet) jacrmen ? ^o aba: Da* b mr tobvt) I Dofeibffen fol etfaud) 
nid)f sefungen / fonDem Die tertia minor befcalfenwerDen; 2)nnD i{ivih\6tt$ I bit 
VicCm % batbty ju jetd>ncn. 

Qi< Rcgula aber/quodDiefis fequcntem Notulam aicendentem requi- 
rat, fan in Concertenmit»ieIen^nmmenwiD(S&orenntd)taflejett obfervirt 
werDen. ©leid)wo( aber fans nid)f fd)aDen/Dap einComponift actjtungDrauff <j<# 
Ul Dap a in Denen Cf tmmen/ weldje humana yocc gefunsen/ W< folsenDe Notam 
nad) Dem Scmitonio, defcendendogarwcni3»nDf(flfcn3<brau^<:©<mcmal 
<$ im ftngen ewa* frembD »nD fct)»ej>rud}cr iu inconircn. QBiewolfoldje* nun* 
me^r tm Sigifmundode India, Principe de?enofa9nDanD<rerMadrigalien 
jesiger jrit intf fonDerm fteip/ oucb tm L. Marentio tmnD lohan Gabneleo> 
few ju beflnDen.^n Denen Crimmen abet / wefd)emit Inftrumentis$emad)t wer* 
Den fallen/ t>ar e* gang fcin bcDencf en/»nD fan garwol vnD fu^ltct)/ auct) in Cantio- 
nibus mif tt>enta^ttmmen$ebraud)f wrDen. 

2Da* I V. (Sapitel. 

Z)f Numcris, qui PAuJisfibpntfi 
invemuntur. 

Q?on ton Vtumme tmt> ^tffcrn/fo 5q) otor m 

ttv We paufen gfjcic&nct 6c ftw&en 

A uguftfnus Agazarius in etner Pratfat i o n (ef? fid) vernefcmen/ Dag altar Cantora 
»nnD €>5nser ttorncmbffe* vitium fer>/ Mft fie Den lerr mc^t wot *>nD Dewlid) pro * 
nunciircn , tmD Die<)>aufen w?ami jefclen. 

-£ Qirmnad) nun aud) m DenConcertcnperChorosojftmate&et) 
^ ef!id)en(£()orenfe!)rwehpaufen»orfaffen/alfo/Da^etnMuficusfo 
$enaw ad)f un<j nid)f Drauff<jeben fan / cr verifier mid »evirw ftcb 
biptt?eilen/tt>e$cn Der*>ieu)etf*nD »tttt*cbfe(un3fold)er^aufen;wi 
aud)/Dap er ffctfliS *<* AnDern ^rimmen jufcovef/wtD fi^^^^t) Da# 
Durd) reereiret : 2C($ jja&eid) »ff Dip miffel a,eDad)f/tmD jjc^ndd^ 
W few befunDen/Die 3al)l Der 9>aufen t>ber Die 97 of en oDer Drunter ju ffficn/ *nD fon> 
Derlid)/ tv<nn Die Mcufurationesfonorum aequalcs, gC/ wtftDinzquales, 

<E At* 




34- 

■ i . ii ■ ii ■ ii ii i i n ii » ■ ' ■ ■ '— i i 

*\tl j / 1 ftd) offf wxmtntfn wmo *mfcn* ftfdn ; £o o* nn una & eadem paufa in 
Af quali menfura , wcr tad , in I narquali Tripla abet nut a. tad gilf . S8nn& 
o*j)<t / wic ctn jeocr fclbf! beftnoef / tmo id) cxpcricntul edodus o f>w fdjafcoi nidjf 
mncworocn / <jar tcid)t(td) confu fioncs wwfad)t wcrom ftfnnm : QBdd)<m w 
fcdl ljuourd) 3(ctct)tf okt(ict)crnw|]cn3artvo(»orjufomm(ntfi. 

i m ■■ ' ' ' ■ ■ ' ii ■ i— — — — — 

£)a* V. (lapittU 

De VirgiditAdCAntiontmyitemfytdTtStumm Tups & Tri/U 
dijeemendumneecjjiriis. 

*Qm im virgulis tmt> ©M'c&fto/ fo tmtm twfc fit tor mfaeti 

itvtfd)<n ocn ^oren^cfc^/bcfuntxB 

i. SMawifand) fn <rttd)<n Cantionibus »nb ©cfifnaM/ fonottft'd) aUt in dm 
Symphonien o\)\u Itff/ rid Sufm nad) dnattDtr gefqt /»no Oafccro / rote coin fort- 
tttiify auc& fit 5m Proportionib. primo intuitu,w<$<n M tads gar ldd)f ltd) jr> 
nmgen porfatfm f^nnen : ©o <rad)t< id) mcfrf wtndria, fan/oaf oofdbff t?mcn oo« 
obm art f Wn« ©m'd)(tn wi V irgute (afddjfam in mdn«r Tcrpfichorc $u jtn&M) 
jwifdjen jtbtvm tad gefat »«0m/ oamit man fid) in Dcrtyfwbfo»tdbeflcrmadj 
oem Tad ridjf m/wiO wo nun cwa oorauf f o"mpf/o<f?o fTigHcfyr »no <f)cr fid) wto* 
Krumb in KnTad (mom f o"mK.©on&cr8d) oixr tftctfltt propp. Tripla t>nt> Scf- 
quialtera &od)no"r f $ / bap man nur ttn <rf?en wiO anomt Tad fom <m anfang tnit 
dm (frfc&lm tot<rfd)qD</(DarmitttKtfbtfj oa!>tt wio nod) von om mdflcn Muficis 
M(SignaTrip1z& Sefquialterius^tmvortKr^cnbm Orittm <£apifd|tl b<fm> 
ton/ jarindifcrct^ocrseflairadhibirctworDm/ oaf mandnfwmanomintdjf 
Jar Dnftrfdwom fo"nnc'i ) manaifofrafofoi anfansftym tmo fcgrrijftn m^c/ o& 
tadus InaKjuaKsMajor,Notarum videlicet Semibrcvium iObttaUt Minor, 
notarum Minimarum Mtfycmbtnfa* 

Stab wiwolid) fxwad) inedtdjen %ta\icMif%m Autoribus b<funb<n/ba£ 
ffc oi< Tadusju »m<rfd)«>bm/ txr 9>uncfm jwtfdxn fcnftoctn fid) 5<orattd)<n/f» 
fan id) ooc^nocbiuridro^*mirmfb<ftn^n/»dd)^»ttr«rbkfcn 6cp Om«m^<|ue# 
mcjTen $u0raud)m; (StnfcmalMc^uncraofrma^/ ater(d)«iubm^o(cn^ 
$M#£unctaan3cf<!)mw<r©m/3m3tdd)^ 
md)t tvent^ jjint-cruns ma*<nm<5d)((n; 

SataaJtyfcrjujVjKn. 

9Bd( 



35- 



i5±-3§$iffl3 






QBdf id) abtx cn&fid) fo Did frefmrtcn/ &ajj Wc ©t riltydn »<nfger jrrunay af* fcfe 
Pun&a macfem : Co (jabc id) mid) ber ftrfdjfdn in fofccttten alien mdacn Open- 
bus naei) / wtV id) j>t r 6cwr tn mdner Terpfichore $<*raaclKn woffm. 

2. J£)afc id) mid) inmtttmbct Concert ©cfana,* an <d<d)«i&fmi/f0ntoWd)f 
wo dnlto jj o&<r ©efa &c* q>fatat* wi& ©efangtf jum «rtc ij?/fon$c(frt d)< oar^tv^ 
fd)cn g<(Vi*«/nft 5arum&/&af ^^ final alfo fo{ gcfcalrcn rorr&cn ; €>ont>ctn/ i.wam 
tcrftftc ©(fang in b<x Jtfrdjcn wr o&<r nad) Da 9>rcWgr muficiret »&& / »n& fid) 
8u lana, vcr jtctjm m&i)t</ (wic ^n dn Muficus gar fdd)f |)f crm *&<rfd)rdft <n f art j 
ta£ man in to d(/ wo »n& t»di man n?« auff^rm/vnb affo fcatf final mad)< f tfnnc. 

2. £)afj man and)Cflid)<*/ fo jivifd)<n5W<t)<n(hid)enb<3nff<nif!/ prolibitu 
auffm faffen / »nn&an btttn flafcf Heft 1&C ©< fw Choraliter mtf &an 2Mcf in ear 
$irc&<n fin$cn/o tcr c* fcamir mad)f n vnb anffcllm f onnc/tvk man tt?<5ac. 

j. 933mn <(waConfufiones(wi^ann(dd)f (id) / aud) in bm bcft<n/tnbf<fc 
ttolUft&lttn <£ap<0cn bet) ten acrcifleffrn wi& beffcn Muficis acfd)<i)«if an) dnjft* 
fen / b<\$ man aftftonnn &«) dncmfeldjcn (Brad) |7rt) cri)d<n / alfoa flifl JwU<n/ Wr 
Confafionalfo wej)rcn/»n& nad) tern folgcnl>cn©md)< (in j<tw &qfdn<m £J>or 
wicfrerumb rec^t anjufangen nri|T«t mogc. 

$)arf V I. Capitel. 
DeJynopHca Modorumcognitionc. 

SEBfc man gteictyfam m <taer ^abcl/n>c^ Modi otar Toni 

cin j<t>cr ©cfang, fo) / garlcid)t(id) erfennm fomu. 
De Modis paucula,quar forte* in muitorum libris non obvia Hint cuirfs ad- 
jeciflcm: vcrum quia in Quarto Tomo , Deorolent«,dehisaliquiddiccndi 
cccafio fefe off crct , & plurimi prarclarifsimi riri in Italics & Latina lingua, 
inter quos etiamSethusCa1vifius,Dodrinam Modorum,& cur a clave C in- 
cipiant, lucaleiitifMmecradiderunt, lectorem Muficum illuc remitto. 



Jf- 

^orM<ciiif(H(ff3m«6cr/ wi«ct)«nTabellam|)w!>(rf(fi}cnV t>arautf fte^ar 
lrid)f tm Q^afj vmt> Difcant,t>nD fcarnacfo aucl) tm %U tot> Tenor, ( frtcwril t>er 2(f 
fccffl 2$afj/ tcr Tenor abcrD<mDircantallcrma|f<n3(cicl)t|?/ ot)tK/t>ajj (winter 
Odiv won cuwn&er |fel;cn) ctfennMWiDiwjfenfonnm/ adqnemModum vel 
Tonum cm jeter©efan3/fonN>ldurusMDrcguUris, a(* mollis wife tranfpofi- 
tusjurcferircnfo). 



Series Modorum)uxtAVut- 
g4t4m oftniotwn* 

r— •*• 



S w>/ Mt dor urn juxtg 
JuUrum ofinionem. 



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SchcmatifmusDorii & Hypodorijregukris. 

Baflus. Tenor. Alms. Cant.2. Modi Hyp. 

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Bafis. Tenor. Altus. ClDORIIj 




■MMt^ki 'ill ^\ *^- 






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Schematifmus Phrygii &Hypophrygii reguralis. 

BafTus. Tenor. Altus.C«j.ModiPHRYGir. 













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BY T. A. C. 4 .HYPOPHR* 



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Bafliis, tenor. Alrus. C. 7. MIXOLYDII. 

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Bafis. Tenor. Altus. C. 5. LYDII* 




Schematifmus Lydii & Hypolydii transpofiti. 

B, T. A. C.tf.HYPOLYDrr* 




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B. T. A, C.p. AEOLiI* 




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B. T. A. Oo.HYPOAEOL. 




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<Sov einm Organffifti /fcwjtn: TtutffictiTatiw 

faroracroo&mt/tmDfic&iti WcTfotm x>kM$tfo$atmd)txtif)* 

ttn f ow< : (Dflidjt <c mf d) ni#f »wbcn / fcic Modos auff^tcfc Zxt 
itwmerfctrfoea. 

Modi Authentici fcuRegulares in 
Cantu duro. 




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48 

;$nt>MfJfinbalfe bit Amhit as tints jtfmModi iwoxinntnbtt brevisp, 
fcaf final &<(f«lW$cn Modi ; bit fcfettxir# Sftoten abcr bit repercufsiqnem anDeu* 
tm. Cujuslibet autem Modi Ambitus naturalis confiftit quidcm intra Dia- 
pafon:verumperlicentiam,mod6 Tonus, modd Scmitonium cum infe- 
riori turn fuperiori loco adfcifcitur. Dorius & Hypodorius Semidito- 
numfupra Diapafonadmittunt,&Hypophrygio$ fuperiori loco aliquot 
intervallaaddit, negle&is inferioribus. 



CAP. VII. 
Dc T A C T u/eu Notarum Menfura; (Italis Battuta)& Signis. 
OBatfwr wiKtf<W<W tm Tad, Signis vn& Chara&eribus ju fy&Utn; 
aud) toit bit Scxtupla jm>cr fttytn ftx). 

Gum in quorundam Muficorum libcllis alii atq; alii Chara&eresb 
Signa Cantionibus prefixareperiantur,eorum& quidem praecipuorum* 
vim & rationem paucis delibare 3 fuisq; form is appingerc placuit : noti 
utmonftraSignorum(qu* telle Glarcano Hb. 3. cap. a. infiniti fimtlabo- 
ris,nullius verdutilitatis)in fcenam Muficespoftliminio rcferam;fedut iis 
inferviam ,qui, licet in palarftra Muficorum fatis exercitati , cum ad hofce 
fcopulos Signorum deferuntur,velnon facile fe expediunt,veliisoffen- 
dunturj quemadmodum adhuc in memoria quorundam eft,Muficum fua- 
vifsimum lacobum H&idelium ob Signa exoleta , & a quotidiano jam ufu 
rcmota,quxCantioni,(Subfannatores, Subfannabit Deus &c.)artificio 
fingulari A fccompofit*,(quam in calce Capitis hujus adjicio) prsefixerar, 
graven? offenfionem quorundam, quibus Signorum vis minus notaerat, 
incurrifle, 

Net drum nut em Mcnjura conJtJsrAturrmone 
Signorum. 

Signa funt vel Vulgaria, quorum ufus eft in Tac*ta Aequali; vel Pro- 
portionata, quorum ufus eftpartim in Ta&u Aeqnali, partim Inatquali. 
It* enim Tactus ratione motus dividitur. 

AequalisfeuSpondaicus eft vcltardior,veicelcriorpro variationc 
Signorum. 

TardioriingnumeftCquofignantur Madrigalia; celcrioris ff 1 
quo fignantur Motet*. 

Signum 



_4P i ; r 

""" rTardiore,C , quo fignantur Madngalia* 

fVulgare,i<lq;in4 

j Tadu zquaii ^Gelcriore,(£ , quo fignantur Motet*. 

] /Tripla 3, 

SignumefU /-Ina*quali,ut^ & 



aut 



Proportionate, << 
Mdq; in Tactu. 



'^Scfquialtera. \+ 
f DuplajSubdupla: 



j Sextupla,Tion vererum/ed 
V.reccntiorum quorundam* 

De Slgnis vulgmbtu in Tdftu AequtU C & & . 

£)KAff<n Mufici jjafcctt \>M C^netttKr/ Tcmpus perfectum minus, 
abttSignum Minoris Ta&us;X)o ftc <\M Semibrcvcm^r^Ct^WO Mini- 
mas A A vff tinen Taft $cr<cr)iKf / vnnfc //*/«■* alia Semibreve gtiunntf 
\l*bi: I J £>a$ (E abttTempusperfedi:mmajus,ofc<rfignum Maoris ?el 
totalis TaftusjXXewcttpefnbcncnCantionibuUjfomff ftf<f<jtlSigno, (£ fo 
#t'd)iNf/jtt>o Semibreves mt> alfo j^ncTadus minores auffdnm &od)$a* 
iangfatmn Tad, Wn t><< Itali aila Bret eflcnenmrdftf menfuriret j^cn/tag 
emc $ oi>er A Aindcprefsione,M*AtU>cr tyUx bcxfct Minim* in elev*- 
ti«nc Ta- Y Y^ us P n ^B ( f im 3 mworD<n »^<l*^^^ lan< lU<tf<n/»n5 
nod) anjcFjctn crltdKn wrmmcn&ipcfcn/ tvi< aud)(Bd)uKn Mid) wuto $< 
fcraud)lict) t(! : 2(1* $um (Ercmpcl m Dtf Orlandi Cantione. 



:E:*:I 




Bene- 



dicam Do-minumjn 



*«VMMM 



5° 

Ideoq;tumtcmporis fummo ftudioanimadvcrtcndum fuit,ut iftaf 
Gantiones,quxhocfigno CE notatxerant,femper cum tempore ( fecun- 
dunrtquodCantilen* diftinguuntur)finirentur,aliasin elevatioue Ta&us 
cxiiflct Gantio ; $)anntt>cil 2. Semibreves(&t«intcmpus abfolviren)aflj)frr 
fttcty nttjjrflfodncnTad mactjcn/vjnD &i<Cantion<nt>cfcftct) afjj&rtl&nacfofctt 
<r|!mSemibrevi,wc(cb<aHl)terimrcinenf)a(bcnTad gtlret /fo nmrfcefca* final 
in eleratione Ta&us pd) crcugfH / 60 fcodj finis &claufula cantionum in de- 
prefsiooe fo(tcrminirettvcr&<n; Deprefsiocnim Majoris Tacitus pro initio 
Temporis habetur. 

3« W«f(fm Signo,G,a&<t tfl nict)f $rofj bran $<fc4W/o&$ mTe mpore,afc«: 
com Tempore finiretjSKMctx* fcann au* w<k» Madrigalen fan erwkfm wx* 
Un,7&iinL. MarentiiMadrigaliisSpiritualibus,t>o<r ba$ $ ojff <j<&rau* 
d)«/J^ &afdbfJm affcirif cum Tempore finiret. SSBo cr abet C f<i}«/t>o f<ff <r 
<$ nw[f<M&<ftetn tempore finiren : %[* Num : 11. 12. 22. 23. 26. &c. <2Bt<wol 
Cf(tct)<W0ttm/»nt» t$ <tf aucfytnlohann Gabrielis,»n& Claudio de Monte 
verdc compofitionibus mctf?<nfl)«l*/boci) gtacftwol nid)f aGTejetf fo b<|ttt&e/t>ap 
to* final, Sftrmmttcfc abor wr ton Tripeln,cum tempore gefcljloflfm wife fini- 
rctwrfce. 

In Tempore finita Cantio. » Cum Tempore. 

H 3<tf3« Jdf aba fwr&e n fcfcfc bet>&< Stgna mriffcnr Jrife affo o6fervirct, 
fcaf &a& C furnctfd) in Madrigahen, 6a* (£ aber m Motctten $ebraud)f n>tr&. 
Quia Madrigalia & alia: Cantione$,qux fub figno C,Semiminimis & Fufis 
abundantjCeleriori progrediuntur motu; Mote&* autem,quar Tub figno <t 
Brevibusflc Scmibrevibus abundant, tardiori : Ideo hie celeriori ,illic tar- 
dron opus eft Tactu, quo medium inter duo extrema (ervetur , netardior 
Progreffus auditorum auribus pariat faftidium,aut celerior in Przcipi- 
tium ducat, veluti Soli's equi Phaetontcm abripuerunt ,ubi currus nullas 
audivithabenas* 

Starwnb brodjKf mfctj m'djr *bd g«Jan fajn/wmn man t>i< Mbteden, mb 
anUx<$<i{tU<b<®<{fa$timl<b<mitwUn fcfyvargcnSRotm gefrjjr fatiimit tk(<m 
Signo C |dd)wejan$u$ri3<n/&4|atiJi>aitn &« Tad crwa* lansfamcr tnb <jra»irc> 
«'f^<r mAffc3<jwl(mw<rii<n:933tcliann Orlandusmf<m<n Magnificat 4.V0- 
cura vnfr Marcntius in vor^cDac^fen Spiritualibus wt> antwnMadrigalibu $ 

foft&c * 



ft 

1 I M I II 

fofdjtf in ad)f genemme n. (£* fan aber etn jefrer &en Cadjen felbfTen nadjDen* 
cffti/vn&exconfidcratione TextuscV Harmonix obferviren,woefnlan<jfa* 
m<r ofcev $efd)n?in&er Tad: gtljalf m tverfcen mti jfe. 

£)ann tutfift cinmalawi$vn&£od)nori<}/&a$m Conccrrcn per Choros 
<mgrtrlan3^itter3rawfcftfd)crTaamuf|c aejjaffen ncxtxn. 2Beil aber in fol* 
d)<n Concerten batt> 5D?a&rtgaftfcl>c< bait) Motetten 2Crt »mer einanfcer written* 
gct»nD vmb$ett>ed)fdt ^cftmtcn ivirfc/musman fid)aud)imTa<3ircnt>arnad) 
vtctym : £>art>mb t>ann oar em n&ti$ invent um , ba$ bifweilen/ ( wie fcrimrentm 
i.Sapiffd &e* Stiffen 'S&eiteJ&tc Vccabula»on d<n5B4lfcb«n<i^i^r</?#,fc.f. 
tarde,Vehiittr, in fcen^rimmcnfrarfrepnoriret »nt>vnrtrie<d?ntf werften/ftemt 
e$fonftenmtffcenbet)&enSignisOni> ([ foefffmatembiuwecfofeln/metyrCon- 
fufiones vnD »erj)tn&erunsen <jebm »n& cnegen mod)te. 

$n& nucnn id) jeijfger j«i ixr Italorum Compofitiones , fo in oar wentg 
3af)ren gaits Dffeineanberefonterbabre netve 2Cre am'd)fet roorfcen/anfefce/fo be* 
ftnfreid) in prxfixionc SignorumTadus«qualisj&Jn*quahsf(fJr3roff<di- 
fcrepancias vn& Varicteten. 

£)enn Iohann Gabriel Jaf affe fetneConcerten/Symphonien, Canzo- 
nen tnb Sonaten mif »nD ofcne ^crf/mif fcem ([ fcurd) wife fcurd) beaeicfoner /a(fo/ 
fcafj nod) Big an k^o in aUm fet'ncn Operibus bag Signum C id) mentals befunte 

(£flicbe aber/ m& Die mcifrenbejjaffen ta$Ct>urd)t>n& iwrc&ganisallem. 

Claudius de Monte Verde pracponirt M* & intenen/fo enojf Motet- 
ten 2Crf gcfeiKf/tfn&ad Ta<5tum alia Breve mulicirtwerben fonnen : 3n ton an* 
fccrn alien aber/fcortnnen md)r fdjraargeAtfsroenJeSftofen /prscponiret cr fcatf C. 

Lud. Viadana$ebrand)f fid) MS (£ in alien feinen €>ad)en cum Tcxtu; 
3lt^cn Symphoniis aber fine Textu,t)af er bag C jjejjaffen. 

<£flid)e wrmengen e* fcurd) einanber/&atom&iefcm<X,tmant>ernl>a$ 
G. t>nni> tan man gleic&wol an DenStoten/ o&eta,ani$em @efana,e feinen *>ntei> 
fcfoei&erfennen. 

3d) nad) meiner<£mfa(f faffe mir bicft 2Crr faf? am beff en acfaffen/tag malt 
in Motetten,fovff fce$ Orlandi de Laflb(Muficitum temporis praeclarifsimi 
(Vavifsimiq;,& qui in applicationcTextus,jufl:aq;obfervationeR.egularuni 
Muficalhim prae cxteris, fumam induftriam & dexteritatem nobis reliquit 
& exhibuit ) Ztt $efei$ef / »n& jut notf) ad I adum alia Breve f dnnen gefungctt 
mtbmi M d: 3n ten anfcern alien aber / bewrab in Den Concerten, 



u 

^<tl Mfd&c mmixtogenere,\mt>t>od) jtutffcw^ctftf ctncn $Ml<w$[*m<n'Tzft 
requirircn,&a$ C pracponiren vn& gcbftuubcn fdnnc 

Dc Signis Pfoportionatis in. Ta&u Insquali* 
SWtff Intqutilis feu Troch*icu4 eH dufltxx 
Mdjor & Minor . 

MAjor vulgoproportio Tripla; Minor Sefquialtera dfcitur. Trtpla 
eIt,quandotrcsSemibreves yVV vcl hisaequivalentesunomcn- 
furantur Tadu. Signa ab Orlando, Marentio,FtI. Ancrio& aliis 

ponuntur:3*I« (t 3» <t> 3*S'* (J) U'Sefqu'ulterd eft , quando 
tres Minim*, A A A vcl his aeqaivalentcs uno Ta&u menfurantur, 
Quemadmodu 111 autcm Sefquialtera in Arithmetici$dicitur,qua- 
do major terminus femelcontinet minorcm, & pratterea dimidiam par- 
tem: Sic in MuficisSemibrcvis 2, & ejus pars diminuta Minima, ad Ta- 
ftiim. Inarqualem in Sefquialtera conftituendum requiruntur. Signoau- 
temhoc * convenienternotatur, SicutenimiaTriplaprdportione Jin- 
dicat tres Semibreves $£& ad unum Ta&um referendas effe: Ita in 
Sefquialtera J tres Semibrcvcs ad duos Ta&us referendas efledenotat. 

Rcperiuntur&aliafigha,ute?-°i0 5. <J> J* C [+ O J* ®- 
C+C. $♦ C* J 4 Vbitamen notandum, per fignum Majoris prolationis 
€> v d G >quando omnibus vflcibus fimul apponitur, notari Sefquialte- 
ram;/inveroin una tantuoimodo voce reperitur , notari augmentatio- 
ncm, vcl Subduplam:quod videre licet infra in fubfequenti cxcmploNo- 
bilis Benedctti Palavicini. 

//*// m$derni volunt. 

Arcs 3525 contra duas 22^ ^majored »^ 

InPro* j j intc- * can - 

portio i I pore J I tari 

?aj in ntei \ d *;- 

unum. V.trcs V V v loco duanim \> yj ^minore G I J 

Quemadmodum cnim in Ta#u Aequali fub tempore pctfefto Ma- 
jore d, dux Semibrevcs $$ ; fub Minors C, dux Minima-, A A adu- 
nutn Tadum referuntur ; Ita fub tempore Majore , nafcitur J Y pro - 

portio- 



19 

purcio triurr* Seimbreviimi 2$&> & fob Minore* trium Minimarurn 
A A A , ad Ta6um unum rcfcrcndarum : Vtrumq; Tub figno \ (trcsNo- 
Y Y Y tas in proportion tanturnvalere, quantum in Tac"tuAequali,du* 
valent ) denotantc , adjungendo tempori perfe&o vel minori C« vcl 
majori (f : . 

Verum tamen plurimos fua ipforum praecepta non obfcrvare,& in- 
difcrete' unum pro altero afurpare vi'dco. Quapropter nc fupcrfluis rcmo- 
renturdifcentium&canct»tiumanimi>omniainprtncipiocxhibitaSigiia, 
i MuficisetiainpracclanTsimi$adhancusq;horamufurpaM(utpotinih!!, 
nifi non usq; adeo neceflarias & utiles , imo intricatas difficultates cxhi- 
bcntia)e tabulis Muficisprorfustollenda& removenda,atq;inTripla 
(H$:$$$) unicum hoc Signnm J vcl 3; In SeGpialtera autem 
($d& Cf^y a furpandumefle,pto tenuiorimco judkio arbitror* 

Aclicetquidamineafintopinione,eciam Sefquiatteram&inHe- 
miola Notulas denigratas abolcndas efle, euro & h*&fi qua. alias hujus 
generis finr, per unicam Triplam exprimi pofsmt : Tamen in commode! 
fieri baud dixero,commodions fi diftin&ionis ergo in gratiam Canen- 
tium certis relinquantur Cantionum generibus : Tnpla nempe in Motcris 
&. ConctrtiS j Sefquialtcra verd in Madrigalibus, pracfertim autem in 
Galliardis,Courrantis, Voltis&aliis id generis CaDtionibus,inquibus 
celeriori Tadu neceflaridopuseir, retineatur : Propterea, quod pie ra> 
que harum Garitionumtam celerem Ta&um requirant, utpro novitate 
rei, mihi de novisnominibus, non eum in modum antehac ufurpatis, co - 
gitandum fuerit, atq; adeo voce ScxtupU velTadu Trochaico dimiauto 
rem exprimere. conatus fun , 



Tripla* 



BSSEite =?~: : 



Sefquialtera. -£~- 




f4 



Hemiolam minorem fE A ± A A prxterquam in Sextuplarard; 
Ma'jorem verogj $$$ Lli>i T T T T fe°*" u $ verborumhoc rcquirc- 

re , & crebra variorum fignorum interpofitio Cantum interrurbare & con- 
funderevidctur,hic ufurpari pofleputQ. 

De Signis Pr portion At U in TaCIh 

jEquati. 

£>6*3tt>arfaff wtnifrfs/ de Signis vetenkm<tmt<ktyi(rw<rw$n<ti( 
^fntematjl bcrofdbm Varietet nid)f atfcm f<mcn fonbem ufum, fonbmi auc^ 
ntd)tfanber*<ft7al*<UK vcrinunsionb^rwmuna/DaDurcijmcljtaadn bi< 3u* 
5en&inDm©<J)u(cn/fonD<rnaud)off(ma|)^g<ul)fc Mufia Vocalcs&Inftru- 
mcntalcsmCapcllenpcrturbirtjrcmorirt.aucbftjc^arconfundirtWrt&m: 
eo fcafc td) bod) nur attcm btefc nad)fotsmbe/fo and) nod) Kiji<jer jdr m Mtdjct 
Dorwtjmm Miificorum Neorcricorum corapofitionibus gcfimbfn tt><rb<n/ 
gutcr SBouna&mms/ »n& mfonbarfcrif bcnm/bfc <* nidjr wijfe n/jum &e ffcn/alfyf « 
gar f iiriiHcrj &em&r<n/tm& Mc barju aejtfrfge Excmpla jugletd) mfr <f nfcgcn weU 
fcn: SRid)f D<rSK«)nun3/baf man ftd) bcrcn#braud)<nfoa</fonbernbamtf/ 
t»mn tfwa fofcJK w»b ocrgfridjc n Signa in ben Cantionious wrfaffm/dn Can^ 
torfld)<m©m3<n/«n£r$Antim 

j. Dupla,abi dimidia pars valorH rSubdiipl a ,qur Notas in duplo au- 
NounimdctrahfturiHujusfig. getJabet^figna^Jjqiiafidi. 

n* i* * jT?° ^^ d, " cas * dux j ft ' cas,una5valettantum,quanturn 
J^valenttantumunamg.&c. I | 1 duaealix $$. 

$ Subquadrupla, ubi Notarum 
ft.Qjiadrupla,ubiquartaparsva- S' valor in quadruplo augctur, fub 

fori dctrahimr fop /igni* Ht 1 fi S nis iphl. &c# 



J. Vox 



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Quod fi Signa ifta & vulgaria & proportionate variant ur , Yidendum 
eft, quod nam Signum initio fit prsefcripturo. 

l' Si G Signum Madrigalium imuoprafcriptum reperitur ,& in me- 
dia cantioneadfcriptafint Signa proportionisDupIa^vel Signa Diminu- 
tionis (|;C a. 31 ^ffoann gilt rinc Longatti. ^d)l%/ Breris gj cinctt 
€?djtog / © <twn fcalfcn / ? <fn ricwl/ tmn&Tfo fottan dm KteSftot a nur j J* 
rm^al6mnatiitlid)<tt Valorem. Sin rerd Signa proportionis Quadruple, 
▼el (f ». ]) , quae vocantor Diminutionis diminutae,repcriuntur, fo giff 
<in< H ww i. ©ifaa / H cmca Jja(6m / tm& affo forr/dnc j<t>e "Dlot a ten »icrt>cn* 
fJKtlJweniatt / afo fonflm: wittytwnttt au$ &<* Seff* Paran&r , tmt> Benedi- 
AiPalavtcini exemplis ju af<$<tt. 

2. Quod (i Ct Signum Mote&arum initio praefcriptumfuerit, tunc 
•J a. i> auferunt tantum dimidiam partem , nam C1.5 d < dimi- 
tiuunt C$ & Ct. D rurfum diminuunt <£. $)a* Caber iff alfjfcmi}/ 
HKmi<*rt<futt&mwfr&/rinSfenum auementationis,iwn& augirt in duploj 
£)a* cm< H gcte 4. dm £fi. ^$(03* /tin* foforton: Pe quo vide Exem* 
plum Iacobi H&ndelii, 

Qltfan torn ate mu*aucfo aimmtotttoni &a|j id) tit mctnm <rftm ^cuf> 

fdjm / fo twl art frt/om Hy mnis t>m £j)toa( in Cantu an «ltd) went 9 ovwn mit 

ligaruris ( bmit.ttt applicatio Tcxtus t»cf?o fceffa fcarin ju obferriren fritt 

Jtt5d)<0d<f<W/>atb^abaMf Signum Diminutionis C 2. gfjeicfynrt : adno- 

tandum, Dap affefolgm^^ofen&ieJ>dfft<v>on ftr«nr«J)fm wt&a<tt>o!)nltd)M 

Valore ftrftam / roddje* tomn aud) a«^ tcntn t>arjua/f<$fM 

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char-, fe,& cmpidi ]mc- ra 
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De SEXTuPLA, feu Ta&* Trttfaic* 
Diminuto. 

Q Extupla,pro ut veteres earn ufurparunt^am cmnino exolevir: hac vero 
u tempeftare,Sextupla appdlari t die , quando fex Semi minim* ad unu 

tadnm referunrar , unde & a quibusdam, infra vel fixpra tres 1 11 
YclfexSemi minimasfaribiturnumertfsternaruis.j.hocmodo. m« ™ ^ 
3d? kftnta alw mi jfcr tocfcm nod) frrctjerkt) 2(mn / b<t) den Italis »n& 
Britanois, n>ic *nD n>dd)<r $<:fto(f fo(d)< Sextuptedefigniret wil>3<i<<Cl)n<C 
wrDen fdwen. 2ttfj : 

i. ^n Dcr i. TLrtimxbtn bit Storm / $lctd) wit in Hemiola Minore , atit 
&<fywW4<fcWimi(\)tialg jwrforwn fcet) fccm Tempore pcrfeaomajore 
<t <rinnw/ i I 1 »ff»^pdfcn Tad alia Breve 3mcl)f«/afo/l>Af I ^ 9 
M inima* dc ▼ ▼ ▼ nigratx ofrttScibrevis cumMinima denigta- ▲ ▼ ta in 
deprefsione Ta&us > bit fotyenb* fcro) abtt irtelevatione^ffun^nVnd 
gcflun^m rcerton milflcm $>a* Sigrwmhi/jtt^eufm/^f^Semimi- 
nimicot'crMLainiatd^nigrat* $u<uum ganijcmTaa tifotbtxtwabtn. 

i. 3 n ^ranietn2(rf (fo wndm Italis im&GallisfnjjjrcnCourranten, 
Sarabanden mb cMbcm ttrglrictKn ^ad)m mdjrtttfjriltfinactysenommm 
tt>tri>)rocrfcn Minimat & Semiminimx, tbtntx maffen/wte in &<r <r(?m 2trt We 
Semibreves & Minima? denigrat* <je&r<md)f. $D«$ fignum if! £+an|Uj<i' 
gcn/&a|j 6. Se«niminim*fo »id afefoifffentfcrc anDcv3af)l/<{c(fcR mtiffen* 
SBtcwol WeGalli »mcrfct)tcttn< Tad Darter) ffijrcn /nad) Thttinti 
\tbt\\ ^ansctf. ©aroon in mdncrTcrpfichtfre Mufarum Aoniarumwio 
leuffttger tra&iret mvbm. 

Exempla Scxtuplae in Pavanis AngHcis & aliis Britannorum & 
Gallorum Cantionibusj Item, in V. parte Mufar, Siooiar. Germanic. 
Numer. if 6. if 8. i>7. &c» In Hymnodia Num. /?4.itf. In Megalynodia 
Num. /4. & in Terpfichore plurima rcperiuncur. 

3. £>ie j.2(r(/!)aI>«Kftnot5f)a(bmf<tt|lai nacbmdttttS&niafa'c crftntrttt 
mfiffm. £)<n Menxtl id) gefe fan x>nb wrmorcf «/t>a*fold)c*(ote in mdncr Poly- 
hymnia Il.Dafj Omnesgentes)j!)«rct(fcl)cn aiemftd) fdjtwfcrc fn* * cm<n/$a|K' 
ro aud) mid) ^efor^er/c^ md)t nool $()ro Confufiones cfoyfyt n mdd)f e;25n *an- 
nad)tnmcincmTeDeum laudamus a zi. & z6. Tcrriaparte,&af/TuRex 
glori*Chriite,attd) ad Tadn xquale Sextuplz(fcoJ>in id) <* bm $amwb gflf 

$ 6<rid)W) 



74 

Scrfcbtcf) menfurirtwcrbaifolte: 2>nfcabcr cfli<#cn/ba>orabm0d)u(<nsar 
frbr fcl)W<l?r»HDftt|?vnmu(jitcb vff foCcbcit Tad ju brm$cn fetjn mcM)tc/fo &ab< 
f(^t>|f cin anOcr mitfci Ctiruf m muffm / tvclcber !jc|ta{f fo(ct)c Sextuplac ju figni- 
renmiDiunotulircnftpn/camubcii)^ Tadus arqualis twu&Ipsequalis nact) 
«nc$K&cnGommoditet tmo <jufm gdcgcnbcu fyicronux obfemret rnO m 
ad)f genommcn wcrtxn fomcn. ^nDocrotvfsmfubSignoprop.Sefquial- 

tcrius Jof<Semibrev«s vnno Minimas J A aefdjvickn/tarmff b<tyt>cnen/ 

fo cctfanomt Tads nid)f$ctt>oS>n<f/&<rrcd)K Tadus Inarqualis Trochaicus 
Scfquialterius prop. ( &od) <jtt* <jcfd)tvin&c) gf|}altcn / Vllt> Confufioncs wr# 

£) amir a&eraud) &<r redjw Tadus Sextupte aequalis &i|?wdfc n/ fon&«v 
Kd) &aj twjcnfgen fo ^icnomb n?iff<nftbafft fyabou tm& fccflfm albercu iicmlidxr 
tnaff<rn <jwol)n« f«)n/$ar fftyftd) obfervirt wtttt tome : ©o t>abc id) catf fignii 
Diminucionis Diminutae.ncmlid) oatf 3)»or *** s 'g num Sdqaialtcriu s 
I mfytr <$<faf/ <m$ui«3cn/&afi man in folder proportione eben fo wot/ate fub 
tempore Majoreperfedo $ ,&mTadum alia Breve ^braudKnWnw/al' 
fo/i>afj otftinc Tadus Sefquialteri us in deprefsione, per anott abcr in Elc- 
▼atione Tadus muficirtwerpc. ©arwnb id) torn aud) jumeforer nad)ridmi$ 
tic \><x)bc Tadus Inacquales jufammen jtvtfct)cn etnem 6mct)(cm / fo tone <r 
fa$ pfcSftoren $ejdd)ncf / comprehendirt tmo bctjt iffen t)afo. 

<£* fo*WWar aud) garwof fcytt/ oaf* jjicriikn Ptt 4 Tadus Inaequalis ofto 
S<ft obfervirt, vno(wi< pieSramtfftfdK ^anijmciflcr in ftrmCouranten, Sa- 
rabanden,vnantan t>ergtad)m $ Amen im qcbraud) fcabm)sar gcfd}»infc s«- 
Jal«n »mroc/wc(d)tf and) went ga 3v jr&itmb gcbc/Mo tityti&t ware/ 3nmafT< n 
(n mdncr Megalynodia Num. 14. 3m Sicut erat parbcq notiret ju befrnpm: 
CKfcrttltrgcfdf ocr Tadus acqualis in folcbcr2frf/pajj$w<en Inacquales Tadus 
fn tinm Aequalem^brad)fwerdcn/»n3kid)b«ffcr/nccreberriraamanus& 
brachii commotions fpedatoribus rifum & auditoribus teed i urn excite- 
mus , anfamq,vulgo cavil landi & con vitiandiexhibeamus; 

2$nb t>Af)(t t6nb« audi toe Sextupla jar wot Tadus Trochaicus Di- 
minutusgmennef wcrcm: Quia quemadmodum in TrochaicoSimplici 
Sefquialtero , tres tantummodd Minimal vel Semiminimac uno Tadu 
menfurantur ; Itahic,fex Minima: vel Semiminimac ad unum Tadum 
referuntur;quarum tres deprefsioni , trw veto Jcvationi respondent. 
Ynde Tadus fit acqualis , hoc mod 3. $ <Wt 



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f otttfflto mir <M$3fa(tA Dtfloannis Fergufii Motetten 311 j>ani>cn / fcarmnm 
id) fafmw &ag er flcfe in er Hdwfcr gajjlcn ?. $ci>raudjc/ bcr$<ftalti M 6. Mi- 
nimzttfcbftw&raltf 2. A A geton /trrt terrain ?. Minima? AAA gtgm 
llntintf#A$<tt(bn<tlT]wbbic6MimmxadmumTz-\ J Y&um 
awjualcm I abfolvendum mu|]m gcfungm Wflttm . 

95<(cl)«ftlfo^>t>»tct^f<2(«/^<r(!ntd) fcann Mic&$tittuf>rcrt>nt> fceffcrtt 
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yULttotkthifftitftit »nb mityfWfe* S5<fcfonKf>rtt$fdf in modoSigni- 
tionis|ut*rmo)t>m fow< man mdwm etnfdlft^n gurtfincf at nacfc/fcm ^amm 
Tra&atdeSigni s& Ta&u gar far* wi rtdbfigm fol$<n&fl: < $ab<tf(t>c<t> vff ctn* 
«n^<rm^<jfcruns)a(fofaffmy9n^aU<an^(r<Signa $4n$ltdj fa&rcnlafjcn. 

Tadus 



So 

(JttKd)<t»off<limd)f jU^ben'l)of mnntncompofitionc alicujus Can- 
ticmis |ug(rfcb flRoftffifct)* »nb ^D?ai>ri$attfct)t 2Crr vntereinantxr txrhiifctj<n 
fotfc. 5>erofcltcn£D?«)nujJ5i(t) mir ab<rni#t3cfanmf4JVc;©!mtma&l eg &m 
Motecten wifc Concerten ctiu befon&crf lkbUct); i>mn> anmutfgfctf gibt wind 
conci J iirct,wmn f m arifans etlfctot w'd Tempora <$ar parl><Mfd) t>nl> langfamb 
gefeijef ftyn/fecnuKtytrifctft gcfctywtnDeClaufuIen darujffolgijn : S&ato wirier* 
t>mb langfam MD gravifttfyft/tato abcrmafjl 4<f$winfterc YmbfKcbfdttng mit 
ctnmtfcbcn/ftamfrc* ntcbf affqrfr in <inmtTono»nd Sonofortgcjjc / fontwn 
fo(ct)c vn5 teraletdjm Krmtaungcn mtt am (angfamen » n t» gcfct)tvtn be Ta& : 
0otvoUud)mitcr()(banst)cr0dmmen/vnn{)tann bf$n>eilcn mifgarfWIcrt! 
iwt mit attc m fWf in act)t genommen tvaftc/nric furjj twjjcr angesrfget wor&ctt. 
Practereaciimnonadmodum plaufibile & gratutn,quandoCantores, 
Organicioes&aliilnftrumentales Mufici Oppidani pro more confueto 
ftatimexpenultimacujusqjCantionis Nota, in finalcultimam fine mo- 
rula aliquadeproperant,monendos hicefleputo,quiadhuccx Pnncipu 
auhs & aliis bene conftitutis Choris Muficis hoc non obfervarunt,dintius 
aliquantumin penultima , qualis quantaq; ctiam ilia fit, commorati in 
quartum,quintum vel Sextum usq;Tadum canendo confiftant,& dehinc 
in ultima demum definant. Cancione ad flnemdeducH, reliquz voces 
©mnesadvoluntatem & nutumDirectoris velChori pracfec"hparirercon- 
fUefcant:nec Tenorift* in Quinta fupra Baflum vel fundamentum(in qua 
ut plurimdm finis Tenori conftituitur) vocem fuam in longutn , filente 
BafToprotrahant;Sed fiBafliisperduovel quatuor Ta&us longiuscule 
protrahatur,ornanientum&gratiamCantilenacconciliari,nemo eft qui 
negate pofsit. G. Q^ 

£to* [X. dapitttt. 
De Canti/enaru/n trtnspofitionc . 

SSfcfmfc f>ff»a$ maflcn celiac gtantionc^ 

im a&fcfcfll transponirt wttttn mfifiM* 

£^35 wax dnitttt ©ef<wg/ttK%r jjocft Ciaviret, Miftitoim <%&$ IM 

AlfO 




19 

ftardior ^ CG Madrigalium , 

> Tub Sign 6 < & Concertorutru 
i cclerior 3 £<£ Mote&arum. 

J mediocris : Sub Sign is ( i | JJ-YiTv^ 

V. Sextuplae 4 ^Notarums 

If J Wi,M 

rurdior "J 5 r yd , /- "J Tripla fg *j S3£'$$S 

*"* V^cclenor j <*> v^i ^ j V. J 

Atq; h*c dc Ta<5hi & Signis hoc in loco di&a fufficiant. 



<£>** Will <£<\pitul. 

De Taftusjeu Mcnfur& vdriatione In Cant Hen* turn 

frogrejfu turn egrcjfu 

QfimS mafJM C tUtfy Variations WlD ^MW 
tWUttgm indcprcflionc&clcvatione Vocis&Ta&us 
angefMcf wcrfccn fdnnm. 
/""^ Antusnoneft praeeipitandus : fitenim confufio totius Symphoni* 
^^etiam jucundifsimac. AdTa&um autcm produ&iorem harmonia fit : 
gratior, & melius percipitur. 

Menfurar etiam ferranda eft aequalitas,ne harmoniadeformetur 
velturbetar : Nam fine lege & menfuracanere, eft Deum ipfum offende- 
re,qui omnia numero , pondcre & menfura dirpofuit,ut Plato inquit. Sed 
tamenprorationcTextusinrerdumtardiore Tadu,interdumcekriore 
per vices uri,fingularcm majeftatem & gratiam habet, & Gantum mirifi- 
ceexornat. 

Nee roinorem Venerem harmonise & Cantilenisconciliat,yaria- 
tioVocum humanarum & Inftrumentalium,fi interdum vivaciore.inter- 
dumremilsiorc yocc Cantilena: concinantur. (lnThcfibus Quit fitelieri.) 



8/ 

*Ifo£JP - ^ -^f- bcfunDen n?irD ; SSenn er b mol , per quartam infcriorem 



in durum ; <2&enn cr aber F* dur, per quintam infcriorcm in tnollem, naturali- 
ter to Me Tabulatur oDer Partitur t>on£)rganif!en / tattniffen mb affcn anDern / 
bit ftd) Der Fundamcntlnftrumenten gebraucfyew gebract)f wmD tranfponircc 
werDen mufj : (Bo bcftnt»cf |td) Dod) / D.ap m etfidjen Modis, Stein Mnolydic, Aco- 
lio wiD Hypojonico, roenn fieper quintam tranfponiret , tint languidior 6c pi- 
grior harmonia propter gravieres fonos generiret tottbt :£5arumb etf barm Wt<» 
g(dc^bc|Tcr/vnt»irtaucl)&«©<;fana»t<<fttfcl)cr»nD antwmjiger «in>crcn / wmn 
Dtefe Modi per quartam exduro in durum tranfponiret tvtrDen. 

£)iewefl abet fofcfx* Den Drgani (len nfd)f Afcfnfdwit wmD tmbequemfidjer 
#tfctyagen / fonDern aucl) an etftcfym frtjjern dne wtwebKdKHarmoniam »on ftdj 
gibtsSEBenn nemfict) Do^ fc| mif Dcm(fis) ff.wiD in Derminen Die Tcrtia major bat 
(Dis) ft / wdd)e*efnja$$ujwn3tnbjufcod)>nDalfoDa^^^ 
werDen mug. ©c mufi m'd)f aflein cin £)rgani(? / fo(cW mif (Trip Durdjfefccn wmD 
»berfd;(agen/fon&ernaud)duteacl)f l?aten/l>aperenfttjei)er Die tertiam gar auflen 
laffe / after bit tertiam minorem , Do* d rangire / cber aber mtr febarffrn mordan- 
ten e* atfo wrgut re/ Damtt Die Diflbnant* fo dgenDlicb md)r obferrirct tnb gejtf re* 
werDe. SWumbiff fcl>r gw rnD fcodmong/ Daf in Denm £)rgeln »nD <£(a»itymbelnj 
wefdje iti Concerten in Der Mufic gebraudjt roerDen / bag fdjttanje Scmitonium 
jT / mid wo mugftcty aud) Dae fc Dupttm n?urDe/ wieid) Tomo fecundo tm anD<* 
ten "i|)ei( <£ap. 38. beijm VniYerlalClavicymbel ttitmm.7&imdttin<&lati<X)m' 
be(nMDCpinettennoct)fofef>r nfd)f nfagy atom Den JDrgeto : ©imemafoff Den 
§att Die ©atttetffDemfelben Clave ft /garbafDdn f ton tvetrig nteDrtger gefaffen/ 
rntiurr<d)(mTerticnma)oriittJifd)cnD<m q mint f[. dngeftiimrnr »erD*» 
fan. 

(ttfat awarCalviriusdn6ina^anm<d)gefd)rteben/ (Derfefben SReijnimg 
id) Dann (>icbe»or affbetdt gewefat /t>nD Dieferwegen offset fa Det CdtfogSapeff w* 
abfonDcrftcrK^frtnmenwnbdn&attm^jw^ Dap er effr 

geDad)t/ real et Itd)e£>rgantf?e n Der newenCIavium t>|f Dm jDrgtfn mtgerwjw feipn 
wurDen/ obctfnicty be|[ern>d)re/ Dcf manin Den £>rgefo/ an flatf Der QtobenrntD an* 
Dcrn Quinttn, em oDer nret? anDere ©efcdcf t oDer effen !teb(fd)e ©rfmnwercf »ff 8. 
5u§ 'S&or d<ricl;f<t/0efeij<t{)efre/ wct^c wnb dw ganvn^cn oDet Semiditonum 

I nieMri^ 



Si 

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nicbrtger/ate t>it$ointi< £>r<jd/ gcfltmmcf/ barmtr man bcrfclben jum Muficiren <jc 
braudjen tf nbfc.JDbc* nun war ntct)f oJ;ne/ bafj ftfcvttfc Quintcn, barju crltcrjc 
JDraelmadjct fonber(fd)c£ufl(fcd male) tn bcnOrad gar rocma. w»1«Kn / fonbcritdj 
Dk groben »on 5. Stiffen / winb man ftd) mu cmcr Q&inten son 3. fii jfcn tm £> bcr* 
Cfficwf;t>^<m9Uicfq>b|tfiffvonani5crf!)af6fuf|cn3ar wof bcjjcfffcn fonbre : ©0 wtl 
ftd) bod) fo^djcs tn f fctncn £>rad<2!l$crcf en / bo man bcr anfcern €>f immen f rinc tvo( 
atrrar f)en fan/ md)f friben. £)icfc$ t&n man abcr tjjtm / bafi man ^te SXcgal tmb an be - 
rc©d)narrtt>crcfe»or ftd) vmb dn Semitonium l;o()er obcr mebriacr I a($ Mc£>rgci 
<w ftm fetter if?/ anjtcjjc »nb rfnfftmmc: SSktfer abcr bi$ t>ff etnen aanijcn ^l;on rati 
<* fcj) fdJtM&tftd) r jjun laffen/wte dn jeber / beme bcr @d)narrQBercf en sdt3«i jdt 
fccfam / (dd)t ju crad)fcnAmb tm probtercn fefbff en erfajjren nmb. 

2Cn bencn tfrf&cm abcr/ bo man propter voces Cantorum , fonb erftrt) m bcr 
jRircrjen ttcffau ft n$cn aavotjncf tft / fan man folclK Modos rcd)f tn btc quintam 
tranfponircn. QBtctvolm ct(td)m9roffen(£at^oltfct)en(SapdIcn(tvtc Tomo fecua- 
do cap. a . be$ *. ^ f)etf$ aud) dinner f) Hypojonk us tranfpofitus feu moll is *>mb 
<tnc ganiK Septima au jjm D / *nb Hy podorius vmb erne Tcrtzia aufntt E , w<l<b<$ 
abctfonberftd) ben Difcantiften fcfjr ntcbrio. t>nb »bcl ju fm<jcn/n>cnn ntdjtEunuchi 
$nb Falfetiften Hi befref jjefcn/mutiretimb gefunam tvtrb. 

Fypodorium mollem pflcgNttan aud) tool aud) »mb dn 3()on/ M ift ctne 
Secund ntebrtget au jim F ju mad) w ; S)ofe(bf?en benn bat & tn alien O&aven n oc> 
roenbio, jweene Claves habm muf?/ wt( man anbertf Me tertiam mi norem gnrifcbm 
Urn F »nb a fcaben wtb gcbraudjen. ^t^wei(cn pfTe^r man auc^ anb<reModos mc^r 
Vmb dn ^^on rieffer/ afe Dorium auf m C b moll $ Hypomixolydium auf m F ; 
Hypoaeolium auf mG bmoll -, Ionicum aufmB ju pngen : 593ornae^ ftd) dnjeber 
Organift bilttd)rtd)fenmug. 

©teCantioncs ab«/tve(d)embrtt)enO(aaren»onjftnanber ffef)en / bo bet 
Cantusj>od)/Mbber^afticffc^^ ©0 

/anmanweber perquartam nod) quintam tranfponiren : ©onbem wite* bcr 
Componift gcfcijf f)at/ iocrbWbcn faffen i £)ber abcr tvcaw btr Difcantiftcn in Cla- 
▼cm propinquam per tonum inferiorem tranfponiren. 

SBddK* man bennaud)»ff edtdjen ncwen Orcein / ba bcr Clavis &dupli- 
rettf!/ garwo(I)abcnfan. 

©0 if aud) btcfetf ityUx i\oti$ m crinncm/ ba$ Ionicus Modus , wenn cr in 
Naturali »nb Regulari Syftemate 0cfci5Cf / »mb dncn ^ j)on l)^cr j QBcnn cr abcr 
fnSyftemate tranfpofito gefunben/ per tertiam inferiorem aufjm d fidtd, gar 
fccqwcmftd) / wa( cr m regulari ju ntcbrtg vnb fo fdj(4jfcrt3 / tn Tranfpofitio abcr ju 

Jod) 



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5<n&mExemp/is jh fcf>ctt« 



Ionkasrcguliris. 



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<E* (ffafcrnfdjf affsrfr von nifytni Hfmanin &<r$ftof«iPartitiir,oo<Midj 
fat General^af /dn jrtm^efahojnquintam ofcerquartamtranfponire , fon* 
torn mir/ wit tt in ben Sftor en an jf>m felfrffen gefitnocn n?frt>/ exifcinfw wto fdjrd&e : 
^wema(&ieTranfpofition,foncerud)perqutotani,^ 
in oer fcewfd)en $5ud)|f afren Tabulatur ju obferviren mt> iu fcgreiffcft if? : otewdl 
man ftd) gar (eidjflid) dnen antwn Chvem fignatam fornenan imaginiren, wt& 
fid) fcarnad) rice* en fan. £)b aber einer o&er oer anocr fceffen nad) tn&wo$tttt i ffdy 
anfan^fo 6a(t md)f oarinfmoen moVtyt/fcerfetbe fan ten red)t<nGIavem fignatam 
vfJFdn f fdn papirfdn fdjrdben / imo forn mir £Bad)tf an He Jinien f f < ben / fo jjat er e* 
vor fid) / wit er* Ijaben wil ^tmafftn i(^ fcann in meiner Terpf ichorc bet) tt u'd)ro 
Courranten itf ei)er(et) Claves fignatas, propter tranfpofitionum v jf tonlnftru- 
menten fornanacjddjnef jStooetwatfcavon vmbbefrerfrnadjrfdjftma twffenwr 
Diccmfa(tia<naai)i<r &^|tifetfn/md)f tmoienHd) cradjte. 

Ionicusregu- Perquintaminferio- 
laris. rem tranfpofitos. 

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fan <$ ftd) btrgcffafr mct)f fct><cfcn/ foirtcrn id) mug rair <in an&crn Clavem im agi- 
niren, wi& fit cm Q^int jjifycr claviercn , miff fofgtn&t %xi : 

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*uff|fcn<£!)ortmt> 95ajj/ wrt n?ic ftcin Der £>r&nun3t>om o&crfftn Wfj turn mittrpcit 
CUvf emantxr folscn/mft ton Numeris 1,2.5.4. <tc. wnwnran trtarrin jtltn ®o 
fcm$ jcictyncn fo'n&K/ a(fo/ t>af mct|lcmt)<tU? t>a&urct) W< ©nmrncn nadjfotemfcr 

In Polyhymniis mcis. 
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Infcripttont^, 

QBfe toe pmt$ Ipatt e wn ober6f f mmcn/ttc(< 

c&cfonfim gamuts/ aftutf/ ^enor/ StoflM/ Ouftmut/ctb 

dtncnnrt tucrt^cn/ mit Nu mcris f uglicfj $u ;ttc^tun / *mt> 

;3«»etf id) befhnfcen/ ba$ en etttdjen Partibus , g>arfet>cn cfcer €5«'nv 
'mcn/tticmantfiumnnmpflcgt/fdtenobferviret tvorfcen/ weldje 
t<$rtmmcn bet) jt t»en <Sj>0ren in bcr jDrftnung nad) <t nantor fftgltd) 
' »$cfajt werfcen f o*n&r en i S>at><to ftann er (td)e Concert , ju etner jctr 
[ ffugtfnad) cmanfcer anjuorftnen / fejjr mih)fam *>nb fanattdltefapn 
wolt c : ^internal talc in cent cincm @efan<j cine <Sf imme jum i. tytv I bale im foU 
$enfcn ©cfanscinc^fimmc juttu.ot>er3. <Sr)or gc^rifl/ctc-bcfimfccn «irr;^GBrt* 
die* &ann cincm/ ocr ex improvifo cintf vnft an&ertf fcarmttfanortnen wii fcfjr per- 
turbiret *n& oonfundiret 5 SSctwab/ roenn tie Chori wtitton cinanttr abgefon* 
Icrt 1 fcajj man cmen Partem cicfcm nejjnun/ txm ant*rn aeben/ w& alfo *>on rimm 
jDrfjuman&crnlauff<n/t>nt>jtd)mif Den Partibus trajenmuf : guacfdjwcigcn an* 
fcerer 2$n$c{c$ent)dt mcf)r/ biecin jetxr felbflen befmfcef / wrt aHfrcr |u ewfokn t>nn& 
rig. %[$ fy\1xi&) fcafrero »ff Wcfe* mitte ( bene* en wottcn / Dap man bi< Panes (9>ar> 

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CBcrtcnaffcadf fcicVocesfcnt>€5tfmmcn /fohumanavoce^fungm/tm& 
<m i, Gupird i><$ toitttn 'Sfjdfe Conwrtat^mnmen ^mcxmtt I forncn angcf^cf / 
mb mr'f &cn fort>crf?cn Numeris beadd)ner / ft?tc flc nacl) jjjren §t>orcn gcfe^cf fe\)R* 
JpernadKt fofgcn aUercrfr fefcChori mb Capclte Inftrumentaks : £>i«vdl He 
Concer tat(g>fimmen in foldjcr 2C« fcatf PrincipalSBkrcf ftyn / v-n& in manodKng 
fcer In-ftrumcnriften, aud) ofjnc Dicfdbcn aar alTctn nrdnc£)rad / 9>oft«jf oDcr 3fo* 
gat $cfun<jcn fcnt> muficiret wtrton foimm. 

£)b aber gfdd) aud) in «ud)<n (E^orcn bt jjwdfcn 5- @f immcn SffW fan/ wi& 
affo ajddjfamdnc vnorfrnuna, in *orJ><r<jcfciitcn Numeris madjcn wolun : ©o tan 
mantld)&ocl)ba(^»n^wdf!)cr»n&bc|fcr&rmnfint^t / atefbnffm. 

3>nD tvci(t* fcod) cnfeud) feajjin fommen mu§ / &ajj man nad) twn Oantu, Al- 
to. Tcnoretm&Bairoafobatoaujdjkn anfangc/ Qaiatus, Sextus ,&c. ufque ad 
Duodccimum & Quartumdecimum, n>te fcann in fce$t>orfrcjffid)f?cntmb J)0d)bf<» 
rttymbtm Mufici, IohannisGabrielis&icf<$3aj)rau$cnct>i3 imfcrucf anjj«,<3an* 
gencn Symphoniis »n& Canzonen, aud) in anfrcrn opcnbus md)r gnugfam $u «> 
fd)en:©omadKid) mtrttffogermsmiawdffd/ctftttfrbc fcicftemcut Intent md)t 
wi<jftt (id) ttffgcnommcn otwfcbd fairer wer&en. 

£)cmnad) abcr aud) in town Concerten, H itufyY 41*14. ©rtmmcn vcrjan- 
t>cn/ toe *>brt'sc bc\) &*R anfccrn eimjet jjdfer werfcen miiffcn/ \m& bafclbffcii fcieinwenM* 
geNumeri mtf frem eufferffen Numero, rcefdjer vffm Eiffel fornan acfaet / *n aflm 
€5«mmen / *mt> an affen tfrd)en nid)f vberdn tcmmtn tfnnen. €5o l>a6c id) in 
je&er Poly hymnia dnc befon&ere Cabell neben tm Clavibus fignatisim XV . Par- 
te betjm Baflb continuo (>iwen an a/fc^ef / fcarautf man jtd) alrfbafo ct ncftnft be* 
antrum 5cr<ij)laucrfc!)m/»nt)|Tc^Mrnad) ju ridjten fcabc. 



Sfltytertvif tcft aud) fcfefetfermnern : £>aji id) in ten GeneralS&Sflai aflejdt 
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je&er^j)ei(o&er pars Cantionism jtd) (ja^e, S)enn wdHd) not^n^obfervi- 
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640J idMWn 

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terj<<f«ng<fdn5cn/aucl) Weanixr<^<rd)mCcremonicn tarntfcn wrrtdjttf wa> 
tat tfitntn. 

Diftinftio & Denominano Fsrierum 
Chtrorum. 

^Utomutfd)Ut)m&%OW3 mtt 3tirnic 

vUS ju Wfttttgiif rcti tmb ju tmterfc&cp* 
fc<nfa?nt>. 

^(t)icr mufi id) fcip aud) mct)f tor6<i) gttytn/ &a* tmerfdjitfttnt 
Modi*n&Opinione$,2frmnWtt SRctynimgcn tic (Efcor ju 
;Mf<rfd)0)&<n/$efwrtm tMtfteit. 
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flm C jjor/ primum Chorum , tnb alfo ton necfoff fofsmtott 
_ fecnndum,&c. £)<nbfcl)ff<na&<r/w<nnbatf Concertmif 
v |»<t)m<S!)o«ttoefaiir/fccundum5Womif &r<t)<n/Tcrtium ; 
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turn fideliter jeceric , quicquid fuperftruxerit corruct. 

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gcrtoimtf. # 

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ficjf^ tfim offer fowvmw^ 

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wing &ab< fct) m aifen mdncn goingot Compotfrionibus in adjr gotommot* SDfc 
ftyt toityntK wit rr<ff(ict}( Mulki , al* Andreas wit Iohan Gabriel (wl&m in )l>rctr 
cr/!mGompofitionf^aff(jar/fofiK>(m9W^m/a^W3rddjm(S()orm/Mcan^ 
r*3ww»nt$Dto|nungtf<(£()©r iunumerirenobfenrirct, ta£ft< tot Chorum, 
£Bd#o anfangf/tffo) mt to nfetrigffc/ o to to j^d)ff < Primum, wtnt tw> ft< at* 
tomn dnanto im ftngoi folgoi Secundum wmt Tcrtium noinot : QMfwdtot 
g{dd)»of fid) auct) to Mtun %xt I ten j>of)<rn S&or primum , &c. ju nunenren 
pd)5<brauct)m.QBc(^c«f&annmi-G. Operibiisft$mc&r<roJdl*fmto/ taper 
toe trfffeSrt fajatrot (an 

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Concerten tfc offc $rt obfervirt : Paulus Sartor ins tfc onto : S)o torfteffttdje 
ContrapunctiftawttMuficus, Iohan <Sf0tdmayr(^Wgffd)O <£ajwittld* 
Jlo |U ©ran*/ Alexms Alexander, wit McmdffrnMufici I tali & Germanic 
(jalrm tie trffltSri tnt SBofc/ftfcid) oh* ftrotim trucf publicirten €ta$oi nidjf 
antoftobfervirenfan. Ctnfcm«lft<Wcf<2(rtfogarf<{)rmac^im!)inm/ taflflc 
<tll|df aitd) »nf<r^g(dcl]<n${)orm/tt>crd)<auo:l<t} Clares fignatasl>al(ii / tot 
(Sjjor/ wdebo am mdffrn In tifdefff ^ct>et/ fecundum Chorum inferibiren , t>b ft 
gfdd) ojjne Panfen m off anflbigr / wit tfrfowgoi nad) to antonSrr jurafenot/ 
gar wolprimiis Chorus to'w< gmamowotm. 

pfcrnmiwarfnoanfogar grojjmci)fgd<gn/f*fartg*<mo!M)tt©&oi *t<rtii# 
f<nanauic^n:^oaj&f^2)ed)^:effomiit0/»nbfanftd)dner/ to tfnidjt go»o{y 
net/ fo baft nict)t tardn jtntoi : <E* fa? tattn /tap <r nad) fdno Tbtt / term ogdtocf 
ten Numcrum wtdito*. 

3n olid) en Autoribus, fceftnto ftd) / tap ft< in #rm operibus f tin vtifflv 
fd)t9t(*fraw fontontKChoroswpwdfennadjtoanton/ wp»df<nnaci)tor 
trioot Zxt difcerniren wit nominiren : QBoe a&o mtintt oactyoi* frc flcr / tap 
fte bajdno gowflot wtnt dnijigm 3rr KtMictat. ^anfwitKjwaraiicljin tot 
mm'*nWxtyty6ti<btmibtni)6ti)1tm<i$ot Superiorem , tot nccMffofgottot 
Medium, ten WtfOffot Inflmum vel Inferiorem Chorum wnnot : 4to tvdlm 
tmwo<wttfuriff/wttm<f>r<£(tf^ Primus, a. j. 

QuartusChorus,&cni<itcm^rm ton: ©obfdbemanfK&o/ awtmeiptung 
fonoo fmm&tt bet) dnctler) ?Ram<n» 

©o btfintet (id) aud) / i)a| ttltdjem Quintum olxr Qujntam Vocem , tot 
anton Difcant,»ntm Sextum tm 2. Tenor; (£tfid)<a1>crinQujntum tmi* 
Tenor tmt <n Sextum ten 2, Can t (V^n. 3d) Mdbc abtr bd) to o(!<n $&?0)nun3. 

SB ^«*$/ 



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<gt\i%tiMnnintimConcert®<fan$vonn\ttx{<bitbm<n (Stjorm / inbtm 
dttm (S&or fTmffot>cr 6. ©rimmcn gcfat fan/ fo ntnntit ftetofunfffcwmb fcdjjfc 
©rittttn Secundum Cantum, Secundum Tenorem, Secundum Bafllimprirni 
▼el akerius Ghori : $D?fr abcr 2>cuct)r^ b*flf<r fan / bafj man bafur Dk Sorter / 
Qujntus, Sextus, Septimus <j<braud)<tmb bcfjaltt. 

S)ap aUt crttdje/ aud) bKwrwmbff m Mufici btn Baffet primi Chori (tvef* 
d)ttfbnf?m Baflus vel In£ma vox Superioris Chori gmcnntt wirb / *>nt> mciftltd) 
tin Tenormin buparffl)bC$Tenorisfam/ Mb Infimamvoccm Inferioris 
Chori m W^afftf 9>«tt<t) / $c^ 

rationes* 2Bd( tfabor in anorbmung bttConcerten dnatt Direc*tori Mufices , 
aud) warn man t* in bit 3lorm?>attirur/ obcr $5ud)ff abm Tabulator brtagm »nb 
abfcQCtt nri(/ritt<mJDr$aniffctt gar wdt>m»tmm3tmb vtigdegtntrff mad)« ; @o 
»tf td)tf dmKbm/b<n©a^MttKtarMbfamr nad)$ubcntfman&dm geffcflct fca* 
$m/o&nfd)fmdmm!)won3mp.<5a#fd^ 

fcn<£(>ot*©rtmm</ »i< fttmttbmNumcri$pu^»ffdnan^<i:fo(s<ti/alfoaud)<« 
^<5>art^mnad)&<rfdb<nOrbmm3 dnacfat ttwbcn. 

SDa*attc&/ wenn jwo ©rtmmm genanbtt n>b<r ^b<r gefw wttbtn muffm/id> 

dfcdt bmCanc lottD Tenorem %\t mb Stog jufammm bradwtmb olfo We Nume- 

ribofd&ffctt Krfj)dfef/atei.$. wib2.4.«c. bepananbergefunbrnwrbett; 3ff Mc 

SJrfad)/ bapic^<^m'c^raildttb<p&mMuficism#<m!)dtea(fo gefaen/ fonban 

«*aud)attj()mfdbetb<t Harmony, Mb Concordant* f)a(bmb<|Ttrijf/ bajjiic 

6fagtt fo fcaw b«) duatttxr ffejjm/wib aus dmmPartefaen w muficiren muffcn/ 

mftKcWtdj)mSexcen,»fr bcr Canttmb Tenors £>mn aud) mit Qujnten »nnb 

Oaaven,wk^^t»nb^afiufammmconcordiren,t>nbmd)mtr»ibcrwern> 

gmQuartcn.nrt< btt Cant wtb Alt, Tenorwb Alt, fo a,<mdntajid) mitdtiono(v 

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l«m(iM3m»«;i)roffmmac^e/foni>«(id)/ wmnbKanbernbq&c^arf^m md)t gar 

na$< bap bfcfe georbntt Mb #|?dfef warben/ fiap ftc bteHarmonywltt ommm ma* 

d)<nv Mb jur perfection bringm fdnn<m 

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fonottn alfdn mdn drtfdftt^ bebaitf en/ Mnb watf id) au* dg<n<r Srfa&mna. gut 
fdn befimben/ an$c baiter (jaben j ©internal em jeber fdne Rationes Mb Sftfodjen 
»or ftd) felbfl wol w(fen/ Mb barnad) ridjtenwtrb. 



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fcr t»m Cantoribus, Co M'c mm<j< wr&anfcen / f>tfmdfen 8. p . oto w. ^oofon/mid) 
gtt jd«nt)Pit^ninftrumcntiftcn dner mir fccrgtofotm/ gtnefmoto Origcniti 
<tn<r dntfgm €5rtmm an tinm £>w mbm dnanber <jeffcff« werfcm : : SBann man 
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appliciren, j<rf?«m)?c(n t>ni> *<rf?ucf <n muf / Daf f $ offr t tinm ©<fans< <&n(td) iff. 

B A S S u S. 

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Jtfw war&mmufj. &<nnw<nn&<tdn<^agm&a*Qiiint(wddK* tannin foldjm 
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tenifttty<tifo&bttt$&T<inwli<blifalUTr^ 

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dnmvnd>mmiam»onftc^^:^f<Di>ann/t>aJmandtt < S«nt)ammrGorpb$, 
atednOfc^ofcr^oftdjfttwfdjtfw^ 

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nraf.@enflmJ(l<tfja3«Mftm&tt^^^ 

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fan/ von nd$ttt. ©tfowegm tann aud) bet t>ortrcff(tctK MuficusGermanas,Iaco. 
busRegnardusaWerdfMrje^tt»nl>m^r3af)rm<fficl)«Miiren mit B.^im* 
mm/&artonwfc9fc^ffatwnn&t<<^o^^ 

dnan* 




De VnifinMum&oftAVAntm confemtione, tArumfcn Cantiombus difiifh 
tfispturium vocum Choris limit ata u/ur- 
fxtficrK^ 

#flf Wtf maflctt W< Vnifoni Mfc Odaven \\\ Qtbtm* 

ivcr&cn. 

# <d) jwar in nwrocr VranoChorodia anfon^/ ttflflK rati* 
onesem3efuj)rf/ au* watyttiiUbtntiUfym SBrfodjcn / »nn& 
widjttgen raticnibus,ttt)in&cm<Etyoral/&t<Di{cant ,fon&fl> 
Kcben ato Mt&AfT*/ worn Mc (S&or jufammm t omot/ln Vni- 
fono g<f(Qcf /t>nt)tcrotvc3(noQ()tcrl)aiPonm»a^iutvKfccr[)o(m 
tonnes : QMct<t)wo( ab<r / writ fctefte baj toxica itit fo fcfer 
nirt)tim@ebrAud)8ew<fm/»nt>il)renM<l/ Mfolcfecitt&fcbe* 
$<>r noctwt4)f scfrjw t>a{)cr 2>rfad) jufjmm t^rfftm /dn*wt&toi*<wl>mittcavil- 
lircn ; @d fca&e id) obcrwtymtt rationes<tw<tf wriftf uffti^r ouftufityrm/ t»nt<tn 
&<tt ^ag |U3<&m / Damtr ft< rationibus & automate 3nu8fam*b<r$M5<t / roir mfc 
ttffalfe dnfe fan rofctymi/ wm fct $ta & $u fan <v*%t <t . 

333arumb ttcniMic^ tticfa adeiti tor ©ifcatit twt> 5$aj$/ 
fottfcem aucl) We SHtttel©timtwtt / in pleno Choro$ugW# 

mit tmanbttin Vnifonuro , UtlD atl# jUftWfa in Oftavcn , 

gar ml tntt> ofcnc ^cfc^ulWgutig t>er Vitiofitct gefcijt »<r* 
Dm fdtisicn : 

SCtenemlid): 
c ^ ;v r * «T. 

StormtftetDifcant, QBdto<rfd6eoJ>w$a*/ wt^nbettlthmSmUn 
gdt nfttn wife (ieMiclKn ©rimmcn / ten ton antetn / «te A ltiften mb Tenoriften 
Idctjtfid) tb<tfti)ti<nmxbmtaniin*$<nfyotwi an tnutfftt<b<nm£)tttn wnb 

mediae voces, £>fc SW«d6rtmmm / ate *<* Alt nnb 

M i Tenor 



9* 

dnani>aforffd)rdfcn/mi>rucf &rirt5<nt>nl>publicircnla(f<n: 2u$ wiger irftwtt 
frm 3f afitf ot)n<»m<rfcl)et)b affcntyalton im©e&raud)/ baf mcbtdfldnfoVmfonis, 
fondcmaud)mO&avisW< 0timmmmitetnant)ft judWct)fort^<m Starumfr 
ftum to* i&Sapitd lib 2. part.i. &<Mrtt*ffltd)mMufieiThcorici , loan Ma- 
ris Artufij Benonienfis , fc <r artem de Contrapun&o gar fettU (id) tra&iret, 
tttrt gfricbfam auf fityrticfyc raciones tmi> 2)rfad)m ftcfnxgf n anjdgf/ ex Italico in 
noftrum idioma Germanicum»on5KortJu9BoW affjjwmtf dnjufortns<n/2h> 
fad)nd;mmwoflcn.. 

Ofinwie Intorno *UiC$n/crH Mufictlu 

SBa^maUm^ttficaltfc^en Smarten fn g<< 

mcto ju obfertnren t>til> $u mercf w 

»» o^QS^^M^^S^Obfcuntatesobar^na^/ fo man Mfourtfo fctt 
Concerten Jtfw / Uxvcfon to<X)tt\vs) i 

u ^«1l(icl)/ta^NcIngcniamd)fairri<trf(*arff(ttt^ 
nl3fo)n/M^unfl dnt*5cmact)tm Concerts ^<rfotfd)m 
wiftiucrgrftiiftcit.. 

2. gumamxrn/^afbklnftrumcntanfdjftta*^" 
&ftj)t 0&<r 2(rrt>c$ Concerts accommodiret fa)tt ; £>&<t 
aud) frfrfrfbrn inftrumcnta.mif fcn SW<nf<&m ©rimmm 
difcordiren^itonidK *&<rdti ffo'romm, , 

3. < £>kbxittwnbf\ttm\)mft<%x{<x<b 1 bmon id) fae au^fuJ>rtic^et rtf m 
wiiiift Mfttvitl(i<bed)t<iMn wrntfptKn Componiften bamir wradjr) ge- 
funfrm wertoit ( wddjc tf niefcf focbm in «d)r f)abm / taf ftefntirfcr* 
dgung dne* Concerts fcn;rffffdt^afh'ndmmo&tt »en dnem<£&or«t' 
Idnf^mrgnbemantxm^orabcrC^f!^/ / fo l>?e (£t>i>r (OfcjusMdjftnam) 
&m S&ag in dncr Quint, Tertia oDct O&av ^<braud)m / tmfc a(foe(dd)fam due 
^ra»risfdf/ft>ddK&atf©<j)frm$™^ <E* 

5<fd)td)fab<rfofoK*^mty^ 

(id) bicDba^nb^iffdfftmmmgmtadJf »ni>b<fl4rt3Ctfn)n/ wt&W<toi<i#'dj 

t*n95af*tm&ba$ fynbammbtyftumtymfalmt 1 We twrlxn Jfl$un&<r|ii 

„ $W<«d€5rimmm/ vnbwirbcilfotititdnmttoijtsmS&tfb&wi&vmt&itttl 

» baJfon|?mftd)indnmtj^an^or/bffoniKr^3cht()rm:X)atKr^nniKt eta** 

2)? «j $<#«# 



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9* 



#<£<$ {oftow<&ifliHim&nfynofrt*mWxmt<inimba[fot>it Priocipal »nb 
*>0rnan&|fc@rimmm/fo»<>rt>M an&<rnattmscj>0>tf»tt&mfoI«n/ M&to*@<* 
|>& ajrtd)fam<r£ffnef ibitftbm &rin$cn mo<int c Zx*wtitftit *n& bofm affe&uro, 
3nmaffm^anndn»<rfl4iUrfsctmfoW)<nConccrtcn3cnu3famju<rfej)cnii>nnl>ju 
wmtfpmcn j)«f. 

*> %u*<tyfitm$<d>(tm&tf<WM6rtnuwi wixbftty$t\cbtti tofctntxrat* 
,, fammfnfa4unstw<£borm/ Mtft&timmtniwtl&itbtytimjtbtntyox Wtttcff* 
,, fftnfctm/ ncmHtd)M<^jfe«ffau3l<tcl)in VnifonomoduIirnwU) rinffimmen/ 
tormtt fctc aamje Compofition in ctttn £j)orm etn wt)f fufficicns Fundamen- 
tum t>6erf omnu. 2Bi< tonn aud) f tint Sexta oD<v Tertia Minor in btn mwd* 
gOarf ajm $t$m btm S3afj gefrrauctyt ©tw <$<fc$f wcrten mup / ©internal fit to* 
@<j)or mcj)r wrtegat ate bcu*|Tt$m. 

2$nl> txt^effatt w<ri>mnun tit Chori , tvcfdxftdjwrff wndnanterfm' 
t>en/ to* iff / l>tc t>nabfonb<rttcl)< drtfjet 3C|WfattKr&<n / fcurd) foldjc Vnifonos 
titlmtxjx nutrirct *n© tt^altm : %\* wtnn #r< ftAfff wtft Stmtotww^rimmm 
wttxW Wlitui I cbtx »or tin Wlittttyaxttx) $tft$ wtxbm : S)e man txnn W* 
rtnwtfcfadm mujj/tof* rtcfclfaChorio&w^afiim&guntommtftyn. 

£Ba*man aud) »ot rincn $uttn effedum mact)<n f onn< / fo M< arBct r an 
tintnx Oxt mxidfttt / *>nt> Da* gun tomem an dn anDetn JDw $d<3cf »urt>e : 

3t<m/9Ba*<*fttr dn< (icbadjeHarmoniam $n'n6<n 6nn< /wenn malt 
t6*w / tt<9 ottr*fer ©ttmrnm <fn<* ©<fan$e* ojm 93afj / obtx abtx / foldxr $f 
ftalt fo wdf von tern dntam^untommtfSaf a&atfonlxrf / top man* faum j>o% 
rmfan/ to*wtrt>dn jtbtx bq ft&fdfcftawcgcn mb bttxafttm. 

£>txowt$tn mtl btfttximb witb t>tx <3<fan3 vtdme&t Harmoni* Jafcm / tog/ 
wmn MChori iufommot f ommm / obtx mit dnanDcrforf^en/atetonn lit 
<85f[caff<mYnifonum$<faf wtxbtn: ©immtamftc fcergejfalr fotcijc ©fim- 
men ffl)n/wd<f)< DteHarmoniam ^ddjfam »!)alfm/ txntyxtn $>nt> wrmejvcn/ 
nacj)t>cm2teg&<*Mantuani : 

Saffttsdift voces, mgraj/it (Co/tforttfifundat & auget. 
23nt> &t(tytt Ioh. Maria Artufiuj. 

tSnDftttmfr dn/ topid)andn<m£)rf iwyrWcfcm<j<f<fcn: Ino&o, io, 12. 
16. aut plurimum vocum Mutctis, quando Ghori longf lis diilunguntur, yera 
Balis tcI vox infima > in quolibet Choro, fi omncs fimul mifcentur, habea- 

turj 



?5 

tur j & pracfertim in fine prx aliisperfed^ audatUF ; z\ii & KOL)iO^> dv 10L> u bi 

fundamentum non fubflruitur , cxiftit, id quod tabula Compofitoria& cxpc- 
rientiateftatur. 

Jpterautftff nun <mu<jfam »nb ausenfcbdnftd) ju fef>entmb $ut>crnef>men / b<$ 
tic Vnifoni toivct) i>nO buret) & vocibus & Inflrumentis in t)ot>en / ntebrt<jen tmn& 
mit fern ©r tmmen gar wot / vnb ojjn dmgfemcr SSebencf en adhibirt mb ge&rau* 
ctjefwerbenffanen* 

QBasa&er Dec oaaren Setangen tfyuti fo mufjf man mie benfef&en ewa*»flv 
nunffriger *mb fau&eructyer&m&gejjen. 

Offavain omnibus vocib us toler art pojjunt : QuAndo uhavqx 
cant at, Mtterd/onat. 

3)ann weif m anorbnung ber Concerten (wiet'n 3 . Pa rte 6afb fofgen wfrb) 
gar aefcrfotetytct) a i>af man $u enremmebrtgen (Efcore/ to ber Cantus »on dm Alti - 
ftcn ju j, <pofaunen / oocrj, $a<$o«en gtfungen werben mug / dne Difcant^dgeit 
ju bem Altiftcn ortxier / bo bann ber Inftrumentiftvff ber ©dgen batf jem^e/ fo ber 
Altifta fmget / tn ber O&aven |>of>et mactjen obcr (wte <did)e reben ) fpfeten mu fj : 
©0 fan man gar wot in pleno Choro , aud) fonflcn/ wenn nur efltct)e <£J)or alfdit 
jitfammen fatten/We 3U@rimme/ fo tn V ocali C horo tf?/in Inftrumcntah G ho- 
ro in bit Odavam {upcriorem fcljrd&en fajfen j 3(fo/baf au$ bem Alto an fta be* 



- = — dn — 7^— Mb bi< 3ta en em O&av {tfjjer jum Cantu gefdjrie&en tterben ; 



=— dn— j^— 

-- -0- 



©crCantusabertav 



■ a(fo wrMd&e / tmnb mitbem 2Bon Altus intitulirct 



tuerbe^nba^banngefdjidj^jumo'ffifern/baf/bofottffettDmettber Alt mit bem 
Cantu m Quartcn geffanben / oben Quinten braiu? werben j QBetdje edtdje w> 
me^nen/bttgeffoftpaulretwerbenMnbfen ; ^dct)er$fanungtci)nod)8ur$de 
t\itytbmfliti}t<ntat\* 

<zt witb a&er berfd&e (S&or ttibmn auflf btefe wdfe figni ret* 



G. A. 



c. 



A. 



T. 



9<* 



B. 



I 



3&nn man ntutfn manaduna t><t Inftrumcnt <tnm fo(d)<n (£|>or mit Can- 
coribus wi& Vocaliften fofmen wii I fo (<j? man ton %\t Don dn<m Difcantiftcn 
tnb ton Difcant nn dm Altiften in btt Oda? ftumtr fin^cn/fo (ompt tf in fawn 
wrt$mrtd)tm©tane>. 

2$nt> hac rationc fan man fo(d)<* frurd) aff< Grimmai wof 3<fd)<()<n Mfto ' 
Mt5 gffa fdnm nigratum fonum auribus, nxnn fca* jcnfgc/ fo fccr Concentor hu- 
mana yocc ffttgtt / btt Inftrumentift t>ff ginrt <tt / ©opam / §1 ft«n / 9>ofaun ofcar 
§a$ofttnm ^rOaa▼cn^r6b<rc^<rbtwnfrtma(few.!5)<nn<((ic^< Inftrumcnta 
fimplicia , ate wrwmMid) toe §i6itttw wit in Tomo Il.Capu IV. mit mefcrom m 
ttftytn / font ittotttit tint ttot mid) iwo O&aven jtfjjcr nad) fcon$uf t jjon its 
Kd)nm/atm©<fan4«nj!)mfdfcfftn4^ 

*cr*/a(*»tfmm dn<ri>gdt>idiiMt> mand)<rta0 ©tinumn/ Wein VnifoniSjOaa- 
yen, SupcrOdarcn , audjuwtwoaaven in ton swflm ^Bmofos / vnb (wit t$ ttiU 
d)<nmn<n)Contra^affenmif dnA»C<rconcordirn,5ufamm<n gwgm twr&m. 
5Daj)orAuci)fnplcnoChoro5ardn<}?r<5<*ft3C Hannoniamwn fid) ybtl wtnn 
man ju dwrnQfrfT* / to W< m<ns< to infttumentiften wrixmfcn / dn< anndne 
*&<r Qj&rtyofmtltmtyvtiflSa&tticbtt 9>omnKt$5om&ar& /wddx ten S&af 
mxxt^ttn^cni^nbbmidtntmO&zypo^mnitoppti^ctti otoarofj Mp» 
pd35om&ari>/iMi& awf S3a(j ^<95/ wddK0ldc& / wi<in£)radn bit Subtest ofcr 
Sw«fliK/ dn< Odav tounttx Intonirn, anortow : SBddK* fcannin den jewm 
3ta(ia^fcfe<nCoriccrccn sat^<btdud)(id) /wfranudfamiuwramwottmiff. 

J&auiwgm id) oud) in tot Gapelfa Fidicinia ( fcattontjmtadKt &<dd)f 
fofam »itt>) of)n< fcfcmcfcn t* alfo gtftgf / &a|*/ wenn a. 3-otKr4* Difcantiftcn, o* 
tor p<mTenoriftenm<fdium5cr$uaIdd)ftnrt<n/ J>K©itmmenfcm Capclla fi- 
dicinia mit Qfl^moftranbmilnftrumentenadcomplendam Harmoniam 
fcarju mifciret mb muficirct wtttom Ufwtiitn and) in Odavcn mit ton Vocibus 
humanisfort^fjm/ tttlcljetf tamtrin jttotmftfabwt Mufkus, tot ton ©ad)m 
<m)a«fwdwna(^tonc(mtwi/3arwo(approbiren,»n& Wpfafftf mit mfrdma, fct>r» 

£&id)attd) 3(dd)tnmdn<t VranoChorodiaan crtidjm ortjxrn t><n <Si)o> 

ralim 



S>8 



. , O&aven (*>ff bte miftiwkiw M* angcidst nxrben fot) foremen j 2W tf wenn 
, , mtt atojfem fidf (ftudiofamcntc) bf e Vnifonos wb Oftaven m wrmet)ben / 
,> grtttaetywtbsefeiifwcren/ bobannntmmermejjremefolcfceperfeaaHarmo- 
,, niat>ttbRefonantzftct)f^ntK9amt)mmt>nb^r<n(a|Tcit: £)um watf man<t* 
j , mm Cjjor ajbt / bo* werbe bemanbern (crgegtn en^n/etc. 

2*nbfonbf e tct) wot erttdK gar vormfwtt 2C(te Muficos Theoricos mb Pra- 
fticos nennen / wetctye tm anfans mir fotcijetf ntd)t jjaben wolf en pafffercn tajfen ; 
•Sxmactyer *btt i ate fte e$ felbffen »or bie J&anb genommen / *>nb ben <Saci)en tor 
pel) wdw nact)sebad)f / fcaben fte e* approbircn , mtr recljt $<ten tmb bef ennen 
mft(Tcn/^f ftec^wrwr|dtwrnid)«/ tmbfaffeme 3:obf<gunbe s<adjt«J«tm/ 
f e$oabet beftmben fie fetbfl / baf We Vnifoni , fo wot bte Oftaren in ben Stiffen 
rriefy twmiebenwerben fdn&t<n : £)o anberffinallen (S^orendneperfedaHar- 
monia fdnvnbbfdben fo(«. 

S)odj fdnbf e man nod) btefetfSttittet rrejfen ; SBennfn dnero Concert©*' 
fangemfo(ct)etnact) ten Regulis Muficalibus gefeijfer Baflett befimben wftrbt/ 
Wie benn Iohann Gabriel in primo libro fdner Symphoniarum facrarum , in 
fecundo wmbtertioaber gar mcty fotctyetf obfervirct , fo mufj man ju bemfefben 
Choro Supcriori, <nm>eber tin SXeaat / 9>oftri jf obtt £)r<je( / ober aber jum went*/ 
flendnSunbamenf^ff?etten*mborbnen/ber bai wennbfe€f)orjufammenfa(' 
Jen/ vel roce humana vel Inftrumento, etf feq bann mi t dner 9>0faunen / Sagott 
cbn $5af gdgen / oa* Sunbamene jugfdd) miffufcren 1 6nnt I mt> atfo btx ©efang 
ntct)f impcrfcat)rtMt>nt>oIlfommcn5e^rc^nt>5cact)(e( werben mb'ge. 

I&nb alfotfl au^icQf anseidgtm Rationibus mnb SBrfadjen fdctyfici) (u 
fdjHeflfen: 

£>af*i.W< VNisONlbtttd)t>nbburci)maffen<Sj>otettMb ^ftmmen/ ofcn 
dniabebentfeniugebraucfoenfityn. 

z* QBtegldctjer $tfta\t bit OCT AVEN in Choro Inftrumentali, wenn tnu 
roeber afletfet) Inftrumenta offdn/ ober aber Inftrumentawtb SO?<nfd)<n©rimmen 
Bufammen f ommen/nid)t wentger ate bit Vnifonipaffiren Hnntn. 

3* &ann and) bit&&ftttn)§\Mbmtnt€)timmtn fo wot in Oftavcn , <xU in 
Vnifonis ju ge&raudjttt, 

4. URtin in Choro Vocali, baf etn Difcantift mt( eim Tenoriften, tin Tiitift 
mit dm S&ajpff en/ ere. m Oftaren jugtdd) mtfdnanber fottftngm folt en / tan <cb 
nocljiuraeirmc^fvorguf j)atfenobcrpafffrenta(fen/ tnsea^et ber Steffanus Na- 
fifnbenusDucaIi$EcclcfiacinMantuaCapeIl*Magifter: Valerius Bonain 
Brcfciaixiatonbanbere)b«oaavenmbmCant,^!rr<lwb^ap©rimmenot>» 



97 

raiim 5)tfcant tmd %\ti wefcr/e viva voce m&ffm gefttngen mtbtnj in O&aven ^f> 
#t I ©o fy&b< id) dod) Ma vmer ondern dtefe raeioi«sdns*fu&w / dieweif die o,on' 
ije©emememder^ircr/mffan*ndsrob/ {pcfcttifcitfcftfeingfrfcb dm Sfcoral mte 
dn ju fw$<npHc$tt!<tt. SE&cldje* aberfoi$mottf|<rJj*tt ^Chorals, idj <$am$ nfdje 
fan paffiren faffm. 

£)i<fetf aber iff rum oar $emein/ daf in btt Italorum Concertcn, do ntedrige 
Mb Me d^orBaffct wtfanbm fan / der Baffet Super ioris Chori mi! Jem S5a(j 
inferiorisvelalteriusChori, iwnndi*€t)orattfammenfommm/ mO&avea 
meiflemljetfedaJKr gejKt 

<2Be(d)e*/ obetfgleid) in i»cenot><rdr<!>(Si)Jricl)«nCaritionibusWpw<i(m 
wot font>rc geendew werden/ alfo/ da|j man etnen 9$afj j)inau(f/ dm andern t)eruwer / 
& vice versa* (fagm (tefle : ©o f an t$ dod) dajer excufirct tmnd wramworm 
tverden. 

i. X)apma«5«ttdnfdHcl^rfmfoWmBaiTet<mJo|mCEJw <inm Tenon- 
ften viva voce ordnef /3mfteffcn (S£oraber$ttm9$afjemc Quart9>ofatm / 9>om* 
mernSBombard / odcr doppctf e Saaw . 

a, jDbaud) wol in denen Concern, we(d)emif> 4. $bermet)r Si)orm/ »nn& 
dieSMffein $wo Oder dreq Oftaven wn einander gcfcisf fan/ der Baffet mff dem wv 
terffen odcr andern Soften in Mfttfd)tedenen€i)orenmif O&aven luajefd) fort^<^ 
Jen muf / aud) »wer denfefben jween Oder mejjir <&[ jfe viva & humana voce gefim* 
3enwerden:©oftmi#dod)fold)e0nid)f^ / fon* 

Dernmuf mict)t><ffmnotj)wmi>t33<brawd)m/ tmb eim jeden /dere*t>ordieJ5>an& 
ntm&f/ Wmju<rfmnm0m ; ^B«tn erinder JCird)en/ Oder in etmawflfett 
€iaal ein fofd) Concert nur rntf jwetjen (Ejjoren/ (>od) tmd niedriagar wefwon em* 
ander an betjben mden gegenuber anordnet /tmd bitibt bei) dem Choro fuperiori ffo 
J)en/aIfo/daf <rirtplenoChoro,wenndi<bei?de(£i>or jufammenfttmen/ dm tfefj; 
ffen <l{Sor nid)f wol jtfren fan ; €5o witb tt befmden/ da jj gar ton §undamew be^ro 
j)of)ern (Sjjot /fonderninmansfongdertwerffenQujnten, nxfdKderSiindament 
c^ap ju dem Baflet Oder Tenor d<* j)or)en (SJortffujjw / mef>mm)eite Diflbnan- 
rzen mb Quarten werden secret werdm/ beaorab / mnn ton FuncUmcntln- 
ftmmcnt ate <poftriff/ Oder Ofcgaf babei) wrjanden iff* 
„ (£^t|lmtrauc^ne»(icI)autf^enedtg$udefct}riebmtvorden/ dagdfe wrnemb> 
„ |!en Mufici in Italia in den Ripieni, (do^ ift in pleno Choro) mif aUtm flafbie 
,, VnifonostmdOciaven gebraudjen/att^eiaenerExperientz »nd (Jrfa^ruttS/ 
,, dafifoldK^rfeninfogroffeniti^ »tel 

,, befere^rajft3eben/wwnftemitdenandern^ormftt3W(t)to Vnitonis oder 

St Odaven 



> > 



> > 



0* 

MtflfdMbju^braudKngarfdnte 

wtmj)mmAutoribusm4rn/fo<cl)mcl)fnmnmma3/«nirtctwfrbj!ttNttWnttm; 
S)a§ #< inbai SOftttdfttmnttn/ t><r<n jwo/roce humana, trie* Darkg 3<|dd)n« /3<v 
fungm twrfcn/ fcttqevfop Oftaren ttttdx Taft long ritttinanba fam . 

SEBfe fconn aud) L. Viadanafn fdncr Praefation fupraPfalmosquatuor 
Chorisconcmendos, fcrnufum Odararum & Vnifonorummft nactyfofgttt' 
tm CEBortm defendiren ml ; £>o cr alfo fat : 

&fanofcnalfc@cfaf>r/ MOofcndmgeConfufiona^riwf^fdK&m/ t>afc 
„ manm tf Concerten per ChorGs,Mf <rfd)tct>(tct)eCapellcn j)<r«uffcr j^e/nad) 
fdmm gefaflm ; 2$no fdjaoct ntdjt/ fca |j Wc (£f>orc mit dnantar O&aven tmb Vni- 
fonos mad)tn/ oiwdl man foldx* b&tytti Mp etc §i)ort an abfonDtrftdK o*rtcr »dt 
ton dnanocr fcpariret wife $<ft<ti<t wtxbmi ntd)tfonotrud)t>mKj)mm wt& *w<t* 
fd)dom fan ; 3cood) / oajj cm j<i><r dfcor Mc rtd)te Confonantien , at* wmbltcb 
nad) o<m Sunoammt tmt> o<n gefaten Concertat©tf mmm / twauff to jatMi< 
®<fans&em!Kt/»nDKutim3. 'StKtIwdl ttdtlauffttgar oavonfo(3<fa3t»<tton/ 
obferviretmo bc(>a(K/ oenn mir ri<f<* a(fo *>o*0t3 jufwnrid btfttttfttit I bitwtil 
tit Mufic t>nb Conccntus m ©cfangstmgfdd) &<rrttd)<r t>nt> »olfoWimn(id}tt 
deducirt (Ita lice* ; riufcirt) t>nt> Jinau* gefttyrt wftb / af* n?cnn man fofd)< Rt- 
pieniwtoplenosChorosnad) otm MuficalifchenRegulenexaA£, (obfer- 
vatamentc) componircn vno ffijm wctit: 5Do mann Dtnn fo rid gonijc / Jafbe/ 
rittfd Paufen, Sufpiria , Pun&a, illegitima mtervalla, Syncopationct mb 
wrtrimmgtn notywenoig fwn mufj/ alfo/ &ag tf (Mufica ftiracchiata , ruftica 
ed oftinata ) tint r<d)fc jnrflumpdf c/ blitrifctye/ f?arr J affrc/ go-focm Mufic , t><* 
rcn g(dd)fam t><v Jg>a(p abgcrt jf<n/ an iujjo'rcn iff : SDtewdf man ajfrjw ( i rompi- 
collo) &crf?ump<(f/ ^nM>urdxinant>crja{)«cfrtTn5<nmuf/ tvtfdxtftaimititf 
jar gcringcr gratia, tmfc fdner f onocrn*d)<n antmttf gfdt ft* Cantoristm& audi- 
tors gefdKjm fan* 

Sftidjftf oeffo weniger ttrijj td) 5od) wof/ t>af etftdjc/ W<*a wn fontwKdjmi fu6* 

tifen humorcn fet)n/t>nD jxt fonfctt&atyre profefsion »on dm trim n dclicatcn m 

faubcrn ©<f)or madjcnwoflen/ jtd)ftnt><n tttmtn: S)cn<n M'<f<rnovitas»n&n<w< 

Mamer $anis md)f g<fattcn/ fontcrn ba(& fctcr/ bait ^ar dn Scrupel mb $R*n$<i 

Jabcn/batoM'g/ bal^jme^ faM>dnwcrDm :Xn3cad)f«ridan&crct>ormtr ( fagf 

L. Viadana) ^ktd)en»ff fo(d)cmafJMfctt>dfes<fei$f j)abm/ ate»mcrant<r»t 

, , tw Palaricinus tm lubilatc t>nt> Laudatc a 16. fcarmnen bit Cant $nb Tenor 

, , t>ffa5.*>nt md>r Taft tn Odaven nacbemantw 3<fc?<t/ bcfunDm ww^.2(bfr &a# 

, , mit td) fct)rufl^/fo jjab id) fo(d)«f nad) mdmm autadjmi alfo gef^tt ; 9K<nn a n« 

#t tj an&<* 



100 

anDere ou<# olfo madjen werDen I fo nrirD tint fofd)e jdt toerfcanDen fetjn/ Da Der jenise/ 
fo e* ateDenn fejjr fctyimm smD tmfauber madjet I Daf fir wirD scfjaff en tver Den / ate 
»mn er c^febr Wfm'd) wiD mm bcflcn semadjf i)e«e. ©off fet) mtt eud). Et Hade- 
nus L. Viadana. SBennid) nun nad) meiner tenuitet mefn einfafria. beDcncf en cr* 
tffFnmfofwfowoin'dj/DafjDieOdavenfoM^ 

s. in Dm Baffettcn, 9A(fm9nD t>wer€5fimmen / Do e* jtd) nid)f anDer* (eiDen wti ; 
2BnD Damt2. mid) m Den £>berm wtD SDtftf cf©ftmmen / furnemn'd) aberim 2Uf ad- 
hibirct wurDen : £)od) Derge(fofc / Daf Dieeine ©fimme Vocaliter , Die anDerc In- 
ftrumcntalitcr,nid)faberber)DcVocalttermuficircttt)firDen: 3BiewolDod)Die 
Odaren enDficfc in Choro Inftrumentali befler / citein Vocali autf obenangeDeu- 
f<fett3rfa^enju»eranft»ovfen|lanD<tt:S)ocbein<«oDerDeeianDernOpinionl)i(t* 

inn md)f m improbiren oDer l)imen an m fefcen. 

!SnDDamtm!)<ri|tj)ierbqfl«jp3mad)fiunej)men/DapittDencttConcertcn 
tO«Kd)e»nf<tfd)ieDm<ChQrivelGapclla5vocales &Inftcumcntales wrjjan* 
Dm/ m^f aflein Die Chorl Vocalcs, oDer Die Gonccrtat wtD Vocal@fimmcn in 
fiftfifoftmi fonDernaudj Die ©timmen mDenChorisvnDCapellisInftrumen- 
talibusgletcfycr geflaif in (id) felbflen <je<jen einanDer ted)f rein/fauber vnD cf^jte vitiis 
na<# Den Regulis Muficalibus gefe# fetm folf en : 2Cber Dteweil e$ in fo fcielen <5t im* 
men *b<ra( fo $or fcfynurred)* nid)f gejjaffen werDen fan/ e* were Denn / Dap man cine 
fof d)e hiulcam Muiicam , Dawn jtiit auf m L. V iadana referiret wtD an^eact^cf 
ivorDen/fo Durdj w'e(9>aufm / Sufpfria,»nfreunDKd)< IntcmllatmD infultos fal- 
tus gar serflfimmeff *nD wrDorbenwirD/ sernjtfren wolf e ; €>o muf man Die Vnifo- 
nos »nnD anDere gerinseretoerboffene Species , tit ofjne Da* in plurium vocum 
Cantionibus mtyt&tbtn werDen (bit Quinten aber Durd)au$nid)f) pafliren tof* 
fen : SSSietvol id) felje / Daf Die Quint* Imperfcdae be$ Denjfau'tfaar gebraud)ltd) 
fetjn : 2$nD mu^ bit Diminutiones, fo bifweiien intermifcirr werDen fef)r *>iel exc u- 
firen tmD serf uj"d)en fcefffen. 3Ba* aber Die Odaven anbefan$en rt)w / ba$ faf id) bo) 
Der vorgeDadjfen angej<i#merinnerun$3a ! niifid) bewenDen. 

QBenn mm Die Chori Vocales » tmD bit C hori Inftr umentales em jeber fcor 
ffd) felbff en in feinen <Sf immen a{fo rein <jefei$f ifti fo wir D »on et (id)en vor tmnotia, er^ 
atytttl Daf Diefe jwei)er(et) <Sj)ori <je^neinanDer revidiret, ponderiretvnD exami- 
niret wfirDen/ Dieweil man atte verbotene Speeiesin Voce & Inftrumento jugteid) 
paftixtn (ajfen fo(f e : QBeidje^ Dann enD(id) in VnifonistmD Odaven , au^ ^tebevor 
angejosenen 73rfac^cn/ befd)eiDenr(ic^ l in Quinten aber gar nidjf jugeiaffen wer* 
btn tun. 

£>emnad} aber in &tyuitn vnb fonffrn/ Do man bit Inftrumenta nid)f Darber) 

J)abeu 



ioi 

&afren fan/ Die Inftrumentales Chort tntwttot <janu auffeef Ajfen / o&er a&er huma- 
nis Vocibus fcejfcffet werfcen muffen : ©o wtrWrim je&en tn fcmewillfur/ ofc er an et* 
Itdjm ortl)crn toe Odaven fonnetrntwoffen tw&et) <jcj)m/anlj<tm& aefleffet . 

3d) jwar m et (ictkii meinen fceiufdjen Concerten J we Die tier ©rimmen m 
tXttCapcllis ofcerChoris Inftrumentalibusaff$eif fconfld) gar woUlfofeijenfott' 
nen / &afj fie mtt fcenen txtr ju aeotfrnef en Vocal- ofcer Conccrtat 6ftmnt(ti son* 
iridjt t n Vnifonis o&et Odavis ftcr) jtfren (teffen : 2(&er tourmff t>er <£f)ora( audjfo 
jcnlnftrnmentis(je()otrwiD»<rnommmn>er>e/ tmt> id) toeitalosefttdjermaffeit 
iwd) metner SBemaf eif imitire. f>a& id)* fofwetfen mft ffdp alfo ^cfc^cc ; S)o e* mfc 

fonffen cin<;cic 6flmme wr ftd)fetoff gegm affean&ereremw&fattfrer 
gar feme fonaerbajn-emityegewefen 
were. 




$1 itj 



£>rifftt 



102 



TOMI TERTII 

£)<m'mtm 

I. 3Bt< Ctltd&C Vocabuia tmt Termini Mufici / $Uttt tfyil Uhm'/ 
iumtfyilab<ryQtktyx>nt>wmi$<nb<faM, alt / Instrument, Inftm- 
mentift 5 parti Conccrtate $ Chorus Vocalis, Inftrumentalis; Cho- 
roMutato 5 Choro dc Violc, &c. Ripicni 5 Ritornelloj Intermcdioj 
Forte, pian 5 largo, prcfto, Baffetto, Acccntus, Trillo, Gruppo , Tre- 
molctti, tmt> txtQUitfyn cigmWcfc *tt wrfiegm fepm 

2* VBm mit Mb mitt Um 3Bott Capella tm& Paichetto Uitidp 

ttctwette* 

3* ySatmitbit Capella Fidicinia tMttfc Choro Symphonic #* 

4* iBUmbwtifyr&ftaitaitt SDhtficaftfcfc Inftrumenta, fof<* 
%i$<r itit in Italia tm& Germania $tun Muficiren m ^Cr $trcrjett *wt> vot 
Ucr i^aff <( gebrauc^f/ filglic^er/ a wefj f wr$ a&^f gciUr /x>nt> t>n(crf^Ki>m 
nxrfctt fdrmm. 

f, 333t<M< Inftrumenta m %tolidniffttt Spraclj am fcequcm<f?<rt 
»nt> txutftcrjffcnju nmnett twt> aupfprccfjw fc^rt* 

6* Wont General&af? otw Q?>afj Continuo , wti Unftibm tin 
*Or$antfl otw Umump m* wrftrgav wbvmtim/ *mt> ftcfe ttacfj t>em* 

fcfow 



* 



124 

^gfltyflyicttalipoteft Comprehendi 
Schemate. 

f rinftrumenti,Inftrumentift*. 

^ a I Parti cortate, chorus Vocalis. 

MfcOSO^expUcatidnemterminoru } Choromutato,deViole* 

i Ripieni : Ritornello. 

i hcuetO'lV I n ft rumentorum c * 4- I Fort^,Pian. 

^ (.Largo, prefto. cap.i. 



9 
-1 
S 



j. OVOfJL0LTO7TOinmv f Latinam _ ^ /capell«,Pa!chetto, c.». 
congruameorumapO g«™anica ^.< Capell* Fidicinium 
pdlationem ^Itahcam j ^ 

/* * . /^BafTo general i p-e&£ aflequendo^ 
A^A(^>*i/rj« ° r S*™ lco "J feucontinuo Ldcxtr^applicado fc.tf. 
4o^iy«0"ir rum,dc \orgaao rit^traaando. J 

commodam^ fconvcnientcr addifcendis^ 

inftrudio- | Symphomacorum, ! v 

ncmtura ^dccaatilenis. \ a mabiliteraccinendis j * * 

Y{f /toeoru H fgermankorum.c. 8. 

~ .♦',..«*» amjram'al ULatinomm\ In Polyhymnia 

f* VZOT^MGIKi amicam g»y, iora v /Latina. 

commotutioncm ,dcCon. Prxc ipitatlomni fClayisfignats^ 
ccrtumConftitutionc* Igenorum, admi-< >c 7 , 

niculo \Baf$i continui J 



Vcl 



103 

oDrr€(at)wpmbefK^ttraair€nt)n^^raiic^mWttn<wl)fott<* 

7* Witman$uancrt>nun$<iM$)tt><nConccrts mit wmtg tmn& 
vitl Of (jorr n / gar fcicfjtf ic$ twfc o§w fonfccriogrc m% f<§r frequent t om* 
men / aucfc wae t>or tmt erfctyeWicfjc Inftrumcnu fay cmcrn je&en Cla- 
ve Signata ftfgftdj gefrraucljewer&ett fdittten : 

a* Admonitio x>nb Srrinneruna/ 3B<($<r $eflafcW*iatttmfc$ett 
mb£tmfcfyn&ti$lufyConccrt®tfin& in mtintt Poly hymnia, per 
Chorosvn(crf^tcMt4an$ucrtncn»nt)atHu(?<l(mfcpm 

NB. 

(^t'ea&er »n&*fFttMtf maffett afferfe^ ant>ere Concert mtf ft>em'<jen *mfr 
vitlm (Sf)ormv>f|FmancDcrlaj2(mmD9S<tff / tod) *ff eine$ jefcen t>er- 
mejjnms »nt wrbe Reruns angwrhict wrfcen f fatten 5 $)a jfelfce fol in d* 
mm abfontxtltctKm Tra&at < n fawn/ Do mtr Der &<fo ©Oft to* ieben 
giSnncf / n?<tft<5uffn<5 / *>n* &oct)dn<man^njum<j)mmvmtDn?d«CTm 
nadjfcencfen /not&tttffft3<ui5*$ri$f werfcen.) 

9, Inftrudion^ttbatt^fa^rCt^er^neem^t/ 3Bk tttd|t attctn 
flrine fina&en im jwgen atyuriefcttn fepn ; gontxrn auclj/ tw fic$ ante* 
ttin&tfiutm$ntotj<tii$tn%tc&i&nifttyn Manicrtm&3te$ttfinaen m 
ctn>a*$enxgnm/ wife fidj mit fcrofelfcen gfacfetfatta intmferttleufc 
fcfjmtmfciatetmfc^ett Cantionibusgeforaudjm fdrtnen :3)?ctjlcM£eite 
<w* txr wrnem&ften Muficorum frufer $«e in 3tolia&n Dtom/'JJentfia 
»nt)8Co«n$att^e^ang<mttOpcribus cxtrahirct , in wferc ttutffy 
epracfe^^^^^^^waii^n^crllan^srtra^e. 



*&*- 



llf 



Vel hunc in modum Schema effigatur. 

•"Inftrumcntum, ^ 
/"Vocabula cxplicaada; ut ^ Choro tnutaco & ^C« i» 
I carcera. J 

V»Capellam , Palcherto* c« a. 

{Brevicer diftitiguenda, c. j» 
Congruence!- indigitanda. c. 4. 

{reftc aJfTequendoA 
I 
dextrc applicado. >c«f. 



V 

5 



cr 



Muficos infor- 



s'Orgaaicosde a < l^dextrc appbcado. > 

. -infor- i V.Organoritetraftando. J 

f~* ■* mandosjtum] /"faciliter addifcendis ^ 

a 1 Sjrmphoniacos< Vc.f # 

*-• v. dc cantilcnis VjMiabiliter accinendisj 



{meos: c. 7* 
alios; in Polyh.latina. 
-««r,u 8 atW r ^. rClavemfignatatiu <\ 

VjUnandos. Uefiibit6omnigcnos,pcrJ V c .f. 

V.Baflum generalcni.^/ 



I. Caput. 
fatizms t Explicatio terminorum Inftrumcnti, Inftrumenti- 

ftz;Parti concertate;Chorus voca1is,Inftrumentalisj Choro dc Violc;&c« 

Ritor nell«,Intermedio, Ripieno : Forte, pian ; Lento,adagio, 

Largo , praeftd ; Bafletto, 

SB II. tytil TomiSecundicap. 1. ift M&Umutmttent 
to»jj mit btm wow otw nmm Inftromentiftenjntdjf ti<8t* 
3an<|lcit/w<^<auffGlavicymbclin>n&Symphonicnfow«( 
afediuffDrscfofpfckii fonwn/foitbmi t>fej<nt3<n/ttxfcb< aufF 
aifarfa) rfnfacbm inftrumenten, aljj gmctm/^ofaumcri/ 
S^ttcn/S«<jo«m/©d(j<n/^iolm»nl>i)a3Wc^<flMuficircn, 
3<mnncfttwi>ctt. 

2*nD tff t>ctw$«i b<flfcr/&ajj manfagt /miffm CUvkyrobel Mr Sympho- 
ny^ mifftn Inftrument fctyfagm oKr fptcfm: twin &a$ roorr Inftrumentum 
WttlfaflcmauffMc«'nfac^<Inftrumenta/a[p2inctm/@ci3ei./2C.refcrirett>rind 




\16 

^i i i uuw- LiJ UjuiHiiwi nr r r i ir i n i n t~ iinrii rrriim 

Bejoscntverbenj@onf?<n $tbt ctfConfufiones v>nb,3nun3<n/wettdntf»0tt bem 
Cittban bergcjlalf nicl)f ted)* »ntcrfcl)tci)<n werben folre. 
2. Parti vcl Voci Concertate : 
VocesConcertats. 

Parti,ba J ftob sparreqen/^ttmen/ober wit man m €Sct)u(en reb ef /Partes, 
<tfg we nn man fa$t / nim bu W efe 9>arfetybafHfl Wefe^rime/ Wefe Voccm / Wefeit 
Partem, ©onennef mm berHieronymusIacobi(3nS.PetroniojuBononie 
<£ape(mdfler m Pr«fatione)We PartiConcertatc,vociConcertate oberCon- 
certat-0«mmen/baf ftrtb We ©f (mmen/weld)e m dnem Concert abfonber(td) 
$um €>maen »nb ttfdjf jun Inftrumenten <$ertd)f er ml Gomponiret fct)ti^<ro* 
we$en fcfctfe fcamt auc^ttt We €rffen imbforberffen Partes dngefeijef /tmbben 
Inftrumentalibus Chords ,wd( fleabsq; adminiculolnftrumentorum ba* 
fyri$t t jmn f o*nmn/ n<d)f tntftCMd) wrsej^en werben. 3d) nenne etf V occsCon- 
cerratas,yel potius Concert antes ; Me <jidcl)fam dnonber Refpondiren , Mb 
nmrerdnanber Concertiren Mbffrefaen/weretf Mferjjmcnjum&eften madjm 
f <fane.5Darum& man benmu fotdjen^dmmen We fceffen Cantores t>nb&ln$er 
aujjfefen/beffeffen wtf> orbnen mutf/Wenicfy offem perfeft »nb aettHpfetjn/fonbem 
auct) ouffi^senetve SKanfer Mb92Bdfe cm jrotedifpofition ju ffn<jenf)aben/alf<> 
ba* We Sorter red)f imb beutttcty pronunciret , t>nb gfdet) at* erne Oration wr* 
ne&mftcl) ba(jer recitiretwerbem berer wfac&entfWeltali auc& &ijm>dlen Cho- 
rum recitativam nennen. 

SBnbiwl ber LViadana Ja&en/bajj Set) Wefem Choro Vocali recitati- „ 
vo,oberConcextaf-@dmm ber(Sapcfmd{to ober Chori Director (te&en/ 
wib ffotgtf ben Baflum generalem Tea continuum vox ftdj in ter J£)anb $a* 
(en/obevaBerben/we(c^enberOrdan(|{i)orftc^^a(/ntirpdpmad}rnemen/t)tt 
obferviren mfifle/wte We Mufic nac&dnanber fort $e$e; tmbanidam/wen em* 
©ml affdne/wennatw/nMm bret)/»enn*iere obet beren mefjr/aa pn$m anfa* >» 
Jenfoffe»;»e(clje*bamtmbem BaflbGenerali affjeffbar&etymufsejdctmef „ 
iBetbemQBenna&erWeRipieni wibPlenus Chorus berttofffttmmtgeChor, 
anae&ee /fofolerftcb mit bem SnsejtcDrjtt alien Chorcnwenben/»nnb btybt 
J)&nt>< m We&tyeerJK&m/ juranjd^uns/ bap fteaffc iuajdd} nwdnanber tin* 
faffenimb fort Muficiren foffem » 

!Snb berseftolt eMnnen WeConcerten, in be* Ludorici Viadanx,wtnb 
afler anberer Autorum , Wefer newen 2Ctt/Operibus, 3arf&3(td) Concertat- 
Crfmen aenemtet roerben.<£* gefaffen mir abet wrsebad}fe*MuficiHieronymi 
iKobW&tttttytMiMltytiWUtotoot fregfdne eefejen/attcftvonmemab^ 

^<rtd)f<( 



«7 

foricfct ct tvcrDcn f onncn/tvic »nt> mtr was nanun fcfdjdSrimmcn m intituliren; 
f>t# tcb tnrttct) fdbften ten factjen nact) <jc&acr>f /»ni> in mdwn awar gaingm / tub 
fcicfen fr*ff(ici)cn t m memgfien ntd)t juwrsfdciKn&cn Conccrtcn , Wcf<98Wrt<t 
Chorus Vocalis,Chorus Inftrumentahs $<br<wd)(n muffttt* I. Chorus Vo- 
calis : t(? tar/mddjcr afldn mtf ^c nfct3cn-<5rimm/ot)m ju^un frcrlnftrument, 
mufj semactxr nxrDcn: wii> <bm fe rtd/a(f wnn id) fc^e/Chorus fcerConccrtat- 
€>rimcn. 2. Chorus Inftrumentalisif? I»(r/n?<Jct)Cr aUdn mtt Inftrumentcn,** 
ftnft nun^ofaunen/gmcfai/SagotMi/StftKn otcr ©dgm Muficiret,wi&&<m 
Choro Vocali,&af tff/tenConcertat: o&arVocal-^fuwn/majoris gravitatis 
& plenioris harmoni* gratia , adjungiret tvixb. Sftacfo ticf<m 4&<r / ftaf id) JQC 
g^act)tc btt)D<Terminos a(fo 0c&raud)(/i|f mir in ti<fcm3af)r<alI<rr(t|l<inOpus 
M uficum Iofephi Galli Mediolanenfis $u (>an&m (ommm / Mrtnn<n (V ftCt> 
au ct) ancr fontattefcen tm&fafl Wcfrtmctnct 2(w gfddjm invention gtbraudxt; 
i nDcmcrcjfDuplicium Concent uum novam Jnventioncm nmncf/wurttn 
Chorum vocira & Chorum Inftrumentorum wtKrfd)d&Cf. 



Choro vel 

Capclla 



rdcViolc "\ 

dcViol.dabraccio 

di Violini* 

di Tromboni 

di Cornetti* 

di Flauti 

di Fitfari -> 

dctiaverfc j 

di Fagotti 

di Bombardi. 

dc Lauto "1 

proTeftudineJ 

Fidicinum ~l 
V.Fidicinia J 



SVfc 

s s 



f Violn de Gamba. 

5vf tin defeat* 
$ofaunat» 
gmcfau 
$Mocfjtfttat* 

Suapfrfffat. 

Soften. ( ©djataidm. 
Bombarder OMr 9>ommen &<r 

I ©ct'gcn ofcer&wfat/imtxuTc 
V. SScjaittttClnftrument. 



Choro mutato. 

SDfeftffrri feb 6dm Hycronimo lacobi fitnton / fan mtd) a&<? nod) jur 
|dr nfdjr dgattffd) &rdnrtd)fen /tried: etf wil*>crf?ani>en Jabcn. QKdne* roentgen 
erad)f entf aba mfiffe e* a(fo auff $en omrnen wer fcen/fciewdl Mutato,t>afj parties 
pium tff verbi mutare , frtfj Choro mutato fo vitl fct)/ a(p tt>cmt dn Chor M1& 
ten anfcern abnxd)fe(f/ wrt t>urd)9>aufen full J>df : £&a &a* liefer Chor ( wd! <r 

£) % &atwi# 



128 

turn J»i i__ i iubjiii ■ ■ i m ■ »»■ mmmtmmm ^ tmmtmmmmitmm ^ lmmmmm ^ imm „^ im ^ m 

ber muvftt Chorifi) fetnenDifcantumftaf/fonbcrn anbc|lentfatfnoct)dneit 
Tenor, vnb ten Altura jttm Cantu>wib alfo etne anber 2(n r>nb Sfttamer t)at/aljj 
tTcr oberffe C hor/we(cr/er Solis quatuor vocibus humanis,btefcr aber mtf bret)e»t 
^Jofaunen ober anbern Inftrumenten , vnb ber Alt affem Daren gtfungen n>trb. 
»af)f r e* bann aucb wol fdn mdd)f c / bajj cr e* affo n>o(te vcrff anben j)aben / oaf 
Mutatoafyterfofcielfep altf mutus/ffumm/ f?tfif/Voci mutate, Choromutato, 
wenn bte©rimmeniMib ber Chor jttttvnbfcetmncr): oWd) wte Vocipiene,Cho- 
ro pieno( Voces plenx , Chorusplenus)wenn jie tout »n& (?arcf <jefun<$en Wi& 
Muficirtwerben jbffen/ba benn We Chor$ufammcnfommenvnnbdne*c*lu's< 
Harmoniammacrjen. 2$nbaffott>m*be burcr)btefe*/Chc>romutato, Chorus 
qrtnutusdn (ItflerChorwrffanben/ber nttf)f mtf Inftrumenten ober ©ftmmenf 
fonbern nur aUtin rtwa mtf bret) pofaunen wi& finer Sftenfcrjen ^ttmme frefetf 
ijt : 3nmafT<n sememisHct) bte defte m etttgc C hore batjm $ertcrjtet werben. 

RITORNELLO. 

Intermedio: feu Camoena alterna. 

Ritornare tfl fo wet ate JU riict a,ef)en: ( Vn Cavallo dirftorno , (in 

#ferb/fo man ttrieberumb m rucf f<t)icf t/ mmaftm e$ mit ben fpoftpferben a(fo <je* 

fcalfen wtrb.)2Cu)ter aber nrtrb baff worf Rttoruello von ben y aiiancrn baf)tn $<* 

tmta tmb wrftanben ; wmn man be* 2lbenb$ auff ber ® a jfen ©yaijteren / obcr 

wit e$auff IQnwtrfittttm&mtnMt wtrb/ ©affaten <jer>ct:£>o er|ilict) cm Serenata 

ober 2tbenbf*©efan3(bawm tm er jf en ^tjeil mdbang 3efcr/et)en)mtf $wo/ bmj Mb 

mc{jr@ftmcrtd<fungm/barauffa(^ba(baii|fdncrQuintern,^autcn/Chitarron, 

Theorba obcr anbern Inftrumenten efroa$bar$ttH|crjen Muficirct *mb $efpU» 

W; Slfjbann wfeberumb dn ®efei| ober 2$erjjttn von bet Serenata <jcfun$tti / bar* 

fluff abermajtf mit berQujntern ober Theorba refpondiret,wib a(fo dntf tttttb* 

unber abgwecrjfelf <jefun<jen Mb gef fona,en rofrb.Stojfelbe mm/wa* man auff ber 

Theorba, Qjiintern ober anbern Inftrumente,jroifct)en bem jtn<$en Mu ficiret, 

wtrb Ritornello gmennet ©afcero mdnetf eracrjtentf Ritornare q:reiterare,tm 

Ritornello q: reitcratio, §m>erff e{)en fcejl btewdl aHjetf bo* erfle tmb a(fo enter letj 

Harmoniarepetiret wtb wieberJ)oler »trb,^nb (bm bat)tn/wie tc^ md)f anber^ 

colligiren fott/i|tberHymnus,Ave maris ftellaab &tn be^Claudii deMonte- 

verde Pfalmis vefpertinis gertcJ)f ef : bo b<r er(f e verficul ab 8. von alien betjben 

Choren 0efun^ett»<rb;bera.verf. in Choro primo mittitt Vocal : ober Con* 

certat-^dmen; barauff fol<je( to* Ritornello in pritno Choro , tmnb Gantu 

fecundiChon mit s .©rtmen/m dnerTripla »on 2o,Taaen,o^neText,»n wtrb 

Mn mit Inftrumeatc Qtmbfyt; fctf 3. vcrf.inChoro fecundo m« dner Vocal- 



12$ 

— - — ■- m i i r M ■ i i — — — » 

€>timmen:$>arauffalf?ba(l>aberma&l &a*Ritornellom(f Den Inftrumentere- 
perireftt>u&.3m4.verr.nMrD6erCantusi.Choriaff<m;3niS.vcrfXantus2. 
Chori affeinjebeii mcfe^im 6. mf.Tenor i^Chori affeiir |u$'m General-Baft 
hununfc voce geftra$eu: 3eDod) Da* jfloifdjen jcDtm 2$e rfj Da* Ritornelio repe- 
riret wifc Muficiret wirbl bijj im 7.^Qcr# affebei)De Chor mit Inftrumenten vnb 
Vocal -®ttmcn jufamen mifcinanDcr rinfiimmen. 2$nD i(t Dfcauct) nod) Dabeg 
ju wtflfcn;D«jj rtur DreneMi) Melodicn a&cr Aricn in DKfcm«ansen9>fatot wd)a* 
Den:D«*m Deri. wiMaKe2$crg/ f«nDattebei)D<einertt>ie Dcr anDfl : &er 2.3. 4.7.6. 
2$erfj (jaben mnr tits drojigm tinerktjBafs; aflein Da* nidjf affiefc $kid)»i<l o&tt ct- 
n<rlct)©ftmttttnt>artn acfrnigeh werDcn* X)a* Ritornelio if? aud) mar diKTtc^/ 
weldK* affieir wiefcrnirab reperiret wirD. 3$n& miff erne fafi fold)* 2trt Jab id) tie 
Miflam mifj.oDcr f.Choren,vber Den Choral Kyrie fons bonitatis gcffijcf; &0 
ajrtd)cr a,e{tofT DkC hori I nftruaicnralcs md)r allein in ter miff* etftd)mo|)l cm* 
fallen /fonDcrnauctyanfamjm/wi&cnDlid) in fine mit alien Choren juajeid) be* 
fd)(ieffen: Dod) Da* wcl aiiDere variations mi ( Den Inftrumenten mnb Vocal- 
^ririKn Dofdbft mit etna,cmifd)Cf fei)ii.:$b<ri>a* Jaf Mr$e&ad)fft CI deMonte- 
verde Den <Pfa(m/ Dixit DominusDomlnonieo, mif6,€5t?fflmMimfdbi<$m 
opere,Dar}ufexVoces*nDfex[Tiftrunienta $(rid)famimVIII.cap.tniet 9. 
2(rf jujf n&en)an$<drDncf wcrtxn mftfffmftofeftfl cr an it lidjen frtcrn f etnen ^eyt/ 
fonocrn aflcin Dae; wort Ritornel lo tmter Die Sftotcn gefeiftaniUieigen/Dafi alDa Die 
InftrumentaattetnobneDieVocal-0rimmcnadhioiret»nD3<brauditJ»<rDc!t 
foffcit.$n* Dtefc* iff nieine* crad)t<n* Der redne 3<rft>nD an^ercaK* wort* 1 Ri- 
tornello. N.B. @leid)aberateic^mDitfem9[Bcvcfiaborire,fommenmtrDe^ 
Cl.de Mondev. ScherEiMuficaliitre voci,Dafj ftnDTriciniajocofa jti Jan* 
fccn/Dorinnen er jween Difcant wtD cinen Bafs itw ctfid)cn 'Scrtengum j!n$en/Mt 
alfo bdb Datauff ein Ritornelio ot)ne Serf mit Irrfhumenten ,aljj $wei) Violi- 
nen »nD einei Bafs-Qkigcn oDer Fagott(wofcrn ttin Clavicymbeleter Ghita- 
ron,ba§if?emcTheorbat>orJanDen)juMufici>en^efe5f/DaDenniinanfan^»nD 
enDe/aucft wfd)m jtbcm ®efe?e De* $ejrf*/&a|j Ritornelio reperiret nrirfc.33nt 
obicl) ^(eicb beqeflicbenAtttoribusbeflnpc/dapfte Die ft&revSymphonia tnfcRi- 
tornello nid)f recbf »nterfd)<iDen;@c fanid) 5od) enDlid) p) w'elcoiligiren, Dap 
Symphonia,einem (ieblicbemPavan »nD ®raMatifd)en Sonaten ; Ritornelio 
abet einem mit $.4.oDcr r.@rimmen auff@e<3en/3inct e>i/^>ofauncn iHmtn oDer 
anDern Inftrumenten^ef^reGalliard SalrarelUc,Gourranten, Voken,ot>er 
aud) mit femi minimis wrt FufengefyicffenCanioni nid)t »nel)n(id)/jfDocl) 
totf Jtebitf oujf u,i$.zo,Tad (ana/lenger aber got feiren ecfeijf werDen^n^ dieid) 

fi 1 t»ie 



1*1 

R I P I E N O : cBi0tovn<n$ ♦ Conclamatio* Con- 

ce ntus, PlenusChorus. 

SDfefe* won braud)m tit^tMntximnn (tcwoffm «iD<tJttn/Daf a0e Vo- 
ces tmD inftrumenta in atlm Chorcn juajdd) mi f dnanDcr dnfaifcn foffat : auff 
^mffd) cm»olT(Ttmmf3eMufictnairmChoren.S)m Picno,Jd|!fo»W/a^ple- 
numjVJoIfisrRipieno^eplctum^efuaff.^nti^bmiw^/aliwcnntcfeMcnj^r' 
tcr Tutti,OmtKs,Plcnus chorus,Cape 11a plena,batbfl) notiretwiD «,c|dclm« 
|).ibe: Do Dan dn JvfdnStftt tm/jur stcr mtt dmu|?tmm<n nid)t JMKb<n adjungirct 
»no gcbraudjf tvo:D«i fait €>o fan man audj/Do dm sroflt Compagny wnMu- 
ficis »orj>anDen/fofciK Ripieni twty *&<r Drajmafjl abfdjrdbm taffm/imb to *& 
f ttfctycfcne wtit nn ana n fret abgcfonDcw Chor diftribuircn t>tl abtydfen : »d* 
d)<* fd) bait mdffmf&dltfChorum pro Capella a,en<nn«j>ak.2*nD<|?nid)C»n> 
«nmftf 13/baj* Dar Or<jamf?/tt>en Die»otff?tmmf a,c Mufic dnfdfa/Dafl aanu< QBctcf 
m Dtt£>r3d/oD<r aber/n^nn <* &$m btx a,an$«n Mufic em>a* |u ft arc* fdn wolK/ 
D$<Prmdpalatfdn mtt DevSupero&a* *n@<ffo e tf obfl*3tmbdd)<n,8U DfliConcer- 
tat-^rimmaber intrdcf|oo^fffff dn fanffif^<jdmD«»n(td>Hdj<^^dafttc$oD<t 
anber |ftffe$Sfo e tfwercf $<braud)f .£)<» bftC6certat-@rinwn woffedn fanffffc* / 
tncf^f d«^ »n tf ebtidje^ pitgc »n f Kngc ^at c/ tcr »offfltm!<je chor a^ct dn grat><r5«fcb 
fcafle m fdjaHc. 3$n jinfcaffo tit Ripieni nid)f* anDtrtf/aljj acwiffcCUuful* etxt 
parricul*au^dtt?concert,wdcl)cm De anDcrn chore $u a,ewtj[cn idfcdnWfl* 
ftimi^UdCic $tt mad)e/mif Dc£aupf-chore gtfmtgc tit a^f (un^c ttirD.JE>dtf KW* 
l»c<jc RJ PI ENO dgauft d) nifyt chorus plenus,befonbd:n Reiterat* plenitu- 
di»es , tit claufular.wdctjt au* ten #<rapf-€5fmtm<n Dctfconcerts genommen/ 
tNtDmanbcrn »nmfd)kDmm ab^fontxrmi chorenauffetfact nwb<n / dwn 
toUi^n wtD vofffltromtge concert jumadKn. 

Hieronymuslacobi in Notaad le&orem ttif/bafj man Dot SbutyftCL' 
Un Rbct) tit Srtomt jdd)nm folk/ ten anfana, DetfRipieno jubfadd)nm:»dd)e* 
aber (dd)f(td> jrumg 31'bf / fonberu'd) »mn tid Ripieni auffdnanter fol$cn. 3d) 
j)abe mir gcfaHcn (a jf<n/ foldjetmD Dcr ajddjm SBfrtcr jttifdjm bt< Sftotm an b<* 
tint o"rf<rn/ Do jt< dnfatfen/Dewftcfc Darbct) aufam. 2$nD f (I nun mdn<* <rad)fcns 
tmrcr Dm n?o*rf mt/Synfonia,Ritornel.Ripieno tmDIntermedio,fo tm anfan$ 
dn<$ concert-©cfan^adhibirt»nD gcbraud)* wcrDm / DfcftfDtr»nKrfd)dDf. 
Ritornello,Doo6w^m/»nDalfoInftrunien-^ t „ . . . 

tis folis i cmer(^/alljmmtf etnem^ 

Ripicno,mtf$#/^«ffoVocibus&Inftru- >fcD»mDcm Taft reiteriret 

mentis j t>nD repctiret w«D* 



130 

trie tn comoedien jtvtfdjcn jcbcm AS u cine feinc tfebftebe Mufica Inftrumenta- 
\hyir\it cornttten, Violeno&cranl)crnt)crgldd)CtiInftrum€ntct>mtttJ<cl)fcln* 
be/ biproetlcnauctjmtt Vocal ©fhticn angcorbnet *mb *>on ben Italis INTER- 
MEDIN) genenncf n>trb;£}amif vmcr bc|fcn bte perfonat* perfonae fid) anber* 
»mbf Ictben wib ju folambcm Actu pra:pariren,aud) Cftvatf refpiriren wtb ftd) 
cr|>otcn f fancn&ffo wtb bcr^cffalf fan man etf mtf anorbnuna, dncr <jurenMufic 
*>or proffer J£)cnn Saffd o ber bet) anbmt frdu'dKn con ventibus aud) })a(f<n/baf / 
tvenn man jrocen ober mcJ)r .ftnaben/ ober aud) anbere Alt : Tenor : wtnb Baft: 
Vocal-@nmmcn(fovon mir Voces concertata? genennef Wttben) judmcla- 
vicymbel,Regal ober berojeicben Fundament Inftrument j)af ftngen fajfen/at* 
fo balb mif £aufcn/Bandorn,(Bd$cn/3tncf en/ ^ofouncn »nb btrafddjen/ wwatf 
anbertfofjnc Vocal-©ftmen/affdn mtf InftrumentenjuMuficirenanfana/; 
£arauffbannwtcbmimb mit Vocal-^fimmen /tmb a(fo«n^»m^anbermte 
inftmmentcn mb ©rtmmcn *mbw<d)fde. (£benermaffm / baf man nad) dm 
concert obcr fonjf en dner predjrtgen Mut et,ba(b dn foftta, Canzon , Galliard, 
Courant obcr berajetd)en mif df<I Inftrumenten jjcrfur bringc 2Bdd)C* bann 
aud) dn Organtf? ober {aufcnfft wr ftd) atfdndn ad)t nemen fan/bag noenn er.m 
Conviviis, dncMutet ober Madrigal fdn tano,fam wib@rat>if4ftfd) $<fyUUtiaU 
fo balb barauff dn fro'(td) Alemande, Intrada, Bransle ob<r ©affiarbanfange; 
j)crnad)er wtebcrumb ewa dn< anbere Mutet,Madngal,Pavan obtx ftmftrdd)* 
Fugam »ot ftdj ncmc. 'Rnb btcfc Mb berafddjen »mbt»ed)fcmna, / fan gar fttaWd) 
mit bem namen RitorneUnb Intermedto amennct werben. We boxi jijtacr jctr 
bet) benen foautf^fauaanfomme aargebrcuctytd) : bafj fteauff ber Theorba obcr 
Chitarron im anfano. cm fold) Ritomello obcr Hcbffcbc furijc SKcfobet) atfdne 
fdi(a<jen; barauff b&$ erffc ©cfeij obcr^crp(mdn^3wttanifd)<nober^uffd)ett 
SEBctt Itdjcn littldia mif jjjrcr ©ttmmen fcin anmfirtg tn bfc Theorba (mom tn 
duffcntmen : %i$ bannfo bafbfwcbcrumbbatf crffcRitornello reiteriren fcnttb 
wicbcrjjolcn; barauff bat anber ©cfeij be* angefangenen #cb(ein$jurTheorba 
gcfun3cn;»nbba^RitornellottJicbcrumbfdb(?cnauffbcrTheorbaaffctncfd)(a' 
<jcn/ob<r von ben anbern Inft rumentiften,aufft aufcn/(£if jjern^anboern/® d* 
gcnvnbbcvglctdjcn barjwtfdjenMuficiren laffen: barmif jtc lower be* mtf fyxet 
^rimme i nr)alf cn/refpiriren, Ztfcm aewinnen/wib ftd) alfo nuebcrumb cr&olen 
f fatten. S)arumb benn fold)C»mb»cd)fdung /nid)f aUcin propter varictatem 
delectantem fcjjr anmutiav fonbern aud) propter refpirationem fcj)r no e ri<j in 
acrjfjuncmen. 

RIPIENO: 



» £*___ 

£>af)cro id) mid) bc&imctfcn laffe / fcaf Ripieno rin vocabulum C ompofi- 
tum fh)/quafi dicas,RItornello Pj eno,cinRitorn. ooer Reiteratio,fo mtf x>cU 
IcmChor jufammm (Timer/MD fcielnftrumentahmif ben Vocal-^timmcn su* 
0(cict) adjungiret werbe. Intermedio,b0 o\)MIObtt mit %Qt<nimit Inftrumen - 
tal: oberV ocal-€5fimen/ober mtf btt^bccltt) juglridj/tnComcedien jwtfdjen rim 
jcDm A£tu,ober in MiflenjMagnificatjMotcten^ttim anbereCantiones tmb 
© c$ng< intcrponirt werben; Jnmajfen in twiner Megalynodi a juftnben/ vnb 
in PolyhymniaVni.$<lK&f0©ott/fccrcn2Crf tmjjr Jerfftrfommen wetben. Sin- 
foni*,ftobglrid) ben Pavanen Mb©ailiarbcn/berenmatt in rinem ©efangejum 
anfang vor (cm (£r j?cn S^etfe/ wtb nad) bemfel&en and) wrionb nad) be an&ern/ 
aud) SDrif fen 'S&rile/fo ana sor&anben/ftd) gebraud)en fan: an flan/ bafj fonff ett 
berDrganiffafljrif wr&ertmb barjnwfdjen rin Pr*ambulumauff berJDrgds* 
fdjfogen pjfcgf. 2tobberge|?alf ftnnen bteSmfoni*a«d)nid)f fogartmebenln- 
ter medio genennefwerben. Forti,Pian:Pr»ftojAdagio Lento ♦£)tefe < 2B6*r* 
t <r werben btfjwrilen too ben Italis gebroud)f /wi in ben Goncerte an welen tmf fl> 
fd)iebenen frf ern/wegen abtt>ed)feliig beipbetf ber€5fimen t>nbChoren,barbet) ober 
bruntcr gejrid)nefm>e(d)e$ id) mtr Dafi nid)f mi| fallen foffe.jDb $war ef lidje/bs ftd) 
beffen/fonberfid) in JCirdjen augebraud)? nidx guf fet)/»ermdnen:©o beud)f ef mir 
bod) fo(ct)c variation t>nb wnbmedjfeluttg/ wenn fte fern moderate wib mir rinet 
guten gratia, bieaffedusju exprimircn mitt ben 9#enfd)en au moviren , wr> 
genomen t>nb m wcrtf gcrtdjf ef wirb/nic&f affrin nid)f imltebttd) obcr nmred)f fet)n/ 
fonbern *>tcl mcf)r bit aures& animos auditor um afficire , »nb bem Concert 
rinefonberlid)e2(rf wtgratiam conciliirc. (£$erforberf aber fo(d)e* offrermajjfe 
Die c6pofition,fo wol bcttqt wib Serflab berSG&drfer an jjm felbjten : oa^ man 
&tfjroeilc/md)f abcr $u offi ober gar ju wel/ benTad E»a(2> gefdjwinb/ balb tvteberub 
langfam fuj)re;aucb benC hor baib fft'He wtb fanfff / baft jtarcf wt& frifd) refonire 
(affV.QBierool in foldjen Mb bergfeidKn »mbt»ed)feulgen/in^ird)en wcl mef)r/alfj 
tot ber^affdrinc moderation jugebroudK voiutfren fein wil&o wcie mm aber 
rin jeber fclbf?e7wa* fofdjc Sorter beceut en/al^: Fort^,elate^clare,id eft, fuma 
feu intenta-voce; mti Melnftrument.tnoVocaliften juglcid) |?arrf;Pian,fub- 
mifs^jttcn fte&ie^ffme moderiren mb jug(etd) gar fhileintoniren »n Muficire 
fetten.©onff eni|i Pian fo »td/alp placide 1 , pedctentim,lento gradu : t>a^ man 
tf<€>timen nid)f affcin mef^igen : fonDern aud) langfamer ftngen folic. 

B ASSETTOj Baflettfl &a^diminutivumt)omBaflb,»nb 
6ebeuter &tc »nfcrff c ©rinw/fo in Den t)o()en Choren &a$ Fundament fu))rei/»no 
mlntervallisficbeine^a|Teglrid)arfCf3irl)abermei|lenfj)ritewie«nTenor, 
bijjroeifen we em Alt clavirer. S)ai;ero 



JDafxre aud) tn t>m spombarccn/ Slditf en tmt> antxxn Inftrumentcn, wtUiwtf 
femftibm 'Sfcon *mt> C U vem gcridjtcf ftp/ SSaifctt^ommcrn/ ^afttftftom / etc* 
Q£t < tn 2. Tomo angtjrigr worfcm/ 3<n<n n« tvettxn. 

<£f gaiMfd) aba witb bitftlU <Srtmm< / fo tvoKn Concerten , ate Muteten , 
m\d)t bu ni<bxi$<ifil bait) tm Cantu, bafo Alto,Tenore , wf< t* fontxrftd) W< §u* 
9<n nwbrinsfli/ Banetto acwnncf ♦ 

5>urd)Mf 933owvctfl<j)cni>k3w^«^tt Tenor ober Quintum fit &m 
«<ffcn(£j)o«n/wmni>a^ q|: tuff Dcrl>tiff<n^tnKnd<jdcfen«b<fwnt<n wtrfc 

<2Batf buret) MQBorrcr Accentus , Trillo,Gruppo , Trcmolctti, &c. wv 
ffanbtn trirt>/ baffdb* fo( am cn&< Wcfc£P Tcrtij Tomi auf fufctwd) angtidgf wtttett. 

©a* 11. Captfd. ~*~~" 

Cdfe/Ia : Chorus fro CapctU : 
Pakhetto* 

%$ OEBcrt Capclla toitb t>jf bretxrfo) 2Crr sm'cfcw fafunbm. 
S)armi.6offirtimanfan0/ mrfnc* <rad)«n*/ wn 
fanSfatt&tcrn affdnbajjmtwffanbm wotbm / tvenntn txtt 
^fartid)«t/£)ej!mdcbtfcl)mtni) anbcmSat&owfdxnttdf' 
tfuffrfgen (SapdUn otor Mafic * 'tritityc »n wrfcfcfcbmc <Sj) w 
mfr atfcrfa) Inftrumentcn vnb^mfd)en©rimmaf angfffd* 
to acttm/ baf afcttnn nod) dnabfonberfafoer Chorus an* 
Wefcnaffmj)ctau^9cjo3my»n>Choruspro Capclla 3<nm# 
mifwrbm/ barumb bag IwganiKChorus Vocalis, ol'ct t>tc gan^c (Eaj^clTa tctifd* 
fan fm (S&or/ mb »on fan anfarn (S j>or«i gang abgefonberf / rnuficiret , tnb gfefd)* 
fam afevff dntf Drgct bo* »olfe SXBcrcf / mtf dnflftrnnct . QBddx* l>an« dn freffu'd) 
Ornamcntum,5>rad)f»nl)^rangmmfo(cl)cr Muficvon ftdjajbt: S)ttwd(Mtfa 
ChorusfaftmdjfcmJKttejugldd) mff dnfiiito / tfann Die anfarn <SJ)or aU( jufam* 
men f omman 

:3nbtt?irbfofdKHarmonia nod) ntefjr <tfiiffer / timfc mff arc*j[cwr ^radjf «> 
twif crt / warn man bafav) dncn aroffen S&af^omtwr / beppdt Sagorf / ofar grofffc 
35afj®ct)3cn/ (Italis, Violonc) 2(ud) wo( anfaK Infhumenta , wo far<nt>btrf$ 
*>cri>anben i $u fan Wlituln wib £)b<\ ©ttmmm orbwt . ^ofdjc CTapcffcn afar fen* 
n(nvmcrf(^kt(i(^/dn</itvooDcrmvau^dn(mj^cn Concert (cvau^dciosm/dtt 

<p j<bc 




>34 

■■ i ■ i i « n . . . . ., ■ ■ i — 

jtbt iafonDctfcdf nurtnittrfer oDcr mefcv <p<rfon<n/ wcnn man ctcfcaben fan/ befad/ 
tmD anabacfonDttKdrt&a'fa bcr .ftircbat s<ffeflcf ; 2(ud) in manaduns txr*P<tfo' 
wn/ s<|! altm ©adjcn nad)/ gam* wib gar augsdaffm wcrDen:£)fm>dl bfcf< C apel- 
la fatf af* bi< Kipteni , ajfa'n jut crfuUun^ vnD Ixftacf un 5 Der Mufic, dn Chorus 
afcititius au* Den anbetn Ghoren extrahirct Mb j)<rau$ opsogen iff : $)a Daun Dt< 
Vnifoni »nb O&avcn ofjn vnKrfd)dD*>on jjjnm gef<et nwDm / au* bewn fm u* 
dSapifd Dc* anbmt tytiit angc iogen Rationibus vnb 2$rfad)<n. 

^Snb fo(ct>cr (Sapdlcn jjabc id) in cr(tcl)en be* Iohan Gabriclis a&a,cfd)tf<b<- 
tun Conccrtcn yf cl »nb wu<rfd)t<bitd) 5<fcj)m : QBtf $c abcr in benm j< tf ncwlid) 
fm »<rga»d<ncn3«!)wn fai bnttf publicirtcn nfd)t wrjjanbdt 

2. 3« bwfdbm abcr/ fo wol aud) tn fdwh crfTcn 2Cnno 1597. publicirtcn Can- 
tionibus facris be(tnD<f fid)/ Dap DatfSKort Capclla, jljnufo wd t>«(fct^nD b<Dw 
rtf/au$»clWtd) f<i|</Chonis Vocalis, Chorus Vocum; fcatf fff/ Itt Chorus, mU 
d)<rmif Cantoribus»nl>SW<nfd)m©rimmenmup befajdwerbm; altfwmn tn 
tinm C onccrt ber dm <£fcor mtr Cornetten, Dcr anb<r mit ©dgm / b<r bxim mit 
5>ofattnm/ Sagoffcn/S^ttrm »nD Derglddjm inftmmcntcn , Dod) bap bet) jcbtm 
(£f)orjumw<ni3f?cn dncConcertat- Doif if?/dn<$ft<nfd)<n^rimmeDarmbtnat' 
Mbnrt:^oi|Tmci(!mfi)cff£fnod)rtn€!)orbarbci)/l>oaffc»jer ©ttmtwnmifCan- 
toribus bef<?f nwbm : S)e nfdbtn nun ntmm I. Gabriel Capcllam. 3nb fan ctn 
fold)tt£f)orobttCapelIa,ttd(ttmtfimftt^^ 

auffen adajfen/ and) alfobato m ben Clavibus Signatiscrfanf/ *nb btpwdfcn auct) 
IttftViolndeGambajObtrdebracciomufiriretwrbcn: SE&ttijcntadjttSim. 
€ap. wdftfuffttstr^cndjtfotym wtrb. 

Jnmdntn Concertcn, fonb<rltd)in b<niafdmfd)tn/ttH< att&ffft&at 3:«tf* 
fftm/ Do id) f cinen Chorum pro Capell a babet) fcijm woflcn; (jabt <d) mrifftm t>ri!* 
MtQB&fcc/ Om neswtb Solus, obcr Voce,InuTumcnto,Trombone,&c.barbfl) 
3* jddjnct : V&tltytt barm tin jtbn fdd)f wxfttfyew Mb fid) barinn ridjt <n fan ©an 
ftofmttttan Voce& Trombone, obtr Voce & Violono,&c. f?ej)d/ bomup man 
cfn Vocaliften Mb Inftromentifren mit dm* 9>ofaun obcr ©dgen Darbct) f?dlcn : 
QBonun Vocc4((dn gtfim^n wfrb / eofdbtfcn |mgr tcv Vocalift affdn ; Cu3o 
Trombone, Do g^d Wc ^ofaun aUdn ; *>J2Bo omnes, Do mu/iciren (t< jU5fcid) aff< 
Uybt . ©fdd)<r g<j?aft wtrD etf aud) 0^a(rcn/ ttcnii anDera Zrt Inftrumenra Darbq 
notiret b<funD«i w«Dcn. 25nD fan alfo nidjf alfein m$ fofdjm abgctbdlren/fonDcrn 
aud) alltn anDcrn Concertcn, dn jeDor nod) fdncm gcfalfcn / tomn cr anberf! mtf 
Vbti&t ©<f<ttf<^affit »on Cantoribus »nD Inftrumcntiften »af(l)cn iff 1 dm obct 
Jn;o€apdI<rtmtf4,©ftmrmn^cratt|Tcratct)cn/ wiDDas'/cntgc/ Darvor Da^QSort 

omnes 



ns 

omnes ob<r Chorus gcjddjmf f?ct>cf / ofccr abcr to of>tt< bo* aUt §$ot tuff dnanbtt 
Itig(dd) dn|tfmmm / ober do ** ftci? fonffcn fctytf m iw( / tffabfonottn^c^taftr / 
(Dod)vffbKimii.£apb«f anbarn^dfe angcidgtf mafic) ^er<iturf<t)r<t(xn foffm. 
©o Ml) Ab<r Da^ 983ow S olus, ob<r Voce Inftrumento, &c. fofget/ «n teffen ftofC 
muffen fe wd <J>aufm g<fat ; 2*no t>crfclbc Chorus pro Capella ofcbonn jum mu- 
ficirc n an dnm abfonberudxrt ow georbncf wtb g<ff dirt wcrtxn. 

3d) j)ab< wrtfttctKhjajn-maffbcrdf bit QBifocromncsw&folusfomdtKn 
Cantiombus ju g<braudjm angefangm : &<ftnb<apcr/oaf ;<«o o<<3 fa ^ tt<1f in jfy 
rcnConcerten ba*QBorf Rtpieni g<braud)m. 

$♦ $tomd)r ab<r nmnm « fidKaud) bi<JV* dneCapdlam , nxnn man ju dn<m 
C horo Vocali, dnen Chorum Inftrumentalem componirct wi f«|tf. £)0* 
fdbffat wirb b<r Chorus Inftrumentalis, ttxtdjcr tanquam minus Principalis,m 
mangdung btt Inftrumentiften gat wol anffm gdaflenwerbm fonbt</ vom Cbo- 
ro Vocali ,wdd)<r Principalis, tmbvor (tctyfdbjim o^w |ut()un bcr I nftrumenti- 
ftcn , bod) oaf dn £>rgamfi mir dnmtf>ofmjfood:SXcgalbarbtt)/ bm ©acljm dne 
gm c ig< t j)un fan/ aoaefoiiberr / mp ertta gegmuW o^t an dn wan/ obi r aber nfc* 
crtgern oxtmt |M< gcorbiKcQBddtfin 5raHaaud)Palchctto gmrniict nmb/ba ftc 
btfwdfm md)r atednm (Sfror pro Capella, tonb jmmcr dnm *>bcv ten anbern fid* 
Im : @(ddj iwc toicUcfcDt ju SDa w w jdtm ot< Mufici im ^empd *ff rmcrfdjKbme 
J)6T>et<i(>nDnkpr(0<(£j)orc^ciI<f)()nl)abgdj)dlcrn?ortcn(tnt): ® a|>cr ctitcb^ fo«- 
cerud)<$fatatm/ aftfber 120. btfwff bm 1J4. luttt nti tytyxnt €bor gatmnrt mtt> 
o<n:5St<Toinoprimo partisprirmcMembr.i. (E^*i.WC<(Mitffffgcrjuf<|Klt> 
^tffanabcr bo*2Bort Palchcttoau^na^fofem^mrur^n^crid)! / fo^d 
buffer wvffanbmwatm/wdfmanin cijftdxn jifrdjm/wtb bworab SurftLSapcffctt 
wwen b<x) tor €rbm/ ob<r fonffm an dncm beaucmen £)rr /bo bit Mufici von bmgtt* 
fcdwn t>ngd)inbm bldfcm f fatten/ dnm gov* j|m ffanb/ dmm Theatro g(dd)/ t>on 
S&afcf m t>no S&wcrn auffjubatvm/ obcr aba: bfc&w r cwbtrttfidK ©ruff /oo (td)$ 
(dbmn>tf/iufcgm/*mbobm mir &f>nmMb$appc$cr«)m jubffctjmiicfm wibaug* 
itiftafthrtn pfkgf. QBic man oannaucfe wo(/ to man n>t(/ gar dnm fonbcrltd)cn £)xt 
<n Mc ^e/dncr f (dnm 9>ocrffrcbm gfdeb/ baj)tnt>n«rfd)td)m< ^.j)or von om anb^ 
rm wtit abgefonbm vnb gc(!a(f wcrben f^nnm/auffbawm fan : 3nm«fF<n Mnn 
o<rgldd)cnfrtg(td)c txttyx tn alt <n ^trdjen/ vnb jtworautf J)tntm tn bm €j)otm / be* 
rcn man m jtgfttrffanbmcr b<j)uff gebraudjen / vnb batxr Palchettoncnmn fan/ 

offfmateg<fimbm tt>ab<n. a 

5)aTTTir5a>tfd. 
CAPELLA FIDICmuM,vcl FIDIC1NA. 

9> <j 5©<< 




■ I " ' —U—1 i i I 

5uor0neti tmt> mtftttftcUcti 

^ 3ef« CapelUm fjabeid} nad) twiner B&nfgf dr/ nf d) twn$ti$ 
: 4u(c^n/fon&altcbobrerviret;5>iewdl«ltd)«n»n(cr vn$ ^cw* 
' fd)<n / f o oer K$t$en newen 3tatt4mfd)m Invention , Do man 
bif wdien nur dnc Concertat@rfmme affdn / ju adfen jwo ooer 
&r«) in dne jDrgd ooer OCe gal fm«,en leff / nod) tma,ewoj>nef / ok* 
JQjfe2Crtnid)ffo $CLtwo\$tfftl<tlitiWt<r}mm$ /cer @efans3ct)eaar 
iu blo|j / »nc jabe beq oenen/ fo oie Mufic ntct)f written/ f dn fonoerud) anfcjjen ooer 
gratiam. JDarumbid) conn vff oiefe* SOftff d betadjt ferjn mujfen / t>ajj man ctncn 
Chorum ooer Capellam mif 4. ^fimmen oarju fc^f e/ weldjer enfweoer mif 9>ofau- 
ttcn ooer ® eigen attjdt juaWd) mif dnffimmen tSnbtt* 

2$no oiewdl nun fof d)e Har monia , wenn fte oer<je|f aif m oer j£i rd)en ana> 
rttmet / He DJren cm>ae? mejjr fulfct / jjabe id) atebalo applaufum popularem t>a< 
*urd)erfon<jef. 

9BKMnnaud)mdn^<rac^«n^/dWd)<r^(!a(tnid)f»bd rcfonirct, wenn 
ju foldjen Concertcn mif dner ooer 2. Concertat@fimmen (bewrab wenn Voces 
vivaccs & alacriocrcs <jebraud)f weroen/ dn 2Ke$aI/ ooer in bet £>r$d tin ©djnavr* 
9Bcrcf^mommmttHr&;X)mnwd(&cr£>r3am(?/midm^.(Saptr(l/t>om General- 
S&a^wiroansejdsef weroen/ gar fimpliater, mif fdnett Concordantenwo Syn- 
copat ionibus, ot)nc cintge Diminutiones, vno Coloraturen, ju foldjen Concer- 
tat©fimmenfd)fa3enooerfpie(enmttg / fo flinsef <$i»ff oemS(o e if2Bercf oar ju 
fd)kd)f/»nD»nanmuri3:^D(f ban 9U$ai ooeranoern^djnarrSBercfmaber / wet* 
cbefa^pcn^ofaunmd(dd)reroniren, t(t ok Har monia JoicUnmuf^er/ wenn 
man fdniierlid) /gratf fe rtfd) w& (anafam / ofjne dni$e Diminutiones oen $efana, 
tra&iret. 

2fod)ifloijj barber) wof iumercten/ 1. Stop icty oiefeCapellam barumb/ Fidicini- 
amgenennef /tfewdietf bejFerif*/ mif ^epifefenlnftrumenten, oj$ @d$en/ *au* 
tm/^arffmvnbaaenantorn/vnbfonbnr(id)mitViolndeGamba , womanbie 
fcaben tan /3n mangeuma, aber berfefben/ mif Violen dc Bracio , UtfdU^t Capel- 
lam }u ScflelTen. SDenn ber Sonustmb Harmonia ber Violen »nb ©<tg<n continu- 
iret ftd) jmmcr nacfr diwtber mif fonberbofjrer ^teMt'sf df/ ojjne dnf $e refpiration , 
beren man t>|f 9>ofaunm Mb anoern btofenben Inftrumeaten nictjt mfraf j)en fan. 

3<^d) 



'37 

3<Dod)provariationefanman tofwcikn 4.§>ofaunen:X)o bcnn nid)t jvrct/ tc$ 
t<v Cantus m ctltcfocn in Odava inferiors vff bcr ^ofaunc muficiret werbc : £>bcr 
j. ^ofaunm / wib einc Tenorftfuc/ obcr <in Cornett jum Difcant, obcraber cincn 
Sa^oft / »nb$. SWttcn jur t>mbnjed)fclun<j barju $cbraud)cn. 

i. 3mb Dkfer SrfadKn wtffcn t;abcicfc in bcr mitten btpftrffcn / virgula swmft 
ffrtctyltn interponiret, Damif man iu cincm Yerficulo Violcn ; gum anbern/ §>o* 
fauncn ; gum b wr en/ Stfiten »nb §ago«m gebraudjcn fa*nw : ^txrmo &uftcnt' 
ftm t>or jjanbcn fajn/ fan man mtt ©ci$en t>mbwed)fcto/*nb bannaud) ftfwtfttn bte 
iautcn wtb ©ctam jufammcnsc()cn toffcm &0b4nncmMufcis$t9cenob<rmei>c 
(Et)or sar wot brau* madjc/abfcfcrciben/ w nadjfciwm gut en ^fallen anorbnen fan. 
©0 tft aud) fcjjr anmut jji$ ju |)o*rm : 2&nn man bicfe C apelUm Fidicini- 
am , nad) 3rt t>cr (SnsclMnbcr mtf cmcm gangm Confort anfTcflet / a(fo / tap cm 
(lard (E(awn)mbc(/i»^c&ctbr<t)^aut«n/dn<^i)<orba/^flni>o<r/3<«er/ S&af* 
aria/ QMocf* o^crdu^rfrdtf/ fHffc fiofaun/ V ioje de Baftarda , wtb erne f fcfne Di£ 
cant®«3< fcinrcintmb ucblict) aufammcn gcfltmmct/ mitcmanbcr fort$ct)cn : SMe 
Goncertat^fimmcnabcrbatfj&riae cum grata & decentiharmonia boruttttt 
mifcmbrinaen, 

3. <5o j)abctd) cxobfervatfone and) bcffer fcrjn/ bcfimbcn/ baflman bfcfelWa* 
Cappellamobcr Chorum Fidicinium em>a$»ffbicfdtc/wnbcrJDr<jct/ Mb to- 
wn/ fo Die Concertat©rtmmen fufcrcn/ absefonbert (UfleMb anorbne / tarofc bfc 
Vocaliften jpon ben Inftrumencis nid)t*>berttfubcf obcr wrbuntf c(t / fenbern cin* 
fcor bem anbernMtcrfct)ieb(id) secret Mb wrnommenwerben fdnrw/ 2BicCap.$ t 
in bcr Inftruftion beip ber to iffen 2(rt fold)c$fol erinnert tverbcm 

4* <£* ffejet aber ju cine* jcben acfatfen/ ob er bicfe Gapcllam anorbnen wwb 
gebraudjen/ obcr aber aujfen laflcn woflc ; £>enn/ wic tm anfana. ewe {met / mir fof* 
^enurexauditorumquorundamapprobationeaifoiufCQen/ <JcfaUen / boid) 
fon j?en berer md)t arop gcaebtct fcme. 

5. ^nbwennmattberae(?a(tauffa0ebtefer2(rfConcert®e(jbige/ fo ewaci* 
ncmtmbbcmanbcminbetfL. Viadanae, a. Aggazzarij, Antonij Cifnetmb bfl> 
gteidjen autorum opcribus jum beffen gefafien / erne fold)c Capcllam Fidiciniam 
componircn *>nb vfffeijenwoite: QBurbemanbieAuditoresbet) mt in ^eurfc!)' 
(an b/ tt?e(clje nod) aur $tit in biefe newe 2Crf afferbina* fid> ntd)t ju rid)f en miflcn / ba^ 
mitaniocfen/jonbglei^famweiterinfafciniren , ba(j pe <ttt gut aenugentmb Con- 
tcntament baron »nge$weijfe(t j)abcn wftrben. 

6. ©ofe{)meaud) biefe CapellabenenDrganiffenjunu^ twldjeimGom- 
poniren winb »ngeAbt »nnb »nerfa!)ren/ »nb bolero pdj in ben Gcncral^af 

y> i\\ fobalb 



V* 



fo bal& imanfana. nict)t frn&eit t&nnm j ©internal cef &enfe(bent>fe( Md)fer were/ att< 
$8?itfe(fhmmen o&er 9>arteipen (weldxfonften infoldjen Goncertcn ttid)t vfltyatt' 
den) in jfcre TabuUtur abjufeijen / altf &afj fte aflcrcrfl (ange naci)&encf en tmfc 1 pecu - 
ltren mu|]en/ ob fte Quartcn *n& Scxten, o&et abet Qujnten tn J) Tertien ic» grctf* 
f<n foffen. £>arumb id) fcann in edidKn Mefe Capellam mid) $enennet j)abc / Ca- 
pellam pro Organo, Item pro Teftudine,Theorba, &c. 

7* ©o fof man ftd) aud) nidjt jrrentafTen/ bajjin Differ Capclla Dtetner ©ttmert 
8tt^#e%<ndmo><rWafmi<nInftramcntcn,Mptt)etlen to Vnifonis *nb 06a- 
ven mtt ten onfrern Conccrtat- ot>er Vocal^timmen juaWd) foremen ; SMewetl 
foldKWor&er < » X! I. €«piee( b<* II. ^ jjcite aabereit ab$tfer;net / vn& aujjfityrudjen 
&ar#tj>antwr*e7waruml>ie Vnifoni tard)au*/&teO&arenaber/i^nrine<Snm< 
gefunsen/ Me an&et mif iuftrumenten,a(#pofaunen/3incf en o&er® tigen g<mad)t 
iwr&/ganiiWi&*arwor palfirenWnnen.gufcemwirDfeirter/Derftc^m Surfffidjett 
&n&an&eTn<SapeKm*erfitd)f/enw*se^ 

tici in GtiHmi wenn (t< be&encf ent>n& bei rad)ten/ to$ fie felbff vff jfcrem (Sfcor einen 
©radt o&et ^un|l^frtff er mi f einem Cornctt o&er 9>ofaun bei» Die ©crjufer (teflenf 
wetdwugWdMn Vnifonoton& in Octaven mtceman&erintonircn¥n&ein|timcn/ 
fid) &i*fc*nid)f fosarfejjrmigfaflenfajFcn. 

Qatmit ftd) abervmer &en welen»nrerfd)fel>enen^amen /em Muficusnidtf 
t>dwnim&i^imn:eof>abeicrjftem^^ 

tmer einan&er fe$tn woffen/ auff &af aifobato primo intuitu ein je&et fejjen tm& be* 
gretffen {font/ tt»dd)e* Synonima fe$n&/ »n& emeries 93e&emuno, Jjaben. 



Voces human*, 
$0?enfd)m®iimmen. 
Voce 

Voces folac. 
Voces recitatir*. 
Voces Concertatx. 
Concertat^ttmen. 
Chorus recitativus. 
Chorus Vocalis. 
Chorus Vocum, 
Capella. 
Capella Vocalis. 
Vocal©fimtlKtt. 



1 Inftrumento. 
Choruslnftrumentalis 
Chorus Inftrumentorum 
Capella Inftrumentalis. 
Chorus Sinfoniae. 
Symphonic 



Ripieni. 

Turti. 

Omnes. 

Omnes,Vocibus& Inftru- 

mentis* 
Chorus. 
Plenus Chorus. 
Chorus pro Capclla. 
Chorus Capell*. 
Chcrus Inftrumentalis & 

vocalis. 
CapellainplenoChoro, 
Capella in Choro. 

Voca- 



'39 




Vocales. Capclla vocalis & inftru- 

Cantores. mcitcaiis. 

Concentorcs. 
Viva Voce, 




£a* IV. Gapittl 
OLCLlpS0~l$ feu Diftin&io Inftrumentorum. 

KuwWtfalumalUt %u{tx\tmmml 

20ic Me jum wufictrcH gcbrmic^t 

rocrftm. 

?ft 2. Parte Tomi primi Cap. ultimo, €>0 ft? of Mid) fm i. *£&<# 
Tomi SecundiCap. i. t)abuct)Cf(ict)cDiftributioaesvnb^b' 
f frcf Urns aflaSKuficaftfdKn Inftrutncntcn inThcfibus tm&T*- 
bellcnvcr^flcacf :©<jaH|)<<r mwK&crjjofen windflB. $)i$ at>cr 
affrinmufj tajMefanSSBercf angejetytf werfcm: 3)aji M< Inllru- 
menu M uficalia fucemde in jitxy £ r&cmm<jm <jc]f clto tvci> 

i. OmnivocafcuTotalia. 

2. Vnivoca feu Simplicia, & Specifics. 

£)bccwi<t4 toe j)mrfid)cMufici,Auguftinus Agizzariu$,ttrt ToatmesHie* 
ronymuslacobinainm/ Fundament- wift Ornamemlnftrumenta : QBcid)* 
terminos tvtr t<nn aUl;tcr auct) frcjjaftm wollm. 

i. 

Omnivoca, ofcer Fundamentlnftrument famo bitfti fo affc voces ota* ©f I'm* 
mm rine$K&fn(5cfan4$fu!)ren¥mD begrdffen fdnnm/wiMf0t>a$$a»ijC Corpus 
tub volff ommem Harmony after / fo wot ocr mitfd* ate Mf<rfftmmm.otxr partct)- 
m • fo raol in Vocali a(* Inftramentali Mufica aujf fld) crt;afrcn i7tteb&fant:£)T' 
4/ta/^o(triff/2ltcaafw<rcf/ flarcfeftoppd' fcraytmovfcrfadjc (EtawcqmM. 

2$nt> itfej^r f dnncn aud) tit €>pmcrf cn/iaiiKn/^forbm/ fropj>e1 .£arffm / arof|< 
<£if|)cm/%m/K.QBcn man |k ateFuudamcntInffrumenta,mcif?md)« \t ahcx nur 
|udncrdn^en/*wo«>rr^««m0ttmm<nin«n<r|riff<n *m& cm<j«jo$ewu Mufic 
acbraud)*/ referirr werfcrn. €5onflcn in finer ffarcf raufd)cnfccn/nttf tfden wtc man* 
d)cr(et) 9>flfon«t befatttt Mufic, fm& fie b<|fcr jur jfoy W& ate Ornamentlnftru • 
inenta ju 0r<wd)m. V nt- 



140 



2. 



Vnivocafeufimplicia, ofctt Ornamentlnftramenta, fctetrttittro@<f<HtS t 
dWd)faiftal^miffcl)«6m(Schcrtzando,wkNc3faIi4n<r«5<n)vn5contrapun- 
dircn Ut Harmony ftcbltctKt wtfc wo(f Unacnocr ju madjcn / 3f cm / Dm ©efarta. ju 
cxorniren wt& ju §fct)rm adhibiret mortal ; Sta* jtnb aUe ctnfact)e Inftrumcnta , 
»dd)< nut ctn< cfngfg< ©timmc ton ftct) $<&<n*mt> §u we$< brtngot f 6*mtm : 2$n& 
tvertot to'<fclbt<jcm Inflatilia feu Tibicinia & Fidicinia ; Italic e , Inftramenti 
difiatofc Ghorde ; Germanice &foffenW ategtncf m/$(flfm/ tyoftumni §a- 
<jot f m/ <ec. t>nl> S5<f3to« c Inft rument, ate Gktgrn/ wc. abgcf l)dta : SGBic Tomo 
Sccundo f m f. (Sapffcl l>e* 1 1. $ r)ctfc weittduffrigcr ana<s«3<f wot&m. 

2$no ju MefmOrnamentlnflrumencen »tto<ttau<t)/n>fcwr3cfa3f/fcfc @pt# 
Mtttni Imtml tytotbmi etc. (wmn ftc ntd)t ate Fundamentlnftrumenta, fort* 
Km &MnwhitwnbvttfMM$b<tWittttymtyn&tomti)t) t>om A.Agazza- 
rio referiret, wfc nadjfoJgmDc 3:a&dl augw#f . 

rOrgaaum pnermatkum* 
Fundamenci: 
J tit, 

^-Propria:! 



Inftrumen- 
tafuotvel 



Ornament!, 
ut, 



J Pofitivuai. 

1 Regale. 

^Glavicymbalum majus. 
C Violas, Violini: 
j Cornetti,Flauti, 
I FiflFari,Tromboni, 

\ Pi#ari,Bombardoni, 
I CornaMnfa,ftorti, 
VFagotti.&c. 

Communiaquaf. Veladho- f Spinetta : 
rumutrumq;habentfe«qua- | Tcftudo: 
Hccr,utintcrdumfundamen- j Theorba: 
ti, intardumornamenti vi-^ Citharadoppia. 
cempneftatcpofsint; j Harpa.Lyra. 

ut; V.Chitarrone. 



SM* V. (EwiuU 

ovoftfltro7ro<»)(n)^,Inftrumentorum Con- 
gruaappellatio. 



l+t 



2$w Mt ^nftmmmt a m $t ottftif f$cr 6pwc§ 

am bcqucmjfM iuncnnm ttrtatifiufprt' 
djtn fan. 

3<wrif Mt 3tam<n Dor SDfuftcalffdKn Inftrumenten m'd)f fo t^ttii* 
lid) mif *afttaffdKn / ate mol mit 3ta(tfinfdxn SBtfttmt scwnntf 
tmDobferriretn>crtKn f<5nnen:@o bafecfd) mtd) fn mriwn operi- 
bus mriffawfjeite Dw 3faftam'fcbm 3c&raud)cn/wi& ftrofritot figni* 
iication (jKt&et) t>ff jcictynoi woflcn. 

OmnivocAy vd Fundament Injlrumcntt : 

Organo. Organum PncTmaticum* 

Organopiccolo. Parsorganipoftica. 

Regale. 

rciavecymbalo Clavicymbalum. 

V„Gravecembalo 
r^8t(recfid)flnftrumcnt,lnftru- rSpinetto 
Vjncntum indifcretc fie di&um v. Virginall. Frifchlin. Magadis, Pedis. 




(SMcgmM 



lauttt 

©w(fc3fa(Mnffd)< tyu 

^(cmc^ra 

£>oppcl£arjf 

SBanfrocr 

®xo$£itt<v. 



Liuro : Tcftudo, Chelys. 
( Theorba 
l^Chitarrone 
rArccViolatclire 

"^LyradeGamba. Atlgjd hmyWlf&L 
Lyr de braccio. 
Arpadoppia.Harpagcmina. 
Bandora. Pandura. 
Cetera Cithara. 
Chitarron. 



Vnico velOrmmentlnfirumentM. 

%tmmt Tromba,Tuba, Trompctta^n^wmttWflV 

9>ofaun / in (jemdn / fon[f ciT) Trombone 

Ordinatipofaun/ J 

Skin aft p ofaun Trombone piceofa 

( SEBtwol edict)* Wcrcdjrc gememe 9>ofaun / aud) Trombonepiccole wtinm) 

ft Qfcart- 



jQuartpofoiut 
O&avgtofamt 

©<H*r/ gtraixr/ ftttitt 3jncf 
JQimftfft otcr ^wcrpfdjf 

«&fo<ffWfc 

Quart o&tt<^ntSa$en7fon|fm ^ 

Cd)o0m<9m 
awpomtwt 

©rof5>omm<r 



Ut 

— ' ' " ■ """ ' ■* ' ■ * 

Trombone majore, grando,grouo 

Trombone all' Oftava baffa 

Cornctto. Gornu. buccina. 

Cornetto muto 

FifFaro Traverfo : Flauto traverfo. Tibia 

tranfverfa. 

Flauto: Fiauto: Tibia. 

Flautopicciolo Tibiola. 

fDolciano. 

^Fagotto, Ordinario. 

i /"Fagotto doppio 

j V. grandc. 

PifFaro. Tibia gingrinaBombyx. 

TBombardino. 

Vjtombardo picciolo. 
Bombardo. 
Bombardone. 
Ribecchino. Violino. Fidicula. 



Tenor- 7Ut®ti$l mbattt ©«'3<n/\ 
»ddj<maitt#n2(rm5etr/$)ifc4ttf* f Violedebraccio, 
vnb&afottttniwvctKniti&mtin j Vivoledabraazo* 
ymntti J 

Q«tlK<n<&Afi$fe<tt Bafsviola 

©wiSBajfod* Violone. 

\iolcn,ot><rViolndcGamba /"VioledaGamba. 

Lviole. 
JjNtt3>4ttCf< Tamburo, Tympanum. 



«* 



<£$iftaUfytt*\t<§tttf<*/mb m^rernac^r^fun^/wo^uobfcrvircn , tap tic %taliin jgrcr 

€>prad) Megroffcn inftrumenta »on tatftrfncrn fccff© MFtft>nt> wnKmbftctyn: ju »mcrfdw&<n/ 

f^cn/ftct)gcbrou(t)m. 

One <{ *crttKftrettt>trfc. £)«mmbfoimfeur4fbI<$<»jMgeft$' ^ Trombone, Quartpofawi, 
J ftQOftrtkilt / fcfc gwffc CSajjInftrumenta angcfrcutrt J Viol one, ^to^Xx^^u 
Kjuotxtont QUei V. 

(<tPiwwlft«»XOmTrombonegqBdmgllc^»wrc li wgcm cf iKre<^( Ten orpefattn gown* 
men Wlb gc*rati$t } ^Xe Quartpofawi aba/ Trombone majorc, tk %Wpt^m / Trom- 
bone picciolo gmottief ntfrfc 
{®mb Diminutiva , 'XGtil ftrc C$cfomut$ totrrin* fTrorabino, ^(rpefdnn. 
gmtt>irb: 2>itf fa^&tomtt&teltonc Difcandn- 1 Violino,*\ j^HVjnKiVitfm. 
ftrumcnta^tmeUW. LViolini. J * W » WH, W*«* 

na ia / (q^feftcrttmpt*/ ba§ wandncn Qbiggtisar Violoniftam j ft\a ^NffamtQciffr . 

ate Violiniftam nomct, ** 

/^CParboiCoBtcmtivagoitnilct/tpcHftcittr^ Trotnbaccio,p0ftom/ fefoHk$eftmg/llo$ 
J wratytst$gtfNac£:£>aratenfc£«acitt I J m%J»g«fcrau4ait 

accie* S &fc Inftrumenta , jeitbcrnaacMtkaiibcrc f Violacrfo, Qetac ] J&ttKftlfcmtK/ wt* 

I &w^/frni$t*mrtb/*TWlb*n faulty I Cavallaccio,pf«wb/ I Mk|tlge Ppffrw 

' m pluralem fetfefene : 3U* 

Trombone, rftt ftofaim : Fiffaro, tin£HmfHi : 
Tromboni,q>ofaunm; Fiffari,&uerfWitai. 
FUuto,tfw$tfff; Fl»uti,$(#feit/tt& 

«< 



i 



U4 

— ■^■■j— »»—■«<■— «——— i , . i ■ i ■ i » i ■ 

S)o* VI. (Sapifd. 
De BdJJa Gcncr&lifeu Continuo. 

^ftto<Bmeral93ag/ 

Bafliis Continuus, pDer Baffus pro Organo JU txrftcf)Ct1 I tW 

fdbt^aud)5utraa:ircnii>nl>au3<6rau(l)<n/ ^o banni watffonftm m<j)r notljwm' 

to'3<*t>arbet)su ainnmtfcty r tftcmbfld) / mtancimm £)r$amftcn / *aufcnij?<n/ 

J£)arjfmtffcmn gemdn defiderirtiwrtx/ wftnrit dn Kajtdjar fan Inftru- 

ment fceflcn Zvt t>n& <£iscnfd)afff nad) traftiren 

tmfcgtbrauciKufof. 

w^r Bafliis gencralis feu Continuus voixb baf)<t offo $<Mtttt«/ 
wdUrftd)t>omanfan3biji}um<nfrecontinuiret , tmnDatediu 
jGeneral@timm</ W< o,ani$c Motet obtt Concert tn ltd) frtgrrff* 
fd ; 3Btc fcann foMK* m rtalia gar aemdn / tmnfc fonDcru'd) jw 
[»on &cmfr$«dKMuficoLudovico Viadana,novx inventionis 
primario , ate er tfc 2(rf nttf cmcr / w«w bxttjtn cbtx wet ©f tmm 
1 afldntn einc Orgcf/Olc^at/o t ci* anfcer fcerglrfdxn Fundamerrtln- 
ftrument ju ffttgm erfun&m/ an 'Saa bracer/ wt& tn fcwcf aufoangm tf? ; S)o Dann 
nou)tt<ntf £ tin fofd)cr Baffus Generalising Continuus pro Organaedo vel Cy- 
tharcdo,&c.tanquam fundamentum voxty&nbm ftyn mujj. 

2$on ttli&itnwivb btt Baffus Continuus <jar accommode^ G VIDA,hoc eft, 
Dux, rin $ «!)*«/ ©IdntSOtonn ofcer SBrgtwifer gmtmttt* 

Sftottf ji t><r GeneralBafs md)f wnb «ltd)« nacblefftgm o&er fcer&roffmM 
Dv$M\ift<ttwMaxi bit o$ntbatM%tmAbfwnifonbcxn$tntmbli<to &arnmbcrfun< 
ten wwbtn j £>af dn Organtfl/ 6b cr gWdb au* Danfclbm tai anfan$ ntd)f a(fob^(2> 
mi(dnfd)fat)<n f<fon«/&ocl)batau$mfdmpartitur,olKr Tabulatur btfto kkty cr 
frmgm/ wt&Atefcmn Mcdne/ §nxm / olxr bxty ©rimmen barubcr fcijcn / t>nb rote <t 
Mtntinanbtrfttfytt I mit btfonbtxm fitif aftt ty&btn I t>nb ouff mertf enfol. £)af)ero 
<r fcann barn«i)(i7 autf b<t$ltid)tn Baflb generali fdne ^arteij m madjm / ftcty t>mb 
it tftf (rf$ftr wtft fft0ftd)tr tarju $m>c!>neii fan. 

<£* fpaud) mrfttc* dnffttigen crad)tentf Mf btx mmmbfitmb btftt ^Rug &e$ 
GeneralBafles/ Dager/ fonDcrhd) dncm£apdlmd|fa»n&an&<mMuficorutn 
ChororumDire&oribus ju $w / dn fdn Compendium if? / roenn dn fofcrjcr Ge- 
ncral95af / furmmWid)in Concertten per Choros , ttM)< matabgcfdjricbm 

wtre>; 




'4J 

wirb; $>amtr man biefelbewuer bteDr^anfften wtb&umeniffen/ fo numefcrait 
$r offer Jperren <%ifm I mb in berofdben $tirftttd)en (Sapeffen mejjrew&dte / ju g<- 
tw'nnuna, ber $etr / fo fte fonffen *>fftf abfeijen wenben muff en / fld} barju $twt$ntw<in 
dm jeben (St>or (bod) bag berfelbe / ben em jedet madjen fol/font»critd? be4dd)ner/ob<* 
mif rotfcer ^nten »nter(?rtd)en) aftfbafb diftribuiren, wtb ber Dire&or aud) dnen 
fcwonvor fid) fetbflen bef)a(ten tfnne : £)amif er ntd)t affdn be* Tads J>a(- 
fcen / wenn jtd) berfefbe m ^rt'pdn Mb fonff en mtnbctt i foitbern aud) einen wmb 
bem unban ^{)or dnji4)elffen/ dm gaiwn ©efana, »or fid) fcaben moge. 

£>anw aber cin £)r ganfff aud) wtffen moV/ we(d)er *,eff alt er fid) fofdjen Ge- 
nerals^ $u SftttJ? mad)en/t>nb benfelben n>of a,ebraud)e renne ; €5o fcabtd) auwot-: 
<jebad)fetf Ludovki Viadanx , tmbaudj Auguftini Aggazzanjm ftrenoperibus 
t>orj)er3cf<i5fm inftru&ionibiisvmbXnterrtcrjf/ ben tmwiffenben jumbcflen / bie fu* 
nemjte vnb nomttnbtsc^uncten jjerauffer jte|>en / t>r»b ex Italico fermone m wiftf 
^eurfd) altyter fegen ; 2(ud) mrine eigne obfervationes babet) broken »nb anjeja, «i 
woffen. 'Snb mufi nu affjjte an btefem Der ntct)f atfetn wn bem Drgantff en/ Jauteni* 
ff en/ ober anbem Inftrumentiftcn, wit berfefbe befdjaffen fetjn fof ; ©onbettt aucft 
von bem Cantori, Concertori ober ©jln^er (bawn im IX. Sapfcel) $efa*,f Mb tt* 
*atf erftfrer werben. 



^om-Organffim* 




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tpnb Mtnores, wdwuwttrfdwbm/ *mnb b<rg(<fd}<n binge mebr in adjt ju 
wjjram. 

z. SRngcr bfcPartiturobcrSRofmTabulatur tvo( wrffefw /tmbtfff b«t Cla- 
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gd/SXf<jaK8krct/^4Utc/^j)Wrbaol>arfccrs(cicl)cn Fundamentlnftrument, <tn< 
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t« Motctt, Concert, Madiigal obcrCauzon,fo<rftnfid) J>at/ 3Crid)(ctt>nb $c* 
wanbfanmujj /vn& barumbvff Dag Clavier, Taftaturotxr ©riff fdner £>r<j<t/ 
Instruments ofcr tauten gar fdc en wib r»cni<j act)fttn^ geben fan. 

M. P. C. £>un>ciubcr bi< ma'ffcn £>r$aniffcn in $><wfd)fanb/ brr bew fcfym 
$&Hd)flabm Tabulator (wddx an ftmc fdbften riding/ <jw/ 1 ?id)r »n& hqmmt x if?/ 
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Concert&nb ®<ffa$t$CMtivi\b$atmfyn$<w6fynlid)< &ud)fiabm Tabulainr 
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Q3Ap*bcr<in f ommc/ «b |Tc barncdjjt bnrd) fWffac aiiffmctrf * vnb iibung ft'd) 511 foU 
djonGcneralSEtoj* audi getrajnen Wnbtcn. 

AA. 3. @oa , mu§cr«H5Ufvn&Subtil£)(>nonb©^rftabcn/ bamifcrim 
lufamtwn fftmmm/twnn bet @<fang mif etnanber forrgebet/ b<mGoncentori,ta$ 
<ft7 bemc b<r bt< Concertat^rimtwn fmget/ nad) wib aujugeben »iffc ift un if! <* a* 
fanonrnngfid)/ hni3CBe»i|T<SK<$c(infc?mvnb jugcfc<n/tt>i<*>nbfvdcr)cr gcffcfr lie 
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ftd)< figna babc^ ober brtiber gcjcidmcf twben / wddjctf A . Aggazzarius awar be* 
( mnen mufj/gldd)f»o( abcr in affm nid)f in acrjf nimpr . 

M. P. C. ^nbobwofL.Viadanaittffincr<rf?enPr«fation»crm«)n«/ba|| 
tfm'dxn$rfgfa/bfc figna juadhibircn,fobcfln&cf|td)tfbod) nun ttfar/ntd)foJfan 
in<did)monbmr wm<ff(td)mwibfaf{b« mciffcn 3wh<biifdjcn Componiftcn 
Gcncral354flfm/ wddK&<rg(dd)<ttArf Concerren mir dwr / jtt>mt »nb mc|jr 
©rtmmmJKufltd/ feJrfcWnwmb ifebfidjimbrucf f)<rfurfommcnv>ub mfatym 
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giffnrna<brau*m: A. A* 3nb<frad)nm5/9Kd(manKb^ma(bc0Com P o- 

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tomComponifcnfr<ijffcb«/l>^ 

Sext, Tcrrz otor Qgart, 3a auct) in ton Syncopatioaibus dm Septimam, Se- 

cundam j&c.ltemfexumwtotertiam majoretn otor minorem (nacJ) ton <0 

ftmc toqiianndxr wto tojftt toudjw / ptor (0 fcfcSBow wto o<r $q« crfafcton) fam 

fan. 

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f<n otor <rra(t)Cit f fanci wag tot Species toon Concordan tea otor Di<cordantcn 
tor Autor olxx Componift 3<oraucttf f)ato. 

£>aruntb jum fco'djffcn von no e f &<n / md)f affctn »or imgattK/fonomt aiid) wr 
W0(3Ci^fcvni)<rfa^rn<Dr5anif?cnt)n&FundamentInftrumentiftea,M<6igna 
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3(<xftACtnc Prxfation to*.Bcrnhardi Strozzi in tertiolibro, Affettuo(i Conccr- 
tiEcclefiaftici,ba?i|l/anmuft3C@<tfT(tcl)<Concert©<fan5< intituliret, $(rid> 
ateartMinfdxf #1 Ronton / toirtmwi or mtttr anocrn <ton toef< tMncSK^nutiaap- 
probirct j Snotcl) DKfVtk ofl&tomtf dnjufwn / nict)ft>nttcnltc^ croftta fcftbt. 

bmfc^txrf<^ta(fo: 

, , WmtilitiwMmdUfinlxi oaf mttfatKnBafciscootinuis , otor Generat- 
»> ^f^m^<tConcerten»n^an^artt©<)3ns«tl/ Wncfignatura Nomerorum 
>, bit Quartas,Scpti mas, Nonas, ^nrbcr^rtd^ndiiTonantias, oo«r oud) oi< 
Confonantias, a\i Sextasmajores wto minores, tofj$frici)cn Tertias majo* 
rcstmominoresju tojdctynm / oton toutor ^rf«p twrto : &o f antd) nid)t war* 
(affm/ ftfrftcfem fctrju t$tm witou probiren, to$ foldjc Numeri^nijltdjen w5 
iumt)^mt>onn^mf(ft)nv«ttW3mattd)anb<r(fa3(n n>a* (tc weflm. Cm* 
temaf fdnOrganfff We ©rtancfmortComponiftenwiffmofwmatJmfan: 
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£>rtrineC^intam5<rf<!5f/fef^^ 

ton art fern Gonfonantien*no Diflbnantien,oaf /wenn <r a(fo nad) fctnm @c 

fcancf tti «n< Quintam fcftfAgr/ttto tor €5<tt*tt flnoct (me Scxtam>foff< id) cm j6> 

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anoern i if?/ fcaf f?< t aufcw eriap ©f ocf cret) *mo 3:rjorj)tif tracer <n muffin / tm& at* 
fo / wann fid) tor Organifl »wcrf?ej)<f to* Componiften Ccrvel €>i nn *>nn& 
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$or>ff fyxt . ^S<Ich<^ tonnMud) <iwn*wirtttiflciton bawgtnfefee/ t>a£ cmfof- 
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man ji< fota r<d)f fd)lasf n/ iwc jk abgefcijf f?iin to/ tmo war gar wo( g«fr;an / *n& 
wcrftCKd)fwrf?c{)tf/^ extempore t^^ 

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gen f dm e/ fo wart) tor Batfus Gontinuus, »dd)er toim tint fd)dn< Confonanti- 
am *n& Harmoniam mad)C(/ erfuntom 

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nantien fyottt<l wenn man foldjcn SSafj alfo fd)lcd)f winb fimpl ieiter f)tntvc^ 
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clination »n& gwbuncf <n anaoid)t / fo wax <£ fjodjndtig fo(d)< ittif f<Uu crftnton/ 
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bar f (eine r ^ndb / wenn cr ftd) ticfelbm nur ctn wenig bef ant g(mad)t / &en @c* 
fajigforcd)tvni)a^toJ)ncdi{ronanticnfd)fa3(ni()n&traaircnwi^/ af^nxnn 
<r au^ torwHtmmaitn Tabulaturfd)(ug<. 

9SBie id) &ann ct (idjc getjdrt / aud) in eflfe&u probiret , ba$ ftc bi< Motet- 
ten b<6 Paleftrini (wefdje / wiCKberman wol wci^ / gar trefffid) nad) t>cnOC<gu* 
, , (m formiret, fugirct,vnD in @«mma mi( fd)dnm Ligaturen *nnp Syncopa- 

9i tioni- 



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r ityret tft/ fo $ibt arafebaf b tint ^ttmm wiD Sonum »on ftcfe / tmD wann manfefton 
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tmDman f)at Dtc Diflbnantien aejjo'ret. 

$ , ©arnad) faam tt (td)< / Dajj Der Organf jf aitff Die Manier wib SBdfrmft Dem 
,, £>j)r o&<r ©ef>Jraffcjdf vff Den^mser adjmna, jcbm fofifc. 

Refp. SBenner mm tawbwtxt /oDernfetywotyfrentfnDfe/wtbaffeiete 
in Der Surety fan muf? e / bafj or ntdjt erne Quint an jf att Da Scxt mad)f e / ober 
dn Tertz an \Uttt>tt Quart , fo nmtbe erfnfold)er$urcty$arwcn<3au|ffdnen 
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mbSeptimaswddjeer jjoVf /fudjet/nwDerDfe Sftoten »bcrf^ilpfftn'/ wmD au* 
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er Die ConcorUanticn wiD difcordantien mft numerisfcor fid) WitD geidefynet 
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gen fan. t$no Dferoeil (ici) fo $ro(fe difficultet befmDet/to Dem man nur mtt dwt 
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fonantien madjece ; 2$nD Da* werebod) nod) nfcijf genua,. 

©ennfd) and) von Den twnemoffen £)rgant|fcn/ fo mairfxttftiutagefm' 
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fdbffen gefjtfrcf / (>aben |tegefd)»mDeangefangen judiminuiren vnDcoloriren, 
btfl fo fang bit furia comber gangen/ DaDurd)fic offrmate Die diminutiones vnD 
coloraturcn bet 0enaer$a>nfandiren. 

2(nDereaber/ wennfte dnen %v$wo1)n tint* mQttotynlifytnpafttt cbtt 

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1 9 fprmgen aujf Der £)rger mad)f / »e(ctye$ Dann ein (f>un <f!»nerfaj)rner CSBdber. 

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nf^atttxr^wrfowmen/afewmnfte affem bar voWcmmewn Tabulatur 3cf<ijw 

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bajjbtebarubergejetcfynetefigna % b tm& Numeri 3. 4, 5. 6.7* &c.obTertia$8i 
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brinaenwoffm/ 2(u^bem2^dlmdm^905ir3l4tt^<o^/ wM)<i in Polyhymnia 
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CB&rot mm afo t>ie &iw/ Theorba, Hattf , Cbitarron &c. all Orna- 
ment4nftrumerita^tficfoiOT&crt/mu^ 

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u ^X?egtn Der K^tgen geft>o^n^ctt tnit) ftyliim fingen/ 
60 man Componiret enD finger/ gleic&faro / a(tf iwrni- etner 

ClttC Oration &a£wrecitirte 4 

2* ^egenS^rgtiten^equemfigfetf* 

3. SOegeti tw groffm SRatgc/ Varietct tmt> $fe(f)cit 6er 

operum Mfrpartium/ fo Jur Mufic Wn ttfatyn fityil* 



I. 

•> £>fc<rftcbtf«ffmb/ faojcty^dlmanjiifwrofid) Mrat)tt3rt/bfc9BtfrKr$u 
i, exprimircn ttfunbm (>af/ tabcm man faff tmbfovidafemuajtcfy <b<nfofma,cf/ 
» i ate warn man fon/frn mttdntm r<b<tcn>ddK* bann am bcff m mtt ctncr dw$ts<n/ 
obtr^araftttxm'g €5rimmman3e{><t i ni<bti fycwi&n Melodicn «HdKrt>or* 
trcftktjcr {<wmrj>anbcn/ wtb mmi^i^fr sdf w 9vom fct>t t>fd tm 3<braud) |>af . 
^to<f!ni(^ritW3/>a0man(tcaircft(>f^f/o^inWcTabulatur6nn3< / fonbrni 
<$ iff gnuo, am 6(offcn <8afj/ twnn nur bfc Singna barubcr bejddmcf wcrbcn. 3Bnb 
fbmfrdnflrfagtt/ ba*mb<natfm Motctnewtb ©rucfm/ n>dd)<volfar S"d<R 
wtb Contrapunften fojn / md)f <utu<$ f«) an H<fan S&afl tern $cU fctj fcinnrfbtt 
juv ^(nnrow/ ba*fbktK»nb bcr gldd)m ©<f<Sn3</ bet) w$ md)f md)r tm 5<braud) 
w<a,mbcrConfufion vnbwrftfunfuna, btftcxte6tttb tier QBdrrcr/ fo ronton 
(angenttftmrfnanba 4/flfod)fmm §«3<n (prfommen? ©arnadjaud) / 3Bd( 
fTc fdnc wd)fe «rc {uftonb anncmttVjfdt l)abat.£)cnn rocnnalfo ©n'mmen^ 
f«n<j<nwcrtcn/ foj^wman weber Penodumned) fenfum, wd(aff«?»onb<n 
5ugm/3BdclK pebfo offfTepctiren,interrumpi«t njtrb/ vnt> dncjcb<©fim* 
nKbcfonb<rmb*nbttfcbfcbtidK9Bo^ 

ttfwrfTenfcfgat Jcufm/bKbarauff lmrcfat/ mtfjfrff: $nn^atnicfcf tic(s<fcj>(ef/ 
ba* btc Muiic t>icf<r wfad)m tyatben von dnan ^apff <jam$ wn& gar ait* b<t 
jfttrdKn w$re tymitct worb<n I 953o ntd)f Iohan Palcfttrino ftd) tor fadjm 
an#nommcn/t>nbfKn?Kf«tt)ttW ba£manadb<t)b«tComponiftcn / »nbn<d)f 
tn bcr tfunff b<r MuRc ff ccf ck. <2Bi< cr bann ju bcMffrtstma, be ffcn/dwMiflam, 
Mifla Pap*Marcelli 3cnanb/Componiretf)af.£)a(Kr Ob wo! fo(d)<Compo(i- 
tionesnac&bcn 9fa*.u(cn deConrrapunaagmfdn/ fdnbft<bcd)nft$utnad) 
bat 9fc«,uJ<n btt guttn *nb waf>rm Mufic, anbfdnb ba&« fommm barman m'c 
wrft" anbat fat tea Officium, finem tnb r<d)« Prxcepta bfcfitr ^unff / fonban 
afldn »fft>tc 5ua.ro wtb tftoK n a<f<j)en / »nb n(d)f auff Wf aflfeaus wtb a.(dd)f6*r> 
mtaftt* btt Sorter: 3Bk bann aud) j&rer rid crffttd) &t< Compofition b<t 
tftotcn acmadw *nb bar mdf atlcr crjl bit 2Bc« »nd bm ^:<rf banmttt mff grof- 
far mulje $nb &dpcttyfttit gcf[icf t rnb ^fTucft Ijabcn* ^8nb btf fq lj<ct»on <utug- 
&U anber ^Brfad) f f! btc $roflf< ^cau<mHafdf/ ba^ b<r / fo fdrta^n Uxntti 
(Id) mtt bcr Tabulatur ju b(mt e ii;cn vnvonn^cn fat 3« fccfradjf / ba|y<ibccm b^ 
fd)t»d)r> vnb^8wbric(jfid) bmg if!/ bartmun man ldd)Ud) jr« tvirb / utfonba!)dr 
tvcnmaneximprovifoMuficirenfoH. 

Qic bxitu rrfad) btucbtcr mix atfdn tvicl)fi<j gmtgmfdn/cfncn fold^cn ®o 
ncra(?&ap cin ju fu^rcn, ncmlid; Die menge bet Qpemm vnb ^iicljcr/ fo man 

fcn(l<tt 



w- _ 

* --ir-r»M— ill mm inn ——.— — i ii n |- TT-r r— ' — ^— — *^- 

fonfcen $um Muficircn t>«t n&enf)«t; £)enn wennmanmur &a$ aKein/ fojtt 

(Xom m emer .fttrdjen barrnnm man pffc^t ju Muficiren*, in riwm einrn'$cn 

3al>r <jeftm3<ntvfrW abfefcew wife in Tabulator brin3en folfe / fo mnfcc ber Or* 

daniffdngrtfflfer Blibliothecam tjaben/altffefn Do6torim3Rcd)fen. £>cvewe# 

gctt man bilfteb benS&ag auff bftfe&f ct funben t>at /n?ei( ctf t oct) nit n &13 iff/wciwt 

in bie Or^fober&esafsefungennrfrbt/ bapnumaUc ©rimmcnvber *panciar 

, , fdrtage 1 rote fit ge fcijt fan. 9Benn man abcr atfc Crimmcn / iwe fte Gom ra - 

,, punflcs ftKifcindnanbersefiVjee fcrw / fcbfogcmvif / Mtftflcinanbcr \S3crcfr 

3 > tub a/fcorcf md)t J>ief>er $u wfcrm }ff igcn. mtent.wib wr&aben, Ha&cnus 

. , Agaziarius. 

NB. 
3nmbefd)fu|jl aber mttf id) ofyier b<n £>x$anifttn Sreunbrfictyiu mflttyn 
g*ben/wennein,Cona:rttmt ertfdjen Chorcn in bcr Sittym 4>bcr aud) vox bet 
^affdangefMIe* wirb/ bafy ojeid) »ic§tirmfflid)c Oratores, tven fit tvictyigc fad)* 
enrra£tiren*mbba»on2Utfe()n(id) perorirentwllen/ ftd> gcmemujltd) <mc0 i>iciv 
(fdjmwoJf^enbcn.ExordikungeadjfCfetf ttgcnfltct) sum J£>aupm>crct.nid)t <jcl>5* 
ri^/ affeut ju bem <£nbtt bomif ftc bie gnf)6rcr benevolos attentos & docile*, 
madjen/ vnft rnnfrfttfctarmuMcrn mo$<n/ bcfftiffiaem aifo &wb ftc im anfan$ 
mifftrenPrxludijs bie gnjtfrer Wb0anise$ ConfortderMuficanten <jWd)fhm 
Convoctrcn vnb iufammen focfmfoJfen/ af^baioj^re Partes <mffaufud)<n*mj> 
&feInftrumentarem»nbojme$affd) dn ju^rimmcntmbjuintonircn, vnb fid) 
alfo jum anfana, cf ner suren wtb »ot f (m^enben Mufic ju Prxparircn . 

QBrfUtartfc &utftenf|?en»nbbic Vioiiften jf)re £auftcn»nb ©ci<jmmcf* 
ftenttKiteintf G m ©rimmen an fat>cn if! fefrr notts i>a£? fte erffltd) rat* brifcm JJJ^iv 
den Die O&aren im G *dfltg beo,reiffcn/ barmncn cm wenis immoriren »nb fftfl<)aU 
ten/f)ernad)crtn* D bannin* A fofscntftn* Efcrncrm* C tmb E fatfcnvmbfiincr 
incmemjeben/ abcr mif bcr#ncfcnJ£Kmb/ btp auff $n>ccnobcrbrci) Ta& fttftyoftcn/ 
obfteafodjtnff bcrrcdjKnfcinc Wafffin / vnfc anbere Dimmutiones, wte in ton* 
Tocatcn ^breucftlidj/ mir em bringem ©0 fan$ bf j? bit anbern jt>rc^auten/ Viola* 
wib ©ei^enerc. rein tin getogra vnb gejlimbt l;aben »nb atjj benn ^o'nnen pe etnc f (ft* 
neFugam,iieMfd)ephamajiani oDer Tocatam anfajjen/ iCmi^abbred)en/ tt& 
mb mm Final in &cm Clave, bcrinnen b&ti Concert anf«ngcr/ fcin fcnbcrJi^ *nD 
Ai(mablid) fcbreirren bamif flemiteinet $wengratia bm 'i^on bes Concerts roibo 
nimb ttteiftym mb cte ban bit $an$c Confort in gefambtmif voUcmljaiiffcnin) 
@ort*tRa|)men em <jur Concert, Mutct, Madr igale ob<v aud) Patuaiuin ju Mu- 
ficircn anfa^en mo<jen. 



£>o Mnng(ct'ci)fam in diKm^pu'^cl/ bed gan^cn Concerts (Jt^cnfd^fft/ t»f< $0$ 
vnfc mcfcrtgcmcjcfcc^tmumnad) t>cm Tono ofcer Modo, oannhcnftcr@tfan$6C' 
fcljt/ ojjr^cfe^r afcendire n ofcer defcend i ren m<uj/ vnb btyao: t»at vox blajmt* 0* 
Dcr bqaurcK lnftrucnemaaucuicr jeben tSfimau fit^iKl) jii gcbrauct)cn / tno wci- 
cbcmChorotstc Capelia wife Cantorcs jmuor&wn (enn/gor fdnobfemret, vnft 
in ad)( genr mmen merfcen fan. QBie id) tann ctudK Mutcttcnfe* Orlandi (que 
in omnium inaoibus funt) jum ^x<mp<t t)fct)cr f€Q<nttil. 

i . C horns, i. Chorus. 

Laudate pucri ' 7T*t ZT" 

Dominum a 7^ [l tl ' 

*|_ 

1 x 1 45*7 

3n^mf(?af^aI5auf<tjcn;X)aJ/tt'cnitlnftrumentiftenwr|)att^n/3ttt 
a|!cnSborMcbtt)t<Dircantmtfj»o£iH«f(eifcn/ ofcer i*w Difcant<jd$jcn/ oto 
iw«n Cot netren, fcer Alt afc« (ate tcr Baifcti in Mcfan dt?0r) humana voce ?2t» 
caitxmtyoTttxr Alt(a(^crCa- iuj> in fctdVm 2 SJjoraud) humana voce, rkbaj* 
U Tenor vnri& ^S«f ab<r mit torci) 9>o|aunen «n$ccrfcnct vn& mu/kirtt votctm 
■mujfcn. 

I z. Chorus, 

Inconvertendot '-I ' i I h*l «m — 1 &! 





5 7 

gumiXhorofannnmaArfuaffroj.^ 
>rn)ViolinijO&(nab<ri.Violmf,iXorr^ett,»nbrin£iti<r'oea^locfflftf»m<r 
tm<Hi5<wttwn$a ;3umBaflettab<r en 1 *noiiften,5arn<buifemanft>tl/audj 
cin Jpofrnm ; 2ud) wel dm Jpofaun o&er Sagot f absque voce humana ; S)o (anil 
aud)dn.ftnabeju&andmn Difcanr, fcarmtf fci<^owa/l)or«i^wncflimcn 
rottScn fdnnm/ <mor&n<n vnftlxficllm. gumaiiDmi djjor fan man dfd voces; 
jDtwabcrVi. IndeGamba, o&cr Violndebracio,cto©tocffWttm/ mb«i(td* 
it<m$as#uo&tf &uari^ofaiini &vd)t>ajji><r Difcanr otxr Da Tenor, ctcr M&< 

3 nrit 






^inau^&crmalTvna^rfijjrsroflfcr^WfTaitbvttb^lanBifl^/ ftaf/ wenn 
fccv Drgant j* prffambuliret, Die Inftrumcntiften inmtftclfl j j>re$art$rfen/ $ ofau* 
nen *mb 3u><*<n AnfJimmcti / wiD wt\ fiftulircns vnt> wcfcn* Durdxinan&cr ma* 
cl)cn/&aJctncm&ie£)!)rcn&ar\?ontt)cj)^un/ mb Die fatten ©dmuppebcfommm 
mod)fc : ©internal c* fo t>bcl lout et / tmD em rumor DurdjeiuanDcr mad)ct/ Dap man 
ntctjr weifj/ ob* $c|?od)cn oDcr gcfjawcn t(t S)orumb Dann mmam btffid) cm ;cl><r 
itDoov/ ef>c er jurn vffmarttn in Dcr jftrdxn oDcr fonjfcn crfcbeinen mufj / in fcincm 
iofammc Den ginctcn tmD spofaunc fcin wol (ttmmc/ *mD (id) vffm SDctmbftticf c an 
gurcn3nfaR mad)C/Darmit fold] a* diflbnantz wtDfcbcif lan$ Der Auditorumaurcs 
tmD animos nid)t mcjjr ofFendiren alef delectiren mo*3<. 

£)as VII. (£a^r<r» 

333e(#er gcflafc tin jet>c£ Concert twt> Source mit wenfg 

oDcr wcicn §{)orcn in Dcr cti tmD ojmcfonDcrbajjrcSfcuijc mit atferfop 

Inftrumcnten t>nt> ©?cnfd)enftimmcn anscorD* 

net vnD diftribuirt wcrD<tt 

fonnc. 

# id) imtttrntmutinfftiw f)Cftct>fFjcfd)ttcn fonncn/ wte 
vnD wcldjcr seffaft cm jcDcr Concert@cfan«, auffctftdjc fonDc* 
re Maniere mit variirung Der Inftnimenten $nD fonjlcn an* 
! jtiorDncn ; €5o (jabefd) e* doct) nod) iur^cfr bcDencf en awaken: 
S)iewcilDic Mufic foa,arj)od)scfrieam / Dafj nume&mr* 
trcfflidjc Mufici aud)in Germanianoftra patria (jcfunDen 
wcrDcn/ weldje nidjt aflkin gar |)crrw'd)c (tcbfid)< Dciirfdje tmnD 
^ucmifdjeConcert tmD Gantiones in offcwlicbcm Drucf Jcrfur f ommen (affen/ 
bcfonDcwaud) fefbften fofcbctmD DcraJeidKn Concert per Choros be jfcraniuorD* 
nen wiD dirigircn wt |fcn/ ate id) <$ nad) mcincr tt>cni<jf eit ttorfdjrcibcn oDcr an Den 
^aa, aebenfan. 

jturijud) aber jjiewn au reDen/ bin iti) t>jf nadrfbfcen De* $fr«ef/ wcldK* j>tc# 
bc&orn fonften bet) f cinem scfejxn/ bcDadjt gewefen ; ibaf man/ ncmblid) in cincm 
Autore, autf aRen©fimmcnrinc$jcDmConcert@efan$tf Die Clavcsiignatas 
nad)cinanDer t>ff&<id)nc/ g(eid) »ic in mcincr Polyhymnia in Baflb gcnerali fol« 
d)c*irt ad)t senommen/ wtD ()imcn an/ Die Clavcs fignatas aflcr fcerer ©cpingc / fo 
Darinnen begriffen/ bux<ft attc ©rimmen orDcnrticfi nadjeinanDcr veri<id)ncf ^abc* 

S)o 




'S4 



tfltm'tMitbtt M<b humana voce n(t>mtxnlnft rum entcnjugtcj'^mtr fcrctu gifim* 
gtaiwrtm. 

Quopropcrasjaio, 
i« Chorus. 2. Chorus. O 



5 " = "7T"~ " 



+-- = 



i z 1 4 S 
i.Vari- f Cornetto,Trom-Tr.Tr.Tr 
atio | velvoce. bone* 
a. Var. | Sol* voces human*, 
3. Var. | Solx voces h. 
4.Var.«( Stfxvoc.h. 
f.Var. | Violedebraccio 
tf.Var. | Violcdcbraccio 





4-S-tt— 



IO 



It 



6 7*9 
Corn.velTr.Tr.Tr.Tr. majore 
voce 

Corn.Tr.Tr.Tr.Tr. 
Violcdcbraccio. 
Flauti.Flauti.Tr.Tr. Fagotto 
Fiffari.Tr.Tr.Tr.Tr. 
Flauti.Fl.Tr.Tr.Fagotto 



7. Var. V.Flauti.Fl.Tromb.Tr. Fagot. Corn. Tr.Tr.Tr.Tr.&c. 
3nfold)en (Sjjorm mufDarm&m bev Cant ctxt Tenor, ot><r Alt, &c. humana vo- 
ce ittgWd) miraefimseit werbm.^nbb<r<j(ctcl)«n(Srtmp<(mcj>r/fan«n jct>erauff 
lM#fof$mta wrswtyneK CUvesSignatas,m jester acit Muficorum libris feJbjtm 
auffiTadKn»n& accoramodiren. 

Sltyicr fof nun gar furu angescigf mxtittuw&toot Inftrumcnta ju dmr ^ft'nv 
rati ttot patt(x)tni nad) Mm jTrclaviret, ofrar mtr rim Clave Signata bewtymt ij?/ 
8<&raud)f wtrfctn fonnm. 

/. 

Cornctti: Violini. 

gmefen vnfc Difcant©ci<jcn §!)<*. 




SBtnti 



Iff 

QBcnn in rinem CEf>t>r to'<fc w<r Oaves fignat* in Canturegulari ?cl tran- 
fpofito/batf if! in ^ durO vei bmojli) wk |t< rtud) butd)«nanbfrg<fa<f/ fefiutbm 
wcrbcn / fo <}i&f c* «d)f dmn Cornerten*obtt Violinen <£f)*r> ©oil) totittHn 
garden (£t)orcn faff bfflfcr i|t Mc Violin, «(£ bK Cornetten ju 0raud)m / tffaj 
tanni txtiJctn <jtifcv Cornetift, t>cr frinm Cornet «?o(m modcrircn wtbiUiflrfngm 
n>if[c/ wrjxmbrn/ wib affo ben jx>d)/?<n C antum *or fid) bejjoffc. flftann fraud* a* 
frcr m'f illicit ctfcf Cornetten, obcr cifd VioIin,fent)Crtt»«:m«t3(e?MpWCflm»IlfCr# 
dnanbcrralfo/batf man cm Violin t>nbjtwnCornet$3iw VJolinwtbi.Cornet; 
i. Violin i. Cornet, *>nb i. &wM>b<r ^(ocfftf if <jd>raud)Cf; obcr aud) tvoita) bfc 
dnc ©rimme cJiKnDircaatifttnhumanavoccjufm^n/^ciorbncr j X)o bctm bar 
Baflet ntd) t voce , fon bern mit finer ^>ofoim obcr bergkferjen Inftrumcntmad) btm 
<$ ftd)tf fd)icf en tw'l/ Muficiret ivcrben fon.2)ttb in folfycn <E jforcn wr b ge mdntgtidj 



dn Baflet arfo-s-obcr-f^ofcr-^-ciaviret <Kfwirt«t / twfdjor enwebet 
gcfuitgm / oi>cv mit cincr 9>ofmm. obcr Fagot barjuscMafcn flrirb. 

5Bcnnaicr«ufr<rjwtt»rt Baffetsta*** 5 -^tt^*iif(t>m«nbem^rtobcimanf4tts 

•"•I" ■] ■ 

wrjcidwcfcn Claribus Mrfjanbcn/ f(>f(!^^fr/bcf<(6(lv<t)t>fiiGorncttcn<m 
5>ofmm (tvofcrnem Inftmmentift frcrfwtbctt I beremsufmtfltfrffbet^ofaun 
€>timmcnfan) wmb'fcepton Violinen cine Violdabratio obcr trie ctffonftensc* 
nennct wirb/ cine <Scnor$ei3C scoraucfee- ©am bicCornetten ija&cn tyrcn tmwftm 
€(awm tot a, rcic n>o(«f(id)< Inftrumentiften b<t*g, mid) wol batf f, fMfdffff ittWc* 
dtta'ngen f onncn. CBeite abcr in fofdjcr t ieff ton grariam / fonbern faf! firnnt 
M$ jorn ajc id) ffinsef i SDi< ©ifcawsci<$cnmtd) nur btp in* g, »nb *>ff bar ftfoen 
witcrffoi ©tocntdnttttfyc Harmoniam ttonftdjae&cm ©o eracfyteid)*/ wic 
je$t <jebadx/ baa dm 9>of<uwob«r^enor$eis MgfcidjfxlFer wib ^mftt)rt3<vbarju 
juaefcraudjen fty. 

3 f; II 



II. 



•^MMWWM 



Fiflfari, Travcrfa- 

Cwflbitm otw Oucr^feiffm ST^or* 



fc=fc=S 



O- 




© 



B;ati ccones. 8. Voc. I. Gabr. 



BZioj^H— 



Cantate.7.C1. Meruli, 
8.V.ClMcru/u 



■3-*+— 

— -feh-F 



■o&cr 



Venire exultemus. 

8. Vocuml. Hafleri. 

Magnum hrrcditatis miifceriutn. 





o&tt ~ |~ 






* 



©f<fotd)rtt/ffa((Sfgnicrte»nb^jefd)tt(fe(S!>or/ fmbrcdwfffcrflj&ucr* 
ftfft <n wi& cmen $a$on7 o&er jTitfen 9>ombart/ otxr <pofa«n geridtfet . £>enn oft 
tuot Me&uerjWf ten m Cantu (j duro btfwetien oticb <jebraud)f tverten/ fo f o*mpf e* 
fcod) ntct)f fcurcbautf in alien Modis e5er Tonis ; £>arurab man bain and) Deci- 
mum Modum Hypoasolium wnb tin tyon niebn^rvff fcehCuerflo* it en in mufi- 
cirenpjfcjjf. ^Bn£)fcl)<cffftcbfctnabcfrcrMrju/a^Doriu$, Hypodorius, wife 
Hypoxolius in fecunda inferiore : JDtewetf fcer £luerfldtfen ambirus nat urlictj 

ftldjf jtfJKr/ ate bip tn$ ^ / aMd? wot after nod) btf? tne f gar root fan sebracbf n?crl>cru 
SOa* i.*n& 2. f m vorfceraejetdjneten (Srempefo femb beauemer wi© beffer ju &* 

foaudjai/ ate M $. IDenn Dcr Tenor im-p -E^omfrf fa per tieffe m Den 

£}«erfl<faen gar ut ftifti fcafj man penfelben vox txm Canttmo A It, fo affeieir oben in 
Kn O&avcn Mrifren/ ntcty fonoer (id) jjdren fan : SJerwesen fcann beffer tfl/ oaf man 

erne 



dne^ofaun 0&<rTcnora^i*jtt$f<f<mCIave9<&rau(iK. ©etiffcitfandnfoictxr 
Tenor mtt dnetSucrfloum/ wain f cine antxtc £unftf<Kn me$r tata} tttyintatr 
gar bequcm tmD n'cbns ,n ° Aava iupcriorc , nrtmalfarfop anfcrti Inflxumcnten 
muficirct vnt 4,ct*rauct)f werben. 



//A 



5— *-r— 



Capella ; tox humana : 
Flauti : 

ViolcdiGamba: 
Violcdabracio : 

*fnfffe 



gf&fcniS&or. 
Violen<£$or» 
©rf$en<Sj)oir. 




Omnesgcntes. 
i&Voc.I.Gabr. 



Cofdx(S&we/toCantu t] dutoo^bmolli.y^vmdgmtHdjUJrCapcl- 
fa,*wfc»or^mfd)ai^rimmm/ o&<t wit man* aucfo nennct/ Vocal-ofccrGoncar- 
ut^rimmen/tatfijf vorWc Can totes t>nt> Vocatiiien.SXnn t>«f«Clave$ Mrifett 
infyvmuftttn tnt<i&nbUti)m tcrroinisvor M<3)?cnfrt)m(&timm«i itfd)f j»()odj 
tied) sii nfeDrfa. 2*nt> fofctx (Sfcorc fetyef mftd) and) ear fa)tt»of|u&<n$Mocfftftan/ 
(Flauti 0^owofaud)jutan VioleadaGamba,o&<rfamana,dun3 tKtfdbcnw 
ten V iolen da bracto : QBtctDd and) jeijf norad)r mdffcntjjdte fca (Sfcor ju taf 
V iolen de Gamba fa|t nw l>cr i. <pofaimen§ j)or (afc jajt fol<J«) figni ret wtfc Cta- 
viretwu-fc : X)arumbt>agMf tl<iMftc&tottcnx>ffs<x DiftantVkJ deGambafof* 
flctn I i>n& Dm aniwn ^rdbctn @<Stf m vff&ctt Tenor- ofcer BafsV iolen n JdK gtadj 
ftarcf $cj)&cf t»tt&cn : 2)n*> tworoca™ beffer / t>a§ man an (ta&f Mr DiTcatitVioJ, 
cm Alt Tenor V iol mmc/ a&cr aba: tm Difcant »(f fccnsrobcrn^ltim ra#cn* 
t|)cil*wr&(db<. 

£>f en*il and) offtmauf ^naben <jcfun^n / »nfc tf < mci|?in txttjeftoftttof a&w 
rid)t<n wercn/ttenn man alictn gwcnfletfj b^ j&ncn amtxnfccn; *aft peb tor mityt 

ttfdjfwr&tfcJTcnfajrM^ 



=£' 



$ tu 



wol 



_ Tf g _, 

noltnauintnbiuiiUUHtinmm^ci^c *ann fonDcrttct) tn mctnct crftcn'&rt /a# 
f«ntm lndulcilubilo?rtu(o<>m<<n©<crfem Jp^rrcn: ^flctn @oftm&cr #o():fa 
tff-MtTxomtttm t^cerpaucfenscrtcrjfec fctm/noffltn&fs vct*t)ani)cn f<t)nmuf|ctt. 

JDcnwcaenfo fan man aactjtn wngrtadwit (Eapcffen fcitfwcifcu fict) fo(^><r 
{jdjen Signaturcn, ncmbfid) fcatf g, ge&raudKm «Dt>cr man faffc &en 2Hwm t>urd| 
cm fotdjcn jtnaben tn ber oa^rhoijcr ftngen/ weldjerf fane sonfreunDftdjc ferment* 
<tm e rrege / oter wn ftd) stfcf : £>cr$*ff aft benn aud) bitw<iim ben ^enor $f«cr/cr 
majTentnertidjcn Cancionibuswneim Smbtninttt G&avbru&cr jmgenjuiaf' 
fen; ntdjf tmanrnftrigsuftfrm- 

SBennman nun etncn§(of fen(Sj>or/ &w cr mb nc&en inborn tmwrfdrtcbettcw 
ittif anbtm Inftrumenten btftnttn <l\}crm anfttUm will: <So cradle id) &cjfcr fet)it/ 
fcatf m tern 35ag erne £luarr fpofaun/ ober/ wcld)c$ nod) beaucmcr cm Sagot t j fo root 
ottd)tubem 'Scnoreincspofauitober 3:cnorad$/ anflabtbcr gotten gewbnefnw 
ten: €>imcntaibie 'Senor »nb bceotcti bit $Sa$$6tt<n in bcr t ieffen $ar ju gelinfcc/af fo 
tat man fte w>r ben f icmcnDifcant-wtb2C(tflof f cn/aud) wr ben anbern inftrumen- 
ten m bin 6tt)3<ffi$f at £t)<>rctt nid)f wot *>nb gar weni^ ()oren fart. 

^Bcnn man abev fonffen Mc St&fen aar affeme/ ot)n jan)un anberer Inftru- 
mcntcn, in cuter Catizon, Motet, ober aud) in cim Concert per Chorus $e* 
fcrauefcen wiff: 0o tan mm bag $aw$c Accortynb ©rimmwercf ber Stftcen/ fern* 
fcerftd) tw<§unff Sorten ton ben <jrpbf?cn anjuredjncn/ »ei( We tfrinen $cx ju jlartf 
»ttbfawfd)retcn/ ^rnw(tmbfu«ttd)#&raud)cn/ wrtgtfc cine fcj)r«nmimgc|ttffc/ 
iicfoidK harmoniam wn(td) / fonberud) m (Smbcmmb ©«mo s d)crn; ©internal 
in^er iCirdKnbiegw&e^affcf'Wtb SSafjfldffen md)f wolgejtfrr werben f fatten, 
©arumbbenaud) btc anbern gj^r/foccwa *>on Violch degamba,ot>cr $feenfd)cn* 
tfimmcnbarbciHWrtncfwtttcn/ gar fubmifia voce, f?ifft>nt» fanfft|f)rcfacl)m fcer* 
furbrtngen»nMntonirenmu(Tcn; bofcrnanberacm (Si>or\m2> cute ©fimmencben 
t>cr anban eiaewu'd) ange^rt wtb obferviert werben folic 

2f(em: QBemt in cm Concert, jttwtealfo Signirte Chori Inftrumentales 
(bcrcn tn mctner bxitttn arc / tmferfd)icb(id) ju (thben) wr&anben: ©o (an man t$ 
nad)»etictd)ncccr maflfcit anorDncn/ &ocr> barber 2tftm bciDen ^oten mofta^a fu- 
pcriore, bat ift cine Oftav (>#>er M uficirt n>cri>e. 



* 



*-»■ 



■a,-. 



H Coruettomuto. IB Flautovel Fagotto vel 

VioledaGamba. |FIaQto.Yiolmo.Tr6bone.Tr6bonc 

Violiac.Cornetto t Violbracio.VioloneCornetto,Violino.Tr6bone.Trom- 

(boncmajore.) IV. 



'St- 



IV. 
Tromboni: Fagotti: 

2 — ™ \* .. 2l 



Z- = -K^X 



* s» 



-¥. 



F 






~V- 8 

^ — — i -v .» _y * it ^ ,. jv» , t ^^^^ 

I3_ .— Hj£z Inrl — — -~H— ~1 "" ■ ", 

CCSennin^n €fjcrcn/£Kfc <£taw$affo/ ft>»< afff)i>r «ufaes«cl)ittf /(>&«: and) 
aufft)»e(can&crc»nfcrfcl)K&(tclK^anhT<ii ^efcijct / befimfccn rocrfrm : <5o f«jn& tic* 
fcl&<aflet>abin <jertct)Kf/ Da^fic mir ettclfpofmmen / ofccr SagMtcit ob<t ^emnum/ 
ctct aud) rait gaijottm vnt> spofauncn &urdK»nau&<r scnicn<jf / a»<j«ntouf wtfxn 
mttjTcm 



2tot> fc{? man m<i(?mt Jdfe fcm %UimI<X)<t atfo — ' - 



~fi<jnirf*n& dwixtihif 



wtil<tiM$}wc\ <imn mitt &m^<norm/* 



•wtdjtt M< K*ft< 2Crim 



»nnM9Mo&fl) fTtfjm/ hum ana vocem$i<<pof<mnM »mi& $AS0ff<tt ftndtnj 

$)ofrmn 



5Do bann ber A It n ict)f gejtmgen/ fonbern mtf dner A Itftfft <n ober Difcantgeigen m 
Epidiapafon (in berO&av brubtt)muficirttt>erbenimu/. QBte bannjumcffiern 



aud) wofdnDiffcant-H- - 




sum fingen / ober |um Cornctt, ober jtir 



Di fcant©dgbar&<i) »er j>anben ; 2C(* tm $. vnb f . (Epempef. 

5)if tj? ober olfltf er fonbtrttd) ju mereten/ wenn man ju dttem foldjen K*nl» beiv 
3(dcl)ca<S^oi:ctr((ga^(fcnal)crg>emm(tn3cbrauct)(nn>t(/ Cap fonberlid) fca&in 



gcfcljcn nxt^n m«p/ bap m benen/foalfo 




figntrct fo^tt/^a: ©efangober 



bf e *Sloun ntcfy !$)«/ ate btf> in*15 fctnauff ftagen/ benn Me Chori A$agorfen Wnm 
namraliter md)f j)6tyrgebrad)twerben,9Btewol/ ate in Tomo Sccundo angejet* 
get roorben/ jcsonumcfcr et(fd)e fo wdf fommen / baf) jtetff ben $agof fen ober X)o(« 
ctanen (tt>tee*efttd)cnenneH /) warn ftcgar gw wibfonberltd) wot berotytfeim nod) 
4. 7. »nbmcj)rCU?esmbtet)%!)man|fBarrdnintonircn»nbju»cg<bringcn: 
£>ber man fan dn gingelcorthol tmb Difcant$agorf / wiewol bfefelben frftcn rein 
iiitonirtw5rfd)fg<|?imm«b<funl»cnwarbcn/baiiugcbra«cl)cn. gu ben tieffen 
SMflm abernfatbt manaflcKttane b^p<l^3erf otcrfcopp<l9>omm<r/o&erQuan' 

<pofaun/ trie beim aud) jit ben redjeen gemdtwt SMflen/toba*-— -t>jf bar tferbre 

#ni a(fo clavirr, tint Quartfpcfauii affjdf muggebraudjf wetben. £>fc O&av^po* 
faun abcr/ vnb Me gar groffe Sub- ober Contrafcafi Violco titmtti nid)t n>o( autf bm 
gar t ieffen^dffen muficirt wer ben / ©internal etf jnen tnva* frembb mtb vngeubf an* 
Mib t>orf ompf : Dcrowegen map man biefelbe ®£ffe m Epidiapafon m bie O&av 
bruber abfd)reiben j 2ttfo / bafba* oj: oben »on bet fed)(*en ober funffif en itnf abge* 
nommen /tmb 9 jf bie mif fd|?e ober britte/ ober aud) vff bfe tderbre Urn von wtf en m au 
red)nen/gef<#twrb<: £>o tfmpt tfbem Inftrumentiftcngar red)f *nb wol ju ge» 
kaudjen. 



3(* gum (Sptmpd: 



QBenn 



ieTr. 



1 II I I III II Ml «p— —— — — 




SMtp'taN* fompr nun \>ff^ngargrcbm3nprummem im ufyun 

tycn $u blafcn : 23no tft 3(cid)tt>oI ef n< Ofiav rtcffer. 

2Benn<wc$ ctwa m cfttan Chor,fdn(f otor ats$ fjCadjntirwtt 

Crimmmfan/ »no oer Tenor odct Qujntus fjat t>a$ 3); *ff t*r rtcrocn iinien/oo oenn 
offf M* T- ut ooer A-re alp einc Quint v>bcr ten Bafs einfaflen/ wife fo(d)< Quintcn »n* 
ten in oer tieffen / erwcitf wUbnus refonrren , roenn fie nicty fon&erlicb moderirt wer* 
>m : ©0 Unman Mefclbe ^rimme ni djf fo 9«* mit fcollem Jjwrtfe fjerauf fctyrrien/ oca: 
abcr in O&ava fuperiore jtn$en / oocr Inftrumentoquodam muficiren/nad) oemiCtf 
fid) fd)icf en wil. QBeldjc* tomn mid) cben fo wol in aety juneroen / n>enn mif tittd 3n- 
ftrumenfcn ( wie fao fol AnseKigfwcroen ) muficiret n>ir&/<i(fo oatf man in oenfefbert 
3n|!rnmcn«n/Ne^t)nffrc^ftmtt«n^(ICfm Bafs(fofonf?en Baryronus, Vagans, 
Quintusooer Sextus^enennef roirD,) agiren, cine moderation braud)f /oatmif jtefflif 
fcem gar $11 ff arcf en 3:&on *no fotif f erQui nten , ta$ Fundament im Bafe nfd)f wrftfl> 
ben : £)t>er «ucb im finallcnaevnad) oem Bafsiften au$)affc7wc(d)csef(icbeTcnoriftea 
fcjjr im braud) jaben ; was c* aber i>or einen x>bc( ^ ions von ftd) gibr/Daffelbc fan befftt 
mif oem £>&ren geti&f/alfj mtf ien 2fa<jm <jcfej)cn weroe m 

SDfan fanafcer oie ?>ofaunen / Fagotten ooer Dolcianen , *nc Pommern eo<t 
Bombarden mtd) i.1 an&erngemeffKn Olavibus,fo fonffen t?ff ViolenSfetfftn-\mn& 
S)?cnfd)en©«mcn-Chor5crid>tetfeT)n/fof5enDer Sffiajfcnadhibiren wo gebtaucfoen* 

X 2Kif 



ila. 



SJRif 5. Dolcimen : pommern otxr pofauttttt. 

in quarta inferiore . 
x.Cantus. z.Altus. 3. Tenor. 4.Vagans.5.Ba(Tus. 



»« 



,z|fc=:EJK= fl±= M=z 93 ~: 

r — .. ..,./v I. /x 1- , . — > ■ ,, rv ^r ' i. rf 1 — ^. « 




;. Ten. ^ofatm. $>Kt) Qjiart pofauttttt. 0&av*pofflim. 
%itx Chorift Fagot. obcr ChoriftBaf* 9>omttit.£)op;Fagot. oDcrX)*p:<J}etm 



In Quarta 
inferiore. 



=m 



£&crBa(Tcf<pomcr. v 



— "ZStC — fitSS — St^'ZZf "~B~ 
v~v- ZTZ I2T _1 — HZ' ^vT~ 



V v v InOaarai 



O&ava inferiore. 



$0Uf d»Pofaunen /Fagottcnotxr pommcrn- 

1. t. 3. 4. s. 5. I 6. 

r;^ 5 2 sue" okM.^*j /*nWHv.i 

dzzzz s s: s aft pzz° '^tzzzhizzjt zz: : : 



Alt^efmm. i.Tcnortoofauittrt. a.Quart^of: Oaa*-$pofAim. 
JCMn Fagot. 4.Chorift Fagottcn. Quint £op:Fag. 

Baffct Corner. 4.Chor.g>ommroi. ©rofjBaftfpomcr. 

;Dt><r Nicolo. 

Voce humana.'vel Cornetto muto,in quinta vel quarta fuperiore: 
6. vel Fiffaro. 

1.1.3.4.5. & ^7 6. 1. a., ?., 4. f. jtf. 6, 




3„ EI CC _JSJ SMJ 

In Quarta inferiore. In Quinta inferiore. In Odara inferiore. 

JptcrMtjf fcieftf lumercf m / Dotfm folc^m^rotTenricffmBafs-Iuftrumcnten, 
aI§9>0tnmcrn/Fagotten ofcr Dolciancn wft 5>of«umn pd} tmt Cautionesfccffcr 



i^4 ♦ 

—i ' ■ ■ "" ■■ " ' ■ ■■ 

SDfcwdtofccr aUt wit jcftt vff to gammai Tenor ^pofaun tas g vmt a Umire/ftn Air, 
tfd nKnfeer*jfmChorift-Fagot,wi a(fo tti &cr i.^itmcalp tcmCantu,n>m crtnQuar- 
ta otcr Quinta inferiore,<t(jj cm Alt $cf>(af<n nxrtovfol/ntcftf <trcict)cn fonnm/fo mup 
man Wcfd&c @ftomK/«if»c tomfc dncr AlMpofaun / oto gtngd Corthol , tatftft rfn 
f (dmnGant- Fagot rauffciren , otoato Voce humanatwi dm Altiften ftn^cn (af* 
fen. <£* mu$ after m to Compofition wr alien tinmen ta&in sefe&en twtten/ to* in d* 
nor feten ©rtmme tf e Noten vto Me Oftav nfcbf %>fcl| afcendiren. JDenn o&wol ttiU 
d)<Inftrumentiftent>ffChorift Fagotten, MftntfgV fcffTcnor-jpofaunen fcipm* 
3T/ witnod) fctyerfolwdtm fctnauff fommen Wnnm: £0 iff etf todjfo gemem alien 
tttdjta^efcen/fentonmfijrentoten Fagotten mtt>/m tot9>ofatinen un F/*ntjum 
j)<Jci)ften im 57 commorircn »nt wr&Id&en. €5$ miiffen aucb Me Barytoni, oter Va- 
gant-@ttmmen(ta*fff Qaintus)tocn ClavisSignataop *ff to Mitten/alf to mio 
lern#roffe!)ef/md)f rieffer a(f Mfin* c ^feQCf fct>n. 

3ttfdd)mClavibus Signatis,fd)<cfmftd) audj $at ftyrt»a(/tic Violen de 
Gamba, fontoflcto/ »enn etf fcm&dne Quart oter Quint nfetrt<jer gemactjf wfrt. 

SOW 3. Pofounen : iOn* 3. Bafs.pommcrn o&ar Fagotten- 

In Quarta inferiorevel Quinta . S. 




3.^ofaumn*2.Bafs-^ammar. ®rof&op 

pd Renter, 
i.Chor^rttm6^rn«: 



*♦< 



Oh ■" 



I. 



1. 






3.^0f«Utt<n.ChorFag: ©oppef hag: 
Bafs-«pom: @ro^B:g)o: 
i.Chorspofauncn. 



= H 



«. 



8- 



s 






* m U!B 



In Quarta. 



®?K> 



i6$. 

-+ > I m I ,11- ,. I »— »m— — t-Mil^M^— ^ 

fcbtcftnvnfe accornmodiren ,alg Mfoad HypoDorium (bat iff btyvntf Secundiis 
Modus)3<f<i}<ffctm/ »nt> &ann ad Hypolonicum totiftbty MtfDuodecimus Mo- 
dus, fonfim Quintus ofccr Scxtus Tonus gtnattf. 

6. i.'. i. ?. 4-.. 5. *. 



3 



2lL~-h h 4 *Lilt-— Jx *' iL*-. 4 'uL-. . — 



b- 



-tf 1 

In Qjurravel Quinta inferiors. 

Q3nb Wcf< tobtrfep / fo »o( micfc tor Sir jim &q>to in Hypolonico, Mnncn 

tnit 6. JCrumbfyfrntrn/in Secunda fupcriorc (rmbcm^on&olKOmuGcirt ronton. 

tfiac$fo($oit><$ «6<r wrt> mft £nimfc(drnmi im mtyen X\m 

Wit Fagotten, 9>ombar&m md <pofaunai aba; in Quinta inferiorc ♦ 

j. a. 3. 4. 5. 6. x. a. 3. 4. f. tf. 



t 1 — ^__ 

j. < hjfI-P 1 }?™ I — -™i -~ H«- 



-H— 



.rr-==-=-^ 






®it{<vorfyv&fynU/fdmm tnit d.Dolciancn, oDcrovPcmfafr 

Wit/ ofcer 6. ^ofouncn gemacrjf tttfrfcen. £)b man nun nwl fcfct)c Clavirte Canciones 
»mb rtnc Oftava nfcttigtr macben f 6ntc 1 totwtil man m Dcm £ oppt l-Qgint Fagot, 
*>nt> X)oppd-@rof Bafsfpommcrf/im vmcrffrn Clave fca*FF vff xa.^ucf £>r$<!m«# 
ct)<* 3t)on ; 3n Den O&av- ^ofotmen nod) rfcer t>ief<* Da* BF . DD. *nt> jur nof| CC. 
ton i6.*guc0 ^t)on/l)abcn fan. ^ttody titmil t* in fclctjtr grojfen ^tcffW m4)f «flfrot 
w<3<n cct grobm Terticn tm& Quirtcn gar cm ittctytgen / vnanntuftacn Sonum gibt/ 
(n>i<j)t<r von in Sccundo Tomo) fonoan auct) rwen m Dm wet 6d)lu jfcm Da grcjfm 
Bafs-«pommcrn/ vnD Fagotten,ntd)f fo gar n>ol mtt $cfct)rcmDf n Note n fcrf a« f tnu 
mm ifl : $>mtnad) if* c^bc flfcr WD <janu b«\\im / Die / tff folcrx »n& D<rgfa<i)<n Oaves 
Signatas gcfcjjfc Moteten,Conccrten,SonatentmD Canzonet! rmb dmQiiartoDet 
Quint mffetjumadxn: Z\foim<xnttttxn ClavibusSignatis »tt|rid)n<f. 2Bfc 
Dann fotcr/c*aud) cbenar majfm t>ff gar ©roffVn 28met Bafs- wtD Bafs-VioIcn,Do t<? 
Violn dc Gaiuba-Bafsjum Oifcant cjc&rauctjf twrD/fan |Uff<gcfrrad)f ttxr&m. 

X 1 ftimtil 



" ' " -■■' ■ - " ' I I II ■ ■ ■■ I. Ill |« I !W| 

JKu 4. prfauwn /vnt> 4 Dolcianen ofccrFagottcn 
dn< Quarta monger. 
i.Ghorus. Tromboni. a. Chorus. Fagotti velBombardoni* 

r fc— rb-Ml— Hhnr~Hl h-ctr a— f. 



10.4 



* 1. 2. ?. 4.. 1 s. £. 7. 8. 



I In Quarra in- 
fenore 







3; 4 



?. «. 7. 8. 



■ ■!■■■ l.«— 



15 



Trombone vel vocc» 

S)kfcn /. Chor,fanmanattd) roolmit anbcrmlnftrumentenmactytft. 
V 4 Cornamuti. Storti. ftrumb^drncrChor. 

2. 



w 



b 






Difcant. 



Alt. 



Tenor. Bafs. 



3 



XHfftf mttffjtffrm Jfrumtyfrntttt dJfotransponirtnxtfcm . 



* In Quarta inferiore. 



$ 



EsftE?E?fE 



Qua 



: $-S^4k-3=* 



2 






n 



l&tt Bafs fan dtw Oftav flrrfct)en:®K an&tfc©* immw 
-a&tf/a(fjl>erCant,A]t,Tenorm Den ^rumtyormrn / 
Sar fd)w$rlict)/o|m Dt< @d)lu|f<(: 6onftcn tjafon fte nut 
-"tfXlaYCsnafurtJcty.95$tcfaTomo Secundo mu md)- 
Ijrcrn. 

I X 3 253emi 



i66. 



3B<nn«bctt>«rCantus B mollis i(f/a(|MnHypolonico: foimn*«fnSecun- 
dam Supcriorem, b«f tfi »mb tttun 3{>wt f)ot)tr transponirt , vrHi affovff ton j\ttimb. 
tjcrnrtri gcmacbf tvcrtm. 



fj5~35zz 



^ 



d *c. 



~ *A3ti 



Si 



:$:: 



•n- 



£z 



«♦ 



2&=&=Z¥F* 



— H — r- " ■ ' 



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15 



A. 

31? 



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T. 



"■* ■ '*"• J%. © «^^-«— • 



ISbjc 



$"fr 






LJ 



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J- 



SnD tu fo(d)<n jtrumb^rner Chorea fdtfcft ftd) am afifnr b<(fm / MyxoLydius 
(iff &tt)Wi$ Septimus Modus) fo Quartam (non inquintam)transpofitus:3t<m; 
HypoMyxoLydius Regularis(if* 0&avusModus).HypoIonicustranspofitus ic» 
commodirt(ld)j»arttucl)l>ariu/ab« nfety perfe: fonncrni mnntt i wit in wri^m 
Schematesufejim/toSecundam fupcriorcm transponirt ttrfrfc/WiMOttMixoLy- 
dio in Quariam transpofito gfefd) ttrirb. 

VI.@c&afaW)et1 Chon 
gun ecWm^mwoircnjtcty^^^ 
fjjtcfm: Sujj&mcn/tat 2fofcrn Tomo fol. 37. angesogenen Srfadjm: ftaftlbfttn 
&annautt)an$ejd$fww&n/ttKtf»orModi^ 

«a<difiicultet»^incommoditettl)af)mMp W< Sortenfaf? in attcrta} Inftrumen- 
ccn Accorten &urd) Quinten wnrfnanfccr geffrmrmf fan / w<(d)<m affmt lef ct)t afciit* 
WffW wain «(!#</ Durd) Quartempon rinanto0<j?im&Klnftrumenta,vorJan&<n 

fan 



- - ■ 
friitmfa)t«t :%nnuft<nanvox$<ba<bt<m£)tt mft mffcrarrocrttmcrt roorfccn. 3c |>fy<t 
tmfttttuurmm Dtc 6$atoi<9<n cltt b<r$Ui(fymlnRrvuncntzfynil<fv<mbi>a*Mb 
rvcifcr fie torn r«t)«n Thon atavritycn/ batyxo in fccr Difcant-©ct)d(mo) to* f im 
reebfm Thon nictjf jupnfcen / fontxrn basft / tmt> affo nicfyr totf fa:fon&an to* mi: £><' 
rotvegen fcann nom?c ntng tin Cancus fi&us totr&cip ttt^atittn frintmsf. 

__ . .-^^5 - X)<< 3<*tynH<*)(J< toff* 2rt iff/ totf m«nM< 

n ~"T A$y^"~V C " "£«**«* Difcant -^W B, <¥ Mrttonlcfl/wib 

H-^ aSSEjl , I|att<m tie z. j. 4. 5. 2trr wifc Sortcn bcr f>am« 

▼ Difcant-^cfyalmti). 
mfrn»on»nff«anjuu<l)ncn(w^(t<<nTomoSccundo fol. m. notirtf<i5n)|udn<m 
Accort , a(fj fr wbey wricicbiKC/ gefr aucfct: ^0 fompf c* jtift t>m& cine Quart itf briber. 

•* — :«-H — -♦-© 






^*& w— - —it — •— * 

JSkinaft^oriKr. Nicoh+V Tenor $ 






£— 




J- 






. Sort. 




168. 





Bafs-Bombart, 



». Sort. 

VII. 
£mttttt-Chor. 

©nen Imtn-Chot nmm iftiwmn man Clavicymbel ato Spincttcn , In- 
ftrumentapennata, (fonffenfn gtmrin Instrument g<nam ) Theorben , tauten/ 
C&an&or<n/Orpheorcon,Cithern,dne ^toffe Bafs-Lyra, otor »«* wi& fo vUi man *wt 
fMdjtnwnb fcttgldcfym Fundament Jnftrumenten itmtge bringat fon/|itfammm 
otmt : £>atbct) t<tMt rfn<Bafs-©<f$ ftcty w<$m t>tf Fundaments ntct}t ttbel fd)tcfr. 
3BddK* Chor Wobm fol. f. dn(?iia{iWGonfortff!0<mnn«wo«>cn/»n&wc3<n«n* 
tfif>run$b<t$f<(m^tyfm ftor cinfdtfnm effe&um madxt/ wrt^mttcbm (tcb(tct)m 
Refonantz yon jtd) aibr ; Snmaflm id) &mn dnf mafcte We Jrofldjc mi* twmaffm f<W* 
m Motctam dtf fttfflf d}«i Componiften laches dc V Vcrth,Egrefliis Iefus;a 7.V0- 
cum, mit a.^j)«rtm 3. ^amm/z. &ttf)(tn 4. Clavircymbeln wit Spinetrcn/ 7. Vio# 
lende Gamba , a. &u<r-Slflfr<n 2. jtna&flt/i. Altiftcn wt& <in<r sroflm Violen 
( Bafs-©«$)oJmcDr3<f oter Regal muficiren taflm : QBeldjetf rin f rejf Nd)-pr<d)f i$m/ 
&«rr «d)cn Refonantz wrt jtd) g<bm/Alfo/ do* <*m tor .Rtrdjm wgen Ik* Iwtt txt <jar 
tfd<n€>tamfaft aff<* $<tnittm {jar. 

$^m III. €l)ort(?noc^i>tef<^jumo:Cfm;baiJ(tf<j«r«nmru^iuf)d«n/ttJ<ntt 
man bifwctfcnfcmGanttmt) Tenor <tfdnmir dnanfcrftwjcn/ Dm Alt vn&Bafsabtt 
<ut(f<n/orxrmirIiiftrumcntenl>arju muficiren taflc; QBdcfctf/wtf &<r Cantus wft 
Tenor mdftcnf&dtetn SextenmimnantcrfowscJKn/dn^urm effe&um mad)f . *3Bic 
fa&crprsfation Polyhymniat Panegyric* tm Gencral-Bafs mtf iW&rmn jwerne 
men* 

©a* VIII. Cap. 



I7<> 

mif barcin ftngcn f 6nt eu. £)icwert ctf aber cf iid)c n gar ju fcriie d)f *>nb cinfaltt'a fut' 
f ommcn modjrc/ fo ()ab id) biefelbm gcen^crr / »nb an »n«rfcl)f cfccncn erf cm mefcr 
Variationes mif wnbrocrr/jjuina berChoren, vnnfc t>mb fcer Urometer wiflen 
CfUdjcRepetitiones »n& Digrefsiones miffcicnem brmejen fvotfen. 

SSnnb ifl \)Utb<n bitftt su mcrcf c n ; 3D i wcil Die ^rommcf er of)itt Da^ gar 
aufefcrfon $u ctfen gavo^tKtfc^n./ fmfemaf)! lie Zromnuun rincn ffarcfen 
2lfr)frri rcquirirn »nb erforbcrn / tvefdjet fo (angfamb md)f fan continuirct 
werben) bajj man an ber£)rf ba bie 3:rommcfcr cfnfallen / mil bem Taft tin wt> 
ntgmebrforfdfe/fonffcnfommenfK mif #rcn Sonaten «H$rif ju frutjjumm* 
fcc : #crnad)er A&tt fan bet Trad roiebcrumb eftva* protrahiretivcrbcn / bijj 
*ab fo tons wiebcrumb bic 3:rommcf cr anfangem 

<E* jtirt aber bf cfe Concert-® cfSngc alfo »nb bergeffaff amuovbnen / baf 
ffimff / fcd)S obcr ficben 'Sromef er neben obcr ofcne mum S)i( rpaucf e r / an eincm 
fonbern £>rt / nar)e bq bet ^trdjen $cf?cllef roerben : bamif / wann fie in btx ^f r* 
d)cn|fet)cn/bcrf?arcfe ©$aH tmb j£)aff bet 3:rommefen/ bie ganije Mufic md)f 
*berfd)rct)c tmb »bm&tb</ ©onbern tin ffcctl neben bemanbern/wnfmbud) 
*nb ci^mtlict) gejjoYf werben fo*nnc. Znj benn mu* fcer gapeffemtteffta /obcr em 
anberbcrberf lactfgewitf / ben General-Bafswr jtd)t)aben/»nbbcn ^acf affb 
fubren / bajj jfm bet Chorus Muficorumm ber Jttrd)enauffoef cincn/wtbbie 
^rommcfcr auff b<r anbcrnfeffcn/fonbetucb abcr b<t bic Quint , obcr wic ftc t€ 
mci(!cnt!)citoncnnw7bcnPfincipalfuj)rcf/fcJctt»nbful) barnad) ridjfen ton* 
nm. 

3d) Jab abet ja tintm jebern fo(d)en Conccrt-^efange / We &t mtmen/ 
wtc (iebte ^rommefer barju blafen tfnncn(bod) auff emctf/cDm wrjfcnbigro 
wrbejfcnmg) mif babei) gcfcijf. 

^nbbicwrilmatfenbingen/ bie Varieras anmui>ftg »nb angenejjm/fo 
{jab iti} in bm ^cuffdjen aud) ef (id)c Variationesmif eingebradjf / ba$ bie^rom' 
mef er»nt) J^ecrpaucf cr/nid)f affjet f iufammen mtf t»oHcm S^or etnfaffen/ fonbern 
btjjweim aUcin mff bem Claricn,ber Choral ju bem ganQen Choro Mtifico 
^cfftjjrf / bi$ wciin jween Clarin, obcr emem Claricn »nb Principal, ctn Duum; 
obcr aud) nod) wof mif 2. Clatien t>nb etner Quinta( baj ifil Principal) cm 
Trium barju6<mad)f wcrbe. 

^nnb milffen »iuer ben ^rommcfern »or alTen bfnaen jum wmi$fttn 
eween/ al^einer bcr bit Quint fujjw/ wb beranber/ ber brt anbct'C Jar inbl^ 
(ef / bte Mufic »er|!er)en / »nb c* alfo/ ft»fe id) e^ auffgcfwxmb voraefdjrieben/ auf 
5<n Noten ju we sen brinaen f onnen / wrjjanbmfojm 



169 

' £)aa VIII. Sapitui 

ADMONITIO 

S8n& 

<£vmnmn$/ 

SBefcOer geftolt ftt roemm Polyhymniis <m$ atifccro 

Opcnbus, Mc *ammfc£e vmt> X<urfc^e uciptfcfec £trd><n4tc&<r tm& 

Concert-©*j<tos< «na,*ort>n«ipnt>ans<|Wfa tvcr&m 
fdnncn. 

*Ob *war Mimiistict/ aUt tmnt> jct>e mand^rity 2(Wtt / fai&tt frit 

Componiftea auffjujdcfyncn MD ju defcribiren: ©o j)aHd)bO(J)sWct)»oI 

atyiar nur etltcbe fontwud) to' efc/t>crcn idi mid) in mrfmn jBi$«n nmxn jwar $<* 

rtnacnOpcribus, $(fjnanb(ict) in &<n Polyhymniis gcbraucty/no- 

tificiren wi& affcrn tvotfm. 

<£$ ftn& afar wwcr anftrn / wrmmMtd) 3»dffcrfo) 2rt <n tarinnm 

fagriffcn. 

©k I. a«. 

2:r ffrfleit 3 rt/ frofc Dtc lat omfcfce tmb 

ScuffdKCantiones in Polyhymnia nim: 
Tubicinia & Tympaniftria : &afdb(?cn 




£>it<£tftt 
Ztt 



man ad Placit um toe Srommefcr *m& .£ wSpaucf en in fce- 
ncn ivtrctjcn / tact auwraMroovfm / t>arju adhibiren wt& 
\ a,<braud)<n fan. 

, QBil / fan/ ofccr twff man a&« toe 'Srommtftt ofcct 

j£ccr^aucfcrnfd)tbraucl)en /fo fonncntoeffGantioncs 
in©fatojttrd)en/nid)ftf fceffo nrin&tr/ofync jjuiffe wi&jw&un ttr^remtttta/ 
gartt>c(Muiic(rt» tt^alfotiannjjjrcSonadenjWi&ttJatftJor ftcfcarbfljcompo- 
niret, gams auf&ctoffen wer&tn £>a abcv *bria,< Inftrumentiftcn jwjiatt- 
t>cn/fan man fcaffdbc mif ©e^cn/ gincfen »nD <pofaun<n ^arju Muficircn 
laffen. 

£>tc 3cuff$< $cf3ngt ftni> <m anfangmciflmt^i^/wnmir^tn^ 
ric^fct gcmfcn / t>af m SSoJtf vno &ie$aniK ©rnidn in $cr .ftirdjm auajdd) 

5 mif 



171 



<Sin<ema{)l Dererfie Clartn aUdn miff Den Choral gcricfyef / wiD *on 
diiemjcDcn /DemeDerfdbe Choral bcfam/aar (dd)f intooiret wevDenfamSEBie 
Dann aud) nid)t onntfrta, / Dap / Der ten Alter- Bafs fujjref/ Dap fdne aud) au* ten 
vorgefcsfcn Noten Studirete , Damif Die Confonantien WiD Accorden,in ten 
Drc\)cn Principa|- ^riramm / red)t jufammcneintreffen : S)te anDern al* Der 
Volgan, ©rob/^laDDerm-ob wiD J£)c<rpaiicfer ridwnftd) afldn/ nad)DemDer 
Dm Principal fityref/ vnD fonnen j^r Q^artc^ »or ftd) fclbff wolftnDen/ alfo Da* 
fte <jar fciner Noten »on niton tjaben. 

3&ann aber in Dcr Mafic cvfatjnu ^rommefer ntd)f »orf)anDcn: fo f>a6 
icbauffdnldcbfer mttfdaeDadtf /Da§ fte nur atfdn #re acwofcniidK Sonaden, 
mif proportionen tmD f ripeln, aud) otjne Dicfclbe/ nad) tern Der Concert-©^ 
fang scfei$f iff / miff cine/ sit>ct>/ fcafbc oDcr wmet 9>ofl fujjren/tmD alfo tnif etnf?in> 
m<n. ^le id) Dann jur nadjvidjmng mid) ctltdje foldje/ gcmeine Sonaden 
Darbet) gefeijt {)ab. 

2Uj)ier mutfid) aber nod) ct(id)cTerminos , wiefte b*9 Den 'Srommefem 
a,ebrciid)itd) fmD/cxphciren. 

Intrada , if? ojdd) wie dn pracambulam WiD final , Dcffcn fte f!d) juttt ait* 
fan^ et>c fte j(>re Sonaden/ wann $u ^ifd) gcblafen wirD / anfangen/wtDaud) jum 
aujfyalr en wiD final o,ebraitd)en. 

Sonada vel Sonata iff/Deren fte ftd) jum ^ifd) bfafen/ and) jtmt ^am$ a> 
braud)cu : wiD nenne id) DeniSorfawj/ Sonada ot>ne Den Tripel ; Den Sftad)tan< 
aber Sonata mif Den Tripel. 2>nD Dietwtf an Dem Der bit Quint cDer Princ ipal 
fit^ret/ am mciffen gelegen/ fo mu$ ftd) nad) Demfelben / fo n?ot Dei CUrien btffer/ 
aijj Der JJeerpaucf er/tmD DieanDern atfe rid)fen. 
<£me 9>o(i \}t\t \6> Taft in ltd): 
<£in tjalbe g>o>? 8.Ta& ; 
<£in i>terfel<poft 4. Taftr 
2Bie wol edtd)e/cine^oftauff 4. Ta<5t. 
£ine*>icttd9>o|tauff a. Taa red)nen ttjoffcn/roefdjetfa&ernfdjf 9>af* 
ficrenfan. 

S)er Principal , Quinta , oDer wie etf ertidje nennen Sonata, iff Der reefy* 
te^enor/ Der Den gawjenChor Der^rommeferMnD$eerpaucferresferfi>nn& 
ffijw. 

ClarienfflDerDifcant , Der fft|>rf Die SSReloDet) oDer Choral/MDcxor- 
n iret Denfelben / mit auff : lonD nieDerfauffenDen Diminutionibus oDer Colora- 
turcn,nad) fdnem gefaflen / wi& auff^ bejie er fan wtft vet mag. 

V 1 2Uf<r- 



172 

» l« J . II » I.. ■ - .1.1 ■ I II II 

2Hftt-Bafs iff wit tin Alt,bcr atfcjctf mitTemen,Quartcn,fWfcn mtr 
Quiatcn , ju bit Sonada obcr Quinta tinfttmmcr tmb forget 

Volgan JKfr bicQuintamtber ben Bafs obor ©rob/ »nb McKfaffidf to 
tin<m Sfoon / mmbltd) im g. 

©rob if* b<rrccbte Bafs tmb Fundament, bldbt aud) atydf in riwm/ 
alfi wmbftd) in/c,auffwr Sucjj^on* 

§iabbtt©rob/ f>ett nod) rineOaara, tmrcr bem Bafs ob<r ©rob /Mb ift 
&atf/G,auff8.$uefr${>on. 

2$nb bi<roti( gar <jc&v<ud)fkr) / bag bf< Quintatmb C laden , fonbertfd) 
mnn fit Choral ober anberc 2Cwn / in j&ren Sonadcn fityre n / mriflfcm fctiitf m 
Octaven mifdnanber $ttym / tvtidK* town c tnmt crfat)r ncn Mufico fumbb »or* 
tempt : ©o l>ab tcr) in<f(id)m bi<fm Concert-©<f<fo$<n/auff Die ob<r(te br<rj 
€5fimmm/ afjj jum Clarin,Qujnten »nb TCfKr-Bafs^ie Notcn bar ju Compo- 
niren »nb&u<$feid) mit£)rucfm(ajjm roottcn; S)amif ttc ^rommcra / fo bic 
Mufic*<r(fcrjfn/ba}T<(b< Exerciren , t>nb alfo mit beflfcrev gratia mbenjl bem 
ChoroMuficotinfttmmm fonncn: QKkroolctfbodjafljw ofcne DHfonantien 
wtb anbcrni wrbor t<nm Speciebus nid)f rool fan s<fei$t werbai. 

2$nb biffa: $rffcn Ztt Cantiones , roerbm in mtiner 1. 1 1. Polyhym- 
nia Heroica feuFuficinia& Tympaniftria Mb tmAppcndice III. Poly- 
hymnix Panegyrics <jcf(ij<f befunben* 



©fell, an. 

?ft Mtf<*$nttm 3ftt / mUflfrn wVr 




1 jtnabm / an n>i<r abfonbcrltdx £)«cr in bar ®w3fa&W 
5Cird)m $<gm tinanbtt *>b<r / obcr wo&f n tt <*tU 

ftd) fuglicr) fc^tctett roil / 3<fM« nxrben : 2C(fo 

batfber €r^</rodd)erb^b<<£)r3<( wrorbner /sarafftinanfa' 
$<> bamacr) a(^ba(b t>cr 2tob<r ; tymfttt ber S)rifK ; tmb cw* 
fid) btt2torb</ (fo bap bttt plenum chorum Muficum , cho- 
rum pro Capella QtfttUtt wttbm mu*) tinUtot b«$ M$tifo in ftincr ©rimm< 
3<funbenroir&/ftinrtitt/frifcr)/ bwrtidjm wofomKmblid) ftn#; »nb bicNo- 
ten £(rfd)famb<iu(jfprtd)< JDarauff refpondiret afpbann bar aanijcChorus 
Vocalis 8c Jnftrumentalis Mb Wf ©r$rt/ wtidjctf von bm 3fa(itfn<rn/ roi< 

brobm 



*73 

fcrobenanjjeieta* / concertiRipieni,fco|j ^Chorus obtt Concentus plenus, 
fcemf/ftmmtfje Chor acnenner / tm& t>on an&ern mit ton wow Omncs eto 
Tutti bejdcbner nrirt). 

S)cmn«d) eg abcr crwag Mo|j f ttn$cn wifc laiwen wo(f e/wann bit JCnaben 
tvdfttondnanfcer/ oj)n<Fundamenta*or jicbaildnealfo <6tn^<nt?n5Intonirn 
folfen:(roiewoleg/ wann &te,£nabcn fdnc rdnc€5nmmen fcaben/aud) nid)t 
viwnmu«3ju!)erm)€)oif?cgfc!)r3uf / i>a£/wo man cgjjaben fan/ be} dncm 
jcDm^nabcn/cmRegaUPofitifEGIavi-CymbelThcorbao^r^aumngcor^ 
net/ Damtr alfobct) fcemitnaben/wenncrfmad/iuajetet) mtt&rem gefctolaaen; 
t>n& wenn cr ffcllfcbwdod/ augldct) amfdbtamJDrr aud) m^alten werfcc/ wtc 
fcann aug fcem General- Baft oter aug fcer Capella Fid icinum , dn abfbn&crtt' 
djer Bafs ju fcemc / wag dn jc&er $nabe ftnad / fccraug gejog<n / wm5 fcafdbff ett 
auffmFundament-Inftrumentfan aebrauctywerfcen. Jnmaffdt fd)gm&citt 
(Quern paftores &c.tm& Vbi rex cil gloriarum: Exempels wdfe bMbty $< 
fc«f / trie in Decimotertiotmn& Decimoquarto, &of t[t/ mtW ij.fcmtfc 14* 
©rtmrae ofcer garret) ^f<tBf?m fTnbcn iff - 

9Bornact) tin jtbtt ju&cnan&crnaJefdKrgeftaff /fofd)< S&flfg Jeraujfcr 
|ict>eit /wife ftd) Derer im Znctbtnm gcbraudKnfan. 

£g t ji afar n&t a / &ag btt Draanijl I wann t*r tint .Rnab ju ftm <jeorfcnef 
with I Dap fltflfe/fc tmD fanffteffe Gedaa-Sfcgf (far miff 8. §u J^j)on/tm2Rucf >Po- 
litiflfoDcr tm 6bcr'3Bcrcf e atefje/tm mtf &emfdbcn.£nabcn/aHff dncn gar (anafa* 
men Tad juaJddVintonire : <2£cnn aber ttx Plenus Chorus emfdt/fo fan er im 
SBercf obcrabcr fmPofitiffdn fd)&ffcr$Xe<u(?er/t>(>d) ajcfd)wolnicb<&ag»off« 
9©ertf(wtmHct)fwoffcn/t>am(f eg tic an&ern ChorosD<r VocauftenvnMn- 
ftrumentiften nid)f »berfd)rct)e tpn&fcbenaube^ebrauctjen. 

^Sct) &em an&ern jtnaben fan man tin Regal, bet) fcmtrf ft at/ fcenn tour* 
fmChor MbClayi-Cymbel ( w<nn£)rgant(fm»nbfo(cb<Inftrnrnentawr 
J)an&en bet) &em wmen tin Pofitiff o&er Regal o&er Clavi-Cymbel fyabtn. 
aucl)jfc$tct) bet) jc&en^nabcndncnln{trumentiften,aljj tern i.^nabcn et* 
nenmir fccrDi{cant-(?ef<jen; &em 2.dnCornettiften ;&em j.aud) dn Difcant- 
©dgj&em 4.dnSMotf e&er£u«fdif< /o&<r«,areinfdn3lftdem/wdcbeg fid) 
in Pleno Choro furnemb(td) / wenn eg dn surer SRdff cr braucfot nidjt »be( jjctott 
tcfl/ au juor&nm wdctjc aber nfety e&er dnfaffen/afjj twnn &ag wort Ripicni, 
Omnes, Tutti ,Chorusautconccntus Plenus &arbet) gejdcbnef. SBoabet 
fcer Inftrumenriften m'djf »br<3 vor()anl>en fc (fig beffer ^a^ Mcfctben bet)dn an# 
ocr bWbmj^nn^ a(g Dann fan man ft< alTjufammcn an dnen fontxrttcl)en£)r( 

^ 3 fttUtni 



174 

(MI(n ; Die Vocaliften attct) abfonberlid) / ( aletdjfam vor wenta, 3al)ren jut 
sftaumbura, von miran$eoTDnef tvorben) Da benn bie@rtmmen in plcnoCho- 
ro', nacl) cut : ober mel)rma[)l/w>r Me Inftrumcntiften /fonberhel) abgefcrjrfcben 
werbenmujTcn. 

£>teroefl ab<r «n alien £>rren / nfcfoffow'eljDrsanffren/ obcr aber micb 
Fundamcnt-Inftrumenta > (a(^ncmb(tcJ)Rcgal > Po/itiff,Clavi CympeJ)*>or> 
^anben ; fo rjabtet) eine fonberttctje Capellam Fidiciniam tximaben gefep t t j tvc(> 
cl)c von wer @et$er n (Me man cwa bet) ben anbern ober brifren jtnaben / btt £)r* 
$ei $e$en vbtxi ftetfen fan ) fe/n frifer) wt b ftyarff M u fie i rt werben mutf / wdt fie fo 
wol altf Me£)r$el/ ajetcbfam fca^ Fundament ju alien rter,£nabcn tylt / wib fort 
»n D fort oljne 9>aitfen mif aejjet. SBt'ewol in <t Itcben ©eflmgen / fo ef rt>a$ lana, 
fa)n/A($(3Bftfd)foUuct)tttWft anbern )ld) MefeCapellam bigwriln 9>auftrn 
la jfc ; £)a tmmif telft ber *aw en-Chor , ober Me £>r^cl mif emertt fanfftcn Sniffer 
roiw? gebrauetjf werben. 

£)berman fanbteDnjelaaawetjen /alp jum erffen Mb bxitttn j\naben/ 
Me berfelbtam $um nccfeflcn geffettcf werben mujfen ; *nb Me V ioliften ju ben an> 
fcern bet)ben/alj* $um anbern wtb werben ^naben gebraucrjf : 2$nb ajjjbann mu* 
manm&«GapellaFidicinia,no«rm»nD»nfer|?rdcl)m/tt?a^Dkfc(be^nab«i/ 
fo bet) jjmen {! efrtn/ftngen : bajj J>iitt)erf?cttt3c/fo Me anbern bet)be ^naben/bev) rem 
£)reaniften ftngen/ fan fca£)r$inifi/ ror pel) aucl) autf ber (EapcHen abfeijcn/obet 
aber in bem General-Bafsnorirn wtb vnferacicrmen : bajjalfobte Variation 
*nbvmbrcccl)puma, befto beffer/ aUentjjalben tnadje aaiommcn werben mo e <je. 
S)a fern aucl) bet) jebem .ftnaben / ein : Mb a(fo 4. £)ra,antflen wclcDetf 
jwar an wenta, o e rfern gefctKljen fan>or()anben ; ©0 fan man / wetl ol;ne batf Me 
£)r«antf?eiwr (tcl) ba$ Fundament tonb SDeufel*©ftmmcn anuo/am fityven/ 
tm 1. Wtbj. verfupuerorum / bit Gapellam Fidiciniam auffen lajfen 1Mb bit* 
felbeprovariatione,bamtf bit Violen nid)falf$etf auajetel) mif forfeit /tit 2. 
*>nb 4. verfualletn/tfnDwenn ber aanije wife Chorus proCapellabarau fempt/ 
iua,letcD mif etnfttmmen faffem 

QBtewol t$ aucl) <jar anmrw'3 Mnb bit worr bte ttptt beflo be jfer jtwotv 
ncmenfe\)n/wenn mantmanfang ben er(?en^erp/ curd) Me ^naben^ar affeine/ 
in etn Itnoe* Itebltdje^ (Sftmletn Der £)r<$el / ftngen le(?/Dap Me ©etjen »nd tauten 
gamjauifen bletben. 593o fern abernferjr »ter gmc^naben »erj>anl>en/fan man 
z.^nabenvno 2.Tenoriften: o&er j.^nabenwtD 1. rcnoriftenrooerauct) 
vter Tenoriftcn nemen : ober an flabt btt 1. Mb 4 JCnaben aween Cornct,ober 
wei) Violin, ober em Corncc Mb tin Violin gebrauc^en / nad) bem mane^ 

baben 



iJT 

fcabcnfan. SDcntt oft ajeicl) ciner ober jmcen Difcant nidjf vi»a ober human* 
voce, fed Inftrumentali flam ofcne <£ erf adorer werben/fo fan man bod) Die 
worf»nb»or^rg<fungcncn^c)rtDc0i.»n&3.D!fcans,au^ocr?Kdol)o) fo tm2« 
»tt^J)ifcant,bcn<rftcnaJcid)al$ tin F.chorefpondiret,leid)tlid) errafctcntmb 
nacfyrafjme. 3« ci*lidK£>ra/ta/&af man bic Cymbel-@tfcflein/wcld)c jum »otf en 
Chor 3C*0($cn/$ar fiebdd) / fctjdn / anmut 13 ^ct><5rf wcrben ; mtct) wol bijfaeito / &a 
|Knfd)faarjii^avctf(m^en/ tvcnnMc jlnabm atfein fingen: ttiebannemjeber 
Muficuswio Organiftfetbffcn in fritter jtirdjeu/bic $e(c$cn!)ri< fejjcn/ wooer 
fadjen beffertmo ariftcr nad)bcncfen fan. 

SMewetl aucl) crttdje / bicfer anbern 2(rf Concert ,ttct2$er|j (jaben / fan 
tnan bcrfelben fo Wei man wil/nact) rinet jebca Rivthmm bcr *prcbta,er gdegeri^ 
fjetr/3ebraud)cn obctau|Ten(affen. 

£)a$Qucm Pafh>res,&c.*mb /§rewf cud) jt)r ft<t>en <Ef)ttf?cn &c fan 
man »mb cm ^t>on footer Muficiren : »no in plcno Choro , fonberftd) im ( @e* 
born<|?©Offe^@d|)iilem)mif«neroi>et2.^rommefen einftimmen: SSctlctf 
aberein Quart ntcbrfa,en|l/aljj bcr'Srommefcn-^ljoinfo mutfman jwcen *mo 
<m fcalbcn jtrumbbugel / »on einer >J>ofaun auff bic 3r emmcren ffctf en / fo fltebf* 
tin rcdjren 'Sfcon tn$ G fol re ut . 

2$nnb bicfer 2Cnbern %xt Cantioncs tpcrben in Polyhymnia 1 V; 

TS^t,7rcU^O06dVCd fen Quatuor vcl triuin puerorum Concentuj and) it* 
Iid)etn Polyh; III. Panegyrical jinbenfeqn, 

?A y Coticert-@efifoae tmt> Pfalmm/ fo X.7^-— 
^5«biefer^)rtfTcn^rtaccomtmodiret,fmO met* <w*Jiw* 
[ (?cnrl)eil0 / nad) bcr j^'gen 3f altamfcb* n$ftanfer <(f f ♦ 
;auffetltcl)en)enf3concertat-0fframcn( Voces 
^ w- w^Concertatas^crtdjfu : £>a man etnen/sween obet mcfjr Voca- 
Jiften, otenid)rollcmfecur,gcwu? fetn/tmbem fd)o*nenafurltcl)ere{ne©ttmme 
l)aben/ fonbern and) / biefribcfcmaw'avmMicbticb iu moderkeatnbamniifia, 
(gratia menre)$u (ingen wiffen/in bie£>rod obcr Regal rinfwoen If |f rJnmafTm 
m3falia ieovblid) /»nb ex Ludovico Viadanaj^iio welen anbern Muficis Ita- 
Hs,tm^.c.»bGeneral-Bars,wianberndrfern/mifmej)rerman5eiet3 f worbefff. 
JDtewril aberau foId)enConcertat-©iimmen/a0erIe\j Inftrumenta,atid)Ca- 
pellen seorbncf/wt alfo mandjerlo) Varianooes barbei) ang/fteflet wi 0raud)t 
aerbenfdnnen ©obabtcfc bet) bicfer 3rf fed)* mw^^^ 
virct, Mb mid} bcrfclben sebraudjen wota. S&fc ©#* 




1 77 

tfdflJg gefwrweren/ »n© alfo &*r <jaju}eChorusj>afelbf?en mtt dnflefe: Staetfoon 
fajt mtt &er V I. vnMX. 3m tbcrrin f ommen »ur&<. 



©fcili.SR«ifcr* 

©t< Sirfcte QRam'tr/ iff and) $tdct) bet <&r|Jen : oj>n *Jdn / bag <4 

bafefbffen/ MeDifcantaufF3fali4mfdK Srfgediminuiret,wmt Wi< ttttli&X 
nennen coloriret *nb jetbroc&en / aWdjwol aber Me fctyedjten Noten t>n|<rf>r(V 
d)en / and) jue(dct) mtt baramer wib babct) gefeset |)abe ; bamif We jenigtn / beneit 

Mefe TUttm ftn5<n/nocfeiur|d(t>nbcfanfm<ct)^fc^ott)<tt<3(t/t<<f:©cpn3<A u ^ 
aflcquirn vnb be$reiffen modern 

<E* if* aber barne be n ju dm jebemCantu- Vocali,dn Batfus Inftrumen- 
talis , Mb alfo jubettfrdben Difcantcn jnxene £afesg<f<Qtf/1tt(dK&Aftfft$ 
<\uct) fa(? bero,e|Taff / wie Me beijbeCantiis mdnanbcr fuglrn : £>a bann bet tint 
Bafs mtf dner Qgart-5>ofaim/ ober Bafs-@dsen/ ber onber mtt dnemFagot 
ober fftden 9>ommerftmb alfo minowerfdjiebenen Inftrumenten, dnent>on ben 
anbetn bewltcfoer ju t»merfd)dben / wtbjuwrnemen/ Muficiret n>etben mil*. 
Stob fonnen Me ©rfmmen/ fo man will nid)f affdn in biefer/fonbwtfoatteit 
folsenben SWanferen Mefer brtffen Ztti perChoros mb aljfo wmdnanberaar 
fuelid) angeffdf / bod) alfo / bafjattjeif dn Bafs , 6et> feinem ju^eorbneten Cantu 
fcletbe »nb gelaffen merbe. 9Biewol man and) Me ®4ffe/ in maligning betlnftru- 
menten / gar »oi fan auffm / »nb Me Difcant attdn in Me Orgef I Pofitift , Re- 
gal oberanbernFundament-Inftrumenten fmgenfaffem 

$ton fan auct) surt>mb»ed)fefong /folcfoe betjbe Cantus ofldtt mff In- 
ftrumenten,al£ z. Violin /tnb 2. Cornettcn 0beTi*$l6*irtin/0beT 1. Cornet 
Mb 1. Violin Muficiren,vnbhumanas voces au (fen laffeit £)btfftim etffeit 
maM voces humanas : jttm anbern ma|)( Inftrumenta : juttt Mttttt moJ)( bity 
berlet) jufammen gebroudjen. <2Beld)e Earner id) bann in Exercirung t»er Ma- 
drigalien, tmb anberer ^cutfdjcnSJScff lichen ©efangen £ 4. 5, & 6.yoc. obfer- 
viret,^nber(td)enntci)(fogar»bdgefaaen. 5Da*man pro prima vice,f.ob<r*. 
vocaliften ; Secundavice, ffmff Inftrumentiftcnmif geigenbenoberbtofrobm 
Inftrumentiftcn ; Tertia vice atfejufammen fallen / Wtb Muficiren (ajfe. 

3 »« 



17<S_ 

©te U SRmifor* 

SlfSrfu CWotltcr/fflaufFDc^ Ludovici Viadans, Ioan:Dama- 
fceni,AntoniiCifra ,IacobiFinetti,SeraphiniPatt«, vnb anberer Mi|e|)H* 
d)<r Italorum Muficorum jijt<jc Zvt gmcbftf ; barinnen /man jwo/ btct) ober 
t»icr Conccrtat-^nmrncn / fo man enrweber betjdnanber ober t>oneinanbet / to 
mir due ©fimm fur ber anbernfembaiflicb/ *mnbvnferfd)iebud)Wtnommen 
wrbcnfiSnnen/bet) Ik Dt&l obet em Regal-^etcf orbnen/tmbber£)ra,anijt/ 
au£ bem General-Bafs bar jit fctyagcn wib fpicfen mufj. 2$nb to biefer <lr|?m 
Qttaniet fan man pro vcriatione affadf/fomanroil/an fla« ber Difcantiften, 
Tcnoriftcn nemen : $>« bafflt bet Bafs, wo fern einer *>orj)anben / entwebet auf * 
$e(aflcrc/ obet abet in Oftava inferiore.feu fub Diapafon, roiewo(e$nid)t in a(* 
(en von n&en t(l/ Mufkiret roerben mu*. 2$nb alfo tm <je<$entr;etl an (faff bet 
Tcnoriftcn, Difcantiften ncmen / wofern fern Alt babq wrtjanben. 3n ben 
Tncuuis abet /fan man ben Bafs bigwdln/nidjf humanavocc,fonbernewa 
mir dnet Bafs-@d3/ 9>ofaun obet Fagot ; barju Muficiren , btfm>ei(n aud) ben 
Bafs gotaujfen iwbatfdnMebet)beOber<€>f(mtMn/to bie£)ra,el obet Regal fin* 
genfajfensman fane* aud) wubfefcten/ twib NebeflbeDber^rimmenmif awo 
Cornet ober swo Violin, obet wo §(6*tfett/ benn Bafs abet hum ana voce ftn^ett 
tajjem nad) bem <$ dnem obet bem anbetnaelujlef. 



S>U $ftrtxr SRatttar /fft fa/! bet SrlfeSSKanfer ^feid) : 2Bfe fte bann 
aud)/alf fet toon ben Triciniis erinnetf wotben/ alfo au$ebtand)en : 2Wem bitf 
gcfclf mir md)f *be(/ bap tm anfana, / rote id)* aud) babet) noriret, Me ^naben aU 
(dn jtnsen/ mt jum Bafs dne Quart-<pofaun obet r agot, in O&ava infer tore 
gebtaud)t wetbe : wib »enn bleproportion an$e&ef / 2. Cornet ober 2. Violin, 
obetz.S^tfen/obetabeti.Cornetwbi.Violiniobeti.Viol a vnbi.§(o*ife/obct 
rote man e*fonflenbutcrjefnanberwed)fe(nw«/jug(etd)mifben^nabendnfaircn. 
QSenn abet bie proportion aumenbe/foj)alren tit Instrument mnen/bi^ivic 
bet limb aut proportion, tmb aec&feten alfo trnib / btf aum Final jjtnburcr; . 

23nb btefet£9?anfetfo , ntememe*etad)fen*nod) ein beffere gratia »nb an* 
mftrfjfdr segeben tverben / roamt bie proportiones mir 4* ober f. ©rimtwn 

w'ttta. 



13* 

©ft 1 1 1 u SKiitikr. 

SteSJfcrte SDtonfcr/ iff <jWd) D<r$rftai -, Mnibaf fcb D#|?ot 
attffoMbtt'QMfft/ cine Capellam Fidiciniam, wddK ncbm ta£)r<j<l obft 
Regal , bfc Harmoniam tn Den 3Rif tcf fftmmtn/ bcffo mcf)r crfuffen wiD vcrmet)* 
rmt)i(ffr/^f<ii( fcatx; twittt^. cap>Di<f& ©rwm^jKil* ^(rtonm^rgcfasf 
wrDaifotf. 

3Jn& Dt<f< Capella < j? fonberud) $ut wr 5te *>n<j<tt&f c £>raa»if?m / fo au* 
tatt General- Bafs im anfang fo MD Da* forty* ntcbf prar ftiren f Snntn t £>fe* 
t»«i M'e $Kiw(- <pami)m / in Di<f<cr Capel gang «uj&efuf>rf befuntat wcrDm. 
3$nD in Differ Cap: Fid: if? snua/ wenn Wrfc rter©rimmcnt>orffcl)aaeine raft 
wiDfauber gefegf ftyn/ ob ftcaletct) fonffen / 3*3*11 Die anDern Vocal-^rttnmen 
iu revidiren, erttdjen eftva* frcmKb tort ommen mod)f e. ^nb jjef f t id) jwar (bi* 
d)e»tcr©fimmen$u Diefet Cap:Fidic: wiDaud)fon|fen/nw aaracrmsermuf> 
tberaUlfofciientfnnen /Dagft* seam Dm juaettfrigen Vocal :»nDConcertat- 
©fimmmroerDctn Vnifonis na# O&avenoefunDenttmrDen. QBeiltd) abet 
Daf)in3*fet)en/ Dap DerChoral auc& total ViolenwtD anDern Inftrumenten 
gettfrftmDwrnommen wuw/fo !>afc$mirD*ra*f?aff ju fc^m aJfbbeuebf:ntd)f 
jweiffefmoe Dfeweil <t bet) Dm fumefflidiffenMuficisItalis fciaetaeif aansfefcr 
5cbrmci)ft<^/«?t»«Dent><r(f<nDt3<WDaitffric^e<^Mufici jtftDarmif conten- 
tiren, wiD meinein Tertio Tomo oncogene rationes Dorbty / JU oWcrviren 
jj<t)nfd)f »erDrte|T*n laften. 

^mutfabcr<#i<rfonD<r(t<^toAd)r3mommmmerbmf^nummffd' 
ttm^frt&m/ (SapiffmtmD ©«n<ta)<rn/ Df* Capellam Fidic: wamwnDm 
Vocal-©ffmm*nnurcmc/s»o ota eilid)* m^ralTctit tmD Mo&$efungenwa> 
Dm / *af / wemt dn Regal ota anDer Fandament-Inftrumcnt wrjjanDen / tie 
Capella Fidic: $arfanffcwD(W(*Muficiren otaaber$arauf|w3efoffenwer* 
ix : €>onff<n fan man Die Voces humanas, propter ionum Inftrumentorum 
niitfodgmtWdjwrmttun. SngroiTenjftrctKnaber/ Da man btefe Capellam 
Fid: ttmtwcittcx t>on Dm Vocibus fepariren, vnb abfontalf cl) ff effm fan/Darff 
man fte nidy aujfen laflfai : ©onDcrn i(t I propter pleniorcm harmoniam 
jSccbn&s$u$*braud)m. 



©ie V. Sftamcr. 

J©«Sfaffte9J&fflwr/ iff ^iddj D*r StorDm/ of>n< Daf no* vfoDft 
Ca|«llamFididwam^toChoruspfoCapclla,w<l^ bifwttofo ta 3W* 



ml 



I7P 

ttni bifwdfn am^nDe/iu flfctcbVocibus »nn& Inftrumentis mff cmfdflft/ 
tam 0tbr<Kt)t wor&m. 

<E* if lata in Differ Sunflrm t>rni&2*('crt»cn SRanimt Hi furnmtfid) <n 
ad)f $uncmcn ; fcaf man Wc jlnabcn; »n& anixre Concentorcs(wddK die Con- 
certs : *n& Yocal @rimmcn fatten) n>ie fie taftltyten <n t>e n Choren aigcttKi' 
let fan/ »on einantw abfonfccreywiDroo e$ muajtd? bit) jefcem .ftnaben eDer Cho- 
ro, ein Fundament-Inftrumentor&nerwo abet fo(ct)( nid)f*orj)an&<n/ iff <6 
cben tag. 5)i< Capellam Fidiciniam aber mu£ man b<t) fcerfrimub/ anew 
fo(ct><n£)rf (Men / ftaf? fie alien .ftnaben ofcer Ghorcn ju fcufff fommen Hnnu 
£)aman &ann(wi< ict)*tmGeneral-Bafs , nim : Parte Decima Qumtabtf* 
roeifn Mrttm<r5<idcbnrt)iWtf(Cljmixn Virguliswi&fWciKnmit aflerfaanfctm 
befdtttffcn o&er frlafenfre n Ornament- 1 nftrumciucn pro libiru^mfa»(cl)rdil 
V«D vaniren(ntfeimt>ora^ad?tem 3. Cap. auct) arrgeftwtfftwfon) bifjtvtiltt 
auct) in et(ict)en2$<rfen ^^c(H9ar<^lf^i , n:vn^^(cConccrrat-@rimmma0c<n 
fas Fundamcnt-Lnfti ument ftoyp j 3n fo(5*n ttn 2$erfj abfr/ tit Ornament- 
Inftrumentatn aerCapellaFidic; oigbato w<<^tmbm<tcfnfofimttt(fmfair» 



Qfe Secfyfc Sftamcrtp} t>a $« &*n Concertat en'mwrn/ntdjc 

dneCapella Fidicinia, n>elct)e&urd)Wi& &urd)/i»ieeinGcneral-Bafs , |um 
gamjen ©efan<j fan Muficirtroerfcen/ fbnbern j»een abfon&ertictye Chori In-* 
ftrumentales,Daein jtttttit QJ?iffd^arrn)mviit><3aniKnConcentumjul>m 
Concertat-<5rimmen /an fct nem £)rr wtd Chor fttyrer 1 $cft# fintimt in ttn- 
felbenConceiitenM&^efa'ngen/fWfer man &en erflenDifcantiften t>nDTe- 

noriftcn ,ottt recti <*&ennnunwtConcertat-^dmmenfan/fa& MOtstf; 
t<nn2.Difcantiftcn»nnbTcnorifteng<3en »ber beg dm Regal: tteChoros 
inftrumentalcsaber rin jtttn bet) fdnem Choro Vocali auffcwfWffnabwm*/ 
an einen befon&CW On ; Wo Hi tit Vocahftcn »or bf n Inftrumentiften &e|?o 
ti$tmKti)tt 1 vnt tint ittt Crimme wrftdj befonfcerff / ftfrltd) tmM>ewlidjwt> 
nommentm& sejtfrt wer&en fonnen. Sbafonftat/ wenn fit aUtin ternatybeg : 
l>n&»bereinan&a:fhtnt>en/l>ie 2Crr fcerConcertar-^ftmmen/wrt&ifWorf &e# 
Sepe* / son &m Inftrumentiften ntdjr alfo twf obferviret wrt Wrnpnmwn 
nKrDm^ntc* 

3 * JDorumfi 



£>arumb Dcnn auct) b^> Wcftr wtD targMdxn SKaniflrm / lit anorbnuns f 
proyariatione,«Jdcl)fam<£rai«wdtf angeftdkf recrfcm fan/alfo/fcajj man W< fret)* 
JxChoros Vocalesudjf gc$mdnant><r*&ar/vn& fcann/primum Chorum In- 
(trumcntalem ntd)f wdf »oman&<rn C horo Vocali/ecundum Chorum In- 
ftrumcntalem a&tt rrtctjf »df »on primo Choro Vocali flcllc i fo ftfnwn bit 
Vocal-€5tfmm<n not&daatfiicfctt wMxiftKdKr»«nomnKn/Me inftrumen- 
taa&<r wnfcrncm mit Offeror gratia gcft&a mrt obferviretnxrtxn: 2$nt>f)af 
at* Um &a* anf<jjcn/ a(fj twnn ctn fbl# Concert ouster abfon&crdctjc C hor os 

<£* fan abet primus Chorus Inftrumcntalis mif Cornetten ttnb<pO* 
faunm/ob<rau(ftmif^Iocf.£lucrf[^rm wrtSagormt/ fcod) sat (till »nt> fanffc 
intonirct vnD4ng<|rimbt;S)<r anberGhorus Inftrumcntalis mfrtner Violen 
deGamba,ofccr»fcrViolcndcBraccio,ot>«a(f0n?Ktn»or|)cr^cnben7.Cap. 
&q&<n5tfif<n: wrt Violen-Chorm'nnmwor&m/Muficirttwr&cn/ *mb fan 
man juMcfrm Chor aud) &i< Theorbam imtmi Pandoer w& Cythcrn/wmn 
p<t>or^m&<n/au3(ddjra<fabhibirent)nD3(braucl)m. 

£)t>cr/romnfot>tcl Inftrumenta,M< bo)6<Choros fcarmif ju6c(?cHcn/ 
nicfy wr&anton/fo tfm<man ju torn dmmChoro MTheorben vnMawcn &c. 
$«m| attdw/ ium Zntxmafxt vitt Ornament-Initrumenta wn ©dam : o&or 
Wafm&<nrnftrumentenadhibiren:;Obtt &m &utm-Chorau([mlaj[m/wi& 
gii cuumChor aU«n< W<»orgefas(eInftrumcnta , 6dm antonChorata ganij 
fdn</fontxtnaadnWc^doi)cr Regal ge&raucbm: DbttabttavabtyUnKt' 
jKtt dtt^gm Chorum ,g(dcb ate dm Capellam f idiciniam extrahiren wi& 
5ufamm<nfcl)td&<n/»ni>imrd)t)n&&urd)iU3(dci) mftfttfgc(tft (aflat* Oder <* 
f^meutdmj^mGhoroInftrumcntali nurtorCantuswtoBamis ju&m Vo- 
cal-©fmtnw/#dcr/fam&cr Antonius Burlinus in fdnttRincraFioritain 
adj(5Cnemmm/adhibirct: JD&tt ate bit Iuftrumentales Chor i aarauflai/ 
t>t\t> W< Concertat-Cfimmm offdn in We £ir^ci o&tr Regalia , wfcin to §o 
f!m3J?ani<ran3(jd3ttt>orl)<n/@<fun3mvnt>Muiicirettt)<rb<n. 



©fe vil SJtatfer. 

3nNr@i<^nt)<n®?am<r/ivirbb<tChoral{rtJtvwnDircantcn 
ofctt Tenorcn im <r|Jm Verfu diminwretm&§ttg<nrod* tra&iret *nn& 
oufdcfitym. {Darmfottate ijlfot) dwm jtf wCantu dn Baflus initrumen- 

taliswt* 



i8i 

talis wr&anoen/ affcrmaffm trie inbtxtoimnWctotttwbtfinteni'XMnbatiti 

Chorus lnftrumentalis ooer Vocal is ( *(£ tnl wit &(tutat)MjHwtftn oud) »ot 
(a(fHm<Sf>rtff »nfetJ£>£rr jum Sorftaitfam) jit oem i. wio z.Baflb Inftru- 
mcntali bit&tftixmttimbcitfctointomlicbt&timmtnmbChori Inftrumcn- 
talcs adjungirct weroen . SBddjc Hxt ridldcfyf auc& nfc^f fo gat wianmftrfs aw 
$o"rm fdn m&fytt. 

£>tewd( a&er i>tcfc$0?anter auff ttlityt t>nferfd}ieMiO)< 2Ctff<nwrt2Bd* 
fen angeortmef weroen tan 1 fo |>ab id) fo(d)e$ in Polyh : caduceatricc , feu Pa- 
ncgyrica bcim General-Bafs ttwat ftttrieufftigar I btnttt I fo W'ctfd<J)t luft Mb 
#<&<oarju tragm /anfccuffm woffcm&w^^ 

tUtttlitytn Cantiouibus i 2. & 4. 5. 7.8: 8.&c.9CJdcl>nW&epin&ttl»fr&. 
iDa^m id) furt)tcfc^ maloenbencrolum Muficum rcmittire. 



©(evili. SRatttar* 

©K Hifyt $Ranitt/iff faftote bit 6ed)(?e : ol;n Min bttfttfxn nfd* 
«ffefn *btt bit bo>dc Choros Inftrumemaies, dne otxx nod) |t»o <£apetfen»oi> 
f)ixn£>cn ; tvclctjc mdffewjjdl* / dn jeoe Get) ftran Cher jug(dd) mif fortgejxn; 
fonoern auct) btc Concertat-©rfmmm frifhidlen t>orfict) / ojjn jw j>un oet In- 
ftrumental-Chor vnnt(£cg?cll(n/ju&<m General-Bafs gcfcl5«»nn^ foment 
Fundament-Inftrument, a($ nem&ttd} oet£r<$d»nfc Regal j\}t< Harmoniam 
f ii&ren/ f)ernad)<t abcr bit C hori wto <Sapellm witbtxumb mtf dnfaffai/Mo tat 
tyxi$t auct) oabeq ju tf)un nlct>r wrsejfen : oeffen Qfranpel to Polyh. HLPanegy- 
rica: Num; XXXI. TLty&Dtmmtymmdittc. 



©felX*Sttmtfar* 

3tt t>em : Stofom ter J^oen^d^oiSBadK* auff: ©fcfce wfcfdm 
Eater Enfer : 9Wdne ©eel er&e&f btn JJ^rrem (Sfcriffc oer ou Mff 'Sag *nft. 3« 
*td) JaHd) @<j)off« JJ)£rr. ©dooet fdffu3$fu*<S&riff: tmoanoernmebrerm 

(3Be(d)<* oieffieunoe Lanier ifl!) jtn© affetta>/alf nembUd) Mex.*.;. 
4*5. MbS. banter/ cer Ddwmirt/aud) Weanoere/ftaiffte/ &7.g.3rtt<n &ar- 
mocn begriffen/ wfc dn jtftr t»<tDicfdbef<{)<n»nb^r<n ttntD/(d(t)mfmn<nt>no 
wwnunfam 3 3 Sta* 



iSi 



2$nb fonnm jroar t>kl anbcre mcfcr <h W<pfit Polyhymniis UQrifttnt 
Concert -©cfanae / ( wcnn matt jk rcdjt pondcriren wtb bcrracfofcn wil ) ntd)f 
atfdn ju bcv 3« / Dammar fie wr$dd)ncr / fonbmt ju au'dxn anbcrnvkfcrkt) 2&> 
tcnwtbStanicnn mc&r referiret wiba,cjo$m nwrbm jwk bann md(?em&d(tf 
bet) dn<m jcbcm ®efan#m fdncr Polyhymnia, gdtcfrr* ©£tt / barba) notiret 
wb ana,<id3t wcrb<n fol. 

(£tft|Ub<rbet)airmbkf<n$Rankttnbfl: ©ri«<n2(rr bkfetf tu obfem- 
rcn : ©a* man/ wo f due Ornament-Inftrumenta ttrfpitbcn/ auct) Do fie gleict) 
bci&foanbcn/ btfh»dlnprovariatione,bkfdbi3C $an* auffen (affen/ tnbafldnfck 
Conceitat-Camracn/beijbenJDnjdn/ oberanbern Fundament-Jnftrumen- 
tcn, frin brotlicfe/ gkrfictywib n>k fkt)* <je bfu)rr / mit vtintt^timmt Mi% ftngm 
Caffm fan ; ajdd) »k J>tc / fo in bar £r|f<n#?ankr liefer Written 3tt gefegef 
fan. 

©arumbid) bann aud) *b*r dnem JcDm ©<fan# in Dm General ^S^f* 
ftttbkConcertat: bajMffbk Vocal :»nb Principal-^iimmen (roddje von M 
Etientia totius Cantionis t>nb Darfoamje Corpus Mb Principal 935<rcf m foU 
d)<r 3rtf fifrrcn wib fjalr at/ *nb bcrwegm nonvmbiawb &ar baitftcb wib wof 30 
fungm »arbm mitfjm ) notirct,mimeriret»nb barbfl) gcfciKf M>< : ®atnit 
manalfobalbim<t|?m anf<JKn/wt(fen»nb<rt*nnm Wnn</wic*id»nbwa$vot 
Principal-^rimmm jum vorgmommenem ®efana,< rfgtmftd) von n&cn: 
g)k Inftrumental-^rimmm ab<t/»dd)< gfddjfam per accidens, majoris 
plcnitudinis & ornatusgratia Dar$u fommm/wt&o&wberflriutljun tot&o 
fang bod) wolfonMuficirerwerben/ !>ab id)bafc(b(lmnidn baruber bejdcrmtt/ 
fonbern ftnbbtt) bmCUvibusSignatistmGeneral-BafsdncriebmPolyhynv 
nix {uftnbtn. 

3n ©djuktt / ba ^nabm t>br<^ »erf>anben / fan man / fonberff d) bet) ber 
:8krb<n$Wankr/inb<m@dobtf fctffo 3<£fii (Styrtff : wib j ;8on.£tnimcl&od) 
ba f omwe. in Polyhy.lll . bet) jebem C antu jwcen ^naben (Men/ bamtt /wann 
flealfo an brep wuerfcDkbene o*mer wnemanber/fonberlid) wo fdne Funda- 
ment-Inftrumenra barber) vorfranben/abgefonbm n>erben/be|?o flretjmurtger 
tmbdetwfTerdnerbemanbem&elfFenwib Utfprin&n fan. 

SDkwcti aber in et (idjen ©ePnam/bteConccrtat-^rtmmen/fo in Cho- 
ro Vocali attbcjtnben/benKni^n/fonbcrfid)m©d)ukn/wdcl)m bie^taKani' 
fdK^ameriujtnsenMbefam/Mbj&veJp^ 
ftoit Difponiret mnb lib$mdjt<t fcijn/ im anfana f<Jr fcbwc&r vorfommw 
m«5ct)(cn ; 0tnt<ma()(t)kfdbcDiminutioncs, Tirat*,Tremoli »nb wit bcrcn 

2lrt mtijt 



x* 



Zxt m<\)r omennet werben/ t>on einem ber e* juror trictyf gejtfw ober geternet / on> 
fangs ntctyifo gar batosnb wolf dnncn b«gtiffen»nbmif ber£tfmm»nbJg)a(fe4a 
wegen gcbracijt werben : ©o t>ab id) in etftct)en biefen Concertcn, (en fftlcct)* 
t entrnjerbrodKnen Choral, in einer jeben 0nmmcn firacf* ftrtsmer/tr ftdjt* aber 
m Deciaio quarto, wei(imfe(ben Parte raumgnugvbi%abfonb<Tu'd)t}ttidttt 
an gefcijCf : JDamtf net) em )ct>er Muficus beff o fxfpcr fcarautf flnben / fane jtnaben 
barnadi) i nformircn^n ex Diminuto ten Simpliccm Cantum jfyntn DOffegto 
fcnbioorfctjreiben Wnne.^Bieaof in ber Inftru&ionpro Symphoniacis&Con- 
centoribusjjiewntvculeuffrtger/ aujjfft&rlicfeer »n£> volnf omlidjct < 5&<rt4jf <nv 
genommenwerbenfon. 

&i$(id)/fft Mffc^nect) bet) tteferttrfju obferviren, (of man fit ftenm 
Concert ©eftngen b«r Sicrben 5. 6. 7. 8, SD?amer(3n vnttiitn affe/ob«r 
;a Die mciffen &erf be* 9>fafat$ ml ©<fang* nod) einantor Componiretgc* 
ftmben werben ) affein Den erffen 2$erfj foeraujfer nemen/benfetben mit bajgefetfm 
Inftrumcnfen , ober aber atfein mit ben blofen Concertat-€>fltnmen totfcv 
figurirn , Die fofgenbe aber mif ber (9emein<ChoraHtert>oJ.enb*{)toattfj futgen/ 
x>nt> mit bem iwtn 1 fo fcbrtg sett wrf)«nbcn/ befcWieffen Wnne* Snmaffentd) tin 
General-Bars bq jebem Concert mil mcjjrwi aupfujjrltc&en <Ertn wrung «n* 
gejjcnget 

Stobbtefer Written Ztti bencbenftberotauffbie bafefoen »metfd)feben< 
Sttanfeten gerid)fefeGantiones,roerben mef|f em()ei($f»i Polyhymnia III.IV* 
fitV.Panegyrica&Exercita tricenim: geliebtf©£>tt/$erfur fommen. 



©fciv 4 9(rf* 

9lWcfrr3(«tt>^cirt|rtrfMuficusf<ttf? 




fefcen / t»fe er bk Choros , entweber gegenetn !QU ^icrM I 
onbert>bwobw»K<*)f)mefonffenaufbead)' 3frf* } 

ret/anorbnen fdnne: X)od) baabetjememje* 

benChorgar(feipMeauffa<l)r0egebmr»erbe/»iebererfrf/an' 
ier/brttte/forgmbe^erf ober©efe« nad)efoanb<rfo(g<n/ ta- 
m«f<t«(ConfuiionbaraM^em|let)<nmc^<. 



i$4 

£5<r 2. Chor tan wit dneCapella Fidicinia, ofctr aUt mft &ut«tf 
(^3<B)m&anbmHfcWt<*Kn luftrumenten ,g[dd) wit We <Ens(tfd)t Contort 
(bm<m fmaitf<fn$ Wtfr* Tomi mtlbm$$tfd}ttyti)*n$<oxt>nttfti>nb bit Tenor- 
©rttjmwbttfd) dnett Tenor: o&<TDifcatmften,&crdncrdn<€>nmm^at/d<' 
fungentterfcm. 

QBmttfKrttMljma^toaud) t« Choral /nad) wtMnrifcljtn fctrnFigural 
Mfwtikn foff t geftingtn tttrfcen / ( wdebe* twin &tt) bar crflcn/ 2.3. *mt> 4. flKanior 
in&cr&irfam2Crt«wcbittACl)tiU WttKn)mu$/fo tafo Da: antepenultimusver- 
ruschoraliter Mf$tftm$tnibtt £>r$ani|f mit tintt ftarcfm€>rtmm<tt/fn btt 
JDrgd fcrdn fottm/tmft mva nacb tret) oDarfcicr Taden &a*Simrf macbtn/Damit 
&o$:8o(ct in ftr jtyrtbm ftMtyiHti fcatanff fo( fca: lojfe Vers fTguralitcr angc- 
frnigcn wtf dfo txt @efan$ fcamit fccfcbfoflftn warten. £>ttwd( afar anctficbm 
Ortm/alfjto}fd&f?mobferviret»nfc fefunftm/ W<©tmdnt in&er^frdKn/fon* 
t>ar(icb<{Kifc<*8<W0&nctw&r^ 

ijWfafl b<ffcr/ ftafj man ffc Den fatten 2$erg /and) immer wffeitfc* Jinau* ftngen 
laffe / t>nD ixxnn affobafo &enfetoen2$erg nod) dnmajjf tarauff ju Muficiren an* 
fansenwfctamifWcbH<fF<- 



©ie v. Sire. 




2)$<$unfftc 
3lrt. 



»3(mfc torn gangett Chor tin Haleiu- 

ijah ofcer Gloria, o&er einan&er febfae Sen- 

itenria,wdd)(aufftn<rcf(n^tvfrM'dt({/tman' 

' fartgmtffftftttft tnbtiwx^ttmb fcernacbo; Miificirct wt& Re- 

petirctwtr5/t>nbrucl)tvnanmuri3ju Jtften iff. 

<E* Wnnena&etfo(cb<wrt &er$(dcben mifdngcmeiifjfe 
Halelujah wib Sentcnti* mft jfpem T<ct)fcn SRamen ntctjf fcefler / afjj / Ripieni 
»nbRitornello QtnmnttfMxbtn. S)enn o&sfdd) (wieo&en an3ejd3t>Krert>em 
wort Ritornello/ bit Repetitiones, foaffdn mit Inftrumenten ofcne Vocat- 
&tmm Muficirt werfren/jwerffeben fep : ©0 Qtftlt mix Docb nicbti>&e(/MJC& 
fctefe/ fo augldcbmit Vocal .- M&Inftrumental-6nmmen &efe«etfet)n/mtt&em 
namen Ritornello ju&esdcbnen. 2$nt> folcber Ritorncllen *nft Rcpetitionen, 
fKif ftc^^<r^^rri3Hc^)e ^ropt>ct »ndaffet0^erflcr(Sap<fmdflrtraL>a^infdnm 
8. 14* 42, 103, 107* 118. 13d, 148,17 0. Mb anfcrn spfafmen $c^rmic^cr* 

2Bfe&ann 



185 

38fetomn otict) bitZittn in jfcrcn ^ardnifdjm Choral- gkjftngtnftd} 
fo(d}CT Rcpctitionum oDcr Ritorncllen f$r freffiffm ; 3ffHn ten Inritatonls. 
Venice exukcmus)Chriftus natus eft nobis, Venite adorcmus. 
Halleluja , refurrexit Dominus Halleluja : Venite ad : Halleluja, Regcm 
afcendentem in caelum, Venite adore m us. Halleluja, fpiritus Domini 
rcplcvit orbcm cerrarum : Venite adorcmus , Halleluja. Deum ycrum 
unum in Trinitate, & Trinitatem in unitare : Venice adorcmus. 

(In Natali Domini) Deus homo fa&us eft, Deusjamplacatuseft 
nobis peccatoribus. 

( Parvulus nobis na fcitur) Trinitati gloria in fempicerna fecula. 

(In Hymno Theodolphi Epifcopi) Gloria laus & honor tibi lit rex 
Chrifte rcdempror. 

Item , Crux fidelis, inter omnes arbor una nobilis: Dulce lignum 
&c. Kyrie eleifon , Chrifte cleifoo , Kyrie eleifon .* Dominc miferere, 
Chrifte audi nos , Salva nos. 

Chrrftus Dominus fadus eft obediens,cVc 

(In Hymno Fortunati Epifcopi) Salve fefta dies toto yenerabilis 
xro: QgaDeus Infernumvicit,&aftra tenet. 

Siffrm in ctwag nad)uir<u)mcn/ t>af»tcr) ittrifftm ttli&jtn Utdnif&jtn 
Mb 3:curfct)cn Cantionibus ntd)f afikin <f Wct)c Ritortte Ho blofj vff Jnftrumcn- 
tal-@(immm<Krtci)fcf/fon&crnauct) to cf(ict)cn rarcrfcfyrMfnen twjuctw Te- 
ste, foquandam Emphafin ^aben/frmmfttaccommodiret. 
Qtttitl Polyhymnia III. 

3m ©<to6ef Vno ®<pr«fcf: 3f?N* Ritornello; 2ffltcn <&0tt*%aut 
ttib&tyMftylobinttymmttetyrcntifan ©dffft. ttc 

Puer natus: Rit: 0m$ttIubiliret,Triumphirctfcancff t>«WJ£Kmt: 
$lutcmb(tQtX)btnJ&.K\t: Mfa)@off bm Matter tycwlobf. £om fytilU 
$cr@(tf?:Rit: Venifan&e fpiritus, reple luorucorda fideliu: Haleluiah. 

D imb ©offc* Rit:fo2Mn wir nun lobctwtmb Stoncfcn aUesctr/ 
torn Stow mb 0. tpffDcn ©d)U<j bann/ *ik tic fo wit cr bet anftrn Zxt to Poly- 
hymnia I V bt<jrfffen / qttiiwtt fdn. 

Cu)cnwfcto.Ritorn. iobttUnQdEvrmt dK<$tybtt\IWbpt<i{<t$n 
(u7«^(cftr: 

S&n|ri(t(£r|font>m. ^rifffftrgm J5fmmct.Ritor.Jj)^duia5 / Jj)a(# 
f<(ujaf>/ J^aUeCujaf) 

Stow ^nfer tot^touRitorn.Smcn batiftttmU war /(fact rnffrit 
©fou$cnjmiMr$a.r/K, 2U S0?anc 



i8* 

$9Wnc@<dtt{K&f ttn $. Ritorn. $Kdn< €>*(<$<*( ten £. wt& mtin 
©dftfrcwtffld) ©omamdne* J£)<i)lan&tf. 0&<r:<2B<«r gcrrtjjat wifwiEd* 
torn/ 3*ra$*m tmt fdmm ©atwn mrtgltd), 

<Sf>ri£<l>frtw&ifl:3a$tmt>#a)t. Ritom. ®&tt'8&ut{tylobityt*nb 
*pr<i$ / tarju aud) frincm ©ofctw wdg/tejj jf>. ©riffc* 3. 

3n Wet) !>«&»# #Mftf 4>^tr.Rttorn.Glory *o&/<Ej>nm& <>mft#df/ 
fci)©£)rf^aw»nt©d()n<6<rdf/lxm4).©d|l m. 

@ctolwfri|?tt3^fu€!)rifiRitoni.©do&cffd{!u3(gfu(SW/&a^tt 
SD?mfd)3cbor<n &♦ jDfcr : SXtfjxu <r afftf Mtf^rijan/fdwaroffc #<&aujd' 
dm an : 

t^aclKt^^orewdf^nb^^&retn^^If^ocI): 

i(tf to 3tirf$< ©£>(t Ritorn. ©£>« tmrd) &dn< gito / tmtf aftdf &tf>to 

3mTcDeum Laudamus : ftn& wd jmffrfd»fc&Ua)<RitorneIlo.2fl*: 
fit i. Parte: i. 2. Ritornellonifc Inftrumental-€>rimmen. In a. Parte, i. 2. $« 
Halelujah:(5obann«Itct)<Symphonicniu3(dd)aucljmir dngdMttgcO i«M» 
Tc decet bymaas, tc decent iaudes,tibi d. 

In 3. Parte.i.a.).4.f. Turexgloriz,turexgloriseChrifte. 
In 4« Parte* 1. a. Halelujah ouff dn antore 2Crf. 
In 5. Parte. i.». Gloria in excclfis Deo. Benedicamus : Deodica- 
mus.3m5)<utfct)m//)€rr©£>ft Wd) &>&<« rofr: fttrt aud) IxrgkidKn ju finDm, 
In Polyhymnia. VIII. fttt& ttfl)$Bfrfr«l ofcr Jfyrfcmtct) auff&fef<2fw 
g<Hc^«f: QCIfo to* wr »n& nad)/aud) jwf fdKtt torn jfyri</<Sbrtffc/^rfc/u:.fo t>cr 
arffcn Miffa; Gloria in excclfis Dea3nlxr2(nt»<rn/Tcdccethymnus,tcd. 
3« &<r ftrftftn/nctnWft ^dc fbns bonitatis,(!nt> W< Ritornello mdftttd) auff 
dt< Inftrumental-6rimmm #rid)f«. 

In Cantico triumpuerorom : Ritor, Benedirfte Domino omnia 
opera Domini* 

In Inritatorio, Ritorn, venitc exultemus Domino >jubilemus Deo 
falutari noftro. 

In victim* pafchali laudea> Ritorn, Surrexit Chriftus , Surrexit 
Chriftus (pes mea. 

LaudateDeum,DeumDeorum.£i>&tt bmS&tttttlbmffini&btt <£tyttt\. 
Venite ad fan&uarium Domini. Ritorn. Venite & revertamur ad 
Dominutn, & yivemus in confpe&u ejus, Confitemini D omino, RitorneL 
Quoniaminfeculuramifcricordia ejus. i^j.Chori, 

lauda 



187 

Lauda Hierufalem Dominum,lauda Deum tuum Sion.Confitcmi- 
ni Domino,quoniam bonus,quoniam in fecalum &c.a8.p.Chori. "&nt> 
twvjfricrjcn fan tin jcfccr nact) fctncm gutcn gcfatten autf bat ^af<mffd)<n m%tnu 
fctyen q>fa(m . S>avi w/aud) antarn griftfidpn iK&crn fcttfurfucfoftt/ aud) felbff at 
inventiren tm& auftfnm n:9SBie totrn aud) an* &at*Mrimfd)m Choral- @<fdn* 
gai/fonbaltd) auffMe t>o!)m$cfffa$e. 2(($ : 3« A dventu Domini; Fcfto Na- 
tivitatis,Ref urredtjonis,Pentecoftes,Trinitatis.&c. Vcni Dorninc,& noli 
tardarc:relaxa facinora plebis tux Ifrael. Laus, honor, virtus, gloria, Deo 
patricumfilio,fanctofimulparacleto,InfempiternafecuU,Amen. 

Vcni & libera nos Deus nofter. Nolite time re: Cras egrediemini,5c 
Dominus erit vobifcum hmanuel. Verbum caro fa&um eft,& habitavit 
in nobis. Puernatuseft nobis, & films datus eft nobis. Gloria in exceUiS 
Deo,& in terra pax hominibus bonar voluntatis: Halelujah.Gloria tibiDo- 
mine,Quinatusesdevirgine,(quiapparuifti hodie,qui furrexiftiamor- 
tuis ; qui furrexifti hodiejeum patre & ian&o fpiritu,In fempiterna fecula. 

Venite gentes & adorate Dominum. Tn hoc narali( pafchali )gau- 
dio , benedicamus Domino. Adjuva nos Deus ialutaris noftei & libera 
nosDomine.Hac eft diesquam fecitDominus,exultemus& Ixtemur in ea. 

Victims pafchali laiides immolent Chriftiani. 

San&i Spiritus adfit nobis gratia. Da virtut is, meritum, dafalutis 
exitum,da perenne gaudium. 

Te invocamusjteadoramusjte laudamus obeataTrinitas.LausPa- 
tri fit ingenito, Laus ejus Unigenito, Laus (itfanclo fpintui,trinoDeo& 
fimplicijAmen. 

Benedicamu s Patrem & Filium cum fanfto fpiritu. Benedi&uses 
Domine Deus, & laudabilis in fecula , Halelujah. 

Te decent laudes,te decethymnus, tibi debetur omnis honor & 
gloria, in fecula. 

Lauda Sion Salvatorem , lauda ducem & paftorem, in hymnis & 
canticis.<£$ fat mir aba* nod) vbtt totw fctcfer Invention 2$rfad) QtQtUnitaf 
(d) fa be* Gabrielis Fattorini jwcq ©ftmmtgcn Cone ertcn , ti< miff* new f)tlt 
Susefeete Ripicrii <jcfa)<n / to aimt <tn £afctntfd)< fententia emphatica , t>nnb 
Mmurigtt fdtfntt @prud)/ m«^^ 

*u }.ot<t 4-t>nfctfd)fc&cn<n ma|)kn/&ar$roffd)cn s<fun$<n wirfrwddja* tail aud) 
faff mtt &aiai/fo wttt manor antxtn Zvt U grfffai/ Dbcrcin f ©mpf / «Bfc f n toe to* 
(elbf? &< wffe C hor nfcfof anfm^ 
fttttacnw&stflunaainrtrt. 2U z S>tV 



rS8 

.ii. i M - • - -~ • ■ * 1 

$)tat>rf( e* nun dm gar fcj>r anmnrige Zrt ju (joren if! / win* tntcr Knot 
AutorenJotd)^omj£f3w(mbrfti^nMT^n/wc(fi)n*BldctmauffWcf<2(rf/fcoc^ 
o!)nc WeRipicnU^effijff Cantioncs,mif s. 3.4.5.*^ 6. ©rimtmn wr&on* 
ttn ©o Jab id) Mcfcfttn aufammm C olligirct , bit Texte Cor rigirct wm$ 
Puriffciret, and) Secundum Chorum mtf&en Ripieni torju Qtfwtlb&xmit 
wit afytar im ^urfcWanb / fofc^ct fdtfntn !><rrttcDm Zxti km iitbm frommm 
©Off sulofctmft(g(rm/ fnfdncr^(rd)m/ionf<r2(n&act)(&ar^urcljjucrtvccfcu/ 
audJ3f brauc&m Mnnen. 

SBddjemif ©fancier &tt((F< attdj fofcatofcofutfommm tfnwt /w«m 
<f»a @offfclt3<^)<r5nifo(cl)^nt>bfr^(ci^)mfacl)(njum ©rucfwtfcsenmad)* 
fen: JDta»d(mirtffo«!tfrt!Wdmmdna:i^ 
$fMmm«^&ntm}attd)/imn& mmrincmSC^^ incorrect 

ttrtttmfcfcrig @<*ruet f nrirft/taf?t*iutttarm<n/*nft Wdjff# ju&cflagm/ frarcba: 
mirofffmateKr Snalffdn^tf aufj&w^mftdjee. 

^anfanabadfdauffvot^a^ttJrtfcan^em^r ^utfd): tm& &wd# 
mfdK<Pfa(mm mb Cantionesui Muficirn amMen /alfo Da* dn ^aSc(ujaj) in 
Nm Tonottift Modo, toxitinm terfrfMge ©efanagefaf f (J / fornm sum anfan$ 
bMi%momm<tt*nb #&rattcbf»<t&c7iMin& aud) turn Final t>arraft b<fd)loflF«t 
twr&r £flrokfMifftytannittdm jrten Modowfc Tono<in{onb<tiid)%aU<> 
\ulcibtbttG\oris^tmtWtibtyGM$9 mdm* Polyhymnia mft £)rucfen|tt 
foflin/ ntifeHMutfrfy <radj«t : Stoen (icfr dnfttxr nad) femmt suracfycit / aucfc 
l»(fd)<tt anftacr AatoKn,ttaiumi»mt0cmtyntt4<it Motcttena.<braud)m 
torn 

3n5bannm(Krf)aSid)ttO(^auffdttanbflrto /Me $al[<utfa$ burcfc at^ 
fcTonos }u fttftmt mfcfr ^enummen / wddjeln Polyhymnia Exercitatrice 
juflhten : Xtomif man Mefdfeswtfcfym ten alrm #fo<ud)ttdKtt Motetcn , mft 
tin mm^rn / tmfraljjd a Intermedin m mff jw«n olxr totq jfttaben tararoffdjm 
fm$m faflht Wnne.2Bteicfr&amtjum Qfrempd uufHdKn bcratttn fdtfnm Jen* 
tiCtymMoteten; Sifjtfam non dicara; Sanda Trinitas ab S.Domiuici Phinor 
wi& mtott Orlahdi Moteten bit J^aHci. alfo tar|ttrtfd>m ^fajcr/ *nt> m mdm? 
Polyh. !X.e«tteb«®offwef6<nwflttbmpn)tt.3» mcttttm:<£j>rf|? fursm^. tc 

^s i KSr*>»»'* ,,iwci P e,iinRdid: 

niatn jwifc^mden RipienUb<rJ^v\Idulaa«|fcn(affm/im& biefrrepConcertat* 
€Wmmmafdnfnyit/pro7ariatioacactibica; QBfcjtfcfwnmm btttaiu 
tmUtt au$ angiitis worten* 



ipo 

mdjren Autoribus, atp Leon Leoni, Steffano Bernardi, FrancifcoCapelli, 
tmD anbtrn md)r<naud) gffunbm 

'§* fan abcr in to'efer 2trt an ftaK &<t Symphony gat wol dn fdncr Kcbhcfoct 
Pavan , Mafcerade,Ballet,oDcranfrttarftg/fet)nltd) tmn& anmurig/t>od)gar 
fiitQcn Madrigal, Dap ntcl)f fr|>v Mop/ fon&mt mrifttm j)df$;8<>ff|tfnimtg#n&An 
(tafroctf Ritornello,dn Galliard, Saltarella, Courrant, Volta,ofc<r twgtd* 
ctyeniuftigCanzonette, t>od) ntdjr fogarlang/ genemmmwt&g<br<wd)ft»a> 
tan. SBie td) tarn btfinbt / Dap ctf trltcbm gar tvol gefaffm* 



Okvuart 

m«mr @rittimcfcer Choral humana Voce *^T J5F 

gcftmgm itirb/ bit antxrnofl</c*fdn mm /a. ^ *^ r ^ 

3.4. f. ofcer imjjr &rimimn/jf)re Harmony 
Fantafienwt&FugenefC. fcarju fufjrm/ wrtafldnttrtf In- 
ftrumenren ju dm Choral Muficirt mortal : 5Do btnn &tt 
Choral tn der£(Kmfd)<n-^mmegarwncmbHd)iM&^^ 
rincr gar attrinc tn rine Dt$tliobtt Regal ftingc / gefco'w wifc txrnomme n twr&m 
fan : 2$nt> fd)aiw nicbf / tap nebm &<m Cantore »nb longer ( bewrabtvann 
Dcr Choral tm Bafsgcfityrt wixb) tin Inftrumentiftgeffrfler rocrfce/wddKrgar 
Simpliciter ofcnc dttige Goloraturen ober Diminutionen, fc<n Choral JU 
gfdctjmif Refonirct. (g# tft abcrgut / Dapadpleniorem Harmon iam,atld) 
dn£)rgcl / Regal obcrClaviCymbel ad hibiret wtxbtl Dod) fcatfbcr £)rgantfi 
bit Sextas,QuartasoDcrSeptimas,w<nn tit mtf dnfaflcn/ fldftftg obfervirc 
mb tn ad)f itc me / fon|?m nnrb Me ganijf Harmonii toerborben ftyn 

i$m\l> auffbitftZtt 1 werfccnnunmdjrgarjKrrftdK ^ad)cn / &fl) *<m> 
rrcjflidjcn/ tjocbbcrumbrm £)rgantf?en gefunben imltyt ben Choral btprodltt 
tnCannijbtpwdln fm Tenore, Ah oltx Bafs bej)affcii/*rmb aup bermajfm 
lit blidjen t>n& ftinffrdcbcn Contra-pun& baranff erftntxtt winb feijcn : QBdd)e 
rwd) mc inem gcrmgen garacbttn/gar Icicbf auff allcrleqOrnament-Inftrumen- 
ta nart) torangwigtcr 2Crt tmnb QBdfc/ cbenfo wol/tmnb faff Mrmmbltd?ct 
Tra&iret , vnb Muficiret mxbtn t6nun I alp t$ auff cmcrDrgd ob<r anbern 

Funda- 




3«£t)rif?t#(£rfl<in&en/ tan &erChorusdeTxomboni,n>cfeine9>4>* 
faunen ttovfcanfren/gartvol aagsetoffen nxrfcen: Stain We Concertat <6rim* 
men t>ocl> an fid) felfcff en anugfam varnren . 

N. B. 

$B«nn fa MeferSitaflfiren 3frf &kJ&afefaj<u)/ Gloria wrtRipieni,ttt<f 
riMInftrumenteo,o{)ite jutfjun fcerVocal-^ttmmenMuficirtwerfcen: ©6 
ftn& e*rcd)fe Symphonien tmt> Ritornello : SBic Mcfc(f>e MB «n3falianmt 
J*iM<J<ra«f 3cbraud)ftt>crtcn. 

Slit) t(? nod) »6cr&a* t»arb<p m <td)f junemen/ fc«f nfd)f aflein mMefer 
SAnffircn / fonbern and) to t>er Znltxn t>nt> £>i to en Zxt bit Chori plcni o&er Ri> 
pien^fom bem©efans mtf dnfaffen/ nict)f nefcen t>n& bn> etc £>stlvnbCon- 
certat-^ftmmen / fonbern ef«W3^ctt^ero&crttndnfnanfc(rnAl>fenl»<rliclj<n 
jDrt gcf!fircfw<jfl)cnm6tTm/tt«nn&cr@cfan3|<incr<ct)tc Gratiamj)a&envnn& 
crionsenfol. 



©teVi.Slrt. 




2)i<eccrtfe 
3re. 



)3c Sd^c 3fr* /ift tot wt%tr$ttynlm 

>§tinfffen fa|? sfetd) : ofcn alletn fccitfan (fair te* 
[ J^alduidji / tint Symphonia toitf t(!( tvteim i. 
ft>nfc j. parteTom. $. etfnnm )eineJid>liel)eHarmonia,mff 4. 
r. ©**r ^^ommcnauffrimrfo) efreraitefetjlnftrumenten, 
ohne juffcunfcerCantorum,*nn&im anfarty be* Concerts 
*nt> ©ef«n$tffccri;er$emAd)f wfrb /welcnetffAfhtmm Przam. 
buIoobetTocatcniumgto^n/focinJDr^m^auffbcrDr^cl'RcgalotaCla- 
viCymbe! wrjjer Fantafirt.fetrouff Jernadjer bet reebfe ©efang angcfangeit 
tmb in* Qfl&ercf ger jefoferttfrb : »nb werben afjjbann Me Inftrumenta,fo We Sym- 
phomam eber Ritornello fftJren/luafeJefy mtf Nt)ben fofgenben Concertat: 
tmb Vocal-©rtmnvm adhbiret jm^ekauebetOBofernafcer feme Infirumcn- 
tiftcn wrljanben/ fo febicfef t$ fi^$atwcVta$bttS)r^i^itftiUSinf<mi^ 
»or (Id) aflWne mtf IteWtcfcen Mordantcn aiijjfttyret / M|j enbltd) Me Concertat: 
•bet VocaK©ftmmen wither tmb mtf etnfaffer. 

<£* 1 fjttir afcr fofebe 2frr / dg f d) btefelfce in Iohan Gabr ielis opcribus 
lumttftmtMtyl&tftfaifthtmtifai^ 

3U 1 metyren 



191 

Fundament-Inftrument ^cfct^etcn fan* Stoat Exempia «untfcrf<t)f<&atcn 
Concerten Poly hymni* III. Panegyric* juftnfctti. 



i .. _- 




©ic VI 1 1, art. 
3£©gfln& nun faff auffDtc in a,<mr m ^ 



jbrcud)[ict)c 2trf/ ju $ . 4/5. Wt> 6. Choren g^fcjcr/ of rf 
(3<tod) Da* ajdctywol aud) fcarwbm Enfant™ 
fnod) tmtfeni>ttU<ht'Xttmnt> < 3Rmiv fcarinnm furfcd: 3n* 
maffrn Nmn bci) cincm jc&tn ®< fang< mcfrrtm (ri(* fcarbfl} a,<* 
Mdflmcr iuftnben fein »ir&. 23nfc in folclKn»nn&&cr«,tdd)<tt 
Goncmen ,ronnot <ftict)C Voces human* wol auff<ngdaf« 
fm twrfrn : Qtlfo / warn tauten/ Regal o&tr £)r$dnt?crj)anixn/fca|j man nur fcai 
Cant tm& Tenor, itfri(fti<mdff<Mpril$ in Sexten garlkHidjmif dnantxrfort* 
$d)en; £>i>cr&cnC3nt»nnt>Bafs ;o&er fcm Alttm&Bafs , olxrfcroAlt affdiu/ 
wmnct fdn harmonice §tft%tt if? / mit dnfinorn lajfm : 2U* id) bdm XXXIII. 
in Polyh. III. Panegyrica fcarbft) notixtt . Q:tf tter&cn aber fcicfe jgt angrtattttt 
S&iarbe/Sunfffc/ ©cdjfte / €2id>ent>c »n& 2ct)ft2rtrai/im VI. Polyhymnia 
Mifcellauea, tmfr auc^ in Polyhym : 1 1 1. Panegyrica $ef<i}tt h«ftint>cn« 



©fe I X. Slrt. 




& IRiimUnlltt Concert fint> ntc&q^ <<> tmte \ 
per Choros oniujfrilm / fon&crn mu$ bet) d* ^»^ l * M,,v ^ 
ncr je&en ©rtmmc jitofcicb/ dn jnftrumen-| **"• . 
tift wtfc Vocalift gcerDncf tverfcen / &od) alfo / Dap man affc* 
»as tar&rt) DwerfcWWicl) / mit fcen wowrn / Voce , inftru- 
_ ^_ _ mento»n&Omnesbfjdct)nef/f(dffl3fnad)fnetM. 
91un7ff jn>ar nid)t jjm/tag Diefe i>n«rfcWd>(ict)e alfo/ jiwfcben kit Sft ottn 
Qtfatt wotuti ettictym Muficisim anfans/wmn fanned) tm$<wo&w/t> nt> nidjt 
|u »ot «roa* ffdfsia. &urd)fd)at/ jrntngm madxn f tfrne/fcarumb id) fcamt faf? tvi> 
fat* 3<»efm/ tmttt tit $l*tml n>ddj< jum Inftrumento gejjeria/fdnm 3w 
eufacn/wicHier o nymus Iacobi folate in ad)f $cnemmen: 3kr aiwdf man in 
€5d)tl(ai &tt ©to&^gtfdfftmfclnftrumentiften ni<i)tAUKittn<\<i)ti$MrUn 

fan/ 



— L i ' - r r * 

fan/ t»ib affo ba*/pro In(trumento,cbtn fo tvol mifV ocal -€5timm<n btfat wib 
gditngcn tvcr ben /tmb barumb bcr^crf biffigvorrjanbenfdnrmitf /©ofcabid) jit 
be (fcrai tmfcrfcbdb /tmnb t>mb twfcrcr nad)rid)fun$ iwffcn / bm ^crt tmcrben 
Sftotm I bo InftrumcntOjbci) $<§<icl)n« / mit (atdntfd)en Lftteris; bo Voce,mit 
bet grtvcbnlidKn Daiffdim C iccro ; bo abav Omnes, mir f (dnern obcr sr^fjfctn 
^uffctKn-SSuchfcabm fam faffm. 

©ofanmanaucrjin^crjufdt/nKnn fdn Inftrument twfianbm tali* 
the €>d)ufcr bet) finm Partem , obcr bo> dner ©rfmmc ffeffen; wtb alfbann mu# 
n>o/ Voce, {fefpu nur dner / bcr bit befte <Srimme 1)0* 'atfdn fm<$cn j wo aber / in- 
ftrumento,cm anber bcr and) dn fdnc ^rimfflc; wib bann /wo/ Omnes,bafdb|l 
falfm ft* alfc iuajcid) mftdnanber dn. S9?an fan aud) nod} ctne obcr mejjr Capel- 
len brau* madjen / bapman bie Crimmen nur fccraujfcradchnef / wic id) ben tt* 
dd)en berfdben 3m/ |ur nacfyridjning barbci) select : *nnb mu jj btcfef be Cape I la 
an cm anbern abfonbcrlfdjen jDrf/cfwan auff f << fdtfe obcr s^m »bcr gejieflef 
werben. 

3m ; Srfdtfenen f f? btt f>crrffctoe %a$ : tonb anbern bersfddjen / t>a bf c rn« 
ftramenta fa|? nut affein in pleno Choro, wenn/ Omnes , vcrfcanben / ju<j(dd| 
mtf adhibirt werben I fan man dxi (toff btt Concertat €>rimmcn, bo( Voce)$e# 
febrieben flefccf / bit Inftrument, g(dct) wfcdn Ritornellogcbraudjen; bod) boa 
gldcbwel cine Principal-^f f mme/in »e(d)er bar Chora! furncmbftd) obfervirt 
wirb/ iustdd)humana voce mtf 3cfun|cn/tmb affo btt^crtwmbbteSBorf bar* 
wbcn/aucrwrnommcnwcrbcnfo'nnen: SBoabar/ Omnes, gcfchrtcbcnfjeJKf/ 
bit anbern Voces afl</ rote in btn Ripienis tmbwtfcm £j)or / ju5(rid) mtf dttfal* 
len. 

£>a* worf / Inftrumento ,$afr id) barumb affo in genere Mgtfflgf / b&* 

mtf dnjebernad)fdncm$iwad)fen/dn Cornet obcr Violin, dn 9>ofaunobet 

Tenor- @dg/ Fagot obcr Violon ,ober watfftcfy fottffen»or Inftrumenta am 

bcauembftcn barju febtcf en wottcn/ btt}otbn<n I mb anft <ffcn fan / t>nnb btVfer 3rr 

©efingcftnbin Polyhymnia VII. bcgrtffm, S>arbn?bicf^jumcrcffn/ bafin 

Polyhymnia 1 1 1.nim:Caducearrice, (cuPanegynca, totidtltt j(b<n 

%x\ tnb SDfonfcr $um wcmftUn tint iota iw Jr 

5u(inDcnfcmmrbcm 



m 



©icX.Slrt. 




Sttn in <tm Concert anfange ^nt&timT^^' 
mcatfdnc/oD<rab<rjwo/&r<9/4.5.o&<r8 Vo- ^ 
cal- (Srimmm mtt dnan&er Goncertiren: 



fcOTuff tocChori Inftrumentales t>n& btt)$tf<W Capel- 
len taflVlfctBc/ watfjiwor fctcCooccrtat-flinimmmufici- 
-wrw „^ tf - - rct,mfrwKcmC nor Mfcaud) per vices reiteriren: 2tf** 
fconn »icwnunK<< Concertat-fftmmcn <tn anDcr* fcerfurbrinsen / wdebe* 
i)<rnad)cr tic Chori mnb Capellcn aud) / obgcfcijKr maflen reiterircnvnnb 
^c»«toUtt.^nbaIfoforrttnNpium<fntcfolc|)<ab»cct)fcIunanrc*<n.S)<ro 
(gjrcmpd in Polyhymnia IV. juftn&tti. 



©ieXU9(rt. 
Qfntt WQmAtn in t>cr nritten cftict Stat* (g) . XI 

tfct)mConcert-acfans* / fafe/im^fc&cntxn/ Ur„ * I 
XVII. XXV. XX VJ. 3tcm im^ffrfttifr- 1 ^"- » 
SWdne ©ederjefo t»cn {Xgncn: ^n<SJ£)rtff fccrdma 
@otte^0ol)if £ompf |)cr ju mirfpricbf ©otftf^o&ntic. 
ill Polyhymnia III. Panegyrica) bat Tenor, Cantus o* 
b<t Akus indncm^Qrr^o^r@cf(Q2>cn Choraif&jjrct/taf' 
ju fcbtxnn mdffcw j>dfe »i<r otxr funff lnftrumental-fltmmm»ff 0d#n/ 
Violeno&cr anDcrn Inftrumeuten sugttoratidxit / nad) fcr VIL#H/$cfdKf: 
©o fan man tafcftffftfc Inftrumenta <jan$ auflfcn>wrt finer *rr dncMKdjc 
^timmc aucfo fct)on< 7(rf »nn& Lanier (obttwkrt crltdye nennm dnfdne 
©ur3<i)ju jtnsen/aanii affdn in dnc T heorba obex Ghitar ron , wit tt bit I- 
tahncnnen;obcrwcnnWcnicl)r»crban&m/indni)U^l/^rawcT)mf»<Uaufcn/ 
mo|ttiff/o&cr£>radftn3ento}T<n. <2Bdd)ctf &mn gar dnfdne Variation \>t\b 
wto<4f<(uns strtf / t>ni> ftyr mm\\ti$ onmftfr en if!. %mb alfo fan man t* 




t*4 



au<bin&1lmMban'&tQtf<b<ntyfa{mtt\ot><Tlkb<xni wenn fteojdc&fonffrn 
mit 3.4.5.^. 7. ooer 8. Grimmen ecfc^f fon/ l;a(fen: QBenn oer erf?*;8ertf alfo 
figuraliter (afeim VI. Hem (Soft in fcer&oT) fa^ri 6.) tynau* gcfungm 
toovUni oa jj afcoann oer 2. 3to* ofcer ©efwon dm gurm Tcnoriften ; oer 
3. 3er$ wn dm gufen qualificirten Difcantiften Mn in tporernxjmfc 
fundament- rnQxumciitajrdn vno wotmif HeWtctKnDiminutionen»nnfr 
paflaghien^cfunsm: StooborauffoerleisfelSer* (oen man Miter MeSftofett 
fcet) Demi. 3kr* applicirenmift vmerltgm fan) $ldd) wie oer erffenrif 5. ooer 
6. €>rimmen/ ooer aber in Contrapundofimplici, mit 4. Oder 5. 6ftmmm 
tm wflen. Choro muficiret weroe. QBorfct) id) aud) Wefe* erinnern mu& 
wd( MeGJeooan ooer (Soppeto (Mbfytf fenftat oie (inoeffen Crfmmen sue 
Mufic|use&rauci)enfei)nfoften/) m ton^n£)raefofefpouj)nmwmooaj)er 
raitfftf moafur man oann We Vocal- w»o Inftrumental-ffimmen nfcfce offm* 
wot fco'ren fan: Oaf man ateoann oie §lusd an oen Orgeto fef? jufammen itcfx; 
oamif Ocr OCefonamj nlcbt fo (torcf f>crattfjfcr f ommen f onnc £>enn o& e* ajeictj 
torn OrganiAenafftwrf ommen m6\t)fe/a(*|)orfe man WeOrgelwr (matt' 
tern bet) j&m (fe&enoen Vocal-wio Intamental-fflmmen mdjf fonoerfld): 
fo mup er oodjfceoencf en/ tap oer Refonantzoer (pfdffen/ fo Jodw&er j(jm (ft* 
JKn/fonoerHd) m ten groffen {jo^nOrgem/frracf *v&er ft<%) an*@e»elbe / mb 
j?on&anmntwet)erumb!)erumerm We^trct)efaae/ affo oafer fortdnidjf fta* 
»on ftfren ooervernejjmenfaitSDerwegen oennein Organift »nno oie jenigen 
fo turn concertiren geoftnet fdno/nictjf fttbftm oawn judiciren f oVwten/fon* 
tern man mu(j ftct) oeffen beg ten Auditoribus wmo oenen fo von fernen ffe * 
JKn/erfimotaen: oKr fret Dircdor mu$ feibffen von weirem auffmercf en/ wd^ 
dK©ffmme&iilmo*/ vnnMveldje ju|!arcf pdj^renraffcauffoaf eral^ann 
dnem wio frem anoern dmtoat / tmo Me Mufic oera/jf ale anoromn tinntita* 
mit dnejefre ^rimmeneben fret anoern wuerfctyieo'Vimo wrnemlid) mi( oen 
fundament- Inftrumcnt»ernommen wto«,ej>o*rf»er&en m%. 



$icxn.3it. 




©ieSeutfdjeMifia i XI. grew** euc&#r€&ri* fif 
ffenaffegldd): SRdne ©ed er&ebf oen.£(£wn/ic.l * 



in Poly h. Panegyric* & lubika ; SKtonn / nemMid) toe 

6rimmm 



ewmmcn ot>er Chori ft d) fcftfitn oo<r <tb<r per vices in art tints Echo,fortc 
& Pian,(farce mo (fid refpondiren ; QBc fd)<*tn ©fmtfcfcmt fcfcr ffcMcb »n& 
muntifid iu jjdrm : 3n grofTai £<r$<n ab<r w( tf ffeb fo wo( nf cfot ffyut foffm/ 
fttttanal Me jtnfge / fo mdjt nafcc b<i) ocn Muficis ffcfpn / oa* Pian wmo fNffc 
Echo ^arm'djt/ ootr oodifaflnwiig wmomnWrnKn. SDarumb oannoucb 
fbnferftd) ctr Oraattffffo mft rinfct)(<3f/ftd) btafan fejr moderiren,MO aifr 
tvcMrgar tridje oocr abcrnut am #a|jol)n<9ftmef*|ttmmen ftarj»fcty*gtit/ 
»nt>garfubfic(»bfrt)aiClavcmf)mvifcl}cn nmogrdffeiimu|j/ MrmuM<jM< 
©timmmwrnommcn/ 3<f>o e rt wiomott£>radoo<r9fc3ai nidjt tfmaito 
nprommfym. 

£)bnun$war nod) *b<r cfcf< ;<& aftgetauttt jwo*fffttfe0 torn win* 
SDtantem/fcKtoidjr fo"m<n fur$<brad)t *nt angtoaiftf ttprom : 60 $«& fdj* 
MtwrMfmaW toWefmbcwmoaifoflfcn; <&oK<n*btTb<r$l<t<A)<n rocjp in 
mtinttl Polyhym niis,<jc(fcbf * ©oft cnutneriret wib fpecificiret wttbttl. 

2*no otewriffn ecHdjai MefVn Concert- $t$n$maUtxltt) Tixtmwnb 
SRatriatnwftottnftyn l j>ab tcl)iumExempclal!)Krnurcm«ni3c«ottrcr) 
cxaminirenwolkn. 2(6: 

In III. Polyhymnia Panegyrics : Num. XXIV. 
&Ur)t wte fctn tmt> faMtcfc 

3mf<(MamffU.<(neSymphonia?m 1. Sjptfwtfpt/ tmoAUd) fati, 
$Jdl in o<r mif wn wrjanbm/ nad) lxr V 1. 2frr. 

2. 2$ber ften&p (^ifawitftin) fmojttwnDifcant, ate Concer- 
tat- ftimmtn a&etn jMttGeneralBafs ^fact/nad) per I.SRanitr ttr XII.2Crf. 
QBt< oann Mcfdb<3rt&<tnad)ar aud) $u wcrfcrjMKcrjm makn/nut Difcan- 
ten, Alt-Tenor-M>Ba<fent>mbdnanocrfurfcIf / Alt Mtt Km Text (&<y 
ttoanoer woj>nm) wo antxrn£)rf crn rmfrr. 

3. &<t) o<m fate ftmtmMtcbitd) t|?) nxdtfefn ofc Vocal- ©tftnntm 
per choros mit timnltt »mb/nacb r«r v I H . Hxu 

4. 3m(*obett>en JpSnenamenoefce* 1. 2. M03. $(pfty)tyi<(nrcdjf 
Ritornello ooer Ripiem,nad)oer V.tmo VI . Zxu 

5. 3m *• 'S&dl/ (wte ttt fo*(Htdp CSaffam t|t) to bittilotm timtgk 
diminuiret feino/nad) oer Ranter talll.Ktf: 2$ii WWtto CapcII* Fi- 
diciniar, fotooemlnftrumental-Chorbeartjfen/ nad)cer4. $tonferoer 
f<tb<n2trt» 

#0 * SEBeam 



ip6 

6. QBegm M mu cinfatfenbcn Chori proCapella, naci) kit 5, 
CDfonfar/ &c. 

^8nl> cbcncr majfe n ftnl> foldje bcrajdcfoen/aueb m$t Variationes,Mo- 

di,^onfcr<n»n&2Crmim&mi^nN(^babtcl)3fl)offff Jb^«- £f)riffc[ber Du 
bift e Zwonnbh«bt: WutmmbttJ&qttnSfrajlMib: Xatttwifttiimfym' 
tncfreid) : 9)?cine ©cdcrjjcbt Den Jf)$nen ; wwb anbern mefcren/ fonberlid) t» 
bem 'SeurfcUcn »nb £at cinifdjen Tc Dcum laudamus,&c. ju nben: $)ic ate* 
Jam c<n jcbcr t>or ftct> fdbff ldd>f lid) n>itb obfervircn *>nb abfd)db<n fimnen. 

<2Ba$ <tf abcr »or cine <35ebeuf un<j jjabe/rcenn t>ber einen Co ncert- @e>» 
fang/ i » . j, 4. 5. 6. 7. &c. gefunben wtrb/baffrlbf<$e uttm General C&af Po- 
lyhymnix ill. Panegyric*, bet) bcmXIV.&nbXXH. Concert ju fmben. 
$0 mutfaber bafcin wrftanben werben/bajj btt<rf?e Numerus die Concertat- 
^ttmrnen/ fo be* aamjen <Soneew*Sunbamem fet)n/bebeur< : SDic folaenbe 
Numeriaberbejetdmenbie InftrumentaJ-@rimmen obet (Sapeflcn / weld}« 
nur per accidens , or natus & plenioris concentus gratia 1 , rote broben an$c* 
Sct$f / barju t ommen / wmbmnt4n*,ctan4,ber Muficorum gang aujfenadalTen 
werbcnfo*nn<n. 

Stob bicwdl mmm alien bf*fcn2frfentmb SKanfercn/ totumnegoti- 
um; baSganiK vnnfc wnemb/teQBercfy $ffbenConcertat-©ftmmen/ Da^ 
fdnb btc ferimmen fo ^efungen vnb wof pronunciret wetben mfiffen / beffejjef : 
^0 bab id) in benfelben Canrionibus affjdf im 3nfan$oben an gefe^/a 2,i 3. 
44.0b<r£ 5*&c. fotfcl/aUrbannberfelbenGoncerta^rimmenworljattben 
f«m. S)enn folcfce Concert tmb Cantiones mtt benfelben €5fimmen gong o^ 
fein / obneaufbunber anbern Vocal- Sapeffen oter 3nfrmmenfen (brtwafr 
weft btcnicbr allenrt)albtn»ort)anben) m erne Orgd ober Olcgal/tofn^mdct) 
muficirtiverbcn tfnnen. £)arumb mujj man ju Mefen ©rimmen bit beffen 
Cantores vnb ©anger awjlefcn/ Me ntdjf affdn fecur , gefwfj »nnb (retjmurta; 
feijn/fonbcrn and) auff bfcjeijta,* Sft we SDMnier »nb wdfe/gratiata mente vnb 
mit autcrDifpofition jtnaea fonncn: SBietm 1. (lap. tymon wefcleujfrtgcr 
erwefcnef worben / »nMn b<r Inftru&ion pro Symphoniacis nod) grfmbud): 
vnb <i<3cnt(icr)er ongejdaf wetben with. 2febod) mil foldje Cantores tmnb 
&an$<ribty w$ m^eurfcnfanb/nodMur jdr an wenfs&wern&orjanben:©* 
ftnber man gteid)wo( wtr<r ben Studiofis vnb in ©djuren/offitma^ ertidje feme 
reine/ <xxti%tmb frifd)< 6rimmm / tveldje /a fo anrnfifig ju ^rm f<j)nya(0 offr- 

mald 



'97 

I -^— - - I II I II 

mateomtXK/DKtM diminuirens ofcpaflaghyrcns, oj)n »werfd)dttMib abs- 
que judicio m modKtt / jtct) wh erjfc&en twoflen. $n& Mewdi Me 2ttt-©rtn> 
mm»nl)^(ftff<rtcjftma^ff|)rbcT)ndr<a/ affo&ag<&er&re9 ( £tnoriftm/ alttin 
2Urtftoaufm&en: €5omu|jmanau$Der$RofJ> dn^ugenMnadKn/ wurt txtt 
2Uf »on dm S)ifeanrt(ten moSava fuperiorc (m^en JafFen: SJBeldje* au$ 
tridp Wianmftfig |u fctfre n. 

3or aUm Mna,en afrer iff Neftfin acfyf $u ncbmm f fta{? fa &f e Chori 
Inftrumentalcsnfcrjf Jti nal>e bet) ||>r< iugtlj&lgt Concertat-<brimmena> 
fMewnD &atotrd) &ie Cantorcs mi t jfcren ©t tmmen (t>aran mm aflermetffen 
gete$en ) obfeuriret wm& nicbr vool $d)6xtt tverfcen. ©on&em man fan bit 
IoftrumentalChor enrweDer oujf Die &<um abwertf/ofcer aber $ar gegewfcr 
ffellen/ Camtf man rfntwrm Ant<ni/ fcnnD fon&ertfd) tit Concertat- Vocal- 
©rimmen&efcodacnrtidjei »nD&eurttct)er wrnemenwin& obferviren f&utc 
wie ftann ba) &er fectyfien banter mif mefcrerm Dacon gefagt twrtcm 

NB. 

£>emnad)aud)w'clWd)f mandKrtMWWofTmer Mullens etficrjewd* 
mr gwargeringm/ au|f Mecin^nnt>anbcrf 2frf^rtcl)fetcCan:ionesjufct)m 
vn& tu f)c5r<n luft wife #ebe rraaen m fcty e. ©o fca& id) Den r ndtce-m Gene- 
ralem&ermd|im&ererfe(benCantionumLatioarum& Germanicarum fo 
(nad) wtfmDung ww& publkirim$mdner Mufarum Sioniarum Latina- 
rum prim* partis , win* txrerSfteun'Sjjefle der ^<wffd)m Mufar. fc. auct) 
Vraniae, Litanix, & exLeiturgodiarum numero, MiHodiae,Hymnodiar, 
Megalynodi#& Eulogodiat, item Terpfichore ) SDurd) <8ott<6$nfoi$t 
;8erle$)un$ici)jmier&a(b trier 3«!)ren t>ff&i< twt)eran8cad0fewiftrf<t)fe&ene 
2(rten/nad) mdner wenigf dt sefeff wrt componirt , *m& in edicben abfonfrer 
lichen rjdlen mif fcemnajmen Polyhymnix intituliret / affjjier juajetd) mif 
«ufflw n woffen. S>avwt fcenn vor etff Me 1 1 1. 1 V. wnft V . Polyhymuia 
aiefetf t6iy. wm&funffrfse '*' 8 - 3*i>* mit&etffieben ©ow*.£uljfe/l>oferncr 
mid) fo (ange lebcn U(l/m £>ru<f Jjerftir foramen nwftem 



#b 5 ©emnad) 




ip8 

NB. 

i^fflttac&torPoIyhymniarum inWefcm III* 
iTomoSyntagmatisMuficiofft t>M& t>IC( gt* 

I oac&t it)irt): Site foot man tor Tto ttoirfft fettt 
:<rac&ttt/ mc&tatlemtorofclbigcn Catalog 
lgumortonrtw& nac&cfaantor ^ic&cr jufc 
(en / fontorn auc^ a(le Me antorn Opera , nxlc&e tgetl* 
an^ £(e#t gcgcbctt t>nt> mit&fttftcfcr Afllffe noc& gcflc^ 
ben twrton: ? fcciteator wn antorn publiciret/tw& wm 
Autorc^o jmtortfcbc ©ottfcatf&btn frffte / gcmcinem 
93aterlanto jti guttc wrtegct tuft getrucft nwton folleti/ 
# cnan ju &cng*n/»<lc&c$ tor gtu&crgfge&fer (m tofktt 
t>ermerrff/t>nititt frgrofc eftterSK wirctigrot/wn ftjctc^cc 
fern j£)crg twit atytfontort/Jttfc&rci&cn rootle/ befontoro 
fcager&crtjttc&flcnefgt/ ©cmdncm^ficnnac&euffa* 
ften twmflgen/ $u tocnen/ auc& aUeti tor roafcren SUiuftc 
$«0et$awn ode be&Mf #e ©f mftejn erjtf gen. 

©nfc&ofern ewa SBuc&fcifnMer otor antore tor S?ta< 
flc $ugct&ane/$u eintro otor antorn Ditter Mefcn Operib. 
£ufi DtiO Sicbe tragen wArDcn : ©oletftonenfclben jimi 
Serfage afjefc gang rotlttg gejWget rocrtom 

$p(5<nittttl M(Polyhymniaefn/gr<rOrMlUt0» 

POLY- 



w 

PQLYHYMNIAE ECCLESIASTICAE : M. P. C. 

Continent e 5 

CANTIONES ECCLE- 

SIASTICAS: 

Rix$m2i efcw/ otw Concert-©ef4n0e/ 

Wit uu$. 4+$+6. 7*S*p. 10.1u22.13* I4*i$+i6"+f7«i& 

10. 204 xi. 22* 23* 24. 2tf. 30. 34. ©timtticm 

L II. Ill* IV. V. VL VII. Vin. IX. Choren ? 
C8ffmancl)aUt)vnfcrf«^kl)<n^«v<t>nl)t>omAutorefc(^«> 
funtxnc 3w wrt Wtanittt: aud) ad hodleraum 
Italorumcanendi &pfellendi 
modum: 
3uatf<rf>«n&Muficalifcl)en &4&ffcfcn wrt &(ofmftm Inftrumenten ttib 
$D?mfcJ)«i'©tt'mntm: Ttttdj^wtmwtm tMuit^)«rp«wfm/ tnttr 
j^irct)envn&fon(l<niug<braud)fn $<f<iKk 

S0?i< flitcm Baflb Gcncrali&continuo, mtff Orgtbt/ &£*$(/ 

£tf SrOffllttWttSonaden t)«l>IntradcD,foMr|U3^raUCbt 

nwttn/jttfrtftnftm* 



L 

POLYHYMNIA HEROICA : SEV Tu- 

bicinia & Tympaniftria. 

Continens 

CantioncsSaaasLatinas, in qu&us non folam vox viva, 

omnisquc 



200 



omnisque generis lnftmmcnta Mufica , vcrum ct am Tubae& 
Tympana^pro ratione temporis ac loci^tam in Ecclcfiafticis, 
quam aliispiis 6c Panegyricis Conventibus adhibcri poflunt. 



i. 



TeDeumlaudamus. 7.2.3.4./. paw. 

cu m Tubis & Tympano. 
Mifla fuper Fillida. 

cum Tubis 6c Tympano. 
Dcusin adjucorium meum intende. 

cum Tubis &Tympan. 
Magnificat anim i mca Dominum. 

cum Tubis & Tympan# 
Attollite portx capita vcftra. 

cum Tubis & Tympan. 
GrttUrum&fagtnertlujnqutomnugtne^ 

rts Inftrumentt Pfilmodk* cum Tubis 

& Tympanu per vices Mtuhuntur & 

tr/tftanfur. 
Confitcmini Domino & latidatc Domi- 
num * Bcnedicite Domino > & cxal- 

tatc Dominum. 



Chori 


voces I 


36.7. 


22.^7. 1 


8. 




4 5. 


16. 20* 


6. 




4.5.6. 


16.20* 


6. 




4.5.6. 


16% 20. 


6. 




3.4- 


9.I4. 


5. 


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POLY- 



aoi 



ii. — 

POLTHrUNIA 

Heroica augufta Csefarca. 

Sett 

In conventumquAtuor Impcri) Rom, Luminum 
Divi MATTHLfc I mp. C*f. Rom, Inviaifsimi, pii, 

felicis, Temper Augufti , P. P. 

FERDINAND I, Regis Bohcmiarpotcntifl; 
MAXIMIL1ANI ExarchiAuftrixfcrcniiT. 

IOANNIS GHORGII SeptemririSax<mi«illaftriff.In*uIaEle- 
&oraliSaxomca Drcfden/iauguftifsimttra, fplcndidi£ 
defidcratiiH exoptatiftimuau 
ftlkuMffUiifii* 
FotivdAccLmttionu 
debit* grit uLt'tonii 
humUis obedientU ergo 
3. 4. 8. 10. 12. 14. 16. 17. so. «. 23. Tociboscompofita. 
II. III. IV. V. VI. VII. Choris diftinda! 
quadriciniitamPucrorum<juim Adultorum Harmonil inter alia ce- 
tera decantau : omnisque generis Inftrumentorunviccnon 
Tubarum & Tympanoram Conceatu ornata* 

Ghori. 



Iubilate lacti Saxones : 

Gloria laus& honor tibi fit: 
LaudaHiernfalcm Dominium 
Venite ad fan&uarium Domini. 

CorilUrinm. 
Omnesgentes planditemanibus. 
cum Tubif ft Tympani*. 



Cc 



a.3.4.5.^.7 

4.5.*. 



roees 

4*8. iz.\6. 
157.20. 

17.11. 
xi.xl. 

17.ax.t3. 

POLY- 



lot 



III. 
POLYHYMNIA PANEGYRICA 

& 

CADVCEATRIX. 

£>arinnm 

(Soknnf fdk $wt> t>tib #retttom 

iJonrtrt: 

Snmaffm toe fe Ik fap£a)fcr:£&m9: g£ut: 

wi& prfUttfjcti jufamcnfunfftm / refpeaiva 

p ©t #mA$alla/<2BolfMtof cl/tm& an* 

fcrnitwrnemmOrfcrn: (Sotomn miff g<< 

£alemmi Prffenfagc jur ^aumburgf : to 

ft^wr (Ert^ultogung fit tot (StaW 

93raunfd?tt>etgf : Prft. 93tfc^» imroduaioa 

ju £alfarftott : <2©angdtfd?<m 3>u&#fk 

9fo<$ fonftm in antorn prfU. £a< 

ycllcn tmnfc #ttc§m atv 

gcortnct: 

3n6mie 

I. 2. 3. 4. 5. & 7. 8. 9. 10. ;;. ra. i). J4. 1;. 76. 17. /8. 19. 10. »/. 

»nbm(!)t©rtmmtii; 

25ffII.III.IV.V.t>MVI.(S!)et8<ridx«/<nuliciret»«lKnf<n)it. 

3nt»rti%(n«f<lvnNif(b<(t<m2n(nvM$Sian<<Kt<rCooceitat-Ma<ic,f« 

J«9 )<8«(t)(r Gantion in Baflb General!, (fcawl Mitt Direfiori Mu- 

iices«(5*<m£>r3<ut<(I<njt)3u«)ixrirtctm«/!Uol>f«niten 



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$to lob mdn ©<cf &<n J£>(£nm. 
2UWn ©off fit o<r fcoty fet) (£()r . 
(Jin fefle &ur<jf iffvnfcr ©off. 
3)euf> ^£> Safer 2Wm«W3*r ©off. 
fd)< S<l&ri|kwo(ffw*<r|>&m: 
MuTao* 3 ;&9t&tm*aff»nf<r€>unD<. 
tf Kyr. ^ 9>rdjj fep ©off tn oer fcdty. 
£)<ttffd) Et in terra:$ttrfn ©oft in ocr J)oV 
£)a* aff< 34r f ft nu v<rB^tt 
2B<nn wtr to jtfdjffcn notyen fh}n/i.i.$ttt 
Son JJ)f mmel r)odi/cum Symphonia. 
OBte fdtfn (<ud)Kf Mr SWorsenffmt: 
©dokf wtnD gcprrifcccum Ritornello, 

. _ . ") Bethlehem; cum 

^SfS?? 1 ?- >Symphonia&Ri 

{Vcni (anfteSptritus") Gum Halelu 
JCom!>dtta<r0dfi J" jah, 
QBfr slmtonoflandnm ©off/x.».?4rf(. 

KutfH<ff<rnoff)f(^rc!)<d))uotr/i^.3.ff)d. 
ffluftaw <ud) ^<cb<n <SI>rfffcn./.a.f jjdl. 
fflafomocrJjwomJEwtano/ i.a. ^j)<t(. 

Cum Symphonia & Ritor. 
£) &m& ©offcwnfcbutoig. 
$Rtt$r?<Dii>nD$r<n>Dtf) fa&r oaj>in/ i. a.fj). 
C Omnismundus jocundetur. 






efl)Dfr<5«d?wi&3uMtr<f. 
A ©cttBn? to SKaim geptdjet. 
26ad)ef auff ruffe »n* D<e€>tttnm< : Cum 

Symphonia. i.i.}.ty<i[. 



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si. 



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%6. 

28. 

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30. 

3*- 
3»- 

34- 
35. 

37- 
38. 



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l<Jt>rf(T»nf<rJj)cnjum3MMnf«m.f,t.i|)dl. 

3ubiu'w frfltd) »nb mft fdjaff: 
@i<^c rote fern wio Itcbltct) iff / 
jobcc ten Jp^nn : cum Symphonia & 
Ritornello,i.2.3. ^Jdl. 



Chori. 

2.4.5.6". 

*-3-4» 



C 3n Did) fab <d) $<&off<f £<&* : 
</. 2. 3. ^etl/cumSymphoni, 
£ tornello vel Ripieno. 
fytifa btt J>u Wjt Sag wtn* tf d)f / 

/.a.j.^ril/cum Symphonia& Ripieno. 
afefcrgfuts* ©ott/M.^jxfl- 
JebfaaxmSffnucbtfem ®ott/f.2.3$rif. 

r(£rjjak im* %£n1xx) &«nem 2BorO 

L2$er(«) wi* frfcten <mrtts(ici). j 

^atetvnferfm^mindrdct). 1. 2.3.4^^1 

cumSymphomis& Ritorticllo. 
2Kb ©ott von ^fmmcl ftcj) oardn / 

i.s,3.$|>cff. 
® dcta fc#tt3«fu <£f>rtff/ 1.2.3 -^dk 
3<fafofcm tytqfattniLz.7fyift. 

{In dulci jubilo,i.2.^t)dt 
#Ht < £ronimmn\m& {>e<rpaucfm. 

^mnwfrinj^djjlmn^rtxn/ia.^tidl. 

Jp^n(S{)rt^Nr<in<3@otf^©ot)n: cum 
Sinfbnia& Ritorncllis. 

2(d) mdn {)(E9UK ffraff mid) tod) nfdjc 
1 .^l)<il cum Symphonia: X)en antxtn 
^ j)<t( vide in Polyhymnia Iubilxa. 1.3.4.7. 

«0fcm< ©cd «tl)(t>( ton JjjQfrin. 1. 2. 3, 4. 

tycilcum Symphonii$&Ri torndlo. 1.5,4.5, 



> 



i.j.4.5. 

2.3.4.5. 
2.3.4.I, 

4- 

2.4. 



2.3.4./. 

2.3.4.5.** 

2.3.4.5. 

5. 

3-4<f- 



2.3.4.5. 
2.3.4, 



Voces. 
1.4.5.7.8.?. 

4.8.12. il. 

8./». 



5.441.16. 

7.8.11.12.16. 
6.7.10. //.15 
4.8.adi6. 

7.I3./7- 

6.7. ad 18. 

4.6.12.16.10 
8.p.ad 20 
8.9,70. ad 20 

7. ad 12. 16* 

20. 

f. 13.17.27* 
n./2,ad2i, 
fc7.1t.xs* 

6. 7. p. 11.73. 



2?nt> 



IV. 

Polyhymnia 7com$o$ffl& 

feu 
I>uericinia;qux trium qua tuorvepaeronm. 
concentio. 

©aKmtcn 

©cfatigfbcgrifTcnfc^tn 
3fo»«w. 

f rPucri.Srofc(!o^oa)Wf3^nf«f?n to( r 
LChorusr^oftannafttDn-^: J "* 

C Pucri:Qgem Paftores laudavere"^ 
1 "S Ch™ rNuncAngclorum glor. > tff 

C . r§K»i«id) jrMcn <£&r. ;> 
3 < Puctl: 1.5>mt ncntycfonttn .fita* 5» *>ff 

C Chor.@e6orn f fH5Mft*€>&trfrfn. 3 
' 6to3f fox lUbm fyriflm all 



Chori. 
2*4.5.6. 

2*4.5 £♦ 

2.4«//« 



Voces. 



7.11. 



7. 11. 



c« 5 



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206 



rPucrt & Imh ©orw* wtfcfcutot'sf . *l 
LChon©onid)rw<!)r3rfommcn. J 
Vide Polyhy m. Panegyricam. 

Offcrm 

Pucri: Vbi Rex eft gloriarum p 

5 -^ rSurrexitChriftushodie >*ff 

Ch * L<£rf?an&mff?t>arjr)<.<£()r. S 

Pueri:i0?cmJj)<riifiirfrw>awfffr. "j 

. ^Chorus : «ftu frewt CUdj ©om* >»ff 

8 aBkfdjortlmcbfcrter^craen^crn/i.z.^. 

xo £(>rffta*&<rwi*fettsmad}t/ i.2.tj><<f. cum 
Sinfonia. 
ti ^ompfjjerjumtrfrHd)t6ort^<So!)tt 
i» 1 ©ott&<r2$afttit>ojm*n*&q. 



{ 



1.4. 
5.*. 



2.4. 
5.6. 

2.4. 

5^ 

2.4.5.5. 
». 
2.5* 



7-f7. 



10.14. 



4**J3« 
4.8. 



POLV- 



107 
V. 

Polyhymnia Exercitatrix t 

Sek 

Tyrocininm Muficum Harmonicura 

inqnti 

HALELuIAH rariaad omncsc laves, (quibus & aliiTextus 

Latini, Gramrum a&iones i n fe continences , fub)o&i Cunt) qux vel per 

reufurpari,vcl cujuslibetModi Motetisinferi>iifdcinque 

m fine per vices fubjungi poflunt : 

Sannanct} 

grftdp temfdje JCfr<&«t#f$n«< / auff t>k Mm SRmtfar&r tortamSw in 

Canta fimplici 8c diminuto feu colorato^u fUtften : 

mit i.tmD 4. 3 ♦ wD * mtc& mcfp ©rimmen: 

;8or^atown&anbmMuficos, fb{u|Timt>#<&!>aknftd)tat ftngtnsu 
exercircn,im&iuj<tf g»3 w ffoiwr JUVmtift*' 
trier sugcmcjmm. 

HAtEluIAH. Voces. 

{IubilateDeo "1 C. 

Halelujah ij j 

reunite Pfatauim "I D. 

XHalclujah ij S 

{LaudateDominum \ E« 

Halelujah J 



CExultate jubilate \ Ffe 

LHaldujahii J 



Halelujah ij 

{Confitebor 
Halelujah ij 



2.4 
1.4 
2.4 






Exul- 



to8 



cExultemus. 
\Halleh1j4. 
rVenitecantate 
LHallcluja ij 
Cantate Domino 



Voces. 
3.6. 



}*Gb 

{Cantate Domino \ A 

Hallduja J A 

eWotefa|fo^tt<&&rffi/ i.z.j.^cil 
<£f>rfft (<^<n 3rtr*fron*m» 

3d) ©ok wn Jjtfmffldjtet tattin. 
SjBol fcm fcr in ©offtffurctjmt. 
^&tKT0tatd^ m^r/foHm tot tortttm 2$<fl Tyrodnii 
Mufidiuf?nt)mf<9n- 

^QBfr0bnfcnalI«ttcAtm@ocfs 

Water wtffr tm J£)ftmttc(m$. 
<E&n#tmf<r ££rr itsm3ort<m tan. 

Gftt& m Polyhymnia Panegyric*. 



1.4. 



1.4. 
2.4. 
i«4« 
1.4. 
2.4* 



Tyro- 



lop 

— ■ — — — "I I I II III ■ I II— — *— ^^— —t 

TYROCINII MuSICI 

SCnbcr Xfyil. 

Qatinnm Ut Srrjfc SSer6 
£Mf mriffm ^emfd^n jt<rdKn*tciw *nn&*J>faUmn Mmtnun'tftoinbeofo- 
rtrcr / 2(fo i>a£ Derfcfbc von etffl giwn SHfcanriftm otxr ^(itoriffcn affdn< in 
tUDx&liobttm war Stolen/ (&arumbfc<nn tow ©fimmann Contrapun- 
&o fimplici fcar$u 5cf<Q<r fan) gefungcn wcrtxn fan. 



©titter ££d 

TYROCINII MuSICI* 
X)aritm<n me&r Stfuffcbc g>fa(mmmt& Jttrdjenfltfw / *uff M< triwfltou 
ni<r &<r Written Concerten- #rf scfatf /aitoeflnfcctu 



Prodromus POLYHYMNIAE 

JVBILAEAE, 

Iub'ilus San&i Bernhardt. 

IESu DuLCIS MEMORIA: 

In aliquot partes diftributus: & afsicinio duorum, trium & quatuor 

Puerorum,nec non Adultorum, variorumq; InftrumentorumHarmo- 

nia,per vices, tribus, quatuor, quinque,o&o 8c novem vocibus, in duos 

vel eciamplures Chores divifis,infUtutus. 



Dd POLY- 



MO 



VI. 

POLYHYMNIA IV. 

BlLiEA; 
Sarinnm 

$fe futncm^c Pfalmm fwnt> mftlitix 

Sicker: 

©0 

93flfto«/ tot ab^etDf d>cnen ^a^re / mi ten Cmttdef^ 

fd&m-OrtCtt ZmffytlcinU* Soktmiter eclebrirte ^arr- 

tt«<^vanaetfclje^cw^:wi»3abclf<|1ml)mil<rcl)m 

ftujingtitftftrtwrorowt 

twrtau 

8^2.3.4.*. BtJ<Mjffz7.6rttt»tnen; 

Xff II. in. IV. v. wrt VI. €&W6cf<*<f 

(5owo! rnie Ukntri$ctWtnf(hn 6«mm< 

JErompwrn vnt) i><erpmitf m 

ffffl jf ttttcfc &0dj ttic^t/ in Polyhymnia Panegyrica. 
QBenn &<r j£Xgrr t>fc ©cfmwncn 3<om 

Gfogtf 



211 



©ingrt torn £§rrn dn ntuatkb. 

§ion fjmd)f oer .f)§rr &af mid) wrtaffm/w.^Jril in Echo. 
>tr) iob mb ^t)r mit ^of)<m^>r<ip. 
$to(a(twi*©off 2>cn.g)(grrm. 
Sd)Wdobwn*.0<3:nr. 
JD<* oancf ftmaa< <Sf)ri|fcn&df. 
SDancf fagcn twr aifc ©off vnferm /}. 

rEcceDominusveniet,&omne$San6ti. "It* *ft*tf 

Xe^Dnr^^wtr&fommcmHalclujah. J «.*»*9«. 

(Etf wolf tmtf ©oft gmeWg fo)n. 
SWa$ id) $ngtifcf nfc&t roiotrflaitt. 
£> Jj><£rre©off ©dn©dfffid)2Bow. 
(ErjyUf t>rttJJ^)>grrbcT) odmm QBorr . 
2ktfo$ wi* grirtm gncotgf. 
0<b*nfmn.Oemt. 

3<r)r ©otf nidjf mfc wi* otcf< jdf . 

9Bo©oftDer.?><Srrnfd)fb<i)Wi*&<fc 

{£o&«&mJ5<£mn&mJCo*nt0o<r<Sj>rm. "1 

LaudateDeunijDeumDeorum. J 

©dote fa bar Jj)(Err oct ©off 3frad. 

MiiTa: Ky rie,Gloria,Et in terra, ^artij wxttutffyt : cum Siofoniis : $M$ 
2Mdn ©off in o<r |)dr) fci) (g&r/mf f drum Echo. 

3un Jjxorpaucf m wto ttommtttttu 
&Mdttbm££mibtnti(tiflft. 
<£m ff (Tc fl& ur$f f fl »nf<r ©oft. 
tfufo&mdn^domjpiErra/i.i.S&df. 
%Mn®ottmb<t$6$fatyvi i^j.^JdU 
Srcwf cud) frewf <ud) for Stiffen. 
S0fcd)tf W< tyott n?df : cum Intcrmcdiis,Sinfoniis,Tubis & Tympanis, 

1.1.3.4. $|)df. 
jT)(Jrr ©oft Wet) (06m ttrtr : m<f fcWed)f<m Contrapun& gcfqpf / b&mit 000 

©emdne Solcf in &<r ,£ird}<n wilder; m<f oardn futgtn fan. 
•J)(E*r ©oft Met) lobmrofr/ 1,24.4. ^r)d(/cum Sinfbniis, Ritorncllo, audi 
*nbmi Intermedin wrtvariationibus. Dd a 2Jn& 



41* 

fyfytt tbnmn auc# au$ ben inborn 

Polyhymniis tMc&folgenfcc refcrirct twrtai: 

Oil*, 
v p 1 h XTcDeumlaudamus. 

°y ' XConfitcminiDomino,&laudatcDominum. 
C Gloria laus & honor tibi fit Rex Chrifte. 
Ex PoIyn.z, J Lauda Hicmfalcm Dominium 

C Vcnite ad fanttuarium Domini* 
r ©nf<|?<«ur3f:i4. 

| SftufretttcucrjltebmS&r. 
Ex Polyh. 3. << 3ubilircf frflid) »nb mtf fcrtfff. 

3n Wet) &a& id) aefcoffrt £<Err. 
VJBactKfauffruffrwiittt^tfmmf. 

ExPolyh.4. J£)(£rr ©o« id) j<ijf btttittt 6fo. 

Ex Polyh. f ♦ £){< HalelujaMn&Gratiarum a&iones.' ' 

lubilus fan&i Bernhardt & caetera ex cxteris Poly- 
hymniis. 



VII. 
POLYHYMNIA. 

$atf nnfli t>fe Sftatntti ff one orf m 9(tf 



$n* 



"* 



I. 


23n* tft <m .ftf ntfrfti J<u( <je&orn.2.f f>. | | 




2. 


®»JWnWdnfoWWi*/ 










*.C.x.A.i.T.i.B. 




/♦IO. 




3- 


©riff iff crfJanbftt/z.C./.A.i.T*i.B. 




5-?. 




4- 


<£&ri(f (ag in 3:o&t* franDcn. 

2.C1.A.1.T.1.B. 




J. io. 




f- 


3«fu^ <ltycift\xt ^nfcr £ct)(ant>. 

2.C1.A. /.T.i.B. 

^rfdjfcne <|K 

| tttJfrtttU 1 
«{ SBirfcancfcn >a.C.i.A.i.T.i.B. 




5.10. 












6. 




tf.MU 






1 fcir J£>CErtr 1 
















7- 


.ftomm-O. ©«'(?♦ 2.C.1.A./.T.1.R 




5./0. 




8. 


^u bitten rotr ben .Qff Hgtn ©cij?. 








9- 


S)arct)2foam$faIIifl gangwrtafo 








"%i\t>antox<ti<t$\<itym. 





VIII. 
POLYHYMNIA MISC£LLA,| 

Stortnntn 

QHUxhant) Xmtffit&ittfxnlitteit tw Son* 

<trt@<(fa$</ auff atfcifymft rntcrfclji^cne manefctrfep 2(wri 
*>ni SBaniertn wtf ereutanttr/auff wm'g tmt> wef 
©timmmwfcQ^orroauat&raud&m 
gcrfctyct* 



Dd 



POLY- 



2I 4 

IX. 

Polyhymnia Leiturgica: 

Conrincns 

MifTasfc Magnificat ad hodicrnum [talorum canendi & pfal- 

lendi Modum accommodata: 

O&o 10. ii. 14. 16. 20. 22. 23. 24. vocibus compofita : 

& in II . HI. IV. V. VI. Chorosdiftributa. 

Chori Voces. 

MifTa: Sine nomine. 
Mifla.-GIoria. in excelfis Deo* 

Super lob<t ton Jj^wn. 
MiflTa: Te decethymnus. 
Mifla: Kyriefonsbonitatis. 
Mifla: Super Agite,dies Izticix. 
Magnificat falfoBordon : cumln- 
termediis Gcrmanicis in Fefto 
Nativitatis Chrifti ad iextum 
Tonum. 
Magnificat f. B. cam Intermedins 
in F. Refurre&ionis Chrifti. 



1. 
a. 

5- 
6 



•1 



2.3.4. 
a* 4. 

3-4f- 



4.5.*. 



8. 

8.16.20. 

10.14.20* 
16.20.24. 



X. 
POLYHYMNIA.- contincns 
Motctas feu Cantiones Latinas , quatuor : 5. 6. 7. 8. 
II* 5c 12* vocum , duobus tribusve Choris 
diftinttarum. 
Veni San&e Spiritus. 
Ecce Maria genuit nobis. 
Deus in adjutorium meum intende. 
Iubilate Deo omnis terra. 
Canzon, fex Corncttis & duobus Trombonis. 

Ecce Maria genuit* 
Nunc dftnittis ferrum tuum. 
Cantate Domino canticum novum. 





4» 




4- 




4*5.6. 


2. 


7. 


2. 


8. 


2. 


8. 


a. 


8. 



ai5 

Pater nofter qui es in ccelis. 
Laudatc pucri Dominum. 
Bcati omnes qui ciment Dominum* 
Grates nunc omnes: cumlntermediis. 

Grates nunc omnes : Huic oportct. 
Miferere mci Deus. 
Adte Icvavioculosmeos. 
Deus meus, Deus meus. 
Vcni Sande Spiritus : Profa. 
Sandi Spiritus adfit nobis : Profa. 
BcnedidafandafitTrinitas: Profa. 
lam non dicam : Dominici Phinots. 

cum Intermedio : Halelujah. 
San&a Trinitas : D. Phinots* 

cum Intermedio: Halelujah. 
Magnificat anima mca Dominum* 
A udite omnes populi. 
Benedicite Domino. 



Char. 



Voc. 



U i 


8. 


!• 


8. 


% 


8. 


2. 


5. 




*4- 


ts 


a. 


a. 


*. 


a. 


s. 


i* 


8. 


i. 


8. 


a. 


8. 


a. 


8. 


a.}. 


8.IL 


a.;* 


s.iu 


»•* 


8.12. 


a* 


8.12. 


1 »-3- 1 


8./2. 



XI. 
POLYHYMNIA: continens 
M OTE T A S feu Cantiones Ecclefiafticas,Novem, Decern, //.12.13, 
14* l£. 20. 22. 35. vocum, in duos, tres,quataor,quinque,(ex, 
odo& novem Chorosdiftributarum. 
Venice exultemus Domino. 
Quiseft ifte,qui venitde Edom. 
Vidimac Pafchali laudes. 
Gloria in exceHis Deo. 
H*c eft dies,c|uam fecit Dominus. 
Dum furgittumulo. 
Salve Rex refu. 
Veni Sande Spiritus* 
Confitemini Domino.. 
Benedidus Dominus Deus. 
Conficcmini Domino, quoniam bonus. 



a*. 
2.3. 

1.4. 

M- 
3.4. 

M- 
3 4-5. 

4-/. 
<5. 

2.4.8.9. J22.tf 



pT|. 

9-fy 
10./4, 

12./6. 

I2.l£. 
12.16. 
/2.X6.Z0* 

l6.10. 



Ill 

XIL 
POLYHYMNIA COLLECTANEA 

Motctas Latinas ex Italici* Autoribus ab una , duabus, 

3.4.&5.vocibusCollcdas : quibusRipieno feu Chorus 

plcnus, qui in plurimisdefiderabatur, 

adjeduseft. 



XIII. 
POLYHYMNIA EVLOGODIACA. 

Continens 

Gloria : Bene- & Deodicamus varia , quae loco Ritorncllorum, 

Motetis Latinis vel Cantionibns etiam Gcrmanicis 

pracponi, poft- vel intcrponi poflunt. 



XIV. 
POLYHYMNIA INSTkVMENTALIS: 

feu 

Mufa Aonia Melpomene. 

gtorirmm 

Symphonic obtt Sinfonix fluff 9><wanen/ fewol Ritornelli t>ff Galliarton 
t)nDCourranten2(«/l)Urct) allcclavcs wt&ModosMu/kalesmit 2.3.4.5. 
£.t>nfc8.(grimmmgcrfci)t<f : SGBdctx nact) nwtr erfunfcnm2(rt in anfan$ 
cin^j<l>m Concerts pl><rAn^<r®^H*<r wrt> 2Bflrti#tt 0cf4n$< Pr«- 

ambuli 



ai7 

am buli loco: JmSKifKl after *n& (?nd( variation is &dclcaationis gra- 

mwt*Ua%xt%nflMmmunat)muti$su$<bxaud)tni 9Bfc after fb(cr/e* an* 

iuor&nm / waton m &cr Calliope jWifc Diana Teutonica (tli<t)< <£rempel$u 

fmkn fetjn/SBomad) <in jetxr &<rsreidj<n mefrt fam wit> arnicbwi fan. 

- _- _ 

AGLAIA 
Claritatis&fcftivitatis GRATIA. 
£artatt<n XXVH. Ztutfty ®<i(lli<b<$hti!)tnti<b<tim$tttibHte 

SdifyitfyrbuPolyhymnix : $o($m toc<mfc<rc@<tfift$c 
Motctcn vnnt) Conccrtcn , fotpof laUimftty «(*X<»ffc(</W|$e 



iatcin\\ch. 



I* Mufarum Sioniarum Motet* & Pfalmilatlni 4. j. £7.8.$. 10. it. 

fci6*vocum. Pars prima. 

a, Leiturgodia Sionia : in qua MifTodia Sionia 

Continens Kyrie, Gloria, Symbolodi am , Hicrodiponodiam & M£- 
ftochorodiatn,2.j.4.5.($.& odo vocum. 

3. Hymnodia Sionia. 
ContinensHymnos 14. anni, rerfarios feledos, 9*5*4.$. *• 7*&&» 

vocum. 

4. Megalynodia Sionia. 

Continens Canticum B. Virginis Marix fupcr Madrigalia&Mu- 
tetas,5.6.&8.vocum. 
j. Eulogodia Sionia. 

Continens Benedicamus & alia , <ju* complctorii loco canuntur, 
3.3.44.I.7.&8, vocum. 

Cc ^CUrfdK 



wtrntma^wmn 



11S 

Xrotfc§e. 

' 6. Mufe Sioniae 

©fi(Wic$<£ottcw©rf4Tt3« #♦ Xm(cri / aucfe Pfalmm &<$ 
Xobtt>a(|ifwm>t8.Snmmmf gr(?<r2tyif* 

7. MufxSionix: 

©cifiticQe (Eott«re©<f4n^ / »Ut t>it fittumtfe Ztitffcfy 
•Pfadnm tont> iuD<r i}, iiifjjm tmnt> iofapaffw/rme 8. wmt> iz» 
Stfmmcn. 3ntw XfyiL 

S, Mufx Sioniae: 

PfafoKn vnfc £ fetcr/mit 8*p**mt> a,@nmmm« 

3)rifccrZfjctL 

9. MufxSioniae .- 

©rifWcljc ffott(crt©cfang< t>hr Die fiimem&ffrtt £<utfcf}< 
itctxr # lutfyti/lriwaflw \m& antxraymrt 8»@rtmmm. 

tfttcrtycr Zfyil 

10. Mufae Sioniae: 

gdnffeer £&e& 

11. MufxSionix: 

ZMfcfce @M|t(ftfy ffwfcenPfafmm nmt> iMer atiffaU^S^ 

12. Mu(ae Sioni*: 

Stt£<uefr&M ©eifWtc&m JKrcfecnpjafoMt tmt> Xictor»oti 
tort f • J^cupcfttcbiitMa ^Safccfyfmt/ 93ufj / Ofcdjtfmtaisttaffo 
©o«/2)attcf , |a3lltl3)on^ff§«(l^en^6<tt wwt> 'JBanM/m^ 
©Mrowm 6fctmftrZ$ctl 

13, Mufx 



" • * III 

13. MufxSioniar; 

Sor Zcutf4eti QtifrUfyn in Sivctyn tmfc fyuftm Q&ttufy 
Ucfyn Pfalmm x>nnt> litbttvom £r<u# tmttt) 3ttf«fcftmg/t>on&cr 
€§n(l(icfeert^trc^m/tJDnlXo&t>nt)Stcrbm/t)om|ftna(lm2<i3<: 
^0r^nmt>ZUnt>tmau^Zi^cf^<mt^Qtmmm* 

N, B. 

3m <*• 7- Mfc S. Z^tU fint) t>w Pfafowtt tmt> Jfttor fd^rc^f to 

Contrapuna:ofimplicigef^Ct/b4mttW<^m«ncm^<r^Ur^<n 

mit cmptmmcn Pdnnc 3B«l abcr cm jcfccr £<mt> faft fattc SDWo* 

Uy gat / 3te tft cm fetor Pfafot auffc^hc^e mat / wit cr imSiir jfctt> 

t&um&Q>raunfc^<t9f/!£§arm^ 

&t<&fott n/grattcfm/S^wahti etc Befmtflro wtr& /Compwifr 

wtmt> $*(*$<* worton. 

14. MufxSionix: 

!Xeistfc(c ©a(Wc§< JUetxr tmt> Pfafotm mrt 2.3, <mc$ 4*@tfm* 
m<tt/auff$?oKKtt/^at>rt8a^ 
3ta0efwt. 9tamtter2$cfl. 

Ij-. VratiiafcuVrano-chorodia.* 

Star&mcn ip, Ut (SMfHtffeot Icutfcfcm *ir^ett©<f4nge/ 

attff 2*3*4. Chor inContrapanftofimplici, a(fo&afjiW< ©Wmtt 

IttgUtcft mttfingm Wnoc/ juaetattt^w gcfcw* 

I<j f Litanix. 

&Uin<x>nb$totttltontqfrfmYtUm<£t$aU*nt %<£$%/ 

wo^er We Utamp ?&rm c 33rfpnmat>n& flagmen fjafre, 
33nMt$t$trMc ©ctffKcfec tacftt^evtifcZattffy 

Mufx Sioniac; 

Ec * x« Mufa 



210 



i. MufaAonia TERPSICHORE. 

. 2)arimtcn aUtxlty Jrati^ftfcfjc £<itt$c tmn& littet / ate 
Branslen, Courrantcn, Voltcn, Ballettcn, Paflbmctzcn, Galli- 
axdcntmfc Rcprinfcn ;mtf4*fvimt>6%6tunmun 

^)i(f<nact)fo(3m^ftnbitvarfaft9an^fcr%abcrnoct)j«ridf<n 
5Dru<* ntc^t |>erfur f ommm. 
x Extra&auetorTcrpfichore: 

©arfoiuti t>i< aflcr&cflcn £ctn$< t?nt> ii^er / au§ tor TcrpfiV 
chore au jtfrtefen: 93ttf> ttoc^ <tfic$< mc&r / attfr W M& S?c»C Cour- 
rantcn pnD Balktten,|ttb*fmt>*m 
3* MufaAonia CALLIOPE; 

Sarfanm erttefce wcnig/grdlrc^/^^rlid^c onnb $ttr$tt>t%t 
JEcttffcfcc iwber mte u 23. 4* SifVanriffctt / attcfj mrt /♦ <$ 7. 8# 
©timrnm/ miff 2,3,4, $v(£§or/ faw&MJifapacfwmSinfoniis 
W& Ritoxncllis. 

£r|?<r Z|ctl» 

4, MufaAonia CALLIOPE. 

QarimcnZtrnffy/frtlidit ItiUr/aufy mtf tm«rfc#<Nttci$ 

3itft<rZ(rit» 
5* MufaAonia THALIA. 

£<m'tm<rt ctfofce rocaten otar Canzonen mit ?. (Stmttwnv 
auff @<tgm fbtttorftdj / attcfc tt>of atiflf antwrt Maftattft 2Jnjf ni* 
mmtttt/ate gmrf (rt/Jidttm tmt> Sa^ottcn $ii3<&r<wcfcm* 

erffcrZjj«r. 

6. MufaAonia THALIA. 

Stormttm trttdjeran&ettrSCiieorm Canzonen, Galliarden 
DttftFugcnmif 3»4,vrtDf»@ttmmm Wmfauiw*n&$<fV$ce: auff 
©rtSWotor antorrt 3tiff ritmemeri gar (wMidJ iu^e&raud^en. 

3fot><rZ&<«. 

7» Mufa 



4ZI 

7. MufaAonia ERATO: 

fOatinntn hit Ufttn tmt> wmmtfit £<mfc$< < 2Bc({Kc$</m<t* 
ftmt$ei(e gtcbwor tm © rucf mcljt au*0cgan$mc ±i<&cr / fo t>on tu 
ti$m wr aroffer #<£rt mXaffcfo f*#tger*crt/ alien an&ern 3*a# 
ffomfefeen \mt> iatctnifegen Jparucfjm Sommm (non male fane, 
fi Diis placet) wrgc$og<n ttxrfcen / t>ff <mt fontwparc new 2tr* 

*mn& Invention gcrtdjtef : 2(lfot>af?&« Intcrmcdio, Ritorncllo, 
Sinfoniae,Pavanen,Galliardten,BaIIcttcn tmfc atttXtt tWgfctdjm 

3tt(?rttmmtaufcfc< facljm / ( fo in matter Melpomene $ttfutt>en) 
tar$tmfcQenvftaucQ $u$(«c&t>arne&etf mte$epraudjtwr&m ftfffem 
JDarmrt /wert man t>ocfj mdjte flugce (ut cum Mat*ophilis mifo- 

nuifis,hoccft, filiis hujus fcculi loquar) {jdrcn tw(/fo(cfj< WtUtitty 
HtUv ttlrt enter faflcrn gratia tmt> variation an$<fttU<t tmfc gejjdrt/ 
tmn& ntcfy ad^ett trie Scutcr; *t>er 95*rn§eufcr&<t>er gcfrraudil 
uxrftmntfgm. 

S. Diana Teutonica. 

£etttfc$< 3cf#r<Ltet>er tmt> 3<$aer ©cfc^rep : mit $+7 8- 
(5eimmcn/in 2 3*+.L<£§orm/famprtm Ritorncllisgcfe$ee» 
$>♦ ftegeneburgtfelje Echo- ofce r twet>erfcf3allent>e Concert- Miw 
fic/mie-f.tmD 8.©«mmen/auff 2. €§or gcrit^tcc. 
S$t|j t>i<|>er »on Dm ©eplngcn : 

Soften tsim atiterc Opera , fo jum ^(jett gefcrticfe/ 

|um2:§a(Durc^©i5«ac^53fr(<9§ung5^»eh 
tpertmfottm. 
I. Syntagmatis Mufici, M,P.C 

Tomus Primus. 
Comple&ens Muficam Sacram & prophanam: quarum illade 
MuficaChorali& veteTumPfalmodia,de Miffodia, deMuGca Inftru- 
mentali , cum in Veteritum in NovoTcftamentoufitata : haec vero 
de Mufica Vocali & Inftrumcntali extra Ecclefiam agit: cum annexo 
Indicc. Ec 3 Synta- 



222 



i Syntagmatis Mufici M. P.C» 

Tomus Sccundus. 
£artan<nalte$MuftcaHfciKn/ Hitm mltilwcn I ftwdHuftiinbU 
fci)cn/ ^arbarifdjcn/ Q54wrtfci)en vnnb'Snkt anfcrm/ afeStnfKimifcben/ 
&i\nfllt<h<ntlitbti$m wi& bcfanbfm Inftrumentcn Nomenclatur , Into- 
nation tmfc (St3cnfct)aff( / fampr fcaofittom juffm3&rijwnni> ciecntUcixr 2(6* 
com crfaung. ©«nn aud) btx 2ttfm »nn& iRavm Or^dn swiff* &<fd)rd* 
hma/Stfanuaf: *n& <p<&al- (Sfavfcr / SBlajjba^/ Difpofitio »nt> mandwfa) 
Zxt (Sffmntm/ audi wfc&tc Regal MnbClaYicymbelnrdnwm&WclMU 
(Timmcn /vnDtva^tn tbcrltcffcrung rinct £)r$dta *d)f }u mj>m<n : fampr an* 
gefcendf em Sfrajfte fcefuiMfdj* 

3» Syntagmatis Mufici M, P. C. 

Tomus Tcrtius. 

Sarimtm 

i. $>f < S&rtrofuns/ttfc aucft bt< 2(bt j)dU wt& S&fctjrd&una. faff «ff<t $taj>> 

mm &cr3fa(fotrffd)ai / Sran^(tfd)<n / $nsltfcixn*n& fofger jeff fit $«iff<#* 

lanfc 3<&raud)uct)m ©cfansc : al* Concertcn, Motctcn, Madrigalien, 

Canzonen&c* 

a. 2Bo*tm jtnamfot) fcn^ofmtMtbTaau,ModisM&Tranfpofitione, 

Partibu$fcuVocibuswtntt>mcrfcl)t^m<nChoris, 3ttd) &<9 frit Vnifo- 

nis »nb Oft a vis JU obferviren* 

?♦ QBtc Mc 3t«Kanf fd)< wb an&cr< Termini Mufici , ate Ripieno , Ritor- 

nello/orte, pian, Capclla,Palchctto,»nMM<Un&<«m^t/ju»<r^tt 

»nb|u«,<&rauc&<n: 

£)i< Inftrumcnta Muficaiia ju wtwrfcfedbto / a&|Uff)d(ai t>nn& fuojfcfj 
iu mnnen : SDer General- Bafsju3<frrauct)<n: (gin Concm mit 3njfru' 
m<nf: ww& S0?mfdxn ©rimmen auff tmf<rfcl)t<i>lid)<Ghoros $&t IdcWtd) 

amwt&nw : >8nnMunsc ^na&m in ©ctmfm an MtKgtgt 3ralia^ 

mfd}< 3 re tmn& 3Ranf tr tm (tngm iu 

gdwtynmfqn. 

Synta- 



"3 

i i ■ ■ ■ ■■ ! i— — — — » -mnmrn tmmmmm — »V— ■ 

^.. Syntagmatis Mufici M.P.C, 

Tomus Quartus. 

De (JLttoTtoua.: 

Exoptimis, probatifsimis&eruditifsimis Latinorum , Italorum 
&Germaf»orumlibris,indefeflbftudio, magnolaborc & fummaindu- 
ftriacolle&a, exemplis & notistlluftrata. IamvcroobvariosAuto- 
rislaborcs&perpetuasfereprofediones, Methodicedifpofita, &Ta- 
bulis Synepticis inclufa. 

Ab Henrico Baryphono Wernigeroda- 
no,Scholae Quedclb. Mufico & 
Phonafco. 

5. M. P. C. 
MuSICA ORGANICA 

Larino- Germanica 

Rcgulis &ExcmplisMethodice dcfcripta, 
in qua, 

De ClavibuSjPaufis & Tabulatura : 
Ratione fonandi Organo & Inftrumcntopennato : 
ApplicationeDigitorum : 

Diminutionibusvariis^roppiSjTremoliSjCadentiiSjModis: 
Exercitatione feu Pra&icaper omnes Modos in Toccatis,Madrigaliis, 
Fugis,Concertis,Canzonibus,Paduanis&fimilibus. 

Omlfwnft/ 

Cor <wfaf)cn&e jtmge jDrgattiffat* 

_____ 

6. Inftruftion mb anffi fcrft'ctytt Uxtfyt 1 rod cbcr mafftn jtms< j?nafccn im 
(1113m ab}urtct)fm/*mfc tit ^djulm $u fcer jcgigcn y altimfd&en 2frt luacwij' 
wn fan. 2Cu^ l>cr »ornem&fT«t Muficorum Dtcfcr $cit in Italia ju Otem / 2$e* 
w&tawi&Slor«i? aiH^angcnen Operibus extrahiret, in wfcK^tuffctx 
^pr<id)cvertiret»nn&$um3u«n^r(lan^g^racl)(/ auc&an vtclm or«m 
*wm<?!) w *>n & wr&cflcw . Inftru- 



"4 

M. P. C. 

7* Inftruftion mb XnMnmg / »fc rin General - Bafs m'cto offdit i n <£oiu 
eerf* &tf2ng<n. mtff genriffc Choros gmdjtct/fonbern auct) in tiRm tttn mit 4, 
5.^.7. ^ritiicnaumact)m»nt)iu»ctffrrt3mreij/ miranae^n^cn^empdti* 

_— — 

3. Drsetn:8tt&m3ni*/^5aw wt& tf<ffmm$/ fowMm $fl<w<rwrfmf$an3/ 
a(*2Clf<r£>rsctarevifion: affmS&rifliidKii ©<m<mm/g3farrbttrn/,fiirc&* 
»4rern/ iSorffc&mi/ £)r$anf|?mvnn^anD<rm2)(ffcnInterefrencen}U5u«r 
auffad>t tm& nadjvidjf ung ^cflcffet. 

M. P. C 

p. (SrftnMictK Temperatur obtv&timmuw 1><r&tfldutm%nfttmtfr 
tm : aI^Clavicymbeln,Spinctten, Virginal, Clavicitherijwtftan&mt. 

— — — - 

xo. ^ttf <trfd)( tottt) %t\l<itM$iwic man in wfcmS&or in <S$ur: tmb §urff» 
lfelKn<Sapeirm/aud)fon|fcnman&mi ^trdKnnadjOrttf wi& gcifgd^ctv 
(eif ojmcconfiifion , auct) anoercr Vocal wn& Inftrumental- €>timmmv* 
Gcrfoitona fcfc ^rompwrn wm* Jj)«rpaucf<n mit cintafngmttmb <in|ttm* 
men finite. 

M, P. C 

11. iuftru&io, wefdjer affair em Concert mfr twma aucfy vief ^dmmm to 
jmierfctyeottdjen (Sjjoren/niclje ofleinc mit SDfcnfd)en6rfmfflen/fon&ertt aud) 
(\aer)ft)2Crt3n(trummf<nttac^mttKtfun3 efner je&cm ©rtmme ©fsnaror 
tm& (Sfartruna. fu^Hct) »n& jievttd) aniuortoienfcg* 

M. P. C 

u« 2foweffun$:»ef(l)er #(?«!* affetfeg <S*ncewmffnKfm*senwiWef<Sf><w 

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.Qucdlinburg. prsclari: QBddK&mt Autori M. Pratorio , &lt &fcfdb< tym 
n<tvltct)cr jdf §u fcan&cn f ommm/fd>r rcolaefaffcn. 2$nt> wdfer fcfunfcfti ftaf 
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©cmdnen <8eftm ju ^ute / fdbtjc mif ©Midjcr ftr(cg$ung jum £>rucf ju b<# 
f5rt)crn/tviatB auff ftd)s<nommen. 

I. Henrici Baryphoni VV. 

Exercitationcs Harmonics , quibus omnia tarn ad Thcoriam, quim 
adPraxinMuficam neceflariaper Aphori(mos,Tbcoreaiata& Problc- 
matanervosd& dilucide* expediuntur. 

I I. Diatribe Muiica Artufia: 

Ex Tabulis loan. Maris Artufii colle&a,Latindreddita,exempHsil- 
luftrata 8c publici juris in ufum&gratiamGermanorum Italicam Un- 
guam non callentium fa&a ftudio 5c opera Henrici Baryphoni . 

III. Hsnrici Baryphoni DISSERTATIO: 

De modis Muficis £ veterum & recentiorum tarn Graccorum quam 
Latinorum & Italorum monumentis excerpta & in luccm edita in gra- 
tiam Philologorum & Muficcs amantium. 
IV* Ifagogc MuficaEuclidis cum Hotis Henrici Baryphoni. 

V. Henrici Baryphoni VV. 

Ifagoge Mufico-Theoricaex FundamentoMathematico coram ra- 
tione& fenfu judicium proportione& Monochordo exercentibuspro- 
au&a in gratiam Petri Conradi <I>f Ao^taVglft 

VI. Henrici Baryphoni PlejadesMuficat: 

Quae praccipuas quzftiones Muficas difcutiunt , ad omnia quar Theo- 
rist & Melopceistplurimum inferviuntexveris fundamcntisMathema- 
ticis exftru&a, Theorcmatis feptenij proponunt,excmplis illoftrant, &c 
coram judicio rationis &fenfusexaminant,ftudiofis Muficcs & Mathe- 
fcosfcimncccflariaf&lcclujucund*. Ff a Henrici 



2l8 

■7. Henrici Baryphoni Logiftica Mufica, 

Iaqaa ufus proportiomun in addend is, fubtrahcndis, copulandis, 
c6mparandis,aequiparand is intervallis Synoptice ob oculosponitur. 

8. Henrici Baryphoni VV. Arithmologia Harmonica. 

Inquaflr^gracy Tam numerorum Harmonicorum primorumSc 

radicalium, quim inter fe compofitorum & fccundariorum&tertia- 
riorum tabellares in conftituendis intervallis fimplicibus, compofitis, 
prohibi ti $,diminutis & f uperflu is ob oculos ponuncur* 

9. Confonantiarum progrefsiones. 

Quae ad quosvisanimi affe&us cxprimendos accommodae , itaut ma- 
terizhilarinilaris, triftitriftis., aufterxauftera & ficdeincepsrefpon- 
deat Harmonia,e do£rina proportion urn demonftrata: ftudio & opera" 
Henrici Baryphoni. 
xo. Henrici Baryphoni VV. Ars canendi. 

Aphorifmis fuccin&is defcripta& notis Philofophicis , Mathematu 
cis,Phyficis& Hiftoricis ill aft rata. 
u. Henrici Baryphoni VV. 

Progymnafnu Melopoeticum in nou^M & 7TM7rto <hiM 
tributum. >■/ ' 

xa. CATALOGuS. 

Muficorum tam prifcorumquimrecentium autore Henrico Bary- 
phono VVernigerodano-cherufco. 

13. Hiftoria. 

Vcterum Inftrumentorum Muficorum 2;. Uteris Grxcis & Latinis 
monumentisatq; Philofophoram,Phllologorum,Muficorum& Hifto* 
ricorum fcriptis colleda & publici jaris fafta ab Henr. Baryph, V V. 

14. Exercitationesquatuor: 

De Mufica vocali: De Mufica Inftrumentali : De Muficcs inventor i- 
bus: De Muficcs ufu Autore Henrico Baryphono* 
15* Monochordi 

InDiatonico, Chromaticb &Enharmonicogenere defcriptio Au- 
tore Henrico Baryphono VV. 
16. Henrici Baryphoni V V. Spicilegium Muficum, 

In quo quaeftiones Muficorum praecipuac per Theorem ata& Problc- 
nuu iuccin&£ & nervosc difcutiuntur. F. 1. 1. A. 




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•■UtMMMMIMMMtlgaBMiJM 



> i — »^— — ^l 



r(M**M« ■■■■■■■ »— — ^W— »>l ■■ 



Pa(Taggi\ 



140» 

Paflaggi. 

&inftg<fd)nrin5c&iifFr/ivc(cto< bctj*<*Gradatimtmb aud) Saltuatim toircf) 
AUcIntct valla, fotvoufcendendo alfdelcendendo,9btt dm Nocen fo cttvae gel* 
Kn/$<f<i$« »ne g<m«ct)t wcroen. 

i8nbfmbji»ct)fr(ct)^rf :(5t(i^firtb<infcWg</fo tttif Minimis otorSemiMi- 

nimis,dbct Minimis wto SemiMinimu luajrtct) format wcrDmr^fttctK fmo jerbrO' 

efycnt/foau* Fufis oDaScmifufis,cfcnrFufist>ntScmifufisju^ktct)Bfniact)ftvftffn. 

(3>W$emiMinimxtt><rt*n*ont><n ltali&Chromata;9t<Fufciibcr SemiChro- 

mata : £)fc Scmiftifx ,8ifchromara s<nmn«. ) 

infat)c»be©d)ui<r aba: fcfcfcr JCunjf/foflcn (?rffttd) fat) txn rinfcctjffgm tmb 
ctafdrigen Patifaggien ten anfangnenwn wnfrbmiacbcrgemacbfam infc<ni<rbroci)t* 
mn/nrir Fufis $<|><cf ectt fid) fktfrtg cxetciren tmo »bm/fctjj ft< <nO(td) an fci< mir Semi- 
fiifts gtr«tl)<n /»n& ttefribceu ttxgc bringm fdnncn. 

$ 9 EXEBXITATIO. 

!Wn Mme / fo mup folcfctfmft affcr(<t) wiDwelai Exempeln duff mandjcrl^ Tixt di- 

minuiret(ft*fccmt to modus Diminutionum bmbct #iciifyntt vnfc manftefctar' 

m$w<tfifaimlih<t$<ftaUtttf<ttnbjmnttTLtt Notcn,and)t>tcf<*n& jmntlnter- 

yalla m<liminuircnt)nbcolorircn)dcmonftrircttver5(n. 3Bft(ab<rfotd)c* JUWW* 

teufftt^/ wt&ta Wefcm Tomo nidjf fan fxgrtffen waton : @o woUt Drr wo&lmrinartc 

Muficus tnb Cantor fytmtfr fo tang »orti<& wnun/bip bit fonptttfdx AuffufcrlidjcTra- 

ftatfnPrsceptistno Exemplis^iteoftdctjcrtjuljfmfur^oiimtran fcn$«g g<gc# 

lentwrfc. &u)ta fd) t>m gut frcr*tgm wt> nad) fo(d)<r nwm 3Crr |u i fmgm fagferigm 

Muikura rcii remittiret wid ^emitfen fcabm/fc. Interea raleat & vivat,meq; fovere 

tcamarepergat benevolus ac finccrusMuficusjcui ego pro 

viribus fidclitcr in-fervireftadeo &arco, 

domvivo: 



Micacl Pnctorius Cr. 



*4f 

■■ ■ ii ii » ■■■ ■ ■■»»■ » ■ ! , ■' W — ■— — « — 

U%[u§ $abuf}no(f)tn<f<*aUfy<rmitUr)i>ubrin$<n/ aucfjnw aiw 

bengal n&i$aact)f ft* 

3tt i. beijm X (Eapirtcl / for. 87. wtD fof. po. 

CDfc»df/»<^nv!>(rt»n(crfcl)keHcl)<ii Variation per Concertat- £rfttt» 
mm in ten Concert- ©efongen; e* ftd) ni d>f affjeif febicfen ttotfen/ Jmfc c*er 
Alois in Dm Altum, Bet Tenor in ten Tenor, oer Bafs in dm Bafsum (>eftt 
fJnnen em$efc$ee »ero<n : 60 fcabict) atrffefn anc-er Wlitul be*ad)f fepn muf* 
fen. 2Jn& ttewetl nun docb ofcne pa* Die anoern €5»mmen/fo nacb t>e m Cantu, 
Alto, Tenorewio Baflbfoktenmttt denNumeristmo^men/Quinta voce, 
Sexta parte, Oder Quinto, Sexto &c beattdmen mup : ^0 fcab id) mid) be* 
Duncfen laflfen / dafr e*nid)t*nfuajtd) / von forum an (Ufa bait* foldje* ntv 
merircn*iugebraucben/ atfo \>no Der^alr : 

Primus. -^ fCantus. 

Secundus, ) | Alrus. 

Tertius. V id.eft 1 Tenor. 

Quartos. ] ] Baflus. 

Qjiintus. J V^Quinta ro*. 

Stodfofowan. 
3* bin $twi f 1 da$wnunffri$e Mullci, t»enn fte der Sadjtnrec&f nad)* 
dencfen/ dipfaite mir mir gar mot e^ntg few »etden; ftmemal die Cantor cs 
vnft £)r$amf?en imanorbnen wtdabfeijen fondertebe CommodiretwidQSe* 
quemtgf tit fciedtird) flnden Wnnen : bewrab / tvenn albeit cine fbfct)c Tabella 0* 
det Speculum Harmon fcum,inmajfen <m Baflb Gcqcralimeiner Polyhym- 
niarura id) atfjeu tarbet) <jefcijt/$or jjanden. 

j. ©ct)m XII. (Sapif rel fof . pi. 9a. 

SDfeweWd) aud) me&r down $<ni$ bin / daji «Hcfr Mufici (fo'fofge n«K 
3wWamfd)e7frt jttcomponfrennod) jur aetf nicbf o*fen>im/ »ndonfan«*itiei* 
tie <t)$emhcbe #?er?mms weffridjt fo bald nicbf affeauiren/ oder aucb ander*/aif 
fd> e* amuinet/ aufr>eutenfo*ndfen)*on dtefemmeinemOpereetwaiiniftte 
atque ira minusdextre' judfarmrceTden. £0 fan td) wol l«t>den / Mlaudj 
drumb0ebcf<n&aben / taf mh-foldje tmd der&leicben fcrupel enweder febrifff : 
oter mimdtob e nrdetfet warden mdcbffn / darmie id) emc m jeden oatuff mem« 
$?e9nun$ ti ff&U* 3rundud)et wd etjgemlidjcr roerfennm Aeben f* nte. 

6o«flen Ijab id) aud) nod) de*Cio: Franc: Capcll: Ycn«iani,vcrba» 



242 

___„^_^^ I - -' - II 

fo mir nenrttd) m etna: fdner proration ju fcan&oi f ommm / au$ ocm 3f affoni* 
fcrjm in* ^mtfdje »mirt / fcicrbfl) mff rinffltm wottm ? to cr affo fpridjr : 
2M* wrgawffcrc Wc Gloflatorcs wib Xtiigfmgc fcer feteflrgWt s<* 
fcreuctyicfccB Mufic : t>af?/n>enn man in Un Ripicncn (t>a$ i(l in Pic- 
nochoro) toChotctowtUctoftfyttfotn/vttotinm ofccritMcntmc 
tinantor in Vnifonis , (en antortt tmt> htitun in O&a ven ^ugCetc^ 
fort mufrnrm Up/ rote man Nnn foM5<et>&<ratta(fo niacin fan : 
£>ap Der®cfans vff fobfec QRattfcr vttifMticftcr t>nt> t>^at^er(Tc% £fr 
rcn (affc : SOnD madjc gar <in<n fd^ncn cfFcdum : Auditc , pro. 

bate , acquiefcite.. Hare ilk. 

£5i<fc$b<8<u$« nun bU ©fa&rttng / taf fold)** fo ?• 4- f • <£&orat / gar 
wol fan etytarftt w«&cn : £)«m <*im ©c&o"r / fontarlict) in <jroffcn jvirctxn 
gut if?/ ob <tf gtetib fon|fcn »ffm Cartell nad) 2Crr &<r SXtgd wto Compofition 
ntd)t Unu iusdafjm warttn. 3 n Moteten abcr raif 6. 7. *tit> 8. 0dmmen/ 
fanfoidKSgar wotocrmtnm/tmordn gefegtrwrftat. £>af id) ttatottn Po- 
lyhymnia Panegyrica on Ctlid)m£)rfttn mtf Oct Capella Fidiciniaalfo/tvfe 
fo(. 100. »no 118. an j<itf gt moYft<n/g$a(f en/ »nfc Die Inftrumental-©rtmmen 
In fcrfdbm Capella E.wrwtt>an ftdj fdb|ivnttrdnantor ran mb juff / tmo 
ettfoaud) W<Concertat-©ttmmcn»orficb«ffcin^f<e<f : taffdbt fcabtctynw 
fon&erm§(d(jw& suKmSSttaefof alf* fegcnvnD oronen wolTcn : £)armif id) 
nut prottrm wi& oafcurd) erfa&rm t6nu I tvtc (id) Me Harmonia in fbfe^cr %xt 
<r»eifen tab jftcn (affen mo'ctye*. 

SEBenn man per chores maftefwn / tttb Uy tfttefcen wtferfcrjfcDenen 
Ctjorar/foji&erlic&e JDrganifftn oi>cr ^autentffcrt oronen twf : ©0 iwijfdf mir 
«td)t / wi wetoe dn jecer/ ot>n mdn erinnetn/ wiffen / tag per General-&ajj fo 
*fff muf abgefdjrieben / tub einem Ubtn gfcor tarinncn mtf rorer ocer an&ercr 
£>tm tn mtcrffrf cfcm weroen/ mt dn jeoer bet) fdnem £!>or fd)fagen foffe. 

2t6cr (jiatton m fcem abfonixdidjem Tradat t>omGcneral-^af / gc* 
(kb^©off/mifmct)r?m. 

SmGeneral-^afPolyhymni* III. Panegyric*, fcpfcforncn an/ 
fo wol aud) in Wn Nocis b«) dnem jcg(td)m Concert , nod) affcrlcr) nowm* 
Dig* Admo nitiones »nb Obfcrvationcs $u jmttn/tff iUmj&riff <n ^ &CV>( l>i^ 

f<j? Tomi Tertij r<f<rtr<f «?<r^n f fawn* 

No- 



INDEX I. 



mmmmmmamtm 



Mi 



Nomina Autorum, 
So in Nc f<m Tomo Tcrtio <mg<ieg<tt mfttti. 



A Lcxandcr Vtcndal. 
^* Alexius Ncandcr- 
Alphonfus de M onte Dolio. 
Andreas Gabriel. 
Antonius Cifra. 
Ariftidcs Quintilianus. 
Auguftinus Agazarius* 
Bcnedi&us Palavicinus. 
Bernhardus Strozzi. 
Claudius de Monte vcrde, 
Felix Anerius. 
Francifcus Pctrarcha. 
Henricus Glareanus. 
Hicronymus Iacobi. 
Jacob de Kcrle. 
jacobus Hcndclius, 
Jacobus Gaftoldi. 
Iacobus Rcgnardus. 
J oan Baptifta Fergu(ius» 
loan Bapt. Bovicelii, 
loan Gabrieli. 
loan. Lippius. 
IoanGoldclius. 
loan Leo Haslerus. 
loan Maria A rtufi. 
loan Pctrcius. 



IoanPalcftrino. 
Joannes Magirus, 
loan Stadeimaicr. 
Joannes Nucius. 
Iofephus Gallus. 
IuliusCaccini* 
Ivodcvcnto. 
Lambcrtus dcSaive* 
Lconhardus Lechncrus. 
LudovicusViadana. 
Lucas Marentius. 
Melchior Franck. 
Nicolaus Zangius. 
Orlandus de Laflb- 
PaulusFiviracius* 
Paulus Sartorius* 
Philippusdc Monte. 
Principe de Vcnofa. 
Sebaftianus Mificrocci. 
| Seflfa Daranda Monachus. 
I ScthusCalvifius* 
Sigi fmund us dc India. 
Stcph.Nafimbeni. 
Theodoras Riccius. 
Thomas Morlcus Anglus. 



«*C 



■••)$•» 

M 



n 



IN- 



I N D E X ir. 



114. 



S){(f<nnuij. #24*12; 

§ur <lappt[ttUifi<tt Wit) Cantorcs. 

724 
&c(«ffd)t mat)U^<fdjrwtm act- 
am. 124.125 
Battuta. 84 
$5atWH#c&cr. 2/ 

BE. 
B. t| tm^ttcbfiu$<&r«ud£3o.2i.$2 
5)cr<r MiKrfdKto. ?o. ^.3 2 

S&etoirons to VZtxttt 
Omnes. 
Solus. 
Voce. 

Inftrumento. 
Trombone* 
BE. 
S&tftytttt Inftrumcnn #20 

BL. 
Sbfofttlbt Inftrumcnt. 120 

3n ©fitter t>n&£t>Mcfy<r 
Mufic ntr msc&raudKn* 149 

BO. 

CSomkrto* 722 

S5ombar&o Piccolo, 122 

Qtambartino. 122 

S5omfrar&<WK. 122 

Alt S5om$ark 122 
Ghor-Bafs $&ombar&. 122 

@ro^ombart> 122 
Gttamd) in a<m«n<Glavibus. itf/ 
3n Qiiarta ttfc&risft 162 

SnC^uktanictwatt. jtfj 



145 



ua 



Bombyx. 

BR. 

Branslc . 35 

QBo$cr$m«tntf. as 

2$itf ttfcfetcixn wb Galliarden wto 
Courrantcn, 25 

BV, 
Baccina. tti 

CA. 

Cadentien fm General-Baft twr ait 
iu erf ennm. 13s 

5nt>crrcct)ffn/)«n&juma^<it 738 

Canzone a la Napolitana* 16 
gtttfr)Mt9 2Crf. i£ 

Canzonen|tn&wdt(!dK#eto. 16 
J£)a&m wis(dct?< 2tof< Mfc 3rcm. 
^tnDfaf! totHymnis Pindancis 

Canzonette. 19 

Canzoni. 19 

Canzoni Spirituals 17 

Capella. #/J 

113. 1/4 
JEXffftf Ioh. Gabrieli fo Vt<i I altf 
Chorus V ocalis. 7/4 . 157 

3Bfc 8<i<f $>!#• '5 7 

3Un nfcfef auflVngrtajfrn fto&au 

SBtttaud) mff Violcn Muficirct. 

."♦ 

Capclla JdflVf «U(*) Chorus Inftru- 

mentalis Mb tm ml aufe<toft<n 
tto&w. "5 



•44 



INDEX IT. 



AB. 

Qf&txUt obtt 2Cbju $ im C&aflw ♦ 19 

**3brj>fli)tun5 tot ©cf4ns< to <mer 

Sabeff. j 

2C&tf><^(und &cr 3nflrummf* up 

AC. 
Accentus ttttf »n& nric $untacl)<n. 

232,23? 

AD. 

Adagio fctout bet) &<n Italis etnen 
lanafamm^acr. 51 

AG. 
Aglaia M. Pr. c. 217 

AL 
Air. 17 

AL 

Akmande* af 

trover gottitntr. v 

tmftrftfrietai »om Calliard tmnd 

Pi van en. if 

fcabm i«<9/ auct) wol t>r«) Repeti- 

tiones. 25 

ait-S&ombarfc. m 

XUer^Apb^Kn^rom^ettW. 171 

2fo ©rimme fan in <&tt O&ava&tytt 

Scfttttgcn wtton. 1j8.v7.p5 

AN. 

Sfawdfiuta dfforr^ Concert tuff fid 

vn* mon^cricp $rt anjucrMim. 

AR. 
Arce riolate Lire* w 

Aria. 17 

Aricn > Italis Seherzi. 17 

Arithmologia Harmonica Henrici 
Baryphoni. %iS. 



Arpa doppia. 121 

Ars cancadi. H. 8, az3 

BA. 
Balletti : Balli. 18 

roofer gtnomtt* 19 

%xo<X)tt\fX)TSxu 19 

mltmb tynttqt. 19 

nw^djaflmojm obtt<pf<if{tn&' 

fpulct. 1? 

Menai m SWumtWKgm tub ^Dff- 

tfgm. 19 

Santera: S&an&b'ar* in 

S&arwomi*. 1/2 113 

ttwswidjwf* 113 

Baffctto. 112.113 

fccflmclayis Signata. 112 

WKtKrfop ^Domm^. in .113 

S5afFctS5ombar&. n$ 

^afjWSSomb.efcbraud). i5i 

g&a{f«Sl©*ton. ii« 
&aj? tvie auff W< Oct w tUx ©ubbaf 

Violen Abiufdjwtbm. 160 

$&«(&«$<• *» 

©ro(T<* 111 

^a^ojgewfejufraeffren. ^48 
QSaffiffm feflm «m<En&< &e*©efaiv 
g<* amfen$<ffcn mifjjaftcn. 80 
Baflb Viola. 12ft 

Baflus-Gencralis feu Qontinuus. 

114 
SEBofcerton namm. 124 

Son tt>cm frfuntot* 124 

SBwrnb crfiw&m. 12 4. up- 149 

ttffcn. 



*4* 



I N D E X II. 



CapclliFidicinia* 115.116 

QBic bkftibt anjitottoun fhj. i\6 
2B»wm& w& wn wmcrfiin&cn. 

116 
9Bof>ttb<nnamm. 116 

%n tint a£>fonOalictj<n orr itsfitfftn. 

117 
SWct eftum gattgat Gonfort alp 
Clayicymbcln, Thcorbcn , Pan- 
doer, Cithern, §tfftttt/ Violcn 
anjuortewn. 117 

jJtari wo( aufodajfm wr&m. 117 
SDfcntrtenlDrsamjtot. 117-118 
Capellapro Organo, Tcftudine, 
Thcorba* 118 

Capclla Vocalis* ~> 118 

Inftrumentalis. J up 
In plcnoChoro. 118 
Gtptimtiflttt Zmpt bet) Dm Vocal 
»n&Concettat-@rimm<ii. 106 
3n^nRipienfs. 106 

€«p\tttl tot <£vftm tytil*. 1 
JDe*3n&mt. 17 

£)te $)rt ft m. »» 

Cipriccio. 21 

Catalogus Muflcorum Henrict Ba- 
ryphoni, 228 

CE. 
C wfrfc to Madrigalcn:{£ fo Mute- 
ten se&raud)*. 50 
C. kfrfufcfdncnfoitafamm: <£ rincn 
8<fct)wm&m Tad. 50 
C tnt 4 uric wtt ft ft Componiften 
3<&raad)f. 51 
Cetera. m 



Chanfon* 16* 

Ghor jun QuerfWfrm. /5* 

SW<nfd)m-<5umm<. 1/7 

Stiffen. /57 

©dgm. '57 

SBte rftt jfftttgcgdcjpifr* 157 
Ghor to vicim €Mmmen nwfdie &<r 
<Er|tc/an&cr/ SDrif cc fq. 88. 89 
Chonft Sagof. /** 

©cbraud) em Quarta nfctorfsff .itfi 
ftcfTdtat -OdJK Attt Thon. 164 
ChorBafs Bombart nx 

©ebrauc&mQaartanfe&riger, j6i 
Choromutatowfe itwrjfcJKiJ. '07 
Chorus pro Capella. /13. "4 

£Bf< jumadjen. 124.11$ 

2(n wdctjm orf juffeffm. /15 

Chorus recitativus. 106 

Vocalis. /07 

Inftrumentalis. 107 

Symphonix. 118 

Chori Inftrumcntales,wo f>fti $ufM* 
l<tt. J97 

CI, 
Cithara. izi 

Chirarron. 121 

Cither, m 

Cither ©ro|i wrt gtmrfnt wfe jiifcijfa* 



dm. 


748 


CL. 




Clarien fcttltommcw. 


/71 


©cbrmid). 


171 


Claricymbalo. 


121 


Clavicymbel* 


121 


GO. 




Coloraturcn. 


13* 




Con- 



I N D E X II. 



*47 



Concerto ; Concetto. 4 

<i8$itbauf{hwcx)ttlvQ%xt <j<fcraud)f. 

3n Genere. 4 

3n Specie. 5 

Son Ludvico Viadana ctfurtt>cn. 

4 

Concert watfdgcnflfcftftt). j 

Concerut-@«mmcn. 106.7/8. *p6 

Concert mtr wenfg ofceriptdChoren 

mif Inftrumental »n& SD?cnfdjM 

0rtmmm<m$uor&ncn. /5*t>ip/<58 

Concerts C laves Signatas afler 

@ftmmcn/auff jujdetynm. 151 

Concert ©efSngc anauor&ncn jroflf' 

fcr(et) 2Trf. *6p 

£)ie(Br(fc wit SwmpcKn wi& #«t' 

pouefm. /£>s> 

Q5$i< an jufMm. 170 

mm Regahl , Pcfitiv, Clavicym- 
bel,Theorben o&cr {awett: o&cr 
Cornet, ©dgen/ *55(ocf o&er£iucr- 
jTdtf/o&ctCapcllae Fidiciniae an Jit* 
©rfcnm. 173 

SMc Drfrrc 2Crf / auff Concertat 
©rtmmm gcricfyta. 175 

2Bir& in jDrgd cut Regal gefim* 
gen. 175 

Jf)af$P»eun<r(ct)$?an(cr. 775 
QBte Die fcCbc SRameren an juorb' 
not. 176./77. /78./7P./8/ 

£)ie2$f«rDe2trf /Chor gege dnanttr 
suerfcencn. /8J.184 

&ic§unfffc2(rfmtf£afeutja!)/Glo- 
ria wii> anttrtt vttim Ritornellis 



anjuorfcenen* 784. /8j 

S)te©cd)(?*2Ctt/mtfdwtSyrnpho- 
niaanjtior&ewtt, /8q 

Sinphonia worou* ju nefjmen. 
£>fe ©icbenbe t2(rt/iu dner choral 
©ftmme/ ti c Inflrumcnta ju otto 
fcenen. ipo 

S)ie:2(ct)fc2Crf. /pz 

SDtc Stcun&e 2Crf/mff Vocaliften 
»n& Inftrumentiftcn an ju orfeo 
nen. /p/ 

SDk 3<{>cnb< t2Crf/ in a&wedjfdung 
fcet V ocal twi Inftrumental ©tf m* 
mm. 191 

SMe CEIfffe t2frfe / fa tit Inftrumen- 
ta dnmScrpGhorahtcrju fmgett. 

m- 194. 
^teW«<Stfmmenjjm<nfeU>flfforcf 
Wrt fftllc refpondiren. ip$ 

concert (@tet)c»i< fdn wrt Retold)) 
nad) alien 2Crr<n Examiniret. 19$ 

confonantix miiffen an #remnartu> 
lid)en£)rfe(?e!)<n. 10 

Confonantix tvte wiwefcfcc fm Gene- 
ral- Bafs ju jddjnen. 130./*/. 132. 

Confonantiarum progrelsiones H. 
Baryphoni. 228 

cornctto. m 

cornetto Muto. nz 

©e&raud) inQuarta ofcer Quinta 
j)dj)cr. 16% 

Cornu. m 

courante, af 

Dr.. 

Dialogi . 16 

Diana Tcutonica , M. P,C 2 2 * 

Diatri- 



24* 



INDEX ir. 



Diatribe MuficaArtufia, W. 227 
Piefit fc cmor otar tbcv btt Noten 

tuft (m General- B.juvtr ft d)cn. #$3 
Difcant$ri$c»ic|Utra&ircn. 143 
Diminationcs. »$2 

•£c«r 3trr. *3* 

DifcantQctgfnrirjutra&iren. 148 
Diicant (Bergen chor. 454 

QBteacirictmcf. 154 

QBttanjuoffcrncn. if 5 

Difcant Fagot vxnn JU gt &rottd)m. 

164. i5o 

Diflertatto dcModisMufici$,H. B. 

VV. 227 

Diffonantiac tyft t'm Gcneral-Bafs jit 

pt$tmt. 130 

Dudrina. *$2 

DoppiaArpa. m 

SDoppcl Bats Bombards grouch. 

160. r6i 

JDoppef Fagot. m 

©cbrauct) to Quarta nfcbrf $<r. itfa 

$teppcl$agor »<nn m gcbraiwljcn. 160 

JDoppd Jf)nrffc. 12; 

QBfc SufcW«$m. 147 

Dulciano:$)ul$iait m 

fcc. 

Echo. 16 

EX. 

fxclamatio. 

Moviret &fe aflfe&us. 



«,i 



*5* 



SHMcwvotvoiiMuac&rattclton *; 



F.xercitatio. 140 

fcxercirationesMufic* quatuorH. B. 

VV. 228 

Exercitation.es Harmonic* H. B. 

VV, 217 

EY. 

Eulogodia Sionia. M. P. G. 217 

FA. 
Fagot. i2i 

Chorid Fagot. 12a 

Quart. 122 

Quint. i2£ 

£)opp<f. 12a 

Fagotten Chor. #50.762 

QBKanauorDcnm. 159 

Fagotten j^raud) to8<mcfnmcla- 

vibus. /<5i 

3n Quarta oto Qujnta nf (ftrtgar. 

161. 16% 

Fagotto ordinario. 722 

Doppio. m 

Grande* ua 

Falfo Bordone. p 

Faulx Bourdon. 9 

2Bi<6<mact)ct. p-to 

EBotKr&crSftame. to.n 

%nlubU<fy< Harmonia wn& tvar« 

wn&. 10 

Fantafia ltal. 21 

FL 

Fidicula. 11a 

Fiffari. itf 

©cbroud) <n Quarta otor Qujnta 

•Otycr. 162 

FitfarOjTraYcrfo. m 



INDEX IT. 



—** 



121 
122 
/22 
/2I 



%ta\tamf&}tla)tt. 

KL. 

,ff(<foe7fH)ofaun. 
Jlicin Stfitltn. 
5\(«n ©«se. 

jtnabm tm^tngtn rofy at jurfdjr m. 

22p 

Jvrum&ftfrnttChor. 153.1(55 

£>cf[dto3<n £oj)c wife Stcfft. 165 
Oaves Signatx. 16; 

SB3l< JU Transponirn per Quar- 
tam. 765 

Per fecundam fupcriorcm. 161.166 
Sbumtytomx im rccrjtcn ^onjuse- 
braucben. /6$ 

Jtrnrntyorwr wi& ^ofwine n in Quar- 
ts oDerQuinta nicfrigeriufammat 
tu|ftmmcn. ^4 

LA. 
&UKC 12/ 

Imtn wit ju fd)fa(jctt. 146. 747 
iauun Chor: »nM>enfd6man4uor&f» 
nctt. 168 

La pavanc de Espaigne. 24 

LE. 
&wk : 3f«ttamfd)e / ticim. iax 

*<9re ©rop/wtc ju fd)la<jcn. 148 

LI. 
Licentia in btn Modis Muficis , foit* 
fcer(icr) Dorio, Hypodorio wiHy- 
pophrygio , 48 

Ligaturac. 

SOBcr&m *en frcn Italis mft dttffli 
f?ricl) formiret. zp 



LiturgodiaSionfa, M.P,C. 217 

Litania M.P.C. zip 

Liuto. 12 1 

LyradeGamba* 121 

Lyra de Bracio. 121 

Kvgp imyovvtfict* 1 2 1 

LO. 

LogifticaMufica,H.B. 228 

MA. 

Madrigale. u.iz 

Madrigalia Spiritualia. 12 

Magadis. in 
SSRarc&tatrifd}* Sfd f>«&m toty £>&' 

Mafcherada.Mafcharata# 26 

ME. 

Megalynodia. 217 

SOfcnfcljcn (grfmmen Chor . /$7./y8 

Meflanza : Miirichanza* 27 

MI. 

MiflaPapaeMarcelH* 150 

Miflbdia prima. zv} 

MO. 

Modnm dm* KdlidKtt ©*f<M1§*/t« 
Cantu A. T. 8. aud) in Cantu 
fcj duro tmfc b molli m 3:afcdn |ua> 
fennm : fur Cantorcs in Notcn* 

3**7 
Stir £>r$anff?<n in BtHftfttat. 4 6 

47 
Modorum repercufsiones: wit Fi- 
nal. 48 
Modorum $w «)rtfa; orMluttg* tf 
Monochordidifcriptio. H.B. 228 
Mordanten: Modcrantcn. i& 
3i i) Mote- 



I N D E X IT. 



fttjurmtm Ballet. 


'P 


Final wtctm ©efang fumacfym. 


80 


FL. 




§(aM><r$ro&*ei) txn^rcmmcrcrn 


.772 


Flauto : Fiauto* 


122 


Flauto tramfo. 


122 


Flauto Piccolo* 


122 


%ltiu §(ott(m. 


712 


Siiftten t6nmn Ufwtikti an ffafcc tor 


Capcllx Fidicimac <je&raud)f 


wet* 


fcfrt. 


7/7 


glotten chot. 


157 


SBfean jufMm. 


158 


JDicnct in ^tubm tmt>®emo , d)er. 




1* 


FO. 




Forte &et>cur efn ftarcf Mtrt frffdje 


^timmc. 


7/2 


FV. 




Fnga* 


21 


QBo&ttammtt'f* 


2/ 


SKic trnGcncral-Bafsatiiufan^m 




738 


Fundament-Inftrumenta. 


I/<7 


wk jufcljfosm. 


746 


Gil, 




Galliard. 


*4 


SBotKt $menn«. 


*4 


j£)«fj. repetitiones. 


24 


jF)t(tin«qualem Tadutn. 


*4 


1 talis Saltarello. 


M 


Von paflamezo vmerf(tyefteit 


• M 


GE. 




©*t$m Chor. 


157 


CSHe acidc&nef. 


V7 


Excmpla, 


'57 



HP 



Qemeinc S&afferiae, iz* 

©tof S&of se^e. , 2 z 

General Bafs auff 1 o. 0^ M.flntm 

|ufeii<n. /j5 

2fo* torn reefcten $5af* sufqm* 

747* 142 
.Ran Mgt*ei(en mft dnem Bafs-in- 
ftrumcntm M< JDrgel gemadjf »<r* 
fcm. 1*$ 

SEBie eutem&iptfmeff&r mae&rau- 
djem 706 

^ctyecfef *j>ne w'dcoloramren |u> 
fdjlagm/ etxr toe Diminutiones 
mtf grower befcfyetfcenjetf iuadhibi- 
ren. 157 

©<iKf auff tfeflerfo$rf /per eradus 
faltus ,tiratas tub Notas disjun- 
dtas ♦ 140 

SBicfufdjfaa/tt. /40. 

®effin3a&f&etton3<n dttttTibel. * 
©ef&ns mfr aeffflidjen $rarttfftfd)ert 
^errm- 4 

QBelf Ucfcen <popirHd)<tt . « 

gum ©affafmvnb S)?umerderu8 
£)<r Sr&ett /tm& SBawetf lewe. *o 
©frmertfflrter. • ao 

©*fans$<n&fd)«(ff. «p 

©efans trte nactj &em Tempore m eif 

GI. 
Giardiniero. 10 

SSBofcetsenennet. 40 

Giuftiniani. *8 

GR. 

157 1 Grob M ten Swmmefttrfc *7» 



*T* 



INDEX IT. 



Motets Nomen&Jerivatio. 6 

Motctti , Conccrti , Goncentus cjjlf* 

lict)cn Synonym a. f.6.7.8 

" CStltcDen / vntcvf cbtc^cn. 8.9 

Motetti Concertati . 8 

Motcttcn au£m Gcneral-Bafs $tt> 

fctytacjm. 73 o 

Mu. 

Mufe Sionix & Aoniae, M.P. G. 218. 

ad 221 

MuiicaOrganka Latino-Germani- 

ca, M. P.C. 223 

N. 

Natura nftf 4 $um 6m$m. 13 / 

Nkolo. 161 

SfttebrifjcChor |tt Muficiren. /08 

Nomina augmcntativa bet) fcen Itx- 

lismOne : Diminutiva in INO: 

C ontemtativa tit Atcio. 123 

Notarum valor Tub Signis vulgari- 

bus&proportiona. is.56.f 2.^4.5? 

In Sextnpla. 7$. 74.76 

Noten in Tripla &c.2Bt< $u jrictmen. 

29. 30 
Numeri »fco; ton Conccrt-®cpng<. 

196 
O. 
Obfcrvationcs jum General-Bafs. 

/16.127 
Ofkararum Confecutio , wtc 311 toil* 
dm. 9/ . 93. 95. 9d.97.p8.24 1. 242 
O&av-fpofmm. 112.160 

Omnes tn& Solus. /14.//5 

Omni Voca Inftrumcnta. 119 

Opera M. P. C, wn W- Wp 12$. 



Opera Muffca H. B. VV. 227.228 

Oi'&nuiH J>a* iModorum mid) fcctn 

ZarlinDV»nDGiarcano.j6.37.&c. 

Organum: iDi^cL 121 

j Grganumpnevmatkum. m 

• Organo piccolo. 121 

1 Organi pars poftica. m 

Organiften Tabulatur. iz& 

Organiften Errcrcs im Gencral- 

Bafs. 128 

^rgantftoi/bcimGeneral- Bafs ju ob- 

feiriren. 125,126.129.74314$ 

Or^cl Jtunff fur jungtjDrgamfien. 223 

Orgcln&rtingnA*/ $boxowtol\tfi& 

rung. 224 

Ornamcnt-Inftrumenta, 119. /20 

146 
P. 
PA. 
Padjona. Paduana. 13 

Pakhetto* 115 

Pandura. 121 

Parti Concertate. ty&tttt)m. 106 
9>art<9cn$ufcwafci}<i&cm 8y. 87.90 

241 
Paflaggi . ^40 

Paflamezo . 24 

Pavana. 24 

PavanedeEfpaigne. 24 

P£.PI. PO. 
Pedis* in 

Phantafia . zt 

Pian:£fcMi$/#nft» na 

Piffaro. 122 

Piccolo Organo . ui 

Pleiades Muta H, B, 227 

Plenus 



r n d e x ir. 



*53 



Plcnus Chorus. //8 

Pnevmaticum Organ: 121 

Polyhymnia: Vanx, M.P. C. 

Ecclefiafticae. /pp 

PolyhymuiaHeroica feuTubicinia. 

if 9 

Cacfarea . *oi 

Pancgyrica. 202 

Pueticinia . J05 

Exercitatrtx . 207 

Iubilzx Prodromus. 209 

Iubilara. 2/0 

Varia. 2/2 

Mifcellanea. 2/3 

Lciturgica. 214 

Continens Motet as lacinas. 214 

Ecclcfiafricas. 215 

Colle&anea. Eulogiodica. 

Inftrumcnralis. 216 

*pcf<mmn aHcrl«) Zxt. m.i 2 1 

^ofauncnChor. 159. 160.117 

5>of»umen/ Quart, Quint nicfcrt<jer. 

162. r6$.i6^.i6f 

(£in< 9>of? hco btn Zxmttuxn 1 rote 

ttil Tad. 171 

Poficiv. 121 

PR. PS. 
Priludium ;Pr*ambul fur ftct) fel&ft. 

2/ 
Itim ^anise. 22 

gu Motctten »n Madrigalien. 

Praefto: ®cfct)ti>{nt>cr Tact. 112 

Primus v Sc'cundus:£Btet>Kfc&0i:Kr 

ju»evf?cf)<nfct)n. 241 

Principal frcgMi^rpmnKWrm 170 



Principia&tn General- Bafs jufcttfa- 
3<n. 139 

Progymnafma Melopoeticum H .B. 

228 

Proportio Tripla. 52 

Dupla. 54 

Sextupla. fi 

Pfalm i falfo bordoni. f 

Quart* . xi 

Quart ^pofauttt 

Quart- Fa got 722. 162, 

&wr fTctr : Surtpfriff. 1 22 

Ouetftitrcn Chor. 15^ 

Quinten btx) tm txtmmtttttUI * 1 !* 
Quint Fagot. *2Z 

Qujnt £)oppcf-Fagotcen®<&raud) 

vn&^t'cffc. 16 2. /tfj 

Quodlibet, 17.18 

R. 
Regale :<Xc$af. m 

5Xcga( ju Concertat-€>fimttt<!1. "* 
iXegcnpburgtfcbc Echo. 22r 

Regnumcoeloruiit,M.P.C. 225.226 
Relationes non Harmonica:. n 
Retraje&e im Ballett. 19 

Ribecctuno. 121 

Ricercari. 2/.22 

Ripieni. 118. in 

Ripieni wtf Chorus pro Capclla ftn& 

Synonyma. HI 

Ripieni, 3Bo{)m juortwrn. 189 
Ripieni, im General- Bafs Juobfer- 

viren. 138. ijp 

Ritornello. 108.109 

2>i iif %t\ux> 



*54 



INDEX IT. 



i^a^noaiMx 



28nferfci)<i& Ritornello *m& Sym- 
phonic lop 
Ritcrncl. Mb Ripieni. in 
Excmpla. izf . x86. 187 . /88 

©5t«ttChor. 168 

Saltarelli. 24 

S4ngcrs *ty<nfd)ftfffW. a*P 

©djAfotetKit m 

©djatown Chor. 166 

€5d)tcfr fWj md)f |u oHmModis. 

SBfc ju $<|ftmm« wurt ju 3<br<ui* 
djm. 16^.167.168 

Screnata. 18 

Sefquialtenitt Madrigalicn, Galli- 

arden, Courantcn |u$ebrauci)*n. 

T3 
Seftini. '5 

Scxtattm General-Bafs $11 jefd)Wn. 

132.154 
Scxtam Maiorcmfo(3«cm<Oaava. 

94 
Sextupla m Ki#n<tt . 73- 74 

Signa vulgaris > & proportionate. 

48.y2.54 

Symphonic |W<tjttf<M*£« a2.1u.n8 

Q&itbit $Mbtn im&in$<n redjf 

ct&jurtcftfw. . mp 

Synonyma Me Chords ju Mferfc&rf* 

txn. «8 

Sonata. *i 

Sonaten&er^romtWWt aa.173.171 

Sonetti, if 

Spicilcgium Muficum H. B* xa8 

Spinetto. m 



Stampita. 19 

Stanza. if 

©rimmen jtt tm«rfciKt&m. 85. 86.8 7 
©tfmmmm&K ^aHepcnjufcijrri&m. 

29.90 
Gfimmm t>ttt) rcquifita. 131.131 
©fimmuna fccr SScfaiwten Inftra- 

menten. 

©trfdjUnipmcrvnd jwtfctyen ten No- 

tcn. $ 4 .ff 

Sub-Bafs Yiolen . 160 

T. 

TA. 

Tabulaturtwrwtt& erftmtW. up 

Ta&us. 48 

srqualis. 48.4p.y4 

Inxqualis* 48.4p.5z 

Tardior. Cclcrior. 4P 

alia Semi breve. 49 

alia Breve. 4P 

Trochaicus. 52.74 

Major, 8c Minor. 51 

Ta&uminxqualemad xqualemju^ 

rtdjttn » 75 

Ta&ustabella. 7P 

Ta&jtm ^romweit. 17^ 

2$cr<n&*run<j &ctt Ta&s movirt 

Me affeaus,»nb wtrt> mtc bm2B6r* 

tern Lento, Prefto *><m 6m Italis 

notiret. 112.7p.80.fi 

Tamburo. 122 

^4nseauffgen#Mtt&im3efl#Srif. 

23. 2f 

T^yaAoyjottvnbTabcll 27.18 

Tempuspcrfcftu majus& minus.49 

Tern- 



*1* 



INDEX IT. 



V. 



28<rm&mm$ ttt Ctfmttw i $U torn 

Concert <me fonttrltclKgratiam, 

»nt> mit &<n y&fattm F orte , P ian 

notiret. ;ii. 79 

Stottrtenms to* Tads if! and) <uu 

mdrt^. 51,79.80.1/1 

Villages^ 21 

ViacttcVioate. xo 

Viola da Gamba. 122.157 

$($raud) in Qaarta *nfc Quinta 

rt<t>xi$tt, 164. 

Violcdcbracio, 122.157 

Violino.Violonc. m. 114. 1/5 

Violcn Choi:. 157 

Virginal. x/x 

Viva tocc, up 

VnifonorumConfcciitio:3m Can- 

tu,Baf$t>nb flflimh&timmm. o/> 

S>2,$>4.*4/.*42 

Vnivoca Inftnunenta . 119.110 



$attrt< in ftcr Mufic r<ct)f mgcbrau* 

d)m. 224 

Vocal-©tfmmm. Vocales. 119 

Voce. x18.114.nf 

Voces humans. Sol*. #18 

Recitatnrc. Conccrtatar. 118 
VociConcertate, Voces Coaccr- 
tatat,Concertantes. 106 
Volgan to) txn Ixommtrnxn. / 72 
Volte ♦ Volta. if 

Vrania, M. P.C. &? 

SBfo#r fltfar. 40 

3- 

34^nf<tMe$Auf<n lit |dd)tt£#-34 

3<)j>( otxr gfffttn im General- Bafs 

fyocfen&tg/vnft nwt* ft* tefctm en. 116 

/27.ia8./2p./jo. 

SBftfttiufdirrftat. 150 

^<nfad)b<(ffra(fjwr)frtd)» 13a 

3m$<l Corthol. itfo.164 

sJtncfmChor, 154.155 




ERRATA 



INDEX II. 



*fl 



Tempora ober Ta&t , wU t>tet to rimr 

wtucltfyalbtn vnb aanijcn €5tunt> 

fermm muficirtroerbcn. 88 

Tenor tw$tr gentium. 11 

Tenor to &<r 0&avj£tfj)<r ju 6mgm. 

if*. 157 
Tenor ©rig, 122 

Tenor 9>offflin ££f)e. 1*4 

Termini bet) ton tromttttttm. 171 
Tertix naruralis locus in fonisacu- 
cetis* 10 

Terrientm General- Bafs jujdd)»tm 

»nt> sugcbrattdKn- ij*« 134 • '3*. '35 [ 
Tertiam major cm folgtt <m< Sexca 

Major otor O&ava. 154 

Teftudo. 12/ 

Scut fdjetato @rfp$ otto QBcftltcrje 

M. P. C. 218. 2ro. 220. 221 

Theorba* 127.147 

Tibia. 722 

Tibia transversa. 122 

Tibiola. 722 

Tibia gingrina. 722 

Tirat*. 236 

Tyrocinium Muficum. 207.209 

Tympanum . 122 

Toccata. 2. 3 
Tomus. 1. 2. 3. 4. Sy ntagmatis Mufi- 

ciM. P.C 221.222.22} 

Transpofition t'm 3bf<$m. 80. Si 

Transpofition per Qjiintam in Ml- 

xolydio,Aeolio wife Wypolonico 

wwngmebm. 81 

Transpofitio per Quartam £ Du- 



ro in durum, vnbcqucm* 81 

QBfc Df £ lit Corrigiren. 8i 

Transpofitio to NcSecund ttfetorigcr 

in Dono,Mixolydio, Hypoxolio 

Mtblonico. 8j 

Transpofitio in modoConnexo^fy* 

nc perSecundam,tV<rl>ntc^f con- 

cedirt. 82 

Transpofitio iffwr dwnOrganfffat 

Inciter in &<t Noten Tabulatur, 

alfj in Der 93ud)ffobm Tab. jitto 

grdffm. 8^.84 

Transpofitio per 0<3avam,quartam 

WD quintam tffbtn groffen Bafs- 

Inftrumentcn. /<5j 

Transpofitio Mixolydii , Aeolii $n& 

flypolonici, per Quartam,wfctnt 

Gcnerai-Bafs ju notiren. 136 

Travcrfa . 156 

Trcmulo. 23$ 

Tremoietth 135 

Trill o. 2^7.238 

Tripla proportio inMotetten vnnfr 

Concertenju gefcaucfem. 53 

Triplam »n& Sefquialteram }u wtf er- 

fd)ri&cn. 34 

Trombone . 12/. 114* 115 

Trombone piccolo. 221 

Majore , Grande. 122 

all* O&araBafla. nx 

Trompetta : Trommett. 122 

^xempcttex foConccrtcn mittin *u> 

fftmmctt. 170.171 

Tuba. 127 

Tutti,tM*<*&tt<UKf. n8 




*57 

ERRATA in 111+ TOMO, 
Lc&ori 5. 

2toffi$tt Hc^r &frr : £>& k& tool wrf>efff / Wcf<c Tonrns Tmius 
;$ynugm ; M. £W«mm»tm*fci)m wife fergtfems ttad) / «tw*frff<r; 
p (eraug »nb <m* #<*h wfoto tommtn fan: &$ fcfmNf fid) fcocb Itf* 
dor fcitf SBatorfrtd; in torn I mttnet a&nxf<m& / Durtl) fo tbtr&u$ 
9roff«wa(t)ff4mf rit tm* wtfkifi / fowl Ecr*u $dajfm/&a$fclKra#e Mito- 
gen <m&ern*« t>mbt>riKf<n foflta muffcn. 

U$ltidicisMlmi$ttnQMW<ttim. 3Uf* 

G u j. tf? pagina 21. f* muf toff ten folgtnftit / it. ij. 14,, fan / M£ mm 
I>>^offlHlcn Dtegat)(n?«lw»mb rcc^f notiret 

SffDcrlajKn pagina N.fo( io4.f<9niMfct>fftoir/fm pagina Oioy» 
*m&fofonantoP«<^t|¥ff*R,&o<*mft iz?» nrftf awnfr fit fcfc r<ctr<3Af)(m 
<tofc(f. 

%. facie j. fol 140". fan. 
2. 

Pagina 2. linea j, fbKtrifftn / Cansonette* 
p^.l./o.n.pro quavisC. Harmonica :£BKD4»»<tntwm 

1. 14. bae Er <jar f. 
p iXiMSSietnttZS&fottt. 
p. 8. l.*». (n tfucrjto Zvv</. 

1. jaMf $i*5f< Motctten* 
p. 741.13.14.15.1tf .ftnfc wd SBudjfUfcm fit ton PropriisNominibo* WO Iti- 

Iicisvocabulist>nrfci)f/e)orannunfo3art)klnwt)r5<r(5m» 
p. p. 1. 2.^fntona((-(n btt loan ; 

I. p. natytoantor *» riw Mimiwfn Vnifono^ 
p,/o.foffmto^aBrfna(fof<t)n. 



*- 4. 

^'lOftara. 




~"Coaaya» 




-^ 



Quinta* 
^. Quart*. 
Tertia minor. 



HF4*v 



-"-^Vrcrtia major- 
St 




p.;;.Uf 



153 

p. n.Lx5.vocabuli Qtt4/»naturam» 
p. 13.U4. prima Srophe. 

p. iS.'l.f. mug man nad) Dtcfm QBorem ( toit(8#f&{jw wxtxn) dnfaen ( Au> 
tore Incerto. SDonn auct) cm anting 1 boxitmm tu funff J^uptffucfc K* 
Catcchifmi ; in fftnff MKtfdjicbttdjcn @ftmmm : 3(f : 
x . €&cnfd) wtlro Mat fdtaHd) / tm Bafs : 
*. OBlr gfotfccn all an dnm ©£)« (tm 2. Cantu. 

3. SBarcr *nf<r tm J&itmmlrcf cb / tm 1. Cantu. 

4. CSfyrfft wfw Jp^rr sum SorDan / tm Tenor. 

5. 3<2@tt< €|>rtf?utf »nf« £^fon&/tm Alt: gffttff fait/ Autore 

Iohanne Goldelio . 
p.23 li5.^:mtgmcl)t«:alp/ 
p.24. U5.M& Daftcr dn Cincque ^>ag 

l.i6.fortd9>ap. 
p.25 .1. i7.quz fit ab aratore. 
p.-zp.l.u. J<fyw* nontantum. 
p.30. 1. f . fruftra n : fit per plura. 

l.p.&a$III.Capittel. 

1.17. Quo Mitigetur MI. 

1*21.25. Uxr«mutraq;. 

I.25. Si q quad rat urn. 

p.3/.U.ba*(o&5nw: tc. bif ad lin. i8.&at&<9ju$dd)nM)tf nfcty affdnftbr 

nuftttiftbqttfm. 
p.^2. Hn. ult.geffecf/ ofccr 

p* 8Uin. ult. wtt> jtt fcfotfffifria /m Transpofito afro: / 
p. 83. l.ii.fttffcn w«fc vnawojjnw : 

lin.ultima: folate p.^tora JKtWtfdrm* c gtjogm IWrtm. 
p.8 4 .mw3 aufftwofcrffmSflofrnflwa/ w< 3. ?RoraJKrvm<rm^c^o(jm 

rocrt>m • 
p. 87.1. 13. &efMi&tt<TabeI o&<r Speculum. 
p. 88. 1. /8. mb nenneu M< titftftm. 
p.po.l,i4.(m ro.(£apttttU 
p.**.l.i5.£>ttS$a(W* imtffund; 

Li6.wtitvonttMt\Ut. 

1.24.f<j)rdiffoniret. 

P^4,l«i4* 



pP4- 1. 14 fc»c ^» A&fonfc«ttd;t &rmi 

p.9£.I.i5.£>«t)er«aucr) 
p.p8.l.i:2llfjn>ttin ^« mtf 
p.zoo.l.i2.^tnr<nanau sef*«i 

r.;o.a(fo rein (jefe^t /rj» , fo xoxxh 

1. 34.mQuintcn perfc&en afcet 
p.101. l.io.tmn&fau&<rz«/tfs*», 
p.io2.1.8.QB5(fd)r, 
p. 10$. I.10. tm& ftdj-twofftoen/ 
P./04.I.4. Parti Concertats, Chorus 
p. io5.(inOW< Capita infect Tabellntci)* wfyfafcignirer, 
p. iop. lin. 2.29 . repetirt wtr&. 
p. ///.lin.22.foU*a(fofcT)n(t)riff bttom&tn RIPIENO d$mrtfcfc/nfd)f affcin 

Chorus plcnus/bcfontcnT<JUCt)Rcitcratatplcnitudincs&c.) 

p.;/2.1./4.fol/Forte&c. rin nenxr Paragraphus fctjn/ 

poft lin. 33.1ft auffm<jda(fm: Prxft6 velocitcr,3<fcr)Wml>: Adagio,Largo, 
Lento, (angfam. 

p. 113, poft lin.?.fot nod) &ar6ct) fe^n : @o»on i><n3(«nt»<r Vagando&cr 
Vagans f (1 3<nenn« worfrm. 

p.ii4.l28.tvofornm an. 

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