THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES V781 T16 8e Music Library This book must not be taken from the Library building. Digitized by the Internet Archive in 2013 http://archive.org/details/elementsofmusickOOtans ^^g^^e^^6^^:^^^g^^^g^^^^ THE Elements of ^IttCicfe D I Y * D; S P L A OR, ITS GRAMMAR, or GROUND- WORK M A r^E E A S Y: Kudimental, Pramcal, PPkfopbi cal, Hijlorical, and Technical. I~N FIVE BOOKS. CONTAINING, 'sh," ^^'JNTRODUCTION to all the Rudiments of Mns.cc ; Shewing the Gamvi-W., m its antient, and ;W>,, State: And of Characters, KEYS, and of Transposition, &c. •Bf * » "* * unnsruai'l ION, OCC. r- i IL A^T fME » in f its rr s ^^ WIth ***** ^ /v/w*„; 1 P And fome Remarks on the feveral Ornaments of Musick j Both § £ VOCAL, and INSTRUMENTAL. c? g lit. The5/^«r,of^«/r NS TRUMENTs:Withthe^/,ofMus,t K 3[ € ftfufe VhVo J and D l re£lt n lhereunto - r * The "*'4* Si f t^ * £>•*/£ ? rga \ n Ua, Pfi chard: The *<#'*. and HautbL The # Ar/!-*W, Vtohn wiGuittar: T^ German, ^ Common Flutes - The <& and the Tabor- a „j.p ipe . And of M> ^ and Mufical-Clocks, &c . WiS $ || Sacred Leffons j Songs in Parts; and Tunes for Inftruments. $, ^ IV ^ Th %^ of Sound PhihfopbicaUy confidered; fhewing the R ea . 2» ^ fonsofCwrWj, w&Difcords: With the ^ ea g> 1 V P rN CI M, ES ,n COMPOS I T ION, in all its Branches. I g V. A New Mufsca/'DicT ionarv: Explaining, in one Fiew § & The 7ky,W TERMS ukd in M usick, & c . # Jp The Whole is faithfully collected from the GnatetlMafiers both A»t}~,, +«a *x j ^ S£ % • methodically laid dow„ for h^^^^S^^^ *"'> Md 1 £ By William Tans'ur, Senior.— Mufico-Theorico K Profeffor, Correaor, aryj Teacher of Church-Music, above 5 o'Years £ iRSoN: Printed for 5W 7 Cruder, at No. 1 2 in /W Wfc* • p ~ < ^ «x C*%,,C,«W^) and by moil Bookfellers, Sec. M.DCC.LXX If 1 ' m •}! UBRrttfY :; . ■ ... t' NORTH CAKU.iiiA S T HE 1 P R E F A C E< 0/* MUSICK in general : Shewing, Its Power, Effi- cacy, and wonderful Effects : and of its Divine, and Civil Ufe : And bow both Matter and Scholar ought to be qualified^ &c. &c. &c. MUSICK, (the Subject of this DifcOurfe) is, A Science of Sound : or, An Art that guide th all Sounds to the Ear, fo as to pleaie and affect j by moving the Pafiions with agreeable Sounds, &c. # Musick is formed of Mufa, ftgnifying Mufe ; /^ /«w»- //V* of which being, by fome, attributed to the Nine Mufes : But Hefychius fays, that the Athenians called every Art by the Name of Mufick : Hence, fays the Poet, The Art of Heav'n, the Order of this Frame, Is all but Musick, in another Name, &c. But, to lay afide all other Definitions, Musick is the Gift of God, and bejlow'd on Man, to edulcorate, and heighten the Pleafures of human Life •, and to alleviate, and difpel its Cares in this World : and is the principal En- tertainment of God, and the Souls of the Bleffed hereafter. Musick' has been in the highejl EJleem in all pafi A»es, and amongfi all People, fo that Authors could not exprefs their Opinions fir ong enough about it, for its wonderful Effects here on Earth ; but that it was certainly ufed in Heaven j for which Reafon the venerable Bedefays, " Thai no Science is " admitted into the Service of God, only Musick ." and ^ Scimus/^, " That Musick is intolerable unto Devils*' ^ Athen^eus affures us, that all Laws, Divine and Civil ; ^ all Exhortations to Virtue ; divine and human Knowledge £ of Things ; and all Actions of Illuftrious Perjons, were for- j. _ . A merely T\^ iv The P R E F A G E. merly written in Verfe, and fet to Musick -, and were pub' lickly Jung in Chorus, with Inftruments, as an effectual Means to imprefs Morality, and a right Senfe of Duty on the Minds of the People. (This very Injlance induced me to Tranflate the Books of Proverbs and Canticles into Verfe, a»d fet the fame to Mufick ; which I caufed to be printed in the Tear 1 740, iniitled, The Beauty of Holinefs.) And as this Art was known in the earlieft Times, fo it ought now to have the Superiority of all others, as it is the moft curious and fublime ; whether we confider it either in its Theory, its Practical, or in its Mechanick- Parts. 1. The Theoretick, or Mathematick-Part, is the Gram- mar, or Natural Ground-work ; and greatly employs the Thought, to find out all the Ratios and Proportions of Sounds, in all their curious Branches. This lies very deep in Natural- Philofophy, and requires great Refearch to unfold it, before fuch Sounds can be well modelled, to make Harmony corn- pleat. 2. The Practical -Part, is the well difpojing of Sounds, which compofe and contrive them into fo many curious and pleafing Varieties ; this proceeding from well taken Concords, and intervening Difcords, &c. in a regular Compqfition. 3. The Mechanick, or Active- Part, is that which rea- dily performs, and gives a Produclion of fuch Sounds to the Ear, and Under/landing : either from the foft Modulation of a natural Voice, or from the curious Dexterity ^Hand, ffiff an artificial Inftrumenr, &c. &c. * $ The ancient Mufick Writers were very myfterious;$# their Writings, and greatly perplexed before our Scale w^br ought into the good Order as it now is, whofe Names 'i^m never be forgotten by the Ingenious, to whom we are beholden for all we know, viz. ' Lafus Hermioneniis, A$ftoxenus, Arifto- tle, and Euclid, who wrote about 303 Tears kef ore Christ. After them were A riflides Quintilianus, Alipius, Gauden- tius, Pythagoras, Nicomachus, Bacchius, Boetius, Theo- drik, and Cafliodorus, about 505 Tears after Christ: Martianus Capella, and St. Auguftin being a little after, &c. " The ^PREFACE.. v The modern Writers were Zarlin, Salinus, Galileo, Donij Kercher, Mercennus, Paran, De Caux, Perrauk^ Des Cartes, Wallis, Sir Ifaac Newton, Malcolm, Mor- ley, Sympfonj Douland, Allifon, Ravenfcroft, Playford^ Blow, Purcel, Holder, Galiard, Eccles, Tans'ur, Green, Holdroyd," Knap, &c. whofe Characters are fufficiently known by their laborious Works, and undeniable Compofitions : All of which, in fome Meafure, have been confulted in com- piling the following Treatife ; as well as many other ingenious Authors, too tedious here to mention. But, this Lift is only inferted to perpetuate their Names, in asjufi an Order as can be gathered, down to this prefent Time. Musick has not only been admired, and recommended by all noble and virtuous Perfons, in all Ages, but has alfo, in fome Meafure, been practiced by them ; whofe Examples are worthy of our Imitation. And the better Arts and .Sciences are known, the more they are efteemed by tbe Ingenious. Trismegistus fays, " That the Thanks, and Praifes of " Men are the nobleft Incenfe that can be offered up to God." Conftantine the Great, Theodofius, Juftinian, and many o- thers, compofed Church-Hymns, and fung them in Congre- gations, &c. Alfred, the Saxon King's only Delight was Mufick. And Mr. Owen beltham, in his Book of Kefo\ves,fpeak- ing of Divine- Mufick, hath thefe Words : " We find, faith " he, that in Heaven there is Mufick, and Hallelujahs "fung ; and I believe it is here an Helper both unto Good, " and' Evil : Therefore I will honour it when it moves to " Virtue, and will beware of it whenever it /hall flatter into " Vice." A noble Resolution /or us to follow ! Henry the Sth invited the bed Mailers from Italy to perform the Services he had compofed in five and fix Parts -, and Edward the 6th caufed Br. TyeV Acls of the Apoftles, in Verfe, to be printed to Mufick, in four Parts, and to be fung in his Chapel Royal. Queen Elizabeth was a great Practitioner on the Poli- phant, a Wire Instrument like a Lute j and alfo promoted A z lnftruments v,i ft P R E F A C E. Inftruments in the Worfhip a/God, as appears by her ^th Injun&ion : And James the Firft, granted his Letters Pa- cent to the Muficians in London for a Corporation. Charles the Firft, of bleffed Memory, greatly encouraged* and promoted Divine-Mufick, by compqfing many Services himfelf ; and could play his Part well on the Bafs-Viol, Or- gan, &c. And Charles the Second not only loved the Art, but alfo augmented all the Muficians Salaries in his Royal Chapel, &c. that they might be the more itudious in the Praifes of God ; and not be /corned for their Meannefs, and Poverty.— A worthy Example for Men of the High Rank to follow ! But., alas ! (Vide my Preface to my New Royal Melody, Pag. 10.) These, and many more were great Promoters, and Lo- vers of Musick •, tho' in this profligate Age there are too many that fhamefully defpife it, having a far different Bent of Inclination •, whom the learned Shakefpear juftly de- cribes, in thefe Lines : The Man that hath no Musick in his Soul, And is not mov'd with Concord of fweet Sounds , Is fit for Treafon, Stratagems, and Spoils ; The Motions of his Spirit are dull as Night, And his Affection dark as Erebus ; * Let no fuch Man be trufted. — Which I Rhyme thus ♦, Truftnot the Man whom Musick do'nt delight, For why ? his Soul is as the gloomy Night : He's only fit for Treafon, Plot, and Rage, And, as dark Er'bus, with the damn'd engage. The Power 0/Mufick is very furprifing, from its firange and wonderful Effects; whereby Timotheus could, by the Phrygian Sound of his Flute, excite Alexander's Fury, and footh him again into Indolence, with ^/jLydian-Mood. (* The Father of Night and Hell.) We the P R EFAC E. vii We have alfo an Account , that Bonus, King of Denmark, wasfo excited to Rage., by his Mufician Ericus, that he killed the beft of his Servants -, and then foftened him into 'Temper a- gain. And Dr. Newentiet tells us of an Italian^, who by vary- ing from brifk, to folemn Sounds, could fo move the Soul as he pleafed, either to Meeknefs, or Diltraction. Dr. South confirms the Poffibility of thefe, and the[ like Powers of Mufick : and Mr. Derham, in his Phyfico- Theology, mentions many more Things of the like Nature \ equally furprifing ; fuch as the Bite of a Tarantula cured only by Mufick, &c. &c. (Of this more by and by.) The ingenious Mr. Boyle, mentions a Glafcon Knight that could not hold his Water on bearing a Bag-pipe •, and another Woman* that always burfi out in Tears at hearing one certain Tune. We. are told, in the French Academy, of a Mufu cian, that was cured of a violent Fever, by a Concert play'd in his Room : and Kircher tells us, " That the Minds and " Bodies of living Creatures are not only affeEled with hounds, " but alfo Things inanimate , for that he knew a large Stone " that would tremble at the Sound of a particular Pipe in an " Organ." Mr. Morhoff mentions one Petter, a Dutchman, that could break a Drinking- Glafs with the 1 one of his Voice, or Whiffle : and Merfenne tells us of a particular Pave- ment that would fhake and tremble, as if the Earth would open, whenever the Organ plafd. The before -mentioned Mr. Boyle adds alfo* that the Seats will tremble at the Sound of Organs : and that he felt his Wax. fhake under his Hand at certain Notes, both of Organs, and loud fpeaking ; from which we may be well inform' d, that every well-built Vault will atifwer to fome determinate Tone, Qc. &c. - Musick doth not only delight and recreate the Minds of Men, but alfo of Birds •, for thefe little Aerial winged Cho- rijlers,, confined, will learn Tunes from Men , and thofe un^ confined, at the Approach of the Day, by a natural lnjtintl, will found forth their Maker's Praife. The pretty Lark A 3 will viii fhe PREFACE. •will mount as high as his Wings will bear him, and warblq forth his Melody ; and then depend to his Flock, and fend up another Chcrifier to Supply that Divine Service, &V. Babes are alfo charm? d afleep by their finging Nurfes : and the poor labouring Beafts, at Plough or Cart, are -pleased and animated with Mufick, tho* it be but with the Driver'^ Whittle. The valiant Soldier is animated, in the Fight, with the Trumpet, the Fife, and the Drum ; and the Labourer, and Mechanick is cheer 'd with Mufick, tho' it be but with that of his own Voice, when in his daily Bujinefs. 'The Student is alfo cheefd by Mufick -, it gives Wings to Fancy^ and whets off all Dulnefs from his Mind : And Solomon, fays, " Wine *f and Mufick rejoyceth the Heart." Eccl. xl. 20. Musick alfo conduceth to bodily Health, by the Exercife of the Voice ; for it dears, and Jlrengthens, the Lungs, and helps the Defects of Speech, flammering, and bad Utterance : It gently breathes and vents the Mourner's Grief ; it abateth Spleen and Hatred, and heightens the Joys of fuch as are chearful. Scaliger fays, that all thefe Effecls proceed from the Spirits of the Heart'j taking in the trembling and dancing Air into the Body ; which are moved together, andfiirred up, with it : or, that the Mind, harmonioufly compofed, is roufed up> at the Tunes of the Mufick, &c. Mufick the coldejl Heart can warm. The Hardeft melt, the Fierceft charm, Difarm the Savage of his Rage i pifpel our Cares, and Pains afTwage, With Joy it can our Souls infpire, And tune our Tempers to the Lyre. Our Paffions like the Tones agree, And ftand fubdu'd by Harmony. When David tun'd the trembling String, It cheer'd the melancholy King. His Musick chas'd his Spleen away. And made his Soul ferenely gay. Xhe PREFACE. ix When Musick founds in martial Airs* The Coward then forgets his Fears-, Or, if the Notes to Pity Sound, Revenge, and Envy, ceafe to wound. The Pow i r of Musick has been known, To raife, or tumble Cities down ; The Theban Turrets, Authors fay, Were rais'd by MusickAt magick Lay ; And Jericho's Heav'n-hated Wall, From Sacred Musick had its Fall. If God then hath granted fuch great Benefits to Mankind, by the Exercife of Mufick, furely the Divine and Heavenly Use muft redound much more to our Eternal Comfort, when we join our Hearts with our Voices, in his holy Place ; which gives us a Tafte of Heaven, whilft on Earth, and lifts up our Hearts on Heavenly Things : Hoping for the full Fruition of Joy, after the Troubles of this Life are ended. Which the Poet thus defcribes ; as Rewards to the Righteous, Then crown'd again, their golden Harps they took, Harps ever tun'd, that glitt'ring by their Sides Like ^tiivers hung, and with Preamble fweet Of charming Sympathy they introduce The facred Song ; and waken Raptures high : No one exempt, no Voice but well could join Melodious Part : fuch Concord is in Heaven. —Milton, Lib. 3. Which I rhyme thus : When Blejfed Souls the earthly Orb forfook, And wing'd for Heav'n, their golden Harps they took, For ever tun'd, like giitt'ring Quivers hung, And Sympathy prepared this glorious Song,: Holy, Holy ! — their never ceafing Cry, To praife their Lord they raife in Raptures High ! To every Tongue both Voice, and Heart, is giv'n, To join in Concert with the Host of Heav'n. A 4 - As x ^PREFACE. As Speculation, and Contemplation, is the Life of every Scholar, even fo bis Books are his Oracles -, which he con- futes on every Occafion. And as no true Son of Learning can long abfent him J elf from the An or Science he is born to, evin fo, in a little Meajure, it fares with me ; for Mufick hat been my darling, and daily Kxercife, from my Youth, even to this Day, efpecially that Sort as redounds to the Praife and Glory of the Almighty ; having made it my conftant Practice above forty Years, from the Place of my Birth (which was Dunchurch, in the County athie§£ and Antipathies, between Concords and Difcords ; together with the Artifice &f Tubes, for the ftrengther.ingand continu- ing of weak remote Sounds, and meliorating thofe that are firong, &c. — Bu\ flop here, — What a Field of Learning mufi Ipafs through, to be jufily called Master of Mufirk ? — A Xitle, that no one could ever juftly claim, nor yet attain to. Every good Master, that undertakes to mltruct others, mufi not only confult his Scholar's Genius, but mufi alfo guard well his Morals ; and if he is qualified with Judgment, In- vention, Time, Art, Tafte, «good Ear, a dexterous Hand, and a willing Mind, no Doubt but he'll foon become a good Proficient, to his own Credit, and his Tutor's Honour : But if either of thefe are wanting^ on Occafion, it is as impof- ftble for him to make any great Proficiency therein as it is for a Perfon to pour a Cafe of Printers Letters on the Ground to fall into Words, Paragraphs, and Pages, without other ma- nual Afliftance : Let thofe conceited in their own Abilities think as they pleafe, &c. * The kind Reception my feveral Books have met with from the World,, is fufficiently known from the Sale of many Thoufands, by many former Impreffions ; the Succefs of which greatly encouraged me to make fuch large Additions in This ; and (in Conjunclion with the Bookfeller) to oblige the World with it ; not in the leafi doubting but it will, in Time y make Amends for My Trouble, and the PublimerV Charge, by a Continuance of the fame candid Favours. And as the Terms of every Science, or Art, are generally ' morz xii TAe PREFACE. more perplexing than the Science or Art it/elf, 1 have very much enlarged on that Head ; by adding a New Mufical Dictionary of Terms, and Inftruments •, with their feveral Explanations ; even from the earliefi Times down to thefe prefent •, with their feveral Inventors, as near as can be ga- thered from the ancient and modern Writers, worthy of Note. I have likewife enlarged on every Article throughout the whole Work. ; and have put every Point relating to Mufick in a more clear Light than I poffibly could in former Impref- fions, for want of room. — But now, you have ocular Ex- amples, in Notes, as well as in Scales Mathematical ; whe- ther they relate to Tune, Time, Concord, Theory, Com- position, Terms, Inftruments, or Practice ; all ftanding in their proper Order ;' which Work will be of general Ufe to allfuch as /hall either ftudy, or practife Mufick, whether Vocal, or Instrumental •, and even as long as there are any to ufe it : It being dejign'd as a portable Pocket Companion ; and cheap, for fuch whofe Circumjlances will not admit of buy- ing a large Number of Books. Here is Multum in Parvo, for all Lovers of Mufick. As I have here wrote at my own Peril, fo Heave all to judge at their own Pleafure ; not having the Vanity to think 1 am without Error, nor yet fo weak as to affert it : neither do I imagine it will efcape the Penetration of feme Critic' s Eyes : But let him that never Err'd, caft the firft Stone : Neverthe- lels, men of Large Fortunes too often err, which wife Men dare not correct, by reafon of their Poverty ; for inthis flat' tering Age Real Merit's now taken, be't better or worfe, From the Specifick-Gravily of a Man's Purfe : And, rich Men by poor Men will not be advis'd, For a poor Man's wife Cpunfel is moftly defpis'd. And as Pope fays, 6 * Great Wits, fometimes, may glorioufly offend, f 4 And rife to Faults, true Critics dare not, mend :' Whilft ^PREFACE. xlli Whilft peaceful Men do rather ftlent fit, Than ftrive to mend the Errors they commit. Attempts are vain, the Caufe has oft been try'd, The fiatt' Wing World will be o'th Strongeft Side. And tbo* jome Readers may take this Work to be a lit- tie fatyrical, in fome particular Places, and point malicioujly at Jome Perfons •, let me ajfure fuch, that there is no Ma- lice in the Cafe ; only I write from Experience, from the ill Treatment I have met with, from the Ignorant, Con- ceited, and Captious ; whofe Tempers are not only their own Tormentors, but of all whom they approach ; and are not fit for Human Society, &c. And tho 3 this Book is written purely to Instruct, yet, I know, it will not pleafe all Men ; being well affur y d, that none will take it Harlh, or fpurn againfi it, but fuch as are Guilty of fuch Miftakes as are herein pointed at. But, if what 1 have here endeavoured doth not comport with the Dic- tates of fome Perforfs Judgment, I hope they will pardon my Honefl well-meaning Intentions ; having, thro 9 the Whole, endeavoured by Matter of Facl, more to Inform, ana f In- ftrucl:, than to tickle the Ears of the Chimerical and Captious? with Flowers of Rhetorick, &c. Finally, 1 heartily recommend this Work to all Per- fons in general ; both High and Low, Rich and Poor!, ene with another ; hoping it may have a candid Reception, and be an Afliftant even to All ; to the Furtherance 0/ Mufick, and the Glory of God : which are the ftncere Wi flies of your mofi Laborious, Harmonious, and Humble Servant, r London, j William Tans'ur, Senior, {.A. D. i7 66.\ A POE- POETICAL ENCOMIUM, O N The feveral Pieces, lately written and publifhed by Mr. WILLIAM TAN'SUR, Senior. But more particularly on His New Royal Melody, and This New HARMONICAL SPEC- TATOR, Dictionary, &c. &c. "f^\ F all the various ARTS by Man defign'd \^/ " To vie with Nature, and improve the Mind ? ■" Thy Labours, Tans'ur ! merit greatefr. Praife, cc And claim the Tribute of my Friendly Lays : " For, what Invention fince the World began, " To ripen Science in the Bread of Man, " Can ftand in Competition with Thy Plan ? " By Thy Instructions, we are taught to raife (A. D. 1766.3 u % % W ! THE THE Elements of Mufick MADE EASY:£V. BOOK I. , : ^ By WILLIAM TANS'UR, Senior. CHAP. I. Of the G A M U T, or Scale of Mufick : And of the Semitones contained in an Octave : And of Cliffs. THE GAMUT, or Scale of MUSIC K, is a pe- culiar Table, and fo necefiary to be learnt and known well by heart, that no Perfon can attain to any Knowledge in that Art without being well acquainted with it : Though too many, in this conceited Age, flatter themfelves on the contrary. As to the very firft Inventer, its hard to prove, it being attributed to feveral Grecians, in pad Ages ; all of which vary, as to Form, and Method : But, the prefent Scale, is faid to be invented about 700 Years ago, by Guido Areti- nus, a Monk of Tit/cany, who added more Lines to it, to make 5 •, and plac'd this Greek Letter r Gamma, or G, at the Root of the Scale ; which fhew'd that he had it from the Greeks ; and to perpetuate his Memory, it begun with the firfl Letter of his Name, (hewing thereby that he was the Improver of it ; The Scale is as follows : tie 2 The Elements of M U S I C K made Eafy, &c. tte.G AMUT, or Scale of Mu G—folreut in ah, fol F—faut i /# E — la la jy—lafd fol C-folfa fc SICK, B — fabemi Mi A — lamire — la G—folreut—~— Cliff — foV\ F—faut P fa E — lami la > D — lafolre *•♦ C—folfaut—r— Cliff- B — fabemi U A — lamire G — folreut F — faut — E — lami D — folre fol —fa f -4 Mi -i a. I 1 C — -faut B — mi- A — re Gamut — r- la fol} Cliff—/* la fol fa Mi la -fol w By the Gamut, or Scale of Mufick, we diftinguifh all Sounds or Tones, whether Grave or Acute ; for which Rea- fon it muft perfectly be learnt by Heart ; which Names are very eafy to what they were in the oldGreek Scales ; (of which I fhall fay more by and by) for then, they were ten Times harder, and more perplexing ; And as thefe now ufed, ap- pear, fomewhat difficult to learn by Heart, it will be more ufeful to reduce them into fhorter Terms, according to the 7 Letters of the Alphabet ; as G — fol, A — la, B—mi, &c. which Abbreviations are fufficient for the Underftanding of any Leffon of Mvjick. whatfoever ; by Reafon, thofe diffi- cult Terms are only fet to {hew their Antiquity, and not to exprefs the feveral Degrees of Sound. i To Of the Gamut, Tones, and Semitones. Book I. g To learn the Scale altogether, is too tedious, hard, and perplexing for any young Beginner ; one of the three Parts being fufficient atflrfl, before you proceed to the other two : Beginning at the loweft Letter G, and fo afcending to G a- bove, and then descending to G again •, imitating a Ring of eight Bells, both upwards and downwards, in a regular Diatonick Order, as follows : Another G A M U T - Scale, fhewing the Natural, and Artificial Order of the Tones, and Semitones in an O clave; both Diatonick, and Semit Quick. fol — ' — '-G natural.- > 1 EC J o F- E- D C B- -F Jharp, or G flat. fa — ' — -F natural. la—* — -E natural. 5 \-DJharp, or E flat. -fol — D natural. ■ — \-Qfharp, or D flat, y £ fa — j — -C natural, -mi -B natural. la L G- -A Jharp, or Bflat. -A natural. — • -G Jharp, or Aflat. ■fol G natural. N. B. The Word Diatonick, is an Epithet, or Name given to the Scale of Mufick, when it moves by Tones, and Semitones, as the plain and natural Scale .of Mufick. — The? Word Semi, fignifies the Half, or when a 'whole Tone is divided into two ; which Natural Notes are either railed or failed half a Tone from their Natural Order, by adding a Flat or a Sharp before the Note : and as this Scale takes 1 2 Semitones to complete the Otlave, it is calFd the Semi- tonick, or Chrcmotick Scale ; which being ufed with the Di- atonick, enables us to exprefs all the practical Degrees of Harmony. The 4 Of the Gamut, Tones, and Semitones. Book 1. •Si c o s PA CO o ^ 2 v. o 3 tH X o 2 OS b* & w 2 O O -L-LI I v? ■ 11117 &LLII <£ I I .I ^ ICHLLI^ 1 I I I i > ICUl^ I I * 1 I 7 I 'OlUa • Llp TTDI^ I 1 1 1 1 K mrvD -£ I I ! i CO HKSb till! . rjCTlLLI i^ u 1 1 1 1 i^j tu CLLLI «? 1*1 ' O £ "frLLIJ^ JIMI . q icujes .(Mil. I ;*l J>» « trb i a L-l ! II I 2 < ITTOI j£ Mil l *"• u [ I I I i«8 1 1 I i * m I ill -i;Si 1*1 I I S txT i n 1 1.^ 1 1 1 1 1 ^ «i 'III r ^ < u TTTD I £ w ! ! ! f I w * rrftbisS I JMJ S < ITTD rf ! Uli '.j • « J Co i 1° J4 *v ClJ u CO '5 o CO .y 6 o u e 1 1 1 1 Id i i2d i Mil n— a i! n i l -7 4QI i l GILL' s( o*~-l©i I s-'RI Mil -in 1 1. °°l l -01LL 11*1 " Mil £-1101 iiii MM 'TTOi TTD I 1=8* II I I vi— u a mi; ITTvD 14 I I I** inn ,y— mi a i i i ' ' ITTD v ^ I 11401 J i iTra ' IIII* 1 1 1 II I M 10 Mill -a c H <2 55 The Of the. G AM U T, Ua Book I. g Mark wellj — That in the old Scale or Gamut, C hath three different Terms, as C-faur, C-folfaut, and C-folfa, &c. fet only to diftinguifh the three feveral Syftems or Parts of the Scale ; as Bafs, Tenor, and treble ; all being in Ef- fect as one and the fame, and Oclaves, or Eighths to each other. Moreover, Every Compojition of Mufick is underftood from the Letters, be it ever fo artfully difguis'd by Tranfpo- fition \ which Letters are moftly ufed for 'Infirument a I Per- formance ; neverthelefs, though the Syllables fol, la, mi^ fa, &c. are appropriated to Vocal Mufick, yet I think it not amifs for any young Beginners to call their Notes as well by one, as the other ; it being molt inftructive to the Art of Mufick in general, Compofiticn, &c. Obferve alfo, That B-MI is the Majler- Note, and guides all the other Notes, both above and Delow it •, and when the Mi is tranfpos d, all other Tones are tranfpos'd with it 5 ftill lying in their Natural Order according to the Diato- nick Scale, &c. Again. All Lines above 5 in Number are called Supernu- merary, or Ledger Lines ; all above G in the 'Treble are called Notes in Alt -, and all Notes below Gamut in the Bafs, are called Doubles ; as Alamire in Alt ; Double Elami, &c* &c» Obferve alfo, that, What Tone Jbe'er you pleafe to name; An Eighth to that is juft the fame. Above Mi, twice fmg fa, fol, la, Below Mi, twice fing la, fol, fa. Which Rule obferv*d, in ev*ry Strain, B-mi, in Courfe, comes in again. Thus fiands the SCALE, in every Part, Which mufi be truly learnt by Heart : Then, knowing well each Line and Space, Tou'll rightly read them in their Place ! B § 2, Of 6 The Elements of M U S I C K made Eafy, &c, § 2. O/CLIF F S. A Cliff, (in Mufick) is a Character placed at the Begin- ning of the 5 Lines of a Piece of Mufick, in order to denote what Part of Mufick it is ; and what Relation each Part beareth with another. It is called a Cliff, from Clams, in Latin ; and fignifies, To open, or as a Key to let into, &c. which openeth to us the Names of every tone in Mufick, &c. If you look back into the Scale of Mufick, you will find three in Number, all of different Forms, each being appro- priated to the three feveral Syjlems, or Parts thereof ; and are called the F-Cliff, the C-Cliff, and the G-Cliff. The F Cliff is generally fet on the fecond Line from the Top, and proper for the Bafs, and gives to its Place the Name F, and when Jung, is call'd fa ; all other Tones lying in Regular Order both above and below it ; F. "'Fa' The C- Cliff is moveable, and may be let on any one of the 5 Lines, and gives to its Place the Name C, and, when fung, call'd fa ; guiding all other Tones in Regular Order, both C. above and below it, and thus made : " 0- B-= • Fa. This Cliff, in the ancient Mufick, was generally ufed to the Jejtw. It was moveable, and uncertain, and diffi- cult for every Practitioner ; by being fet on any Line the Compofer pleafed, to keep his Notes in the Compafs oifive Lines ; for, in thofe Days, they changed the Cliff, to change the Key ; but our Keys are regulated by drifting the B-Mi (or Majler-Note) by the Help of Flats, or Sharps, and therefore we have no Neceffity to change the Cliff but ra- ther life the G-Clifffor the Tenor, by reafon it is of more Certainty to the Performer \ for in thofe Times, I imagine, that Of Q l i f f s; Book I. 7 xh&tjhifting the Mi by Sharps was not invented, neither was any Tranfpofition, by them, fo nicely understood as it is at this prefent Time. — - It is now moftly applied to Counter, or Inner Parts, when above three. The G-Cliff is ufually fet on the fee ond Line from the Bottom, and now moftly ufed to the 'Treble, or Tenor ; (or may be ufed to any Upper Part whatsoever) and gives to its Place the Name G, and when fung, called y^/ ; and gui- deth all other Notes in Regular Order, both above and be- G. low it, and thus made : S'p" Were no Cliffs to be fet on the 5 Lines, you could neither diftinguifhone Part from another, nor give a Name to any one Note : But, put at the Beginning, a proper Cliff, and that Cliff v/Wl give a. Name to that Line whereon it Hands ; and then you, with Eafe, may find a Name for all other Notes both above and below it. To prick down Muftck without a Cliff, is ?. Thing too much pra6tifed in our King- dom at this Time to the great Ruin and Confufion of ma- ny a good Compofition, by many conceited Coxcombs, who lead others in the dark, (being blindfold themfelves with Conceit and Ignorance,) and fcorn to be contradicted from their own Way. Thus, they lead others into Error, and render Mus:ck contemptible enough, to the great Grief of fuch as know the Beauty and Excellency thereof. - I have read, that fome ancient Writers ufed to fign fe- ven Cliffs at the Beginning of their Muftck, according to the feven Letters of the Alphabet ; and called every Let- ter a Cliff, thus : 13 GO F E D C B- A G- -fA la fay -Mi la -folj N B. That in thofe Days they ufed but four Linesj the Oclave not being then found out : But we ufe five Lines. 1 2 But g the Elements of M U S I C K made Eafy, &c. v But, this being too perplexing, as well as cumberfome, they afterwards ufed only three Signatures inftead of three Letters, to exprefs the Natural Tone of the three Cliffs as are now ufed, &.c. . Mr. Kelper took great Pains, to fhew that the Signatures of the three Cliffs were nothing but Corruptions of the Letters they reprelented •, and that they made the Practice of Mufick much more difficult and perplexing : whereby Mr. Salmon propofed to reduce all Parts of Mufick to one Cliff : but this was look'd on, by fome, as merely whim- fical. And though I may be counted lingular, I cannot omit giving my Opinion concerning our prefent Cliffs, knowing how inconvenient it is to every Praclitioner to be daily perplex'd with the moving of them, ibmetimes on one Line, and then again on another ; not only fo, but I think it would be more eafy to every Praclitioner, did our Cliffs reprefent fuch Letters as they are afilgned for ; which I would have ftand on the middle Line of each Part, each in their own Char a tier, Thus : Bafs. Tenor. Counter. Treble. D. C. C. B. -e- -G^f-e- >£ ■e- jlxH~G~ Sol. Fa. Fa. Mi. In this New-cliff method the two Letters of each fhew both the Inftrumental and Vocal Name given to the middle Line they ftand on : All other Notes being in Regular-Or- der both above and below each Cliff, through the whole ■Qffave, &c. N. B. Any Tenor may be fet in the ^-mi- Cliff as well as the Treble, by reafon, all OSiaves are the fame as before both Above and Below, &c. without being daily perplex'd with changing of Cliffs. — From hence it appears, That The Gamut-Scale mujl ivell he learnt hy Heart, Part : CHAP. Of Notes, and Refts. Book I. 9 CHAP. II. Of Notes, W ^«'r Names, and of their Refts ; and of all other Characters nfed in Mufick, &c. TH E Length of Tones, or Continuance of Sounds, is expreffed by feveral Characters, call'd Notes ; each/ having a different Name, and Shape. A Ceffation, or leaving off founding, is exprefs'd by va- rious Characters, call'd Rests, (or Notes of Silence-,) which Marks import, that you muft reft, or ceafe from finging, or playing, juft as long as if you are founding any of the refpective Notes, &c— When thefe Characters are perfectly underftood, then you will be able to know, what is call'd, Time and Meafure. . . A Scale of Notes, and Refts, and their Proportions. 1. 2. 3. 4. 5- 6. A Semioreve. A Minim. A Crotchet, |A ^ua-ver.'A SemiquavA A Denuqiiav. Proper. I. |. *. \ i. i >. I y v iV^j.J}zzQ-lz=pz|2:=c:z|zzg-Z|Z-~i:.z L:i.£.z}| Explanation. 1. The Semibreve, is in Form like the Letter O, and founded fo long as you may tell 1, ?., 3, 4, by the Pulfes of the Pendulum of a large Houfe-Clock. It is call'd the Meafure-Note, becaufe it meafureth all the other -, and its Refi, denotes to keep Silence the fame Space of Time. 2. The Minim, is but half the Length of a Semibreve 9 having a Tail to it. 3. The Crochet is but half the Length of a Minim, having a black Head. B 3 4. The I io The Elements of M U S I C K made Eafy, &c. 4. The Quaver, is but half the Length of a Crotchet, having the Tail turned up like a Hook. 5. The Semiquaver, is but half the Length of a Qua- ver, having its Tail turned up with a double Stroke. 6. The Demifemi quaver, is but the half of a Quaver, having its Tail turn'd up with a triple Stroke, &c. But, t}ie better to explain, the above, obferve this I Semibreve z Minim Scale of Notes. o contains By thefe, before hinted, you fee, that one Semibreve contains two Minims ; two Minims contain four Crotchets ; four Crotchets contain eight Quavers ; eight Quavers con- tain fixteen Semiquavers; and B xteen Semiquavers contain thirty- two. Bemijemiquavers : So that, in a Mathematical Senfe, if the Semibreve be one Bar of Time, the Minimis one 2d ; the Crotchet one>4th ; the Quaver one 8th ; the Semiquaver ope 1 (5th ;.;^nd the Bcmlfemiquaver one 3 2d Part, &c. ' i'-.~ Before the Tear 133P, the feveral Degrees of Sound were all exprefs'd of an ecjtal Length of "lime ; when Johannes, de Of Notes, and Refts. Book I. 1 1 de Maris, Doctor of Paris, invented our different Figures, called Notes and Rejis, and gave them the foregoing Names, &c. &c. Of 3 Old Notes, and Refts. When Notes were firft invented, they ufed three other Sorts of Notes, i. e. a Breve, a. 'Long, and a Large. i . The Breve, was a large fquare 2Vff/«, and as long as two Semibreves ; and its i£ 2: 3>4- *, 2:3,4. :d: d, u. d, u. d, u. d, The fame by Notes ZZDZZ 1,2:3,4, 1,2:3,4. 1,2:3, 4. 1,2:3, 4. 1, 2:3,4.. 1 , 2: 3>4- :dzz Hi :: =j jz:2ir.t:j:c — p- d: Ml d t n. d, u. d, u. d, 24. d,up. 5. A 14 The Elements of MUSIClK made Eafy, &c. 5. wC A Direblor, is always placed after the /#/? iW* of any Stanza or Zi»* of Mufick, at the £#*/ of the/w JL/»tf, in order to direct the Practitioner to the Place of the firft Note on the following Line. By fome this Character is call'd, an Index. 6. II A Divider, is placed betwixt the feveral Columns of Mufick, when two, three, four, or more Parts move to- gether ; in order to divide the Score of the Compofition, that the Sight may not be perplex'd with a Multitude of Lines together; which Character fhews, what Parts belong to one another, and move together, and which do not, &c. 7. :s: A Repeat, or a Return, denotes a Repetition, or that fuch a Strain of the Compofition muft be repeated over again from the Note the Char abler is fet over, under, or after. N. B. This Char abler is likewife ufed in Canons, in order to direcl: the Performer, that the following Parts or Fuges are to fall in at fuch Notes it is placed over, &c. 8. ; A Bar, is a ftraight Stroke drawn perpendicular athwart the five Lines, and divides the Time of the Compo- fition according to the Meafure-Note of the Movement. A double Bar, is ufed to divide the feveral Strains of Mufick; and if it be dotted on each Side, thus, :|j: it then denotes a Repetition, or that fuch a Part or Strain is to be repeated. It alfo fignifies a Paufe, or to n?/?, fo long as the Meafure-Note contains. Thefe Bars are moftly ufed in Church -Mufick, in order to give Time between the Lines, that the Congregation may not be confus'd by too quick a Movement, that the whole Congregation may flop together between the feve- ral Lines of the Pfalms, &c. 10. fcj. A Natural, is a Mark of fieji 'oration, and ufually fet before any Note, in the Middle of the Compofition, that •was made either /#/, or /harp on that Line, or Space, at the Beginning of thzfive Lines \ in order to take away the fat or Of Characters, and Graces, &c. Book I. 15 ovfharp Quality given to fuch Notes by the Flats, or Sharps fo placed ; caufing fuch Notes to be fung or play'd in their Natural primitive Sound. Some call this a Proper. Hence it is to be noted, that every Letter in the Scale of Mufick hath three feveral Terms or Denominations," ac- cording to the Sound given, i. e. Natural, Flat, and Sharp ; the Natural being a Medium between the other two Ex- tremes. (See the Notes on Page 4.) 11. tr. The Trilloe, or Shake, is the principal Grace ufed in Mufick \ that is, to move, or ihake your Voice, or In- ftrument, diftinctly on one Note, or Syllable, the Diftance of a whole I'one, as thus : Mi, La, &c. Firft, move flow, then fafter by Degrees ; (as you fee in every Bar of this Example) and by obferving this Me- thod, you'll certainly gain the Perfection of it by Practice. I do not mean, that you mould hold your Shake fo long as this Example -, but that you fhould move as quick as poffible while the Length of the Note is performing. But I will add another Example, and place a (tr.) over the Notes you are to fhake. As for EXAMPLE. 1 6 the Elements of M U S 1 C K made Eafy, &c. The Trilloe, or S/fofo, may be ufed in all defcending jprhk'd Notes, and always before a Clofe ; alfo on all de- fcending jhdrtfd Notes, and all defcending Semitones ; but none ihorter than Crotchets. There is another Grace ufed in Mufick that requires much Judgment, called the Grace of Tranfition -, that is,(to flur, or break a Note to fweeten the Roughnefs of a Leap ; and in Injlrumental Mufick, Tranfition is often ufed on the Note before a Clofe. But let me give you an Example of this, firft as it is ufually prick' d, with the Grace under it, and the Bafs plac'd at the Bottom -, which is called An Example of Transition, or Breaking of Notes. As prick" d. tr. tr. tr. The Grace. tr. Bap. ma *Ea3r^ £3*8-^1 - : ^ r " iq=f 62£=Er :ffifc ± zcz gfej :{{£:} p:H:£zzp: :gz : m If Natural Tones Jhould be too flat , and dull, A Sharp will raifeyour Tones more high and full By half a Tone, than -ivbat they were before ; Which if too high, a Natural 'will bring /ow'r, And reclify both Flat, and Sharp, in Score. A Slur, doth many Notes together join ; A Point, it addeth half as much more Time : A Repeat, caufeth Parts to move again, And Double Bars, they do divide each Straw. A Single Bar, doth well divide the Time : And a Direct, guides to the following Line : A Reft, craves Silence, be it port, or long', The Trill, or Shake, doth ornament the Song. As the Divider keeps the Score in Bounds, Evnfo the Clofe includes the lateji Sounds. Learn flrfl by Cliffs to call your Notes Both Lines and Spaces right : Then Tune in Time, to ground your Skill In MufickV fwcet Delight. CHAP. III. Of Tuning the Voice; and of Accents : O/Intona- tion ; and of the Original Ufe of the Pitch- Pipe. TO give you Directions for 'Timing your Voice : Firft, you muft regularly afcend and defend the Eight Notes, according to the Diatonick Order of the Scale ; and then 3ds, 4ths, 5ths, 6ths, 7ths, and Sths ; (proving the true Diftance by the interpofing Degrees) and then defend again ; always having true Regard to the two Natural Se- mitones, to fing every Fa Flat, [ox feint) according to the Three following LESSONS: A Star being placed to fhew the Semitones *.-r - LESSON Of Tuning the Voice, &c. tfc! «— H ■ a 5s .5? to §5 •i-J o •&> HI 8 1 1 MM) C5 ITTvDl 3 i i iii ({1(1 inn Book. I. inn iiiii i m i 1 1 < i $ » i i i ■» 19 *i 1 141 k •IIH mu m . ' ! LJ ! 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Book I. 25 By this Method you may found as many Notes on one Tone, as you pleafe, &c. But, next proceed to fome plain Tune, which will be as eafy as any Example that can be given, &c. always obferving to tune your Voice as often in the Flat Key, as you do in the Sharp Key : But of this you'll know more, when I come to treat of Tranfpojition. f This Rule direcls hvuo many Notes (as one J 7 ( May J} ill continue in the f elf-fame Tone. J Thus much for Tuning the Voice. § 2: Of the Accents in Mufick. IN common Speech, the Word Accent fignifies the Tone of the Voice \ of which the Grammarians have fundry Sorts, mark'd by various Dafhes over the Vowels ; figni- fying a more high or low, longer or Jhorter Tone of the Voice ; or a more preffing Emphafis, or Tone, on fuch Syllables, or Words, as are more to be taken Notice of than any other; in order to ftrike fuch Vowels, Words, Syllables, or Sentences more preffing to the Audience, according as the Pajfwn and Subjecl requires, &c. — So, in Mufick, An Accent, is a Sort of wavering or Shaking of the Voice, or Injirument, on certain Notes, with a ftronger or weaker Tone than the reft, &c. to exprefs the Pajfion there- of; which renders Mufick (efpecially Vocal) fo very agree- able to the Ear, it being chiefly intended to move and ajfetl ; and on this the very Soul and Spirit of Mufick de- pends, by reafon it touches and caufes Emotions in the Mind, either of Low, Sorrow, Pity, or any other Pajfwn whatfoever, &c. — This is what is called the Accented, and Unaccented Parts of the Meafure ; which the Italians call Tempo Buono, or Time-Good ; and Tempo-Cattivo, or Time, or Meafure- Bad-, that is to fay, the good, and bad, Parts of the Meafure. &c. In Common Time, thtfirjl Notes of the Beginning of a. Bar, and the firfi Notes of the .aft Halfoi the Bar is the Accented C 3 Part -, 26 The Elements of M U S I C K made Eajy, &c. Part ; that is, thefrjl and third Crotchet of every Bar, the reft being the Unaccented Parts : Bur, in Tripla-Time (where Notes go by three and three) thej£r/?of the three is the Ac* cented Part, and the reft the Unaccented. The Accented Parts mould be always as full of Harmony as poflible, and as void of Difcords as may be, in order to render the Compofition the more affebling : But the Un- accented Parts may confift of DiJ "cords, and the like, with- out any great Offence to the Ear, &V. This being a Part of Mufick, that few or no Authors have very rarely men- tion'd ; altho' it is the whole Ornament and Spirit of every Compofition, efpecially when any Perfon performs alone. f In Common Time, remember ivell by Heart, "1 J The Firft and Third is the Accented Part : ( . J And if your Viufick Tripla-Time j#o»/^ be, | (_ Your Accent is the firft ofev'ry three. J § 3, Of Intonation; and of t/pe V fa of the Fitch-Pipe, and its Original. INTONATION, properly fignifies, the giving of the Fitch, Tone, or Key of the Compofition, &c. which is ge- nerally done by an lnfirument, or Tone of the Voice, by the head Performer, in order that the reft of the Singers may fet their Voices in that Order before they begin the Compo- fition-, for which a Pitch-Pipe is of excellent Ufe, Cafi but your Eye into the Writings of primitive Authors, you'll find, that Anaflafius, Pope Leo, and St. Hilary (Bi- jflhop of Poitiers, who is faid to be the very firft that com- pos'd Hymns to be fung in Churches, and was follow'd by St. Ambrofe) and feveral others, erected feveral Mufick Schools, called Schola Cant or um ; and that fuch Tunesas were anciently fung, were called Chants ; as, the Ambrofian Chant, the Gregorian Chant, &c. from the Authors who compos'd them ; which Tunes were fung in Unifon by the whole Con- gregation i and that Come of which might the better begin, and Of Intonation and Pitch-Pipe. Book I. 27 and keep up the Key or Tone f which they call Tonos, in Greek ; Tonus, in Latin ; or Tone in Englifh) they thought it convenient, to have a Bell, or a large Organ-Pipe, where- on a Perfon, for that Purpofe, ufed to found the Tone of the Key to the Congregation, always beginning, and ending thsTune ; and often founding in the Middle, if it was thought fit, in order to keep up t)\t Choir to tht true and regular Pitch ; which Key or Tone, is a certain Determinate, Dominant, and principal Degree of Sound, which regulates every Tone, proportioned to the Voices. The Praclice of this, was great- ly recommended by the learned Benedicline, in a Treatife wrote by him, in the Year 1673 ; who alfo charged the Organiji often to found the. Key in many Places, to keep the Tone thereof always in the Peoples Memory : which Mr. Boffard fays, is the very beft Method that ever appear'd in the Practice of Divine Mufick. Thiis you fee, that a Pitch-Pipe, in Likenefs, is a very ancient lnfirument, and greatly approv'd of by the Learned, though it has been but little in Vogue with us, till within thefe thirty Years •, for, I remember, I went frveral Miles to fee the firft I heard talk'd of ; which Iuftrument is greatly improv'd to what it was in former Days, and is oifingular Ufe in all Kinds of Mufick, i. e. for fetting of many unfix'd Inftrumcnis in Tune, as well as in Vocal Mufick -, we having it now fo as to carry in a Pocket, and on whofe Regifler or Stop, is mark'd the feveral Letters of the Scale of Mufick ; which Tones, either Flat, Sharp, or Natural, being given by drawing the Regifler, which en- larges the Tube, or Cavity, fo as to contain fuch a Quan- tity of Air, as will produce any Degree of Sound, whether Grave or Acute, &c. But I mall fay more of Air, when I come to treat of the Nature of Sound. (See Book 3d. p. 72. If you would Key a Compofition of various Parts for any Choir or Company of Singers, and have not a Pitch-Pipe, nor any lnfirument depending-, Firft, take a View thro' the whole Compofition, and try if you can found the higheft Notes of the upper Parts above tne Key Note, and alfo the loweft C 4 Notes -, a 8 The Elements of MUSICK made Eafy, &c. Notes of the Bafs Bellow -, which if you can do without fqueaking or gr-umbling, and all other Voices perform clear and fmcotb ; then may your Song be faid to be pitch'd in a proper Key •, for it is a general Maxim among Mujicians, thzt, * c A 'Tune well Kefd, is halffung ;" But, oh ! how intole- rable is fome Pfalmody performed in many Places, for want of Judgment in this Point ! whofe Leaders are fo ftupidly •conceited, as nottoufe a.Pitch-Pipe ! For it is daily found, by Experience, that Pfalmody is very rarely well perform 'ti without it, unlefs by mere blind Chance •, and on the con- trary, very compieat, where they always make ufeof it, to life it with Judgment:. But it was always my Method, firfi to found mv Mufick on fuch Keys as beft fuited the Compafs of all Voices, both above and below ; and then, if I found the Parts would move fmoother, half a Tone higher, or lower than the Let- ter of the Key, I then fet a Direclien to the Compofition, in order to direct the Choir how to fet the Regifter of the Pipe accordingly: But our new Confort- Pitch is more fit for Vocal Performance than the old Omfort-Piich, which is half a Tone lower. (See my New Royal Melody Compieat, being, A New Book of Psalmody, all newly fet, in Four Parts, with Variety of New Anthems, &c.) This Inftrument fome Teachers do refufe, Jnd laugh at Things, they knovj not ho«* Parts, being counted the fame in Effect, &c. This 7% iVW ending the Song, like a Period at the End of a Sentence; for when the &•»/£ of a Sentence is full, nothing elfe is expected after it, &c. There are but Two, which are call'd Natural or Primi- tive-Keys., viz. Cfaut, the Natural *Jharp and chearfuhfoy; and Are, the Natural Flat and melancholy Key : So that no Tuns; 30 The Elements of MUS ICK made Eafy, &c. Tune can be prick'd down on any other Key whatfoever, but on thefe Two, without the placing of either Flats, or Sharps at the Beginning of the Five Lines, in order to change the B-MI, and regulate the Natural-femitones. An Example of the Natural-Order of the Natural- Sharp-Key, C, Mathematically. Mr I — B- — A- -Key- -Fa— ^ -MI— | — G- la— (ol— ft! C — F- — E- -/a— O — D-. l-c- -fol- -Key- -Fa- J The fame by Notes. /«• fa. Q-faut, the Sharp-Key. Key, Key. _0__g — a- t:b— :cz: t-Zt— zt: 4 IQZI It** — Xv± fa. fa. Suppofe your Kfy be C, as the above Example, count the Number of Semitones in the Firfi 3d, above the Key-Note, faying, C, D, E •, or Fa, fol, la ; which is a A%> or Sharp-Third, containing Four. Semitones; and alfo the Ma>- jor 6th of Nine Semitones ; and the Major 7th, of £/«;*» Semkoiief, An O/KEYS. Book I. 31 An Example of the Order of A, the Natur^- Flat-Key, Mathematically, , -—A- Key ■ La— ^ i _ G -fol- — F- — E- -la— I O -fol- — B- L-A- •Key- -fa- -MI— -La— 1 'he fame by Notes. An F,at-Key. ~) _ >*— — la. la. If your Key is A, as the above Example, then is your Firft 3d above your Key-Note, A, B, C ; or La, mi, fa ; a Minor or Flat-Third, of but Three Semitones ; and alfo the Minor 6th, of Eight Semitones ; and the Minor 7th, of but Ten Semitones above the Key-Note : But the Oclave is always the fame again, in any Key whatfoever: You being half a. Tone higher in the very fir f 3d of the Sharp-Key, than you are in the Nat-Key ; and, this is the very Reafon, one Key is called Sharp and chearful ; and the other fiat, foft,_ and mournful : One being proper for folid and grave Subjects, and the other for Subjects more chearful, merry and fprightly : which Examples Ihew the Places of the two Natural-femi- tones, in every Oclave ; either in the Sharp, or Flat, Key, &c. An J2 The Elements of M U S I C K made Eafy, &c. "b »> «-> CO 4> *» «J >-* t-i-» >— f DJ4 ^ o £j . iSJ -S J3 OiUve. Sh -^ U o • p-4. ■»-» *<^ o -2 u 3 4 fr s OJ » S nJ ■3 S^W Co "^ ■■'% fes ctf «tf ^» > < o CO «3.§" §.3 •SA?»0 */ ^/TRANSPOSITION. Book I. 33 — ■ '- - ■■■ - -■■- - - - - - id — ■ ■ -— § 2. Of Tranfpofition, of B-M I, &c. Of B-M I, Tranfpofed by Flats. TO Tranfpofe, or remove a Piece of Mujick from offone Key, and to fet it on another, Firfl, you are to confi* der that B-M I is the Mafter Note, and governeth all other Notes in Regular-Order, both above, and Mow it, and com- eth but once in every OtJave ; your Natural Sharp Key-Note, being the very next Degree above it, and your Natural Flat-Key Note the next Tone below it. — And fecondly, that the Quality of B-M l-Note, is always Jharp and chearful, and may be made Flat, by placing a Flat thereon, at the Beginning of the five Lines, which Flat changes the Place Gf B-Mi, to the Quality of la : Then, if la be there fixed, B-Mi muft of Necefiity be Tranfpofed four Notes higher (or five lov*er) to E, that the natural Semitones may be kept in Regular Biatonick-Order. (This being called the Firfi Remove by a Flat.) The Second Remove by Flats, is, to place another Flat on E (that was B-Mi before J and then A muft be Mi a 4th above, or a 5th below the Place whereon it flood be- fore : Then you have both B and E Flat. The Third Remove by Flats, is to flat A, and then D is B-Mi ; you then having B, E, and A flat ; and by this Method, you may by Flats artificially Tranfpofe the Mi to any of the other j£v Letters in the Scale of Mujick, till you hunt it home again to its primitive Place : Obferving, That, f From the laft Flat, on Line or Space, V . , , i Four Notes above, B- M J, hat b Place. } And tnat, \ Below each Flat the Half- Tone lies, And o'er each Sharp the Half dots rife. Example 34 Vie Elements of M U S I C K made Eafy, &c. Example of B-mi, Tranjpofed by Flats. B. E. A. D. e-6- — q;;I3 far izfa, 5 ^-i D -fez e G. C 5b-:«:t5fe:_:}2te^ tte±z q: F. B, : e-| mi mi mi mi mi mi mi mi. — i 1 _ i— — j— z~Q - iZDZZZizi>ZZ5ZiZZZi ■ :z; z:a: jfe:z: fez:© fezzfe: fc fe _L . i=:©:p:z:!z:o:lffe:z.iztezQzizbzrzpfez=zzp§zt: Of B-mi, Tranjpofed by Sharps. To change Mi into la by Sharps, on the five Lines, your firft Sharp muft be on F, and B-Mi will be onF alfo : Your B-Mi being always with the laji Sharp. The fecond Remove by Sharps, is, to place a fecond Sharp on C, a 5th ^oitf, or a 4th below the Place of Mi, and then will C be Mi \ you having both F, and C Sharp. The 'Third Remove by Sharps, is, to place a on G, and G will be B-Mi alfo ; you then having F, C, and G Sharp, and by this Method, you may artfully by Sharps place the B-Mi on any of the other fix Letters, of the Scale, till you chafe it Home to its firft or primitive Seat, &c. — Obferving that, C When that by Sharps the B-Mi doth remove, ? \ Lajl Sharp, and B-Mi axe five Notes above. J Example of 'B-mi, &c. Tranjpofed by Sharps. B. F. C. G. D. A. E. B. ^--q^. z:zzi$:afc-k^ mi ^=zte-e=|*:=:}#t:0-}lt:=:lif*-9 1ir- ! - *- .„ F :Q:tfz:=:pf:e:}i#z:z:t»if:3:ZeZ J N. B. Of TRANSPOSITION, &c. Book I. 35 ^ N. B. That in the Natural-Scale, B is the Sharpefl Note, E the next, and A the next, &c. for which Reafon, B is flatted firft, E next, and A next, &c. fo that if B be flatted, E muftnot ; but, if E be flatted, B muft. — Alfo, F is xhtflatteft Note, C the next, and G the next, &c. for which Reafon, F hjharped firft, C next, and G next, &c. fo that if F befloarped, C muft not ; but, if C be Jharped, then F muft ; to bring the Scale into its Natu- ral-Diatonick-Order. Mark-well this Secret. By the two foregoing Examples of Bmi, (tranfpos'd on all the feven Letters of the Scale, by the regular placing of Flats and Sharps,) you fee that all other Notes, in their Regular-Diatonick-Order, are tranfpofed along with it ; which, like fo many Attendants, ftand in their Order, and are governed by Bmi, both above and below j and take their Refpective Names in Artificial-Order ; as they do in their flrfl Natural-Order ; varying only with refpecT: to Line and Space ; and muft be ftridtly folfa'd accordingly, in every Change, and Cliff, &c. Hence it is, that Tranfpofition was contrived to bring every Compofition, as near as poflible, within the Limits of Voices, and the five Lines-, by Reafon many Tunes can- not be kept in fuch Bounds, nor yet to be practicable, nei- ther by Voices, nor by Inftruments : — For, luppofea Sharp- Key, m C-fol-faut in the Tenor, Ihould rife eight Notes to the Otlave or Key above, how could they be prick'd down without two Ledger-Lines above the five-, or, could any Voice perform it unlefs I Tranfpos'd it lower? Then, if 1 fet a Sharp on F, and place my Key four Notes lower on G, and pricked down all other Notes of the Piece in their regular Diftance, above and below it, it will ftand better in the Compafs of the five Lines, and more eaiy for both Voice, and Eye : And this is the very Reafon that Tranfpofition was invented, &c. Many there are, who greatly objetlagainjl the ] aft Remove of Sharps {where E is fharp'd, and becomes, B-Mi ;) and fay, That Remove is farther than the Rule will bear ; and that there 5 are 36 The Elements of MU^ICK made Eafy, Sec. are no Places for the two Semitones, by Reafon E fhould not be fharp'd. Tho' I was once fo miftaken myfelf, and even fo confi- dent as to affert it, by the ill Example of others ;) but fince, by Study, I know better, let me afk thofe who object this Remove, thefe two gueftions, viz. ift. What Difference is there between E Natural and F Natural ? To which muft be anfwered, Half a "Tone :— and 2dly, What Difference is there between E Sharp, and F Sharp ? To which again muft be anfwer'd, Half a Tone : which Quejlions, I think are fufficient to prove the RULE, to be as good even to the Iaft, as it was at the firft fetting out, thro'out the whole, &c. § 3. Of Artificial-Keys. AL L Artificial- Keys muft be formed to be the fame in Effect, as the Two Natural ones, by placing the Bmi, (or Majler-Note,) the very next Sound either above or below the Key-Note you fix upon •, whether your Key be fat, or fharp. Examples of the Seven Sharp Keys; tfj C-Natural. zzrzfc; :rzQZf3=z©zj&fz_ azjzzzz ZZQI c*. m, K*. izQz|iz©zl|*z?; F#. ZZqI —e r f Gf. ;ZQZ :: #- &- llilzi Qzt5iz§zWtz_ - a -r— e Examples $f/&? Stow* Flat Keys; as A-Natural. ^zazi?fczQzJzfe A§. ^•e> fczzzi ZQZI~Z§Z ZZQZ B e-t-fe- z::te^z zrzQrfzte^ Q-jZtezt: C". t5rz: :dz d tf"o- ©— e zzszfcaz sg— 3m :za: .-"§Z t G . :a: fe^z©z:tezZz::: iztezzrfez e -;H By Of Keys, Artificial. Book I. 37 By thefe two Examples you fee how every Artificial-Key is Founded, according to the Two original Natural-Keys ; which when rightly fol-fa'd, according to the Tranfpofition, will be the very fame in Effefr. The Note herein printed, fignifies the Key-note, which is the laft Note of the Bafs, &c. of every Compofition : All Oflaves being the fame. Querey, Toufay, that every change of Key mujl be fol-fa'd, when fung, according to the Tranfpofition ; pray mujl the Letters be changed in like Manner ? Indeed they certainly ought, elfe you only Tranfpofe the Note B-mi : And altho' in Infirumental-Mujick, the Practi- tioners play by Letters, and plav fuch Notes Flat, or Sharp, as they are mark'd, yet ail Perfons of Judgment know they are all changed in Effect as the Natural-Key, and place their Flats, or Sharps to bring their Keys into the fame Order. Jt has always been my Practice to teach my Scholars in the Na- tural-Keys, by Letters, as well as by fol-fa, that they may the better underftand the Artificial ones, when they ap- proach'd them. And, tho' xofing by Artificial-Letters, is uncommon amongft young Beginners, by Reafon, they generally find it difficult enough to Sol-fa ; yet it is very practicable if Care be taken -, and, the beft Way in learning Vocal- Mujick-, tho' the conceited and Ignorant defpife Sol- faing, thinking it too mean a Thing to be practifed in this polite Indolent Age. But alas ! The Fox complained the Grapes were fower, Becaufe they hung above his Power. K Tho y Fourteen Keys Tve placed here in View, ? \ All, (in Effetl,) are but the fame as Two. _J Moreover, and to be more critical Concerning Keys, I fhall next give my Readers a View of the feveral Flat, and Sharp, Keys founded on every Semitone of the Oclave ; both Liatonick, and Chromatick : i. e. Natural, Flat, or Sharp. D Mat 3 8 the Elements of M U S I C K made Eafy y &cV Flat-keys : Natural, and Artificial. A-re> Natural. A. B-mi, Flat. _,.jre£E=|*-*-- — ' -' Q - e B. La, m, fa, s, 1, f, s, La. #-«/, Natural. B. La, *, f— C-/a, Natural. La. C. =#- La, m % f — La C-fa, Sharp. La, m t f— La. D-foI, Natural. B-Ia, Flat La, m, f- £-/«, Natural. nzb^^z-i-j La, z», £ — z~:r;:»:D: iz;z:z: -T- -sza: /•-/«, Natural. La, »i. f— G->/, Natural. La. F. e .u_v_^ — t — j La, w, f— i 5 "^, Sharp. "" *iT3Z§:5rp.|: La, »z, f— !■ G-fol, Sharp. La, m, f— La. G. D 1 1., ■■ j>- t— Fa. La, ot, f- La- F. La. G. ).Q, Fa. Sharp- 0/ Artificial Keys, &c. Book L Sharp-Keys, Natural, and Artificial. C-fa, Natural. C. D/ol t Flat. D. 39 i^r^g;l!li^i Fa, s, 1, f, Sj 1, f, Fa. D-fol, Natural. D. Of Fa, s, 1-^ E-!a, Flat. ii^:p:©z E. fzzz^zd^ Fa, s, 1— 2? /*, Natural. p|Ei : B=fe Fa, 9, 1- — F-fa, Sharp. - — p p - nas — e-3-^ — u *.t — Fa. F, s, 1— F/*, Natural. Fa. F. P-^-tf F. Fa, s, 1— G->/, Natural. «__jLJjb^ -J j_ -^i __ ^.jfel^r^Tjioz^itfic tzzi :H£ZZ5zHz^~ gif £_ a el — c p.tzt — Jfspt _E__zpzp Fa, s, 1— Fa. Fa, s, 1— -^-rf, Flat. A. ^. r /. _g,_pz§z H £-;»;, Flat. G. Q Fa. A. -e-. B. P-z£zzb B*mi, Natural. B. *—- By thefe Examples you fee how to tranfpofe any Piece of M*/fc£ out of one Key into another, fo as to make your Key either Diatonick, or Cbromatick, to the true Or^r of the Two Natural-Keys, &c. &c. See the Scale 0/ Semitones, in Book I, P^ 32. §4' Of 40 The Elements of MU SICK made Eafy, &c. - § 4. Of 'Keys Difguis'd, &c. BEing one Evening in Company with fome Pfalmodifts, who were Bufy in looking over New Pieces of Mufick ; one amongji the reft, pull'd out a new Book, wherein the Word Anonimous adortfd the Head of many Pages j on one particu- larly, If aw an old Tunejlrangely difgms'd, its Key being G, with no Flats, nor Sharps at the Beginning ; but the Half- Tones were reconciled to /^Natural-Key by accidental Flats, and it Ended Sol, or G. — This Teacher they extoll'd for his Judgment, to render him Famous j although they were ig- norant in the matter. Surely, no Man, that has any Judgment, in Mufick, will ever agree that fuch zLeffon c*an be either right or practi- cable •, by Reafon,the lajl Note is neithercomformable to the Natural- Flat -Key, nor yet to the Natural- Sharp-Key ; it ending neither in A, nor yet in C : i. e. Neither Fa, nor La. Therefore, it muft either be ignorantly done, or only to puz- zle the Practitioners, For every Key ought to be founded by Tranfpofition, according to one of the Two Natural Ones/ . Other Tunes . i" have alfo feen, in fever al Parts, wherein B~mi, in one Part was Tranfpofed by Flats, and in other Parts, by Sharps ; done for Curiofity Sake, only to dif- guife the Piece, and puzzle the Performer ; and tho' fuch Parts may be performed by Voices -, by Reafon, Voices are conformable to one Pitch, yet, it will not do for Injlru- ments ; — — For Inftance, — Suppofe your Key is E, with a Jharp-Third, and B-mi is on D in the Bafs, by Sharps ; and alfo on D, in the Tenor or Upper-Part, by Flats •, Then is the Key-Not e of your Tenor or Upper-Part, a Semitone lower, than the Key-Note of your Bafs ; tho' they both End on one Letter ; By Reafon, E in the Tenor or Upper-Part, muft be play'd Flat, and E in the Bafs is play'd natural. — But, fuch Pieces will never do for Inftvuments, unlefs all Parts are Tranfpofed one Way, by either Flats, or Sharps, as I before hinted. 5 § 5- Of Of TRANSPOSITION. Book I. 4 i § 5. Of Objections againfi Sol-fa-ing, &c. UNSKILFUL Singers, badly trained, and alfo un- tutor'd Injlrumental-men, fay, I give my Pupils un- necessary Trouble, by obliging them leverally to Sol-fa every individual Note, according to the Tranfpofition of B-mi; and that I need only Sol-fa all by the natural Names, and call all JIur'd Notes only by the Name of the Firji, &c. from which I well know how Idtenefs prevails, as well as Ignorance : And that all fuch will ever fo remain as long as they continue in that conceited Opinion. Can any Sound ever be fo well underftood as by its proper Name ? No, (uch falfe Names turn the Scale of Mufick Tpp- fy Turvey, and confound the very Firji Rudiments. Be- fides, when any Perfon thoroughly knows the Natural- Order of the Scale, how eafy is it to keep the regular Courfi of Notes according to it, altho' they fland on contrary Lines and Spaces ; by which Method, every Perfon learns every Piece of Mufick Note by Note, and by the very fame Names as if they were always fet in the Natural Key, Flat, or Sharp. V As to Inflrumental-Men, they call their Leffons F fharp, or l&flat, &c. meaning only that fuch Letters were flatted or Jharp'd at the Beginning of the five Lines; and that they always obferv'd to play fuch Letters flat or fharp, &c. and that they thought that was enough for them to.Obferve ; and that all other Methods were ufelefs : without having iany Regard to either Key, or 3d ; nor had fome even fo much Judgment as to know one Key from another. But this we muft excufe, by Reafon, now a Days, very few take any more Pains only juft to know their 7 Letters, on their Inftruments. Thus, for want of a true Knowledge of Keys, Sol-faing, tranfpofition, &c. Conceit leads thoufands into Error ; by not regarding the firft Rudiments of Mufick, viz. Sol-faing ; D 3 which $o The Elements of NtUS ICK made Eafy, &c. which lithe CHIEF REMINDER of the firft Princi- ples of Song , &c. [N. B. That Sol-faing is prudently ufedto Pfalmody, that the Sacred Word may not be prophan'd, bycarelefs Repetitions.] § 6, Tones moji to be regarded, in Singing \ I L I G E N T Study, Practice, and Experience, daily teacheth, that, in Jinging, there are fome particular Tones', which being well regarded, ferve in a great Meafure as a Guide to keep Singers in Tune on all the reft, viz. The Principal-Tone is the Key-Note, and B -mi, which caufes it to be either J 7 /*?/, or Sharp, &c. — Some there are who have only regard to B-mi, but as that comes but once in an Otlave, I think it requires not fo much Attention as Fa, which comes twice in an clave, which Tones muft always be funk or Feinted, whenibever you hit upon them, or elfe you immediately lofe the Air of your Compofition -, for Fa is, to be regarded in your Flat-Third, to keep you in the Air of the Flat-Key : and in like Manner muft you regard la m the Sharp-Third ; which keeps you in the Air of the Sharp-Key alfo ; for which Reafon, fuch Tones ought al* ways to be kept in Memory, &c. Firft, have in Mind your Proper- Key, And B-mi, that doth all Notes (way ; And Sharply found each Sharp- T hirdV La, And foftly Tone each Flat-Third'.* Fa : Tone right each fixth, and (Iprefume) Thefll keep all other Sounds in Tune. Your's W, TAKS'UR, Senior, End of the Firft Book- TH.E THE Elements of MUSICK ! MADE EASY: R, An Univerfal INTRODUCTION To the Whole ! %xt of jUttftck. BOOK II. • CONTAINING, All the different MW/, and Mea/ures of Time, both Common and Trip/a ; and how to Beat any of them : With Critical Remarks thereon ; and the Doclrine of Pendulums applicable thereunto. And fome curious Obfervations on the Ornaments of Mu- sics, both Focal and Injlrumental. % By William Tansu'r, Senior, Muftco-Theorico. I €* The Time, in Mujick, here is ivell/urvefd, ~) Each Mood and Measure fairly here difplay'd : / Rules bow to ring, or play, both weak and ftrong, | T'exprefs the Senfe, and Ornament ^ Song. J LONDON: Printed for 5. Croivder, in Pater-nojler-ro-w. Alfo fold by the Author; and by his Son, fome Time Chorijlcr of TV/W/y- Ce/%, in the Univerfity of Cambridge. M.DCC.LXV1I. 44 *be Elements of MUSIC K made Eafy, &c. , (&?& # C&S0 * 6*2© # Q£S8,# On©..* (&*£) # <3S?© # Q?;5S) # 6S^> CHAP. I. Of Time z;z general, and all its Moods ; and how to beat any of them. THIS Part of Mufick is called Time, and is as necef- fary to be understood as 'Tune, by Reafon no one can fing, nor play, without having the true Notion of it, neither in Concert, nor alone, to give any Delight to a Mu- fical Ear ; for by Time, "kept by true Motion, every Note is juftly regulated, fo as all move in a true Decorum, be the Parts ever fo many. And as the Tones are reprefented to us by certain Cha- racters, on parallel Lines and Spaces, Cliffs, Flats, Sharps, &c. even fo is the Prolation or Length diflinguilhed by certain Characters called Notes, with their refpective Rejis, when divided by Bars, to regulate the Movement j afcer- taining the Number of Beats contained in every Bar, by a pendulous Inftrument: with Moods or Marks directing thereunto, &c. Of Time, our Muficians make Two Sorts, or Meafurej,, viz. Binary- Meafure, and Trenary-Meafure, i. e. Common- Time, and 2>/p/ 2 '• 3>4- 1 > Z '• 34- x ' 2 : 3»4- 2. Largo Of Time. Book II. 47 2» Largo- Mood. One half quicker than Adagio. 1,2 : 1,2 : 3,4. i 3 2 : 3,4^ 1,2 : 3.4. i^2j 3,4. 1,2 : 3^4 da. d u. d u. d u. do. ■T-P~i-£z=:Tziz f = T~'T ,a i_ -_„'__ '! i*«' . } !> ' " _;" tf 3. Allegro- Mood. ^ quick again as Adagio. 1,2. I, 2. 1,2. 1,2. I, 2. 1,2. 1,2. d u. d u. da, du. d u. d u. d u. 4-t-f-h- ±ft? § 2. Of Tripla-Time. TRenary- Meafure, Tripla- Meafure, or 'Tripla-Time, is fo called from its Fall being double to its Rife ; i. e. heating as many more ^w« as up. Tripla-Time moves by /£mw ; as 3 Minims, 3 Crotchets, or 3 Quavers in a 5^r, to be juft as /0#£ tf^/'/z dfczs/w as ap. The Afwjfr that we now ufe in Tripla-Time, are 12 in dumber ; of which obferve the following Table. ATM* 4$ The Elements of M U S I C K made Eajy, &c. A Table of Tripla-Time Moods. Binary and Trenary. O c s s 1-1 c T3 O O u O ; mark'd thus : £, being as quick again as J v each iW having Two Eighths lefs than thefe in Common-Time. Six from Eight. 1 23:4 5 6. 123:456. 123 : 456. 8&E*:*fe- ffi 5 u, u, 6. The $Z The Elements of M U S I C K made Eafy, Sic, 6. The third Sort of Sextuple, is a Compound-Tripla, or Binary-Tripla, called 5/^ from Sixteen ; each itar containing 6 Semiquavers, 3 ^ow», and 3 «p ; being as quick again as 4 : having Ten Sixteenths lefs than Common-Time, in every Bar. 123 — 6:= FS : Six from Sixteen. 456 123 : 4 56 : 1 2 3:4 5 6. E ]-K* u. d, u. d, u. 7. The next Species is a Compound Triple, in Trinary Meafure, calFd Nine to Four, each J5#r containing nine Crotchets, 6 down, and 3 #p, marked thus : -| being half as quick again as J, each Bar having five fourths more than thofe in Common-Time. Nine to Four. - ' ■.{.) 123456:78,9. 123 456:789. 123456:789. 54:aa3ajfc3z::::E:rtti?3d:i:d:i:d-5:d:!r:3:}( 8 s — s tF -FF — #'-^-3 ftt u» v, 8. The fecond Sort of Compound-Tripla, in Trenary- Meafure. is call'd JV7// mark'd thus : %, being as, quick again as |, each having ^ more than thofe in Com- mon-Time. Nine to Eight. 4 5 6:7 89. 123 456:789. 123456:789. 1 2 E 9 ^8: ;iiliPii:|ilil 9. The Of T i m e, &c; Book II. 53 9. The third Sort of Compound Triple, in Trenary Mea- sure is called Nine from Sixteen, each Bar containing Nine Se- miquavers, 6 down, and 3 up, mark'd thus : T 7 ? , lefs thari thofe in Common-Time. Nine to Six; 123 456 123456789, 7.8 9 — tf i d, to. The third Sort of Sextuple, is Binary Tripla, and call'd Twelve to Four ; each 5^r including twelve Crot- chets, 6 dbwfi, and 6 #/>, mark'd thus : V > "being as quick again as J> having &# Fourths more than thofe in Common- Time. Twelve to PW*. 123456:7891011 i2. 123456:789101112. 1— -i— i-m i-C u. 11. The third Sort of Sextuple, is alfo jft/rajty Meafure^ and calPd Twelve to Eight •, each iter containing twelve Quavers, 6 down, and 6 «/>, mark'd thus : " T % each having Four Eighths more than thofe in Common-Time. Twelve to Eight. 123456:789 ion 12. 123456 : 7 8 9 io 12V .n.ii ■fr 8 ng_ -fl4--ra- -i-d— -J \ !— fi E u. 12, $4 The Elements of MUSIC K made Eafy y &c; 12. The fourth Sort of Sextuple is Binary- Meafure, called Twelve from Sixteen -, each Bar including n Semiqua- ver s, 6 beat down, and 6 up, marked thus : 44* being as faft again as '-/ ; and Four Sixteenths l'efs thanr m one J5<»r of Common -Time. Twelve to Sixteen. 456 : 789. 123456:789. ~pv — i — -JJrii a 1 d, n Tfoefe Twelve are all the various Moods^ &oth binary, and -Irenary, that are now generally uied in Mujick, whe- ther F^tf/, or Injlrumental : Though many more were ufed formerly, which we now count as needlefs as they were then perplexing ; by Reafon thefe modern Moods, here menti- oned, are fufficient to gratify and pleafe the Ear with all the Variety of Movements, that can be imagined, or dc- fired, &c. ^t. Obferve, That both in Common-Time, and alfo i Tripla Time, that your Hand or Foot be down at the firft Note in every Bar; and that all odd Notes before a Bar be perform'd with the Hand or Foot up : Alfo, that Refis muft be confider'd, and beat, as if they were Notes, &c. Sometimes, you'll meet with a Double-Bar, drawn be- tween two Notes, when the Time is not perfect on either Side of it •, both Notes making but one Bar of Time', but this moftly happens in Church- Mufick, to divide the Lines of the' Verfe, Sec. A Bar of Time being often given be- tween them. Obferve alfo, that you often meet with 3 Quavers join'd with a 3 over them, or perhaps over the firft three \ which three are to be perform'd in the Time of one Crotchet, &c. &c. &c. f Mark O/Time, &c. Book It. 55 °f Mark well alfo, That in many CompofitionSy that Re- peaty in the lajl Part, from one Part of the Bar ; that you; muft End the firft Time but with Two Beats, tho' 21?r£ dulums, were fir ft obferved, and brought in Ufe by the in» genious Galileo ; and in this Form: E $ Point 58 The Element's of MUSIC K made Eafy, &c. Print of Sufpenjwn. A C-JSSKS EXPLANATION. Firft, Take a Wire or String, of any Length you plcafe, Jtnd fallen a Weight or Plummet at one End ; then mafce U Hole or Noofe at the other End, and hang it on a Nail, Point or Center ; and it will hang perpendicular, as from A to B. — Then draw up the Ball or Plummet (fo high from the Center of Gravity, as the Length between the Paint of Sufpenfion, and the Center of the Ball) towards the Point of the Semicircle C, and let it fall, and it will ofcillate or fwing towards D ; and then come back again towards C, and move both Courfe and Recourfe, i. e. forwards and back- wards 'till it refts perpendicular at the Center of Reft or Grs* pity, B : Its Point of Sufpenfwn being A. Here you are to obferve, that, thd' the plummet ranges a greater Compafs between C and D, than it does between E andF, yet it always moves in Equal Spaces of Time, both forwards and backwards, till it re:s on its Center B : for the wider Compafs it ranges, it moves more fwift, and in the very fame Time as when its Range is fhorter ; for the larger the Body is, the more flow in Proportion it moves. N. B. That whenfoever Ifpeak of Ofcillations, or Vi- brations, I mean the Courfe and Recourfe of the Plummet from Side to Side, being the Extremity of its Range ; and not the Center B, by which it paffeth. Now, Of P E }t D V L U M S, &C. BooJi II. 5,^ Now, to know of what Length mufi I make a Pendulum, in order to beat the true Time of the fever al Notes of Mu- fick ; as the Semibreve, the Minum, the Crotchet, &c. I here fuppofe the Pendulum :o be about 30 Inches long, which Pulfes are faid to be almoft tihe 6pth Part of a Minute, or nearly the Space between the Beat of the Pulfe and Heart ; (the Syftole or Contraction anfwering to the Ele^ vation or Lifting up of the Hand, and its Biaftole or Dila- tation, to the Letting it dozvn, &c.) The like being under-^ flood of the Pendulnm both Courji, and Recourfe, in fuch a certain Space of Time. Again, fuppofe a .0 Inch Pendulum fhouild vibrate as the Length of a Crotchet, then will one of 1 20 Inches be re- quired to beat one Minim ; and one of 7 laches and a half to the Time of one Quaver ; and 480 Inchesto compleat the Time of one Semibreve, &c. Always obferving, that a Dou- ble Length of Time requires a Pendulum four. Times as long •, and a half of Time, but one Fourth fo long ; This being the true Proportion by which all Pendulums are regulated : But, that you may the better underftand this Doftrine of Pendu- lums, and apply them to the feveral Characters of Mufick, in order to fhew the true and exact Duration and Length of Notes, obferve them in their proportional Length -of Inches, as follows : E 4 • Semibreve > 6o The Elements of MUSICK made JLafy, &c. Semibreve. Minim. Crotchet, ghiaver, 480 120 30 7t, - Had you thefe 4 Plummets compleatly fixed, fo as to move freely without any Obftacle, and in Proportion both in Length, Weight, and Bignefs, according to the Scale before- mention'd ; and could you poffibly put all in Motion toge- ther with one Touch (as before taught) what a fwect A- greement \#ould there be in their Vibrations, could you hear Of Pendulums, &c. Book II. $t hear, as well as fee them ! each meeting or uniting in their Courfes. according as they are in Proportion one to another: The Minim being as 2 is to i, to the Semibreve, beating twice to once of the Semibreve -, the Crotchet, twice to once of the Minim ; and the Quaver, twice to once of the Crot- chet, Sec. From this very Doclrine, is comprehended Concord and Difcord, from the Uniformity, or Deformity, of the Uniting of the Vibrations of the feveral Tones founding together at one and the fame Time, &c. (But more of this by and by.) In this manner many Secrets may be difcovered by this noble lnftrument, the Pendulum : viz. To know what Time a Stone is falling from any high Place to the Ground, or, what Time Sound is pafling from one Place to another* and many more, too tedious to mention : But, as this does not concern this Science any farther than what is before hint- ed, 1 mall here conclude this Chapter. !ffihat Secrets have been kept as hidden Treafure r Thou here mayji fee, and read them at thy Lei fur e Thefe Rules will be of general Ufe to all, Andfhew what we do Time and Meafure call re; I • J CHAP. 62 The Elements of MUSIC K made Eafy, &c. chap! vn. Containing Jbme general Observations on /^^Embelliflj- mentSa or Ornaments gf" Florid Song, AS the Light of every Art and Science is convey',d unto us, by laborious Writers, for our Improvement, how much the more ought we to confult fuch good Au- thors as are gone before us ! to whom we are beholden, in fome Meafure, for all we know ; whofe Names not onj^ Ihone in their Bays, in pad Aiges, but will, in thole to come, never lofe their Luftre ! and whofe Works are their lafting Mtmummt-s to all Pofterity. . I could mention a , in order to improve in Performance and to gain an univerfal Efteem of their Superiors. Another good Caution I would give to the Performer, is 4 that he always fo manage his Rejpiration, that he never wants Breath, when he has the moft Occafion for it, nor be perceiv'd to take in Breath in the middle of 'a Word-, and ' 3 , that 64 The Elements of MUSICK made Eafy, &c. that he never holds any Thing before his Mouth to flop the Tone of his Voice •, for no good Singing ever was heard, from any Perfon of ever fo much Skill, that did not, in fome meafure, conform to the before written Precepts, &c. &c. &c. There are Five proper Embellifhments, that every good- voiced Performer ought to obferve, viz. The putting forth the Voice in good Order : The Appoggutaria : The Shake-, The Gliding, or Slur : and the Bragg, which is rather a very flow Shake, than a Divifion. (See Book I. Page 14. From what has been before hinted, concerning the Or- naments of Florid So^g, it is to be noted, by every Prac- titioner, whether Vocal or Infirumental, that all Sounds have their Shape, tho' they differ in Tone, with refpect to their Acutenefs and Gravity: and that every Sound (efpecially fuch as are of long Continuance) may confift of Three Terms, from its being firft put forth, to its laji Degree of being heard ; viz. Its Piano, its Forte, and then its Piano again, when it terminates •, as thus : r, 2, : 3, 4. I I i If.! ■*** -9 *r* Os fe, 0« T>ut, to explain myfelf in plainer Terms : Suppofe the Sound of the above Note confifts of 4 Beats, the firft is be- gun very foft, and fwelled to its extream Degree of Loud- nefs, 'till it pafTeth by 2, its fecond Beat •, and then the o- ther half of its Time, 3, 4, decreafes in its Loudnefs, 'till it ends its Time at 4, as foft as it firft began. The like may be obferv'd of all Sounds or Notes whatfoever, let their Num- ber of Beats, or Lengths of Sound, be as they will : So that any Sound is made Jlronger, or weaker, according as the Moving-Force of the Air, is more or lefs, on the fonorous Body'% Of Embellishments, &a Book II. 65 Body •, this being according to Sir Ifaac Newton's 2d Laio of Nature, &c. The Reafon why I have difcover'd this Secret to the World, proceeds from that abominable, and new-fangled Practice of fome of our ignorant and conceited Pfalmodifis, which greatly offends all good Mafiers in our Age, and renders their Compojitions as ridiculous as the Per- formers do themfelves ; who, with many antick Geftures of Body, and wry Faces, end their Notes as harfh, ftunt, and as loud, as if they cough'd their Notes out of their Throats ; 2.vAend with no more Tone of ' Mitfick than if they had ftruck them out of a Stone ; which is as contrary to the Nature and Laws of Harmony, as Darknefs is from Light ; or, as if they had dropt themfelves injiantly from; : an high Precipice, inftead of Aiding down eafy. On the contrary, a good Organiji never will touch in this ; manner, on any long Note ; butpreJJ'eth his Key gently down, ! till he has open'd the Palate to its full Width and Loudnefs, , and then raifes up his Finger gently again, and ends his Sound asfoft as a natural Eccho, &c. T3T. • From what has been faid on this elegant Branch of Mu-: sick, every fkilful Performer may, with Diligence, eafily perform with Grace, Spirit, and Grandeur ; and exprefs 'the feveral Paffions ofev 'ery Subjetl, whether it be grave, or merry, according to the true Intent and Meaning of the Au- thors who compos'd it ; which is the greateft Accomplifo- ment that a good Singer can be endow'd with. — And here I conclude my Difcourfe on the Firfi Rudiments, Principles, or Elements ofj>raclical M u s 1 c k . •—Tours, W. Tans'ur, Senior.—* find of the Second BOOK. A New w THE | Elements of MUSICK | MADEEASY: ^ OR, An Univerfal INTRODUCTION To the Whole & & Jtltllttfc BOuK III. CONTAINING, ^ *&* The Structure of Mufical In stpuments : With the 5f«& of Mu- ^ sigk applicable to each ; and Directions theveunto. Viz. The Pitch- ^ *& P?/> J& ^/Kto : The -trumpet, and French- Horn : The Fi/>, and the Clarinet : The jC 2& Draw, and the labor- and- Fipe : And of £*//.?, /Wx, and Mufical- ^ WITH w Sacred Leffons ; Songs in Parts ", and Tunes for Inftrumenfs. ® $fr , . ^ 3)* r TAe Organ's Stru&ure'j here Jet forth in View, ^ jrhi ^ .. \ 7£e Viol, Hair boy, Flute ; with Scales mfi new: / X '•^ ") i7sw Peals arc Tun'd, and how the chimes do play ; (T xj? $$ C Flalm-Tunc : — otk/ Song ? to drive dull Ca>es away. J yg? <$> ^ , „ & <^ The Whole is faithfully collected from the Greateft Mafters, both Antient and ^V Modern ; and methodically laid down for the Improvement of the prefect Age. £fi& # By Wi i. l i a m T a n s u' r , Senior, Mufico-Theorico. #> Co ! ; . for Open.— St. for Stopf.-^Ec. for Effbe, or Swe/l.^-D. for Double, To 6S The Elements of MUSIC K made Eajy, &c. To give an exact Defcription of every individual Infiru- ment before-mentioned, would make a Volume of itfelf, which I fhall now omit ; and mall only obferve, that whenfoever a Full Organ is play'd, many Infiruments fpeak together, and that from one fingle Finger, or Key, &c. The Organ, is a very ancient Instrument ■. even before the! Flood, as is recorded in Gen. iv. 27. where Jubal the 6th (Noah's Brother) is faid to, be " T# — rt 5> - „ n— * — si Firfi OSave j ZZ—~-~ \ 8, Middle Otlave j Sq-£ Z I ' 5» £" « * F/r/? Sub-Odave — \ art Z 3 > 22 'Sz.az*- &W Sub-Otlaw— \ "---:- 1 2 9 &f< 7 rt O iV. 5. That the Word Sub, is a Latin Word, and fig- nifies Below. Thus every Otlave is divided into 12 Semitones, 7 of which i&yj being 2?fof£, which give the Natural Tones, and 5 White, for the Artificial Plats, or Sharps-, fo that the whole, in Four Octaves, contains 49 P/pw or J&yj.; But.fome Organs, Harpfichords, and Spinnets have the JVi»- tural-Keys Whits, and the Artificial ones #/;?<:£. Some ©rgtffl Builders have added a ffird Sub -Otlave, or Pedals of two or three Otlaves lower; fo the Number of Stop and Otlaves on an Organ, are uncertain. Our Organ-Builders, or Harpfichord- Maker!-, have a Sftf/f or Diapafon, whereby they regulate the Lengths, Thicknefs*, Tenfion, &c. Having a. large C at the End of a £,/'»*, and by looking into the 9^^ ox Scale for fuch a C, they find that the L/»* fo mark'd, is the Meafure of the Pipe or G&wi deftined to found the ut, or C, of the lower Otlave; but if a fmall c, it is the 2d Otlave ;"\i c the 3d Otlave ; c, c and if c, it is the Sound of the 4/^ Otlave, &c. and from £ < ■ this &#& 9 /tafc , or Diapafcn, our Mufical Inftrment Ma-. 2 kers y Of the Organ, &c. Book III. 71 hers adjuft the Pipes of their Organs^ cut the Hcles in their Flutes, Hautboys, &c. in a due tropcttio-n; in order to per- form any Tone Of Semitone. 1 N. B. That if a Square be dividedlinto 8 Parallelograms^ the Points wherein a Diagonal Line mtei fects all the t'araU lelogorams i will exprefs all i\\tpratlicd{ Intervals in Mufick ; and on this Principal'\% their Diapafoti founded. t? iTo gratify m y own Curiojity, concerning a true Concert Pitch, I have lately oocafiond a Pitch-Pipe to be made, (by an ingenious Workman, in Northamptonshire) whofe Dia- meter is juft one Inch, (both ways) and whofe Mouth is y in Width, 2 Thirds of its Diameter, and its Depth, from the Lip /fJ, that are play'd by the Feet, are generally open, if of Wood, or of Lead ; and the longefl Pipe of a good Church Organ is com- monly 16 Feet long, and in fome very large Organs, 32 ; all the other Pipes being leaned in proportion to the largeft, or Grand-Pipe, &c. , Such Pip^ as are called Reed-Pipes, confift of a P00/, which conveys the Wind into the Shallot or P££ that Hides very ftiff over them, &c. to fee them in Tune. The feveral Stops contained in .an Organ are known by their Names or Signatures written, or printed, on Pieces of Paper, and paifted on the Front of the Organ juft by the Handle of the Regifler that draweth each Stop mint Sound- Board, two Ways : The Baffes or lower Sounds of each Stop being en the Left Hand, and the Trebles of the fame towards the right : Hence an Organ of Three Stops ftandeth thus : Left. Right. Bafs % Fifteenth. Treble (£ Fifteenth. Bafs || Principal. Treble 4$ Principal. Bafs sp St. Biapafon. Treble $fe St.. Biapafon. Thofe Organs of more Stops are fixed in the fame Or- der, &c. A good common Church-Organ generally founds from Double-Gamut to E in Alt ; i e. Four Oclaves and a Sixth : And fome, more large, down to Double -Bouble-C- faut, &c. &c. § 3. Of Tuning the Organ, &c. AN Organ is put in Tune three Ways, viz. by open- ing the litrie Ears or Titnets, more or lefs on each Side of the Mouth ; or by raifing, or falling fuch Tunets as Hand over the Top of the Pipes*, which is a little Plate or Bit of Tin, Brajs, or Pipe- Metal :■ But metal Pipes are ufually put In Tune by an Inftrument called 3. Tuning-Horn, b p ing made of Brafs, in a conic Form, one end of which F 4 will j6 The Elements of MUSICK fade Baft, 8fc. yt\t[ftretch a Pipe wider, when fcrew'd into the Top ; and the otner End clojes the Pipe narrower, when fcrew'd on the Top, &c. The Art of Tuning depend? moftly on a good Ear, and is very difficult on fome certain Notes, fuch as E-flat, b'Jbarp, &c. But it is the ufual Way of Organ- Builders, Harpfichord- Makers, &c. firft, to tune C-folfaut by a Con- prt-Pitch-Pipe -, and then an Stb either above- or below it } and after that sds, $ths, &c. and all Degrees that are in the Syjiem of Qftaye. But the better to explain this, obferve the following Table: A TABLE/er Tuning the Orpan, Harpfichord, or. Spinnet. CI 8 ' 8 ■©-U< 8 S 8 fa 8 5 ** #1 S--o-*8- 8 8 8 * &3 8 #J #1 _Q_ 8 5 ©3 — i_e- ^SiEiiE^B^B £* jHgK —— — -O^.J 5? . q ._^JL..^. -9- #«- 8 8 ; _?=^= _D_ efi — 8 ' 8 — ** Obferve, >5 ia -a- «° 8 8 Of the Ok can, &c. Book III. 77 Obferve, to Tune all Sharp-Thirds, as (harp as the Ear will admit ; and alfo 5ths Bearing ; that is, asjfo/ as pof- iible : which will render your Mufick the more Grand and Harmonious : And often, by Way of Trial, touch Urn/on, Third, Fifth, and Eighth altogether; and a\foTJnifon,Fourth t and Sixth : And laftly, if every Slave of your Keys, both Proper Notes, and Semitones, found perfect Eighths to each other, then you may conclude, that your Injlrument is in perfect Tune, Sec. STABLE of all the Intervals contained in the Syf- tem 0/Diapafon 'or Octave -, with the Number o/Sc- mitones in each Interval -, according to the Names of the fever al Keys of an Organ, &c. V Intervals Names. A Diapafon, O&ave, or Eighth — *} T A Semididpafon, Sept. Major, or ) I A Greater Seventh — ■ J A Sept. Minor, or Lefler Seventh — A Hexacbord-Major, or Greater Sixth A Hexacbord-Minor, or Lefler Sixth A Diapente, or Perfett Fifth C A Semidiapente, or Minor Fifth ) \ A Tritone, or Greater Fourth J A DiateJJaron, or Perfect Fourth — A Ditone, or Major Third — i A Semiditone, or Minor Third A 7W, or Major Second ■ i A Semitone, or Minor Second — -— ■A UnJ/on, or One Sound _ Number of Semitones. — 10 — 9 o Q s Obferve, that the Particle Semi, in Smidiapafon, Semi- diapente, Semiditone, &c. in the 7*~~^P~f~ *~"j~"!~' It is to be obferved, that where fingle Flats are only mark'd, that thofe Flats or Sharps denote that you are to play Flat or Sharp Thirds ; and that where nothing is mark'd, then Common-Concords are to be play' d, &c. — Al- fo where ^ths, yths, &c. which are Difcords, are only mark'd, they are only fet to introduce other Common-Con- cords to follow ; that is, fuch as lie next -, or the nearefl: Interval to follow, as the Rules of Compofttion will admit. Obferve, that in the Diatonick-Scale, B, E, and A, are Sharp Notes \ and that F, C, and G, are Flat Notes ; and that all Sharp Notes naturally require Flat $ds ; and all Flat Notes require Sharp %ds. — Alio, when the Bafs rifes a Fourth, or falls a Fifth, to make a Clofe, a 6th is then generally left out. And although many Authors do only mark their %ds with fingle Flats, or Sharps \ and alfo $.ths, 6ths, jths 9 &c. and omit the Figuring of the Common- Co frcord, ("which are $ths, %tbs, nths, J$ths,) yet it would be more ready for every young Beginner to have themfgured over or un- der the Notes -, which might probably prevent many Mif- takes. Obferve* T A B L E for the Blind. Book III. ti Obferve, that neither two Fifths nor two Eighths are to be play'd together, neither Rifing nor Falling -, as well as not in Compqjttion) therefore the befl: Way to avoid them, (or any other Confeeution of Perfebls of the fame Kind) is to move your Fingers contrary one from another, as much as poflible ; and in fo doing, you will certainly avoid many Errors that you otherwife might run into.-^— See the Rules of Compofitions, in Book IV. and the Psalm- Tunes, in Score, in this Book, &c. § 5. Of a New-invented Mufick T able, for fuch as are Blind. AS it is the Pleafure of the Almighty, that fome Perfons are deftitute of Eye-fight* in like manner, it is his infinite Goodnefs to make them a double Amends another way, by giving them a greater Share of Memory, &c. whereby they become very dexterous m playing on Mu- fical Injlruments, Mathematich, &c. as we may oblerve by Dr. Stanley, Organift of St. Andrew\ Holborn, in London - % and Saunderfon, the blind Profeffor of the Matbematicks, in the Univerfity of Cambridge : and many others, too tedious here to mention, who were born Blind, and never faw the leaft Glance of Light i yet God gave them fuch a Light in Knowledge, that they became the Wonder of all fuch as- had the Benefit of Seeing, &c . And as blind Perfons, at firft, cannot poflibly have fo clear an Idea qf Notes, and Mufical Char abler s, as they that fee them, yntll they are taught by a Mafter or Tutor ; I have (for the Good-will I bear to fuch unfortunate Per- fons) contrived the following Table ; that, by Feeling, they may ui^derftand Notes', and learn any Tune that mall be fet them, in their Mafief* Abten.cc, A New 82, The Elements of MUSICK made Eafy, &c. A New Mufick Table, for fuch as are Blind. A i-O— o— o — o— o— o— o-— o — q — o—o—o — o — o— O-i C Goooooooooo o oo o o B -F '-0—0 — o — o — o — o — o— o — o — o — o — o— o — o — o-' A- E oooooooooooooboG -D— '0— o— o — o—o — o—o—o — o— -o— •■o— '0« — o—-D — o— F- C oooooooooooooooE -B — -o — o — o — c— ~. — o — o~o — o — o — o — o — o — o — o— D- A oooooooooooooooC -G— o — o — o — o — o—O— — o—o—o — o — o — o — o—o — B - F oooo oooooooooo oA E j-o— o—o— o—o — o— C C 3—0 O — o O—O i G- Djooo o p. o o o o o o o o o o I F C -o — o—o—o — — 3 — — — O-r-O — — — 2 — 0-' E EXP LAN AT ION. ■ Let A— B be a fmooth Board, 3 or 4 Feet long, an Inch thick, and 9 Inches wide, with 5 fquare Ledges glew'd thereon, each being half an Inch afunder, half an Inch wide, and half an Inch high ; which rifmg Ledges reprefent our 5 Lines of Mufick, and their Spaces : and the. two outward Lines, being made a little lower, may ferve as Ledger Lines, on Occafion. — The Cyphers reprefent fo many Holes bored into every Line and Space, half an Inch afunder -, wherein Peggs of different Shapes are to be fet, to reprefent the feveral Sorts of Notes and Charatlers of the Tune ', which Peggs the blind Perfon mult know by Feeling, as well as he does his Keys of the Organ, or Harpfichord :. fo that by keeping his Fingers on the 5 Lines, he feels the feveral Peggs as they come on, and are fet to reprefent the feveral Sorts of Notes, on both Line and Space ; whilft his right Hand ftrikes the refpeclive Key, &c. he firil knowing the Names of all his Keys, his Lines, Spaces, and the Mark of every Pegg. Let each Pegg be about half an Inch high, when fet in very faft. N. B. The blind Perfon muft firft be taught the Name, of the above Lines and Spaces in both the Treble and Ba Clifs Of the Feeling-Table, &c. Book III. 83 Cliffs ; and that he muft/«/ his Treble with the right Hand, and his Bafs with the left Hand ; each being contrary as you may fee by the Letters of the [above Table, A and B -, and mult learn each Part feparate. Of Peggs, for Notes, &c. Of Peggs, he muft have a great Number of every Sort;, to fet his Tune with ; which he may mark as follows : For a Semibreve : 4 top Notches. A Minim : 2 top Notches. A Crotchet : one top Notch. A Quaver : one Corner cut off*. A Semiquaver : 2 Corners cut off. A Demiquaver : all 4 Corners cut off. For Rtjls : a Notch in the Corner. A Flat : one Notch on the Side. A Sharp: 2 Notches on the Side. A Point : 3 Notches on the Side. A Bar : A flat thin Top. A Repeat : a Sharp-pointed Top, &c. &c. &c* But it is belt for every Performer to make, and mark his own Peggs •, and deliver them one by one, as they are called for by the Perfon that fets his Tune. C 'Earth* s pleafing Objects can't affetl the Blind, 7 l But Eyes turrfd inward glorious Objects find,. \ ■ Having thus gone through what I propos'd concerning the Organ, and defcrib'd every Member of it, from the Sound-Board to the Fingers Ends : I now refer you to the firfi Book for your Knowledge in Time and Characters ; and to the Pfalm-Tiixies for your firft Leffons ; which are fet in Score for the fame Purpofe. CHAP. 84 the Elements of MUS ICK made Eafy, kc. C H A P. II. Of the B a s s* V i o iv, Violin, &c* OF thefe Kind of Infiruments, there are many Sorts* all of which differ as to Size, and fome in Way of Tuning -, though all ftruck with a Bow, or Fiddle-fiick, made of ftiff Hair drefs'd with Rofin, which grating agatjift the Strings, puts them into a vibrating Motion ; which gives the Tone higher or lower, as regulated by touching them with the Fingers : Which Touchets are called Frets, &c. The Viol di Gambo, or Leg-Viol, (fo called from its be- ing held between the Legs) is what we call our Bafs-Violi having^ Strings, called, ift the Treble j 2d Small-Mean 5 3d Great-Mean ; 4th Counter-Tenor ; 5th Tenor, or Gamut- String', and the 6th the Bafs* String-, being /#» / ^ ;> } Third String — D. E. F. G. — f_g I Fourth String — G. A. B. C. — P no • • • u c ^ u. x- &0 « o> oj I £ D £ o^ -° ^ 3 L/ 1-1 M CO 1— I r The Of the Violin, &c* Book III* *7 String. The fame by Notes. E F G A. IZ&C. 1 D. 2d - String. 1 ■ . ? d : String. -P-— S=SE D E G. Pi 4th String 1 Ihp^ I I M bQ b$ o Cm C to Example of Tuning the open Strings, 5. fe^i I. 2. 3 . 4. G 2 Thus #8 The Elements tf/MtJSICK thade'Eafy, &c7 Thus you fee what Nates are play'd by every Finger, Orf all the 4 Strings; but when any Note is play'd flat, you muft lengthen the String, by Hiding the ifo^r half a Tone lower, towards the Nut, than the Natural Note ; and fo, on the contrary, you muft fhorten the String,, by Aiding it half a Tone higher, towards the Bridge, tojharp a Note, ~ Obferve always to have the Strings of your Violin in per- fect Tune, fo as to found the Tones before^mention'd ; for, unlefs they are tun'd regular, no one .can play thereon, be he ever fo dexterous •, and alfo that you play every Lejfon, or Tune, very flow axfirjl ; for a diligent Practice will bring your Hand to a more fwift Motion : Tfdlm-Tufies being the beft for young Beginners,— The ^pen Nofes £laevf how every String muft be tun'd. For the Nicety of Fingering, oblerve, ^hat whenever you Jkip a Fret or Stip, thereto ilea ve a Finger, for a Stop is but half a Tone or Note ; for from £ to C. and E to F. are but half Notes, and all the reft are- whole ones; and to leave a Finger is necefiary, to be in Readinefs when any half Tone fliall happen, by any accidental Flats or Sharps. In Bowing, obferve to play any even Number of Tied Notes by jinking the Bow up-, fuchas 2, 4, 6, 8, &c. and to play any odd Number of Notes tied together, with the Bow drawn down: 1 mean to begin fuch Even or Odd Numbers tied together, with the firft up, or down, &c. and alfo to learn the Ufe of all Moods, Putts, Sharps, and other Characters contain'd in this Bwk, belonging to practical Muflck, &c. For your Knowledge in Time, Characters, and fhort Lessons, I refer you to Book I, and II ; and to the fhort Pfalm-Tunes, and Songs, &c eafy for young Beginners, at the End of this Book. v H A F> ' Of the Flute, && Book III. 89 CHAP. Ill, Of the Common Flute, or Flagexet> IfTplHdi FiiUTB^ is a Pipe, or Wind-Inftrument, and Jt- blown, by. the Mouth j having eight Holes ; j£w» on the Top x for the Fingers, and one- underneath* for the Thumb of the Left Hand', which Tones are changed by flopping and opening the Holes,, placing, your 3 firft Fingers of your £*//£. HaW uppermoff, towards your Mouth ; and the 4 Fingers of your Right Hand towards the Bottom, and bjowingat the fame Time, you'll have a Production of ithefe Sounds. *Ibe Scale of Mv sick for t&eFLVTE, Gftr. F : G : A :B:C:D:E:F:G:A:B:C:D : E : F. Thtjmb. + + + + -f + -" 3 toe 3 .■a — ™_ _•■ — mtm. — — Zil HI- IZZ -■■- -■■- By this Scale you fee that A in alt is the firft pincWd Note +, by placing your Thumb-nail in the under Hole, fo as to half cover it, and blowing very hard. This being according to the Diatonick- Scale of Musick. The oo The Elements of MUSICK made Eafy, &c. The Chromatick Scale of Music yl far every Flat . and Sharp on the Flute, &c. g^^g^ l^S B£: C?«: D*: E& : Thumb. : (3* : A& : B&: C» : D* :E&. + + + 41 ^2 T — T ^ ,__ x I ■■ZX^iZl— JBL. IK ,_■!_,. . ■■. X y^ I""" LT^ Bl UTTT - ^^ — *^*~ ' '?T' ^- f .■»■■■— ■■ ' I T ^^T , "~^^ w ■■ ' "" ' T- Obferve, that whatfoever Holes art ftopt to make any Notejharp* that the fame Holes ftopt may flat any Note that lies the very next above it ; as you may obferve by the two laft Notes in the above Scale, viz* D*, and E by &c- By this Scale, you fee how every Hole is ftopt and opened* in order to make any Degree in the Scale of Muftck. Now it lies on your Part to put in Practice all the 'Terms and Characlers belonging to Muftck, in order to make you a good Proficient j always obferving, that the loweft Note on the Flute is F ; and that what Keys are hot in the Com- pafs, muft be tranfpofed higher, ox lower, to bring them into the Bounds of the Flute, &c. Of Flutes there are many Sizes, as a Concert Flute ; a 7&>^ i%/(? •, a -F////&, and a &x/£, and an Oflave Flute , yet all may be play'd by the foregoing Rules* For Instructions in OharaSers, Time, and fyanfpoji* Hon qi Keys, I refer you bacjk to Book I. and II. and to the End of this Book for Tvn?s, ready tranfpofed, to this. Jnftrument, &c. CHAP, Of the German-Flute, &c. Book III. 9* CHAP. IV. Of the German-Flute, and Bassoon. THE German-Flute greatly differs in Form from the Common Flute ; its End, towards the Mouth, being juite flopped with a Tampion or Plugj having its Hole ibout two or three Inches from the End, under which the Jnder Lip is placed to blow it. It is ufually about 1 8 Inches long, having Holes below he Mouth-hole for the Fingers to flop, or to open ; the oweft being open'd with the Little Finger, by prefling down ■hejilver or brafs Key, like thofe of the Hautboy, or Bajfoon, kc. The firft Trial on this Inflrument is to blow fo as to make it fpeak, which is done by refting the Flute againft :he under Lip, juft below the opening of your Mouth, and blow it fo as to make it fpeak clear, before you place your Fingers on any of the Holes: Your Handing before a Look- ing-glafs will fhew if your Lips are fmooth, and your Body in a becoming genteel Pojlure, with your Left Hand uppermoft : Which Holes are ftopped as the Dots direct, as follows : The 92 The Elements tf MUSICK made Eajy, &c. ^5S b O & "S CO & s CO 8 Q s IMIr nrrllH li ill « li r i 41 4U m _ifi «ti! tt. i w 1 nfe : -IM. 3 ii JLUJJ- iiL_ ffFH i i j i i ■ ■ - ffi-Li jj'jj rrtV *mi \ n r rrrrr lire «wti( 11 ( Q I 2 £ i £ 3 5 w o QE> "Jf CJ ** .* U.I I L c O Ou O C/3 o CO I J* .y c o • •"« p TTFI I ' i [3* 1 TTpl rTTTl !4HP ' i i i i l.TTPQ H 1UU1! mm Mm ■■■■■■ Bffffl illliii /« rf tn •+ w»0 f> 09 O O « M ^co hen •3 s i-5 ' ^4 a; a, O o M u Of the Hautboy, &c. Book III. The Grenadier's March. 95 N. B. That the Management of the Reed for the Baf- faon, is much the fame as for the -Hautboy, and that the fingering is, in fome meafure, much the fame as the Flute : fo that fuch as can play on both the Flute and Hautboy , may, with a little Practice, play on the Bajfoon. CHAP. V. Of the Hautboy. THE Hautboy is a very loud l JVind-Inftrument, .and blown by -a Reed-, and has, in all, ten Holes* two of which are cover'd by Brafs Keys, fo that 7 Fingm are fufficient to work them -, for which take the following Scale : The Scale ^/Music^/or the Hautboy. p. p. p. p. p. p. p. ;| Bp||^g^^^^ffl j C:D:E:F:G:A: B:C:D:E ~^ f-^-t^ t~*"~i~~ £ *T — r* h • • A t- 1 —-' F:G:A:B : CV ""is SUrff iVwi>. the Reed, &c. &c. — flands for open^ Heart of Oak. ■ For time, and Char afters, fee ifec I. &c. CHAP. Of the TlttMrtT , &e. Book ill/ 97 CHAP. VII. Of the Trumpet, the French Horn, the Clarinet, &c. THE Trumpet is the loudefl of all portable Inftruments of the wind Kind, and is moftly uied in War among the Cavalry, to excite the Men to courage and cheerftt!nejs+ as well as for Ornament to the Troops, and to direS the Men .ito duty, &c. it being made in the Form of a conick Tufa, of Silver or Z?r*z/} ; and fome made of Iron, or Tin, or of Wood, The Compafs of this warlike Inftrument is not ftricUy determined, fince it will probably reach as high as a Man's Breath can force it -, which fome will fo manage as to reach Four Oclaves, or the Bounds of common Organs, or Harp- fichords, &c. But, the common Se ale for the Trumpet^ or French-Horn is generally prick'd down thus: . The Gamut Scale for the Trumpet, or French Horn, &V. £ iiiH C D G A B C. Herein D, F, A, and B are left out, by reafon fuch Notes are not properly called Trumpet or Horn Notes ; and when thofe Sounds are fet in a Piece of Mujick they gene- Tally reft at thofe Notes, or ufe others in their Head, fo as t« -make Harmony in the Concert, &c. And fuch as found the 2d Trumpet or Horn, often perform the lower concording zounds by the fame Scale, be their Mufick in what Key foeyer pricked down ; but their mod ufeful and common Key $S The Elements of MUSICK made Eaf h &c. Key is C Natural, and the Scale as above. But next 1 lhall fet you down Three well-known eafy Tunes for the Trumpet, or French- Horn, as follow : Trumpet Tune. «*. i» SSSiSiigf|§ mug i Chillcock's Air. ^feiliifei Wejiwood Park. -• _ "fr* « (E.-»— For 7/W, Characters, &c. read of them in the /M Part of this ifo£. 7 We Of the Trumpet, &c. Book III. 90 We read in Numbers, that Mofes made two fil ver Trum- pets for the Life of the Priefts ; and in Jofephus, Lib. 8. that Solomon made 200 more like thofe made by Mofes, J ofepbus alfo, greatly fhews the Antiquity of thefe Kinds of Inftruments -, the Antients having divers of thefe Kinds, which they called Tubas, Cornu'as, and Luttuis, &<:• Our modern Trumpets have a Mouth-piece pear an Inch diameter, tho' not above one-third of that Width at the Bottom. The Pieces that convey the Wind thro' the Whole are called Branches', the Places where bent are called the Potences-, and the Canal between the fecond Bend, and the Extremity, is called the Pavilion : The 5 Branches being foldered together, are cover'd with Knots, &c. In War there are 8 feveral Ways of founding. 1. The Cavalquet, when the Army approaches to a City, or are to march thro' it. 2. The Boutefelle, when they are to decamp, or march. 3. When they found to horfe, and then toftandard. 4. To charge. 5. To watch. 6. The Double-cavalquet. 7. The Chamade; and 8. The Retreat: With various Voluntaries and Flourijhes at Rejoicings, too tedious here to mention. Trumpet-makers have a Scale orDiapafon to cut their Lengths by, as a Standard to every Size. As we call our Trumpets and Horns, Firft, Second and Third, fo do the Italians and Germans, as the feveral Parts, viz. Iromba-prima, the i.ft ; Tromba-fecunda, the 2d j Tromba-terza, the 3d ; Tromba being what we call Trumpet. Mr. Roberts, in the P hilofophical Tranfaclions, ingeniously accounts for the D^aS! in- thofe Kinds of Inftruments, as not properly performing fuch Sounds as are left out in the Scale j by reafon they always found them out of Tune j from which they are not called Trumpet-notes, &c. The French JHorn being only a Long Trumpet, made circular, and portable for Hunt/men, &c. And, tho* a Trumpet requires more Pains to blow than a French Horn % yet fame are fo dexterous as to blow either fo very fofr, as to be ufed in Church and Chamber Mufick. The loo The Elements of MUS1CK made Eafy i &c. The Clarion, or Clarinet, is only a fmall Trumpet in Kind, and ufed as a Treble to larger ones, in Concerts, &c. § 2. Of the Trumpet-Marine, and Sackbut. A Trumpet -Marine is only a Monocbord in Effect, by reafon it has only one large String; which, whea {truck with a Hair Bow, and fretted with the Compreffioh of the Thumb of the other Hand, it founds like a Trumpet. Its Body is like 3 Tables,, in a triangular Form, with a very long Neck, whereon lies the String over the Bridge^ which is made faft to the Body on one Side, and loofe on the other •, which makes the Bridge tremble when ftruck with the Bow, and caufeth the Sound like a tubical Inftru* ment. It has the fame Defec\ in fome Notes, as the Trumpet, and performs Notes much the fame, being thereon either too flat or too fharp to make true Concords j by reafon of its Vibrations being. fo very uncertain •, and yields no true Sound, only when by its being flopped, theVibrations of the upper Part of the String are an aliquot Part of the Re- mainder, and confequently to the Whole. If otherwife, the Vibration of the Parts do Hop one another, and make confufed Sounds according to the crofs Motions of the Vi- brations : Thefe being the principal Reafons Mr. Roberts^ before mentioned, gives of the Imperfection and Defi- ciency of thefe Inftruments, csV. The Sackbut, or Trumpet-harmonious, is mentioned in the Book of Daniel-, it being a large Trumpet in Kind, tho* different in Form, and contrived to found the Bajfeson ; it being made longer or fhorter, by drawing it out more or lefs, as the Tones require to be in Acutenefs or Gravity, as we do our modern Pitch-pipes. It takes afunder in four Pieces or Branches, and has commonly a Wreath in the Middle, which is the fame Tube only twice twifted ; or making [Of the Guitar, &c. Book HI. ioi making two Circles in the Middle of the Inftrument •, by which it may be brought down a Fourth lower than its natural Tone: Hence it is lengthened to hit any Tone you like, Grave or Acute, &c. It is generally 8 Feet long be- fore drawn out ; and will extend to 15 Feet long : And the Wreath is 2 Feet 9 Inches in Circumference ; and ferves for a Bafs in Concerts of Wind Mufick, &c. There are feveral Sizes, viz. Trombone-maggiore, for the Tenor.—' Trombone-fecundo, a 2d. — Trombone-terza, a 3d. — Trombone' quarto, 2l 4th -, and the Key of each is generally F-faut ; and to as many Offaves as its Length will admit j for which thtSackbut or Serpent Makers have a Scale, which they fix thereon, to (hew how far they muft be lengthened or fhortened to found the Tones^ as we do our Fitch- pipes, &c." chap. vin. Of the Guitarra Spaniola or Citern. THE Guitar is called a Spanijh (hinged Inftrument^ having generally 4 double Wire Strings, and 2 Tingle Strings, from the Bridge to the Screws, in Form like the Violin ; and pulled with the Fingers and Thumb of the Right Hand, and flopped or fretted at the fame Time with the Fingers of the Left Hand ; and moftly ufed by young Ladies to play in Concert, or fing with, &c. it being in Effect only a fmall Lute. The Names of the Open Strings, and Frets on each ftand thus : H Nutt. 102 The Elements of MUSICK made Eafy, Sec: The loweft open String foundeth Cfaut, in the Bafs. The 5th open is E-lami, a 3d higher than C. The 4th open is G-folreut, a 4th higher than C. The 3d open is C-folfaut, a 4 th higher than G. The 2d open is E-la, a 4th higher than C. The 1 ft open is G-folreut in Alt, a 3d higher than C. Each of thefe Strings being (topped or fretted where the Lines crofs them, will perform the Notes in this Scale : The Gamut on the Guitar. frJ £ fpr[ffTf * iJl fee.— CD EF GAB CD E F GAB C. CHAP. IX. Of the Fife, and the Tabor-and-Pipe > and of the Dulcimer, and Harps. THE Fife or Fifaro, is a wind Inftrumenr, very fhrill, and held as the German-Flute, and play*d on -much the fame ; fo that the Scale of one will partly ferve for the others which fee.— It is very much ufed in the Army, ac- company'd with the Drum, &c. Of the Dulcimer, &c; Book III. 103 ; The Tabor-and-Pipe are two mufical Inflruments that always accompany each other ; and are moftly ufed at Wakes by Country People, and at their Dancings and inno- cent Diverjons -, and often with Morris Dancers ; and fome- times in Concerts, if well perform'd by fuch as are fkill'd in The Pipe is very flirill, having 3 Holes •, but it moftly depends on the Management of the Breath, and by pinching to make the Sounds; which are play'd only by the Left Hand, on which Wrift hangs a fmall Drum, braced in Tune to the Pipe, and beat by the Right Hand, as a Bafs % in Time to it : Both of which being well managed, make pretty Harmony. The Scale on this Pipe t by fome is prick'd down thus : The Gamut on the Pipe. Loweft/— ■— m -. — F £ i £ 1 D § O ftands for Open-, and + for the Hole half cover'd. To know the Rudiments of Myfick, fee Book I. - § 2. Of the Dulcimer, *»*/ Bell-Harp. TH E Dulcimer is made in a Kind of triangular Form, 1 with wire Strings fcrewed over two Bridges at each end j » and fome Strings run under other Bridges-, fome Strings being fmgle, and others double to ftrengthen the Sounds: All of which are fiiorter and fhorter as they are more Acute ; the fhorteft being about 1 8 Inches long, and the longeft about ^6 ; the Brafs Strings are generally doubled. — When play'd on, it is generally laid on a Table H 2 or 104 &* Elements of MUSICK made Eafy, Sec. or Stand, and (truck with both Hands, with one Rod in each Hand, made of Wire or Cane, whereon good Har- mony is often made, if ftruck in Concord. It is a very portable Inftrument, and much ufed at Pupet-Jhews, Wakes, and Country Fairs, &c. and may, with Judgment, be very regularly tun'd, according to the Scale of Mufick; nay, and even fo as to found both Flats and Sharps, &c. The Bell-Harp, is another Inftrument ftrung with Wire\ its Form is like a Bell, and kept twinging whilft play'd on : Whofe Strings are ftruck by each Thumb, being armed with a fplit Quill, Whalebone, or thin Horn, called aPleclrum: Which, when artfully managed, affords tolerable good Harmony, &c. and may be tuned according to the com- mon Scale of Mufich The Molian Harp, is a ftringed Inftrument, whofe Strings are Catgut, and tuned all Concerds to each other, but not play'd on no Ways by Hand ; but is fet in a founding Boom, by the Window, opened, where the Air moves the Strings, fo as it makes a fweet Harmony -, even as if many Inftruments were playing in Concert, -&c. Concerning the Welch, and Irijh Harps, fee them in their Order, in the following Diclionary, CHAP. X. Of Tuning o/"Bells, and Pricking c/*Chime- Barrels to Mufical^Clocks, &c. TH E many Difputes that have often been amongft Lovers of Ringing, hath caufed me to infert this Chapter ; and I know well, by Experience, that not one Ringer t amopgft a Thoufand, rightly underftands the Scale Of Bells, &c. Book III. 105 Scale of Mufick ; which, if he did, he could immediately tell if a Peal of Bells were in right Tune, or not. I appeal to all Gentlemen, Majlers of Bell- Founding, whether it is not cuftomary with them always to Tune their Peals in the fharp and cbearful Key? To which they will anfwer, It really is, (unlefs defir'd to the contrary by fome very whimfical Perfons :) From which, it is clearly evident, that the Tenor, lowejl, or greateft Bell muft always be C, (whether in Concert-Pitch, or not) all the letter Bells above that, being in a regular Diatonick-Order, according to the following Lines: A Mathematical Table o/*Tuneable Peals, from Two to Ten Bells. Peals, 2 E ! c 8 \ A G F ! E J C—2. IO. — I 4— -^9" ■5 -6— •7— -jo— C By this Table you fee how any Peal of Bells are /«#*Tg- Britons, ftrike home, re-venge, re-venge your Coun-try's Wrongs: lllllililgiil 5 5545 4 H 3 43 2 3 4 4J5 4- Fight, fight and record, fight, fight and re-cord yourfelves in Dru-idSongs : &WT- -&b — gr xiriitz mpri:= £1:5= i^Pf ® 2 212343 5 4 3 43 2 i 2 3 Fight, fight and re-cord, fight, fight and re — cord, re-cord your- @ 4 3 ' 2 3 a. 5 6. — -felves in Z)r# — z-tf Son^s. j-iyi^^pq:: :S: W x J 2 The Elements of MUSICK made Eajy, &c. Princefs Royal, on Six Bells. SSSS 2 2 2 _I_ 2 3 3 3 2 3 456545 6. i- 2 God fave the King : 0« Seven Bells. With the Bafs under it. Tenor. 6667654444565676 3 5$ ^^^lys^^^^^g^l 5*A. God blefs great, &c. ■ ^fr-Xzrjz-zj, zpzptzippb: 11: z:zrp:fiir z:i" • 2 2 2 z 3 4 3 3 3 3 4 5 4 ? 6 4 3 2 , 4 5 6. :S: Send him victorious, — &c. HiHgi Obferve, Of Chimes, &c. Book III. " 113 Obferve, That in the foregoing Seven-Bell Tune, the 7th Bell is but half a Tone under the 6th Bell ; and that the fame Tune will go tolerable well on a Peal of Six, if the 7th be ftruck on the 6th, without any great Variation : (But then the Bafs muft not be concern'd.) The 125th Psalm-Tune : On Eight Bells. With the Bafs under it. W. T. Ten 86414 3456:76 544345 4 =115 :SJ ggaggg Bggi And fly— Thofe that do— S " f '' P e :S: S m # _J4 4^_6 7_: 44j 67^8 123 43 6 7 8. :S: v-/ In all — In all/^&c. r-ntO- :t — :S. ^ You may have great Variety of chearful Pfalm-Tunes tor Chimes of Five, Six, Seven, Eight, Ten, or Twelve Bells, in my New Royal Melody, lately publifh'd, in Four Parts: and among the Songs and Tunes in this Book. From i 14 The Elements of MUSICK made Eajy, &e. From the Principles before-mentioned* concerning the Moduli-Campanarum, or Chime-Barrel, many curious Con- trivances may be made to perform Music'k, without play- ing by Finger\ fuch as Hydraulick-Organs, to play by Wa- ter, or by Weights, and Clockwork : Whereby the Keys or Touches arc ftruck, in the fame Manner as with F^^ ; and the Bellows blown at the fame Time, &c. Stringed-Harpjichords alfo may be majde to perform in the fame Manner ; and fmall Box-Organs, to play only by the Turn of one Hand, as you do the Frittion -Wheel of the Stringed-C>7»^/; and in fo fmall a Compafs, as that of a Tea-chefl, &c, Bell-Harpjichords, in the like Manner, may be plafd by fmall Hammers, which ftrike on fmall tunable .Bells, inftead of ftriking the wire Strings with Quills or Pletlrums : which Injlruments, if well made, will never be out of Tune. Organs may alfo be made to perform Tunes either in Two, Three, or more Parts together j by opening feveral Pallets by one fingle Touch, as they are made to correfpond to feveral Valves, by Movements, and Conduiffs ; and as they have Communication one to another, from the Key, to the Sound-Board, &c. with a thoufand other Contrivances too tedious here to mention. {Thus, //^Organ's Structure have furvey'd, -* J The Viol, Hautboy, Flute, and Bells difplafd : I 1 The Scale Pvefixd ttf ev'ry Hole, and Key, f , **But t Diligence mufi Teach ye how to play* -I CHAP* Of Drums, &c, Book III; 115 CHAP. XI. 0/ Drums, Marches, &c. and of Tymbals. THE common large Drum is made circular, of ftrong Oak Scale-board, and both Head and Bottom cover'd with ftrong Parchment ; its Height is generally equal to its Diameter, but feldom above 30 Inches over, unlefs Skins can be got larger to cover them. They can be {trained or 1 braced to any Tone required ; and are beat with 2 Sticks I properly turned : which Art only confifts to keep the lime 1 of the Tune, in true Movement to the other Infiruments: The Rules for which, not one Drummer among 10,000 rightly 1 underftands by mufical Notes. It is a military Injlrument of the pulfatile Kind, and moftly lufed amongft the Foot, to direct them to duty, viz. to \ march, to attack, to retreat, alfo to rife, or to be in .their* Quarters, &c. which the Soldiers underitand by the various , Beatings, called the March, the Double-march, the Affemble, xht Charge, to arms, the Retreat, and the Chamade, &c. There are alfo Drums made of Brafs, called Tymbals, or 1 Kettle-drums, ufed among Horfe Soldiery : Two of which are laid acrofs the Horfe's Shoulders, before the Drummer, 1 richly clad ; who beats them with two fmall Iron Rods, with Balls on their Ends, making very odd Geftures at the ifame Time. Thefe Tymbals may be beat fojfoft as to be .ufed in Concert, Tragedies, Oratorios, and the like. , There are various Ways in pricking down Notes for the .Drum, fome have their Tunes fet on but one Line-, thofe above the Line to be ftruck with the Right-Hand, and thofe : below the Line for the Left : but be that as it will, the Time is only prick'd down by- reafon they cannot alter in Tone i which may be fet down thus : A New Ji6 ?& Elements i/MUSICK made Eafy, &c. A New March. W. T. §~m m inj nnmi fi4t See this March in Parts on Page 1 20. Ti&f CW Englifh March in the Ancient Notes. A Warrant of King Charles I. directing the Revival of thi Old Englifh March, as it isflillin iife with the Foot. THIS Manufcript was found by the preferit Earl of* Huntingdon, in an old Cheft, and as the Parchment has at one Corner the Arms of his Lordfhip's Predeceflbrj then living, the Order was probably fent to all Lord Lieu^ tenants of Counties. " Charles Rex. * Mu-JicA is our pn-ly C&w, fills both Soul, and ra-vifh'd Ear. mi iPSii^i -x~-p~w*~ -F--F — - Sa«cred M»*, teach us the Mode, fweeteft Notes be now explor'd : :=M:^±?=ktra S3 ^±Z3&=3 nza Soft-ly move the trembling yf/r, to compleat our Con/ort Fare, i% Sprightly Bacchus, fill our Bowl, ' Let no Mifer us controul ; Brave Apollo, us infpire, Sweetly tune each vocal Lyre. §acred Nine, &V. . .• . A Loyal Short Airs or Songs, &c. Book III. 119 A Loyal Health. W. T. Sen. (Vi-vaciJJimo.)' "i^slili^fei Now we are met, let us merri-ly^/Tg-, and drink a Health to our 3*S?- = F : ^ : -F-F : f : T~-V^ : P :: F^ : — z~ EZ i^ip^^ Church and iif/»g-.* With a full Bumper our Joys fhall be crown'd, :S ggpZ fzpB^Hm^a^ aj aSffwrai 60 let this Health go mer-rx — ly round. :S: Sll^iliEiii 11. Drink, drink about, never hoard up your Coin, All Men, ye know, unto Fate muft refign : Cherifh your Souls, that true Love may abound, So let this Health go merrily round. Cherifh your Souls, &?f. ». 1.2 A Three 120 the Elements of MUSICK maete Fajy, &c. A Three Part Song. Set by W. T. Senior. & Gripe' m, &c. Gripe'm, greedy^ always needy, ftarveshimfeU in midft of Store: # f . t S."i. While the- ;kz -f-P-m-z- _L .-*-* ^|S Hi While the gen'-rous, always ttren'ous,To re-lieve and help the Poor. It. V ~" Gripe'm's whineing, always pineing, Always fhtftirjg, ne'er to//?y ; Good Men drinking, wifely thinking, Singing, drive dull Cares away. m. Griping Cheaters, are Man eaters, Sneaking, daily fuck Mens Blood: Men of Merit have more Spirit, Daily ilrive for all Mens Good. IV. , Mirth's delighting, Songs inviting, G^ipe'm fhifts, to pay no Score : We'll be wifer, fl un the Mi/er, Kindly kick him out off Doors. V. We'll be merry, drinking Sherry, Always friendly, blithe and gay : Free from Wrangling, Broils or Jangling, Joy and Mirth fhall crown each Day. Tie Short Songs or Glees 4 &c. Book IH. 12 r The Musical Lovers. W. T. Junior. (Pre/to. J -Sv ^— ->v ~^v ^S^B^bg^p^^^M^^aH As I and Bol-ly May-ing went, a — long the green Woodftde ; rj^i xg^n — rrrT- 1 — ""t - «r- r " rz~i r — g~~ - With fome foft Words, we did con-fenr, that (he fhould be my Bride: ._. — ^z£z:pz£z:pf:i:zp:=:gq — ^ -* -« — zzEziEifEzi&zjiz'EzLifEzzzzzd a My ln-ftru-ment was well in ?*»un-^dt — lay. :zpi:3zt~b:zt:x:p:~~p:Et=: :» ir. Each P,In Con-cert fweet, I fay, . p^Hiiiii^ii Each join, with me, his well-tun'dH2r/,In Concert fweet, I fay, «._*... *££ L_, /-"N And \Short Songs or Glees, &c. Book III. Continued. 123 tifamtiffi mmk And fetourJCryon A-re-Jbarp, and fing Fa, La, Sol, Sol t La .% — 1 1 — 1 j — 1 — &-| — i^3 1 — j , — I — j^-j — I — _l_i— .. And fet our Key on A-re—Jharp, and fing Sol, La, Mi, Fa, Fa. mm 111 *s 2 — tvV-t»— 1— i II. . W Fa. Fa. Let Willznd John the Tenor found, And fing melod'ufly; Whilft Ben. and J». the Ba/s does ground, To make fweet Harmony .- Let George, and James fing Counter fweet, In Cor fly ff"""ffXlZ1"L "* "*f~~ f" I -^ # rp=i:"-==zpMz^=p:T:pq ■G-r-W iHllglliiP There's no — What _0__„ r _IIlE_ E_ ZIIEZEZ~Z — ZjZ#!Z — ~T"P~ — "i"~ 1~1 — H~ — l "~t~ There's nofuch Blejftng^it heiovv, Whatever there is Above: zzzd3zHz3zp^^^ /TS r :S: 2 Efc^tlEEEEIzE^tEztrBErfl 'Tis Li-^btrty, , :S: That— 3£3 sf?:_:pi:c:p-_:i_: rt±z F zt::=^ ... :jEz[zz§ziziz: «»•• 1 :S: z 3:[fcsd 'Tis Li~berly, 'tis Li*-her~ty, That ev'ry wife Man loves. ; S: ^ — x — 1 55: v 9: — 3Irz^itszI~i^ftjE~ : fzzyfi te -a- . II. ru . . Short Airs or Glees, &c. II. I'll tie my whole Heart to none, Nor ever confine my Eyes; Book IH. 129 in. No, fie, out upon thofe Eyes, That ftrive to entangle me ; And yet I'll play my Game fo well, f And he's an Afs that loves a Lais, As never to want a Prize *Tis Liberty, 'tis Liberty, That makes a Man be wife. — :S: When foe's not kind and free : There's nothing fweet, there's — Like Love, and Liberty. — :S: The Huntingdonfhire Glee. Four Parts, Round. W.T. Jim. ( Animal ) ZZ^=f— jg=^— f=ZfZ^Jt~. 4-*- F§- •Jsf Ye that your Spi-rits would re — gale, :S._ _ Z^=^^^^=^^^ S2=: ■^ Tofs off a G/a/f of Cow-lino's Ale: -*•- tr. peat, " En— core, re — peat, 'tis glo r'ous fine! 'Till make your Fa — ces II. gay ly ftiine. Ill, This makes the Coward fierce, and bold, And M//£r change his Z?<2?j of Gold; 'Twill cure the nutancholly Mind, And make the hardell Lo-ver kind 'Twill make the SongOer tune bis Voice, And make the dulleft Drone rejoice : 'Twill make the Poet chant his Tale, Such rareEffe&s has Cowling's Ale. IV. This Ne3ar ne'er difturbs your Brain, Nor fiithy Dregs will e'er remain ; Your Glafi, with Moderation ply, Prink, and iiku wtU, you'll never die. MUSICK 130 MUSICS Triumphant. A Trio GLEE. W. T. Sm. (Yigorofo.) s , r . ^_ 5: feifes YEihatin Con— cert fir.g, P{ay on the Pipe, or #/«£, Or ftrike the founding SrW/ig, ;S:i :+:;::: :z3S3- YE that in Concert Jing, Play on iht Pipe, ot Ring, Or ftrike the founding String, ggg ^ Ep sg p iif pp p Hl T« ~S~D II i as faS±±3 ^T^zp^^ztoacpEaC or &w . our Lay.- All Injlru-mcnts now join, With forVe, in 7W, and Time, r-P- it "•; ."•• j^Z K n . or love out Lay: All Infiru-ments now join, With JW, in T»«e, and 77m, Page 50.) Beza was alfo a great Lover of Psalmody in his Time, and made it his greateft Part of Devotion ; hence, (out of Ridicule) fome malicious Perfons then called the Pfalms t The Geneva- Jiggs, &c. King Ethel/ion or Atelflon, to encourage Psalmody, made a Law, in 924, That 50 of the Pfalms mould be daily fung in the Church, for the King, as he called it ; meaning for the Good of the Common-wealth, and for the Praife of Go d , &c. In the Reign of King Henry VI. Thomas Sternhold, o£ Barnat, in the County of Southampton, tranflated 2,1 °£ $ e Pfalms into Metre* for the Ufe of Churches. In the Reign of King Henry VIII. Sir Thomas Wiat tranflated the feven Penitential Pfalms \nto-Metre: And, In the Reign of Queen Mary, John Hopkins tranflated feveral other Pfalms into Metre, all to be fung in Churches, &V. Queen Elizabeth, of bleffed Memory, in her Injunction to the Clergy and Laity, defired chat the Revenues of the Livings of fome Collegiate, and Parijh-Churches might be re- ftor'd to their ancient intended Ufe, viz. to maintain Men, and Children, to keep up the laudable Science of Mufick in Churches j- fo as to be reftor'd and kept up in a modeji, good Way •, and to be underftood zs, plain as if the Words were not fung •, and to be ufed between any Parts of the Church-fervice. She alfo permitted, and order'd, that fuch K as 134 . ^ Elements of MUSICK made Eafy, &c. as delighted in Mufick fhould, for their godly Solace and Comfort, (before and after Service) fing the Praifes of Almighty God in the beft Mufick that could be compofed ; whether to Pfalms, or to Hymns, &c. rightly adapted : But not in Playhoufe Tunes, as are ufed now, in too many Churches^ which are as ridiculous as they are new; to the great Grief of all well-difpofed Perfons. Since Church -Mufick is then the Gift of God, let us all here endeavour to injlrutl, and afjift one another, fo far as we are able, in all good Offices as fhall redound to His Praife and Glory ; Who hath enabled us to fing His Praife, for our godly Solace and Comfort j whereby we may imitate the very Angels that are in Heaven. (See more on this, in my Pfalm-Singer's Jewel: or, A New Exposition on the Book of Psalms: And my Poem on the Life of Holy David. J Here follows a Set of Psalm-Tunes, as eafy Lef- fons for young Beginners, &c. in various Parts, with Figures of the Time, and Letters, from the natural Scale, how to Sol-fa them. Workfop Of Psalmody, &c. Book III. 135 Work/op Tune. PSALM LXII. OUVerfwn. In Two Parts. W. T, (A 2 Voc .) Beats. 2 I 2 I 2121 1 f » . 1 8 fsf m m fsl s f « 1 My Glory and — Beats. 2 1 2 1 2 1 2 1 2 I 21 2 12 ^g »SM « I 1 s f f s I si I J a 1 s 1 1 I 2I2I2I 2 121 21 1,2,3. SSEEIEs -©- a :oz a 1 1 s 1 s He is my — isrzj 21 21 21 ^ffffnytp fsf?;; ?/* 1 1 S f » 1. 2 12 1 2 13 I 1 If 8 f S IS 1 1 "l T" S l" 1. 7 "1%/TY G/«ry and Salvation doth On God alone depend: JlV-L He is my Strength, my Wealth, and S^y, And ftill doth me defend . 8 O put your Truft in Him alway, Ye Folk with one accords Pour out your Hearts to Him, and fay, " Our Truft is in the Lord* To Father. Son, and Holy Ghoft, The undivided Three ; The One, fole Giver of all Life, Glory /er mr & K 2 St. £tf* 1^6 Vhe Elements of MUSIGK made Eafy, &c. St. Edmond's Tune. PSALM LXXI. Old Verfioif. In Two Parts. W. T. 1 Is. f m fm Isfm: mfslsfml Thy Faithfulnefs — Seats. 2 2 2 2 2 2 2 22 2 22 222 ».<.v.i "rme; B— I 1 s i l f 1 s i 1 1 1 s 1 1 # 1 1 s 1 f s 1 1 1 f s 11 1. 23 'TT^HY Faitbfulnefs, OGod, to praife, I will, with T/c/, sincj JL My //«r/ (hall found thy Laud always, O Ifr'el'sholy King I 22 For, Thou mine Honour doft increafe, And Dignity maintain : Thou caufeftall my Grief to ceafe, And Comfort 'Ji me again. 24. My Mduth (hall Joy, with pleafant Voice, When I do sing to Thee: Alfo my Heart (hall much Rejoice, For Thou haft fet me free. 25 My Tongue thy Righteoufnefs. (hall found, I daily fpeak it well : For Thou, with Shame, doft them confound, That drive to do me ill. DOXO L O G Y. io Father, Son, 13 ci St. Stt- Of Psalmody, &c. Book IIL »37 St. Stephen's Tune. PSALM XLIII. New Verfion. In Four Parts. W, T. plilplilsHEElfe seB '/T\ &v # -e 11111 O fet me free— *N «3 i Juft Judge of Heav'n, againft my Foes, dp thou aflert my injur'd Right; O fet me free, my God, from thofe That in Deceit and Wrong delight, z Since Thou art ftill my only Stay, O leave me not in deep Piftrefs ; Left I go mourning all the Day, Whilft my infulting Foes opprefs. 3 Let me with Light and Truth be bleft; be Thou my Quide, and lead [my Way ; 'Till on Thy Holy Hill I reft, And in Thy facred Temple pray. 4 Then (hall I there frefli Altars raife, to Gob, Who is my only Jdy : Apd well-tun'd Harps, with Songs of Praife, ShalJ all my grateful [JJours employ. K 3 4 6 138 *£he Elements 0/MUSICK made Eajy t tec. An Hymn on the Day of Judgment. a_ I _a_ r ._ — x — g (Ver. 1 .) The Day will come when that this lower World, Will SE HiHSIiiii! f Ver. 2. J Oh ! howfhall I ap — pear at that great Day? What -o- -p - p- . P P «0 P (Ver. %.) I can do no-thing, but his righteoufnefs is (Ver.i.Jbe to ru-in and de— ftru&ionhurl'd! And Chrift will ^ "Htptt^ Jgi^gjgElE^ {^r.2.)Anfwer fhall I make? whatfhalll fay? I am a " e " refers: - ' * ' g fc !i^ft g^a^^a (^r. 3 J more than I am a— ble to ex-prefs: Then, O, my %^-~\ *-F*e— gei ^ (V.\.) feated he up — —on this Throne; And Men and — 1 — e- j /^. 2.^ Sin-ner, Chriilfor . me did die: On this I rsz :sz: - — -"#* (f.$.)CJiriit,let 1 this my Comfort ' be, Not as I Continued. Of Psalmody, &c, Book III. Continued. m^ts «39 {Ver.i.) Angels fhall his Juftice own. ^ig^pfgf^f (Ver. 2.)truft, I this by Faith ap- ply; la yfrrTrrT-^ {Ver. 3.)ammy — felf, but as in Thee. A CANON, Recle and Retro. Compofed by Mr. W. Tans'ur, in Two Parts. Re3e. i£l±?==TE5Tj:^EESEE±?Ez±r=3:I Praife thou the/»W«gLoRD, my Sou!, And all his glor'ous Praife proclaim :| RerroA Let ajl my inwardPjw Vi ex— tol, And blejs and praife his fa-cred Name. J Who hath redeemed and fet thee free, From Deaths and his infernal Place: With loving Kindnefs crowned thee, Ev*n with his aiding tender Grace. Hal — le-—lu—jab, Hal—le — lu-—jab. Hal — k—lu-—jah i Hal — h — lu—jah. K4 4n 140 The Elements . vi.7. Jn-to thisWorld we nothingbro't, Nor no-tbingcan re-tain: /"N *«OIJ But, asfrorn/Jft^wefirftwerewro'ttToi^ft/maftturn again 5E : iS :g:E?E: Si : 3E : ssncp: le ^£34. But, as fromZ>*/?we firft were wro't, ToDuft muft turn a-gain. 15. 3 5 *3 w Er *«o is ^3^^^^ ^gll^-llXpIIZp _i Our Life's a Journey full of Gzrc, * Ver. 91. No Wealth from '£*£/£ can fave : Each Step we take, more near we are J To our dark filent Grave. III. . Of Psalmody, &c. Book III, 141 Nor is it only Death we dread, But, rather what's behind : Rm.xlv. 10. For, tho' we in the Grave are laid, We fure fhall Judgment find. IV, l John v. 2 5 . Arifeye Dead, to Judgment come ! This Sound we All muft hear : Mat.vni. 12. How then will wicked dread their Doom! And quake for Guilt, and Fear ! V ? Whilft godly Men, of Heav'n poflefs'd, I /Va/.xxiv.7. Lift up their Heads, with Joy : JUv.wr. 13. Abfolv'd, and blefs'd, with Christ, in Reft, To all Eternity. DOXOLOGY. To Father, Son, and Holy Ghoft, ^ The undivided Three : [ The One Sole Giver of all Life, Glory for Ever fo. An 142 tt* Elements o/MUSICK made Eafy y &c. An Hymn for Easter Day* By Mr. Tans'ur. To a CANON, itijix Parts, Round. ^^^^^§ ±5= Hail ! glor'ous Day ! on which th'ALMiGHTY gave :S: :_:i:g__g_x S^^3 •ro-e To this iWw ^Tor/ is the Weight of the Atmofphere (that is, the Clouds, Rain, &c.) and the Spring of the Air is equal thereunto ; by reafon they always balance each other, and produce equal Ef- fects, &c. &c. The generative Fart of Sound, is that which pro- duce th Sound, and bringeth it fonh ; and that is Motion, by Collifion ; or a Body's finking againft the Air, which caufeth Sound-, and this Sound is more grave, or acute, ac- cording ' to the Force, and Magnitude of the Body that flrikes againft it; this being that which conftitutes dif- ferent Tones,- Simple, or Compound, &c. All Of Sound. Book IV. 14^ All Sound is fupported, and carried diftant, by the Medium or Air, which is called, The Sphere of Activity, The Element of Sound ; or The Element ofMuJick ; and fo far as the Medium pafferh, fo far paffeth the Motion with it 5 and when the Motion Ceafeth, then muft the Sound ceafe alfo. — But, if it meets with any Hinderance in the Way which it pafTethj it ftrikes and fhakes at every Obftacle it meets, making Echoes and Sounds according to the Nature of the Obftacle : But, if it meets with no Hinderance as it pafleth, then it pafieth into the Sphere of the Air or Medium, cutting, dividing, or plowing the fame, accord- ing to the Force of the Sonorous, Sounding-Body ; (which Body is the Center) moving in a certain Degree of Velocity or Quicknefs ; and from this very Principle all Tones are deduced* And, as all Sounds move in a trembling or vibrating Mo- tion, the Difference of Tone appears to be no other than the different Velocity or Quicknefs of the Vibrations of the Sounding-Body \ it being proved, that the fmall Vibrations or Tremblings of any Cord or String, are all perform'd in equal Times -j and that the Tone of the Sound (which con- tinues for forhe Time after the Stroke is given) is the very fame from firft to laft j whole Vibrations are fupported by the Air Or Medium. From this Very Principle, arifes what we call Concords ; which are nothing elfe but the frequent Uniting of the Vi- brations of two Sounding- Bodies^ and of the undulating Mo- tions of the Air occafioned thereby; and that Difcords are the Remit of the lefs frequent Uniting* of the Vibra- tions, &V. Hence it is* that Sound (with regard to Mujick) is to be con fide red two Ways, viz. Simple, and Compound. — AJimple or Jingle Sound-, is the Effect of a Jingle Vibration, or of fo many Vibrations as are necefTary to excite in us the Idea of Sound \ that is, the Product of one Voice, or of one Inflru- ment, &C. — A Compound- Sound, confifts of feveral Sounds L proceeding 150 The Harmonic a l Spectator, &c. proceeding from feveral diftincT: Infiruments, or Voices, all uniting in the fame individual Time, and Meafure of Du- ration ; that is, all ftriking on the Ear together, be their Differences as they will. And as the feveral Degrees of Tune are proportional to tne Number of the Vibrations, even fo are the Vibrations equal, or unequal, fwift, or more flow, according to the Nature and Conftitution of the Sonorous-Bodies : The Vibra- tion or Tremblings of fuch Bodies being by which alj Sounds do proceed, and arrive from a certain Pitch or Ten- fim, either grave, or acute ; according to the Greainefs, and Tenjion, of the Sounding-Body. From what has been faid, it appears, that the whole Theory 'of Mufick proceeds from the Vibrations, Ofcillations, or Tremblings of the Sonorous-Bodies, and alio the Propor- tion of Sound', for what Bodies, or Sounds are more Acute, the more fwift are their Vibrations -, and thofe more Grave, their Vibrations are mote flow, &c. Therefore, The Firft Principal, by which the Nature of Harmonica! Sounds was found out, was by the Meafure, and Proportion of the Vibrations of the Sonorous-Body-, each Tone of Tune being made by a certain Meafure of the Velocity of the Vibrations : I mean, That fuch a certain Meafure of Courfes and Re- courfes doth, in fuch a certain Space of Time, con'ftitute or appoint fuch a certain determinate Tone ; and that the Con- tinuance of Sound, even unto the lad, dependeth only on the Equality of the Time of its Vibrations ; as may be obferved by a Wire-firing after it is ftruck : "Which was firft ob- ferved by Pythagoras, &c. and this is faid to be that which brings mufical Sounds under mathematical Proportions. — (See The 'Doftrine of Pendulums, Page 57.) To find out their Proporlioiis, you muft find out their Numbers, and then examine the Caufe, why fome are' pleafant, and others unpleafant, (of which the Ear is the Umpire:) which lhalLbe the Bufinefs of trie next Seftion. § 2. Of Of Sound. Book IV. -15* § 2. Of Proportions of Concords, &c. FIRST, take two mufical Strings, of an equal Length, and ftretch them to an equal Tenfion or Tightnefs, and then ftrike them both together, and they will vibrate in equal Times, both Courfe and Recourfe, in the Nature of a Pendulum till they reft : For when two Strings are in ex- act Unifon to each other, one will vibtate to the other, tho' Untouched : Or, if you lay a Straw, or Scrap of Paper on one, and ftrike the other, if it be in unifon to it, it will fo vibrate as to make it off; and alfo found the Tone of the other String. — And becaufe thefe two found fo perfect to each other, they are call'd Unifon ; the Ratios of their Vibrations being even, both Courfe and Recourfe, and called 1 to 1 ; becaufe each Motion, or Particle of Sound, ftrike on the Ear both together % Thus: * UNISON. 1 to I* (See Page 155.) The next Concord, is the Diapafon (being the next Ratio or Proportion in whole Numbers, which is found by doub- ling or taking but one half of the String, by dividing it iinto Two Parts, and placing a Bridge in the Middle : This will produce an Eighth to the whole String, whofe .Ratio is called Dupla, or Double-Proportion to its O clave, I by reafon each Half of the String vibrates two Courfes in_ the fame Time as the whole String does one y it being in . Ratio or Proportion as 2 to 1. L 2 Thus 152 The Harmonical Speclator, &c7 Thus : 2 tO 1 . 2 tO I. Ofiave. Oflave. ' (See Page 155.) All other Proportions are found by dividing the Oftavc into the other mean Ratios that are included in it, &V. The next Concord is the Diapente, which is found by di- viding the Chord into Three Parts, and placing a Bridge to take off one-third ; then will the two-thirds of the Chord j produce a Diapente to the whole; and vibrate Three Courfes, to Two in Dupla- Proportion, and unite every third Courfe\ which /fo/w is called Sefquialteria-Proportion, or 3 to 2. Thus :< I' ... 3 tO 2. * , -J , , , Diapente. \ (See Page 155.) The next Chord is the Diateffaron, being found by divi- ding the Line into four equal Parts ; and by flopping off one-fourth with a Bridge: Then will the three-fourths of the Line produce a Diateffaron to the whole Line ; and unite every fourth Courfe of its Vibration. This is called Quadruple -Proportion, whofe Ratio is 4 to 2 •, by reafon it vibrates four Courfes, in the Time of Three, in Sefqui- dttria. Thus X I 4 to 3. I \ , I Diateffaron. I (See Page 155.) Then Of Sound. Book IV. 153 Then take another uniting String, and divide that Part as was (lopped off to make the Diapente, in two equal Parts, and it will give the Ditone to the open String, and its Motions will unite every fifth Courfe : Its Ratio is 5 to 4, by reafon it vibrates^* Courfes, in the fame Time as Four in the Ratio before it. — (See Page 158.) By this you may eafily conceive the Semiditone, whofe Ratio is 6 to 5, its Courfes uniting every fixth Courfe of its Vibrations i i. e. Six Courfes in the Time of Five, of the Dit one's Motions. N. B. That all Ratios that are within the Number Six, are called Concords, &V. The Hexachord Major, is within the Number of Con- cording Ratios, and in Ratio 5 to 3 •, and vibrates five Courfes in the Time of three, meeting every 5th Courfe of its Vibrations.— And although the Hexachord Minor, is not within the Number Six, yet it is a far better Chord, by reafon, when joined with the Diapafon, and Diateffaron, from the Unifon, it hath the Semiditone to one, and the Ditone to the other ; their Motions uniting accordingly, whofe Ratio is 8 to 5, and the Complement of 6 to 5, to the Oclave, or Diapafon t &c. A TA- 154 The Harmonica!. SpeSlator^ tccl A TABLE of all the Intervals contained in the Syf- tem 0/Diapafon orO&ave; with the Number of 'Se-> mitones in each Interval ; and their Ratios ; being The whole System of Harmony. Semi- tones. ■12 -1! — IO — 9 8 — 7 — 6 ~ 5 4 i Intervals Names. A Diapafon, Oclave, or Eighth — f A Semidiapafon, Sept. Major, or 7 \ A Greater Seventh j A Sept. Minor or Leffer Seventh — A Hexachord-Major , cr Greater Sixth A He xachord- Minor, or Leffer Sixth A Diapente, or Perfett Fifth —— f A Semidiapente., or Minor Fifth 1 | A Tritone, or Greater Fourth J A Diatejfaron, or Perfect Fourth — A Ditone, or Major Third A Semiditone, or Minor Third A Tone, or Major Second — — A Semitone, or Minor Second A Unifon, or One Sound — Ratios, or Proportions z to 1 15 to 8 9 to 5 5 to 3 8 to 5 3 to 2 45 to 32 ■ 4 to 3 5 to 4 6 to 5 9 to 8 10 to 9 i to 1 Compounded of a 5 th and 4th, &c. 5th and ^3d. 5 th and b 3d. 3d and 4th. b 3d and * 3d. *3dandtone* 2&3d and tone b. b 3d and tone^. * 2d and toneb. 2 3fc tones. 1 b tone. One found. An Example ^Concords, and their Ratios. By Notes; Unifon. Ratios, 1 to I. Thirds. 6 to 5. j to 4. 3: ee- Concords, Unifon Fifths. 3 to 2. -e- e= -e— Sib. 3 d. Minor. Sixths. 8 to 5. 5 to 3. ©— 3d. Major. m Fourth. 4 to 3. e 4th. Eighths. 2 to I. zoic — Q- 6th. Minor. inn©: 6/£. Major. ;eejw Ofiwve. Hence Of Sounds. Book IV. 155 Hence it is, that the Vibrations of a Chord or Mufical- String truly reprefents the Motions of a Pendulum, as I be- fore hinted. Now, if you take zWire, or Mufical String, and fix one End on a Center, and hang a Weight at the other End to hang as a Pendulum, and when it hangeth (till, gently ftrike the String with a Bit of Wire, fo as not to move the Weight, the String will tremble or vibrate in ^«l 3l 4l 5] 6| 7 8 9\ 10 J n | 12 J 13 >4 >5 1 >f >7 18 | 19! 20 22 23 1 24 25 1 26 27 28 "7 29 &c. 1 1 1 1 1 Double. Triple. Quadruple, &c. J | o o 3 O a 3 ** ^ .^ 1 Ts s: •>> « ^ g g -^ a Q 3 Q G C Q A Simple Interval, is without Parts or Divifions. But, A Compound Interval, confifts of feveral Leffer Intervals. — The Unifon is not an Interval, becaufe it is but one Sound, but its OElaves are : were they to fwell to 10,000 Tones. The fame by Notes ; with their Number ^Semitones. CONCORDS. Thirds. Fifths. Sixths. Eighth. Sra» The Unifon, or one Sound. Minor .Major Minor. Major Minor. Major J OQwvt id. " ^d. $tb. * 5th. 6th ' 6th or %th. N°. oi Semitones, "a Minor id. Of Discords. Book IV. DISCORDS. Seconds. \ fourths. \ r 59 Sevenths. m Majoi 2d. zpz: mm Minor . Major 4th. * 4th. i Minor 1th. Majoi Jth. Hgi N°. oiSem. i. 10. \What Chord foe'er you pleafe to name, 7 \An Eighth to that, is deerad the fame. \ To reduce any Compound- Interval into a fimple or >?«£/•} §3- Me Pafages tf/tf ; I mean when the Upper-Part rifes, and the Bafs falls : Or, when the Upper-Part falls and the Bafs rifes to any different Cord, that lies between their Paffages-, as the above Example. But to give you a more clear Infpeclicn, I fhall fet down all the feveral Paffages, of the feveral Concords, . as they pafs from one to another, beginning firft with the Unifon, and from thence to the 'Third, Fifth, Sixth, and Eighth, &c. Ex. gr. Allowed Paflages from the Unifon. Falls 2ds. , Rifes $ds. RULEVW. Tenor. Rifes ids m 1 64. The Harmon ical Spectator ± Szci Rifes 4'tfo. $tbs. 6tbs. y/bs. J 8/£f. 1 5:15:16:1 16:1 : i 8 : i ib. iiiiiiiSBiBSg The Unifon is of fo perfect a Sound* that if never fo many do found together* the Ear cannot diftihguifh them from one and the fame Sound, only Wronger : Ir. may be properly ufed at the Beginning of Strains, and alfo at a Gonchjiori, or elfevvhere, when the Compofer alone pleafes* RULE VIII. Allowed PafTages from Thirds* Rifes ids. Falls ids. m 31136:38:35:36: 3 # Rifes 3«or Rifes 2£dothenv &ULZ JL VII. ploy a Tranftion by Degrees, (if Transition. required) from the former iVk/e to ,. — N the latter 5 and that every Difal- _j^L lowance doth end either in the jS^~^l3« = F~"§ : H Fifth, or in the Eighth ; and that ^IHZt±jL~^zt:fcI thefe Degrees of Tranfition produce 5 8 •• 567 8 8 - a Confecution of two, or more iVr- F^H~^^i~~~3~~i] ///£. A b F^/i>, refolves into a T&Vv/, or i^/^. A Seventh, refolves into a Fifth, Sixths or Eighth. A Ninth, refolves into an Eighth, or 5T. An Eleventh, refolves into a Tenth, or Twelfth, &c. Secondly, By Way of Binding, is, when Difcords are placed on Purpofe between the Concords, to render the G?»- 9 lji Counter. 1 9 »9 2d Counter, lz 19 12 19 12 —i2._aa_jB.J_ I_J '. _n_S]T_p__.| '5 2^ v>«w*. 8 '5 >5 :4...3^j:3-^:j:P-:p|^zj: T" Tenor. 8 10 ■^I^^^^ESii^^KEj^^i^l 1 E-.I3E _rffc=3 §17. 0/ Compoiition of Seven Parts. TO make a Compofition of Seven Parts, Three of the Parts, (above Four) muft be doubled, by being Oflaves, or Unifons : But, the Concord that makes the Binding Cadence muft not be doubled, but muft be trebled: all which re- doublings will compleat feven Parts. N EXAM« i8i The Harmonical Spectator, &e?. Example of Seven Parts. 22 I ft Treble 1 5 24 17 1 A3^rn3=izHz3r|"3i:3-Hz3"" "3z3i±H 12 10 ^pggpgfEfi^Sf ^ 19 17? Counter. 1 2 >9 12 17 10 !*»/*T. 12 12 12 ItdCounter. 1 2 15 1/? 7">»or 8 23E=tEE 15 8 »5 8 2i/ Tenor. 8 3E3 ■lnii. H JJJB F -4.J4J -. m -f=ttf-j -t*-| - t d "Tf «i Bafs. 3se; yiSiiiiliili zr=3c B -3:iszp_igzinpz3zip=ii=ipz^:i:pzpigz:D iV. B. That, although the foregoing Examples are fet in 'various Cliffs, they may, in all Parts, be fet in but Two, if the Compofer fleafes ; viz. in the G, and F-Cliff: or, all in but one CJiff, G : if that be fet on the Bottom of the Bafs. * § 18. Of Composition, &c. Book IV. 183 § 18. Of the Compofition of Eight Parts. A Compofition of Eight Parts, is commonly called Choral Mufick, which is performed by two oppofite Choirs^ (or by, or with Ihftruments ;) which Mufick is faid to have two Baffes, i. e. one Bafs peculiar to each Choir, and alfo all the three other Parts affixed to each Bafs ; and do per- form, either with zfingle Voice, or with Two, Three, or all Four Parts together : And when all Eight Paris are joined together in full Chorus, it is properly a Compofition of Eight Parts ; fo that one of the Baffes fupplies the Office of ari Upper-Part, when all perform together* which Compofition is grounded but on one real Bafs. By the Way, it may not be amifs to fay fomething con- cerning Baffes of a different Nature, in Reference to Com- pofition of Eight Parts-, i. e. when each Choir hath its pecu- liar Bafs, they generally anfwer each other Alternately ; according to the Fancy of the Compofer : But the two Baffes tmi ft move according to the Nature of that Part; and if either of them be fet alone, it mult be a true Bafs to all the Upper -Parts of each Choir. As to the Agreement of thpfe two Baffes between them- felves, let them be to each other, either as Unifon, Oclave % Sixth, or Third; not above cne Fifth, becaule the upper Bafs will be a ±tb to whatever Upper-Part is an Oclave to the lower Bafs ; and that the Mufic of one Choir mould not depend upon the Bafs of another : But let the Mufic of each depend on its own refpedive Bafs ; and let the two Baffes, with all their Upper-Paris, be compofed in fuch a manner as to make one entire Harmony when joined together. Obferve, that in fuch Places as the Baffes are Thirds to each other, if you throw off the Lower* the Eighths in the Upper-Parts will be changed into Sixths: And in fuch Places as the Baffes are Sixths to each other, if you remove the lower Bafs, thofe Upper-Parts which were Sixths to it, will be Eighths to the higher : And where the Baffes are N 2 Unifon 1 84 ¥be Harmon i cal Spectator, he. Unifon or Oclave to each other, the Concords of the Upper- Parts, will be the fame Diftance to each other. I mall only farther add concerning two Bajfes, that though it is allow- able, and ufualto meet in Thirds, yet if they continue to move fucceffively in Thirds, there will be a whizzing in the lower Notes, which is not good, nor yet allowable. From what has been laid, it appears, that the more Parts the Compcfition contains, the more redoublings of Concords, are required ; fome of the Parts muft meet in Unifon, when they can't afcend to the Oftave.-—(See 8 Parts on P. 144.) You may fee Variety of Compofitions of 5, 6, 7, and 8 Parts, in this Book, amongft the Pfalmody, and Canons. Therefore, C Could you ereff a Thoufand Parts, or more, 7 I All, in EffeS, are but the fame as Four. \ CHAP. III. Of Canons in General, and how compofed. TO compofe a Canon, you muft firft prick down your Fuge (or fuch a Quantity of Notes, as you would have to lead your Point) in one Part-, and then carry the fame Notes forwards, and prick them down in another Part, either in the Unifon, 3d, 4th, 5th, or 8th, &c. above or below the Leading-Part -, as for „ By this Example, vou 1 [ ' fee how a Fuge is form- f j ed ; this being in the 8th &/©«/, and called a 8/^ below. yfrz£/£ Fuge; and by this cj Method, you may com-- pofe any Canon whatfo- E3zz=T=ziqq:i:z ever, and of any Degree above or &/*w the Leading-Part* either in 7W 2"#r#, or Four Parts, &c. Then Of Composition, &c. Book IV. 185 Then fill up your vacant Bars with fuch Notes as con- form to the LAWS of Harmony: as follows : The fame fiWdu-p in Score : In the Sth below. Hal-le — lu-jabt Sec. ^i^iii^g^siEiiii :zizt:-:t: This Example fhews you how the Parts (land in Score; and little Stars are fet over thofe Notes where the Fuge or Canon ends-, and all Notes after them are fet to make a CW- p&jj/?fl# ; unlefs your Canon is defigned to begin again, and go round, without a Conclufion; which when fo performed, we only prick down the Leading-Part, and fet a :S: over that Note where the Refounding or Following-Part (or Parts) falls in, as the Title directs ; as thus : A CANON of Two Parts in One. In the Diapafon. //«/ — /if — lu-jab, Sec. ^p-spip-i-ipipiri — j iz — isp-pip-px.p-jL. N 3 " A Canon j86 The Harmonic a l Spectator, &c. A Canon is always a perpetual Fuge, i. e, Parts always flying one before another ; the following Parts repeating the very fame Notes (either in Unifon, or higher, or lower) as the Leading-Part : And becaufe it is carried on by fo Ariel a Rule, it is called Canon ; which is the fuperlative, or higheft Degree of Mufical Compofition. «3* N. B. That the Words One, Two, &c. being Part of the Titles of Canons; fignify that they are compofed of One, Two, or more Fuges ; as their Titles direct, &c. § 2. Denomination of Fuges, or Canons. A Single Fuge, or Imitation, is when Parts imitate one another, as the former Example* A Double Fuge, is when /«w feveral Points, or Figef fall in, one after another. A Canon Arfis fe? Thefts ; or Arfin cjf Thefin, is when a Pm»/ r(/« in one Part, and /^//j the fame Notes again in another. A Canon per Augmentation, is when the Notes of the Following- Part, are as long again as the Notes of the Leading- Part. A &z»0* Diminution, Is when the JV<7/« of the Following- Parts, are as fhort again as the Notes of the Leading* Part. A Gztwz in Unifon, is when both P^r/j begin on one Sound, and one Part moves on all the Concords of the Xiey, till they meet again in Unifon; fometimes one Part hold- ing the Tone, and then another, like ' n. Canon compofed on * Qround, &c. Of Composition, &c. Book IV. 187 A Canon-Round, or Round-Catch, is compofed ; as 2, 3, 4, or more Parts in Score, and then prick'd down in one Cliff, as one entire Tune, and fung round, — The firft leads the firft Strain, till the Mark directs the Refcunding or Following- Parts to fall in, &c. and fo they go round as often as they pleafe. A Canon Recle & Retro, is compofed as two Parts in Score -, and the latter End of the Bafs is fet next after the lafl Note of the Upper- Part, and prick'd backwards; fo the firft Part is performed forwards, and the latter Part backwards, &c, A Canon Double Defcant, is fo compofed that the Repli- cation or Anfwer of the Upper-Part, becomes the Bafs ; and the Bafs the Upper-Part; in which 5ths are to be a- voided, becaufe, in Reply, they will become 4ths, &c. &c. &c. Examples of fome you will find in Book III, thus, I've the RULES of Compofition fhown, And Cords Allow'd, are clearly here made known : Difcords Pve mention' 'd, and what elfe we call Cords not Allow'd, and Inharmonical : Which RULES obferv'd, Jhew how we frame each Part 9 Whereby we judge of this our facred ART. N 4 „ Seme 1 88 Some Terms of Mufick, divinely applied, Some Terms of Mujick, divinely applied. THOUGH here, below, imperfecl Concords move, Yet, all are perfett in the HeavVs above! Here, jarring Difcords muft prepare the Ear, And Bifallowances too oft appear. Our Errors, by Tranftions, pafs away, And Night prepares us for a glorious Day : Contrary Motions are too often found, Good Syncopations bring a' grateful Sound. Relations have, alas ! e'er fince the Fall, Been oft Times jarring, — Inharmonical : v And pleafing Sounds, which fo delightful pafs Do, as a Blow, oft ftrike us on the Face. Tho' Concords, here too oft imperfecl be. In Heaven there is a perfect Trinity ; ^e in Divifions rage, in Anger broil, And oft our Figurate-Defcant we fpoil. The happy day, we hope, to us will come, And joyfully unite us, all in one: When all our Griefs and Sorrows here fhall ceafe, And reft us all in everlafting Peace. No Fuges fhall we want, but fully know Thofe fmall Reports we heard fo much below. Your's, W. Tans'ur, Senior, End of the Fourth BOOK. THE THE EkmentsofMvStik MADE EASY: OR, THE NEW HARMONICAL SPECTATOR. BEING, AN UNIVERSAL DIGTI O NARY TO THE WHOLE &rt of iHttftcft* ~~™ BOOK v7~ CONTAINING Near One Thoufand of the mod ufeful TERMS that are generally ufed in Musick ; with their feveral Explanations :' As they are taken from the Greek, Latin, French, and Italian Writers, &c— With an Hifiorical Account of ' Mujical lnflru- ments, and many of the Inventors ; with curious Obfervations worthy of Note. The Whole is faithfully collected from the Greatefl Writers, both Antient and Modem ; and methodically laid down for the Improve- ment of the prefent Age, &c . , „ By William Tans'ur, Senior, Mujico-Theorico^iffc. r The Technic Part of MufickV here contain' 'd, J Each ufeful Term is fully here explained: y Allftand in Order, juji, a7id very neat, ' Our Mufick-lNTRODucriON to compleat. *9° A New Mufical Dictionary : A New Mufical Dictionary: Explaining near One Tfaoufand of the moft ufeful Hiftorical, and Technical Terms that are generally ufed in Musick, &c.&c. All ufelefs Terms are herein omitted. Ai-An Abbreviation of Ala- m mire, and A-re. A bene placito — If you pleafe, or will. Accent— rStrong Tones, to exprefs Paffions, alio Trillios £sV. Accentor—The leading Singer, &c. Accord — With Concord, or Agree- ment. Acute — High, fharp, or ftirill. The fmall Pipes, &c. Adagio, or Ad°. — Very flow in Movement. Adlibitum — If you pleafe, or will. A Due, or A Dot— Two Parts. AJetto, or Affituofo — Tender and affectionate. Aijeleth — The name of an ancient divine Song. Alamand — A folemn grave Tune. Alamoth-r-hn ancient rfalm-lnjlru- mcnt, Or Tune. Allegretto — Very quick, and lively. Allegro — Time very quick. The quickeft common Time. Allegro ma non prejlo — Not too quick. Allegro Allegro — More quick than Allegro. Allelujah — Praise the Lord. Altc, or Altus— The Counter-Te- nor. t Alto Ripieno— Tenor of the Grand Chorus. Alto Concertante — Tenor of the lit- tle Chorus. Alternately — perform'd by turns. Ambrojian Chant — He being the Author Animato — With Life, Spirit, and Vigour. Anthem — A divine Song generally in Profe, faid firft to be invented by St. Ignatius, and St. Ambrofe, about the Year 370 ; and followed by St. Gregory, Diodorus, Flavian, and other, about the Year 550. - Appoggiatura- Notes— Small Notes to lean on, &c. to foften a Leap. Aria, or Arietta — A little Song &c. Arfin y Theftn— Rifing, and Fall- ing, in a Canon. Art — The Skill or Knowledge of acling, doing, or performing any Thing regularly by proper Injiru- ments, fit Methods, and due Ways, &c. The abftradive or demonflra* five Part of which is called Sci- ence: So that Performance, and Knowledge, make both Art and Science. Ajaph — One of King David's chief Authors, or Singers. AJfai — Enough. AJJaying — Trying if Voices, or /«• Jlruments are in Tune, &c. A Tempo giufio — Equal Time. Autbentick — Chofen, or approved. B B — An Abbreviation of Bmi, or B-fabemi. Bag 0/ Terms, Instruments, &c. Book V. lyt B Bagpipes-T-rk Kind of Pocket-Organ, blown by a Bag under the Arm ; . fome by the Mouth, and fome with Bellows, under the other Arm. There is generally 3 Pipes, viz. the Great Pipe or Drone, and the Z»'/r/« Drone; each having no - Holes, only at the Bottom j and tuned in coneordto each other, and to the^«»/*rorfmall Pipe, which is about 1 5 inches long, with 8 Holes like a flute. They all have Reeds, in their tops, and make a fine Harmony ; efpecially if they have a flat Chanter, in the D Pitch. Pan is faid to be the firft Inventor of thern, from Reeds, or Corn Stalks, made into Pipes, &c. $ar — Perpendicular Strokes a-crofs the five Lines, to divide the Time. Bafs— The loweft, orGround-notes of all Parts. Baffo— The Vocal Bafs. Bajfoon — A double tubed Bafs In- ftrument, blown by a Reed. Battuta— The Motion of the Hand in beating Time. Baletto—h Balet, or quick Dance. Band— An incorporated fet of Mu- ficians, who perform Pieces in Concert on various Inftruments. Bandora — A Kind of Lute. Bardone — A Tenor Violin. Baripicui — Low, grave, and deep. Baritono, or Baffe Taille— Concor- dant, high or low, &c. Baffetto — A fmall Bafs- viol. Bajfoon— A Reed Inftrument, being Bafs to Hautboys, &c. Hopped Jike a Flute ; and more grand in Pfalmody than Tin Pipes, 9 Feet lone:. Bafs-Viol—A very large Violin for Bafles. Ball — The Weight ofa Pendulum, about 4 Pounds ; being fixed on B a wire 39 Inches arid two tenths long, beats feconds. Alfp an . Affembly of Dancers. Baffift — A perform of Bafs. Baffo Concertante— The Bafs of the little Chorus. Baffo Continuo — The Continual, or Thorough Bafs. Baffo Repieno — The Bafs of the Grand Chorus. Baffo Recitante — The Bafs that moves continually. Backwell—h Kind ofLevitor, that lifts up, or pulls down, to open the Pallets or Valves of an Organ, which moves on aCentre between the Keys and the Rowlers, &c. j$ ea t — .One Motion, or Part of a Bar or Meafure in any Sort of Time: Or Pulfe of a Pendulum, &c. Alfo an Ornament, or Grace ufed in Mufick. Bellows — The Pumpers and Feeders that fill the Pipes of an Organ, &c. Four Pairs of which are re- quired to blow an Organ of 16 Feet high. See Organ, P. 67* B e Jl — A well known Inftrument ftruck with anIronC/«/>/*i»';whofe Me/tal'is compounded of twenty Pounds of Pewter, to a hundred Weight of Copper : Its Edges are In Thicknefs about T Vth of its Diameter; and its Heighth twelve Times its Thickneis. The firft Mention of Bells is by St. Jerome; but we had none in England till in Bede'sTime, about8i6. Some fay the firfl Bell was made by Turketull; and that Egelric, Ab- bot of Croyland, added two more to it. to make a Peal of three; which firft rung harmonioufly at Croyland'va. 976. There is a Bell at Nankin, in China, twelve Feet high ; feven Inches and an Half thick; *9 2 A New Mujical Dictionary B thick ; and twenty-three Feet in Circumference; and weighs fifty thoufand Pounds. Father Le Com- te fays, there are feven Bells in Pekin, each of which weighs twelve thoufand Pounds; and ft ruck with a ivooden Clapper ; to prevent their being too noify : And that the ancient Egyptians had many wooden Bells. The Sound of a Bell arifes from the vibratory Motion of its Parts ; the Stroke of its C/«^rchanging its Figure from a Circle to an O- *val, every Time it itrikes; fo that its wideftPart from the Cen- ter, becomes the Narrowed, and theNarroweft, wideft; proceed- ing from the Degree of Elaflicity, &c. Bells are heard farther on Plains than on Hills, and farther in Valleys than on Plains; by reafon, the higher any fonorous Body is, the rarer is its Medium : and the lefs Impulfe it receives, it has lefs Power to convey Sound to a greater Diftance, &c . Bell Harp — A Wire Inftrument, in Shape, and founds as a Bell- Binary Meafure — Time equally beat, down, and up. Bizarro — To change as the Com- pofer or Performer pleafes ; quick or flow. B '/chroma — A triple Quaver. £. m i — The Mafter-note in the Vo- cal Bafs, tffc. B-Mollare, or Molle — Flat, Feint, or Soft. Bow— A Fiddle- flick. Bombardo — A. large Baffoon. Bouree — A French Dance, &c. B-^uardo — A Natural ; to change either Flat, or Sharp, l£c. Btacio — A kind of Violin. Bridges — The Bearers of mufical B Strings, about an Inch and a Quarter high, fupported by a Slip of Wood below, called the Sound-poft; which caufes the Sound. Breve — A Note as long as two Se- mibreves. Brilliant — Brifk, gay and lively. Buccina — A Kind of circular Trum- pet like a French Horn. Buono — Good. Burden- — Is that Part of a Song that is repeated at the End of every Stanza. Alfo the Drone or Bafs of a Bagpipe, or Cymbal, &c. C C— An Abbreviation of C. faut* or C-folfa. Cadence — All Parts making a Clofe. Cantata — Mufick for Voices, and Inftruments. Cantus — The Treble, or highefl Part. Canon — A perpetual Fuge. See the Rules of Compojition. P. 1 84. Cantofermo — The principal Subjeft Part, the Tenor, rjfc. Canzone — A Song or canzjonetta. Catch — Canons fung round. Caftanets — Wood, or Ivory Inftru-- ments fhaken by the Hands. Cattivo — Bad. Cadenza — The fhake before a clofe. Camera— Signifies Chamber-mufick. Campanologia — A Treatife of Ring- ing, &c. Cancherizante — Moving retrogade or Backwards. See Canon ReSle & Retro. Page 139. Canticum — A folemn Tune' fet to Pfalms, Hymns, &C from 2 to 8 Parts. Cantilena — Pieces of Melody fet to Songs, 15c. not in Parts. Canto— The Treble Part. Capella — A Chapel, or the Concert thereof. Capo Of Terms, Instruments, &c. Book V. 193 Capo — The Head, or chief Mana- ger. Canto -Fermo — The Chant, or Church Tune. Capriofo — Whimfical, carelefs Mu- iic, c5V. St. Cecilia — An ancient fuppofed In- ventrefs of Mufick, whofe Day is kept on Nov. 22, by many Mu- ficians in England, as a Feflival', with Conforts oi Mufick, both Vo- cal and Injlrumental. Mr. dddi- fon mentions, (in his Remarks of Italy, Page 204.) a magnificent Temple in Rome, called St. Ceci- lia Tranjicvere, built in Honour of her. Pfalmodifis, ought moft to honour St. Hilary, Jan. 1 3. Chant— To fing:Alfo the Church- -tune. Chant or — A Singer, or Chant ore. Cbamade — A Parley Signal, beat on a Drum. Chief a— A Church Sonata, &c Chronometer — A pendulous Inftru- ment to meafure Time. Chiave — The fundamental Tone or Key: Of Church Mufick. Chorma — A gay flourishing Way of Singing, &c. Chacone—A Kind of Moorifh Dance. Chiudendo— The laft, or finifhing Strain. Chiacona — A Tunefet to a Ground- Bafs. Chords— Mu&czi Strings, or founds. Chorus — Fulls, or all Parts mov- ing together. Choral Mufick— Eight Parts, fung by Turns, Ssfc. Page 144. Ciffra Figures — Over the Thorough Bafs. Clavis—A Cliff: Or Key to let into. Clarion— A Kind of Trumpet. Clavecimbalo—An Harpfichord, &c. Clarichord — A Sort of Monochord, to tune other Inftruments with. Clarionijl — A Player on the Cla- rionet. Chfe — A Conclufion of all Parts. Continued— .Not yet ended. Contrafiions—Shor tenings . Coloratura— With all Trilloes, and Ornaments, as can be made. Concertante— Parts that always play. Confeguente— .The following Fuge. Cornettino—A fmall Cornet, blown, by a Reed, much like an Haut- boy. Corona— A Reft, or Hold, over i a Note thus : n to paufe, or conti- nue the Sound, at the End ; often ufed at the End of Canons, &c. to repeat, or end at. Cornetift — A Player on the Cornet. Confecution — A following of the fame. Conjointly — Moving by Degrees. Comma — The fuppofed ninth Part of a Tone. Come Sopra— As above. Comes — The following Fuges. Common-Time — Equal in Numbers, as 2, 4, 8, &c. Compofetian — Many Parts mufically joined, />r melody well framed. Con— Witfi. Con Ajfettuofoi— With loving Affec- tion. Con Diligenza — With Care and Di- ligence. Con Difcretione — With Judgment andDifcretion. Concert or Confort — In Three, or more Parts. Concords — All agreeable Intervals. Confort Pitch — The common Pitch of Inftruments. Continuoto — The continual, or Tho- rough-bafs. Contra — Counter Tenor. Con* 194 A New Mufical Dictionary i Concerto-groffo — The grand Chorus. Concinnous — Cords difagreeable. Confonance 1 — Cords very agree- Confonant j able Conjoint — Degrees lying next one another. Condu/io — The concluding Strain. ConSpirito — 'With Life and Spirit. Cornet — An ancient martial Horn Inftrument'. Which we now imi- tate on the Organ. Cords — Various Sounds (truck toge- ther : Said to be found out by Pythagoras, from the Hammers in a Smith's Shop. Counter*- Fuges — Fuges proceeding contrary to each other. Counterift — A Performer of Counter- Tenor. Counterpoint— Note againft Note. Counter-Bafs — A double Bafs. Counter-Tenor — Between Treble and Tenor. C fo/faut—The Cliff Note of the Inner Parts, &c. C-Sol-Ut— The Note C-folfaut. Crotalum — A very ancient mufical Inftrument of the Fulfatile Kind, invented by Avchytas, that his Children might not break other Things in the Houfe to make a Noi/e with ; which Ariftotle called Arthytas's Rattle: being made of Wood, Wicker, Tin, Bra/s, Horn gilt, Silver, and of Gold. Crotchet — A Note held while you fay One. Cromb-hom — A large Crooked Horn, ufed in an Army. Alfo a Stop in an Organ. Crooks' — See Shanks. Cromatick — Moving by Semitones. Currant — A mufical Air in Tripla Time. Curtail— A Double BafTuon. D Cythra—A. Wire, or Gut, Triangik lar Inftrument, like a Harp. Cymbal— A Wire, or Gut Inftru- ment play'd by Keys, and a Fri&ion wheel. Alfo an Inftru- ment made of folid Pieces of Brafs or Bell-metal, ftruck with an Iron Rod; and called a Tink- ling Cymbal. Our Church Bells being the loud Cymbal. The Wire Cymbal is faid to be in- vented by Mercury. D D — An Abbrevation ofD-foI-re. Da-Capo — End with the firft Strain* Da, or Dal— By, Fof, From, With or By. Dance — To move the Body and Limbs to the true Time of the Mufick fo called, with Grace and Air, in a genteel Pofture. Dalmatib — A Declamation or crying out: or as Recitative Degrees — Gradually afcending* of delcending. Demi— The Half; as Demitone y a Semitone. Demiquaver-^-h Note with a triple Tail. Depreffio— The Fall of the Hand, or Foot. Defcant — The Tones that a Com- pofition confifts of. Plain Defcant — The orderly Pla- cing of Concords. Figuraie Defcant— .When Difcofd* are orderly taken, or mixed. Double Defcant — The Upper made under, and Under made upper. Decima—A Tenth, or ©ftave Third. Decimi Contrapunto ala — The Coun- terpoint to rife a Tenth above or below the SubjecT;. Decima Terza — A double 6th or i6ih. Decima Of Terms, Instruments, &c. Book V. 193 D D Decima Quarta — A double 7th or Decima Oftava — A 4th trebled. 14th. Decima Nona — A 5th trebled. Decima Quinta — A double 8th or Z)/— Signifies of: as, Di Tans' ur, of 15 th. Tans' ur. Decima Sexta— A 2d trebled; Dialogo — Parts fet in Dialogue. Decima Settima — A 10th doubled. Diatii£aron~-k perfett Fourth. Diagramma. or Hand harmonica! — Was the Name of the ancient Scale ©f Mujick, which Guido Aretinus invented about the Year 960, and. placed the fix Notes, ut, re, mi, fa, fol, la, on the Fingers of the Hand ftretched out; which Syllables, as Omithoparchius reports, he took out of the firft Strophe, of an Hymn of St. John the Baptijl, (faid to be compofed by Paulus Diaconus) as thus : f UTqueant laxis — REfonare Fibris, "1 (Cf 5 < MIra geftorum — FAmuli tuorum, > £ SOLve poluti — LAbii reatum. 3 Sancle Johannes. Englifh'd thus : — Take away the Guilt of polluted Lips, that, thy Servants may be oik to refound, inextenfive Strains, the Wonders of Thy Actions, tiff. Angelo Berradi comprifed the fame in one Line, Thus : UT RElevet MIferum FAtum SOLitofque LAbores. To relieve one's wretched Fate, and ivonted Labours. Angelo Berradi. Both in Verfe. — CTake from my Lips all Guilt, Lord, clean my Heart 1 From ev'ry Stain ! — That I may bear a Part } In SoNfvs tranfcendent, to Thy glorious Name, ] Sing of Thy Wonders, and Thy Deeds proclaim, I Since Thou reliev'Ji all Woes, let me adore XjTby Holy Name, in Praises evermore W. Tans'ur, fenior. Hence we fee that the firft Formation of the old Gamut or Scale of Mujick was pioufly intended; (though now, too often fhamefully profaned) and that the Hymns, or Odes of the ancient Greeks moftly confifted of three Stanzas, Verfes, or Couplets ; the firft they called Strophe; the fecond Antifirothe ; and the third, or laft, the Epode : be- being moftly y»»g- with, and play'd on the Harp, Sec. out of which came our folfaing ; for before they ufed only the Letters of the Alpha- bet : But now UT and RE are changed into Sol and La. — Pope Gre- gory is faid firft to fet Guide's Scale on Five Lines, with the 7 Letters, G, A, B, C, D, E, F. — Kircher fays, that Notes formerly flood On Eight Lines only ; and VoJJius fays, that the old Egyptians ufed both Lines and Spaces; but what Number 1 cannot find out exactly — It is faid that Guido was the firft that joined feveral fingle Melodies together to make Harmony, in various Parts, &c. Diapa- 196 A New Mufical Dictionary: d Diapafon — A perfect Eight, of 12 Semitones* Diapente — A perfect Fifth, of 7 Se- tnitones. Diapboia — A Difcord. Diapbonkk — -Treating of refaclur'd Sounds, as they pafs through dif- ferent Mediums^ &c. Diatonick Scale — The common Scale of Mufick. Divifion — A Running of quick Notes. £5r. Dlafolre — A Note's Name in our prefent Scale. . Die/is — A fuppofed lefler Semitone : i. e. when Semitones are placed in whole Tones Places. Diminution — Notes leflened. Diffonant — Difcording or difagree- able. Difcords — Difagreeable Intervals. Difdiapafon — A double Octave, or Fifteenth. Ditone — The greater Third, of 4 Semitones. Divotto— Devout and ferious. Divifion — Intervals divided into Leffor, &c. Disjointly — Moving by Leaps. Di Grado— Moving by Degrees. Di Salto — Moving by Leaps. D la re— The Note Dlafolre. Do — Stands, with the Italians, for Ut. Doppio — Stands for double. Douced — Strung with Wire. Dodecupla di crome — 12 to 8. Dodecupla femicrome — 12 to 16. Dominant — The Firft Note; alfo chief. DOXOLOGT— Gloria Patri, A fong to the Bleffed Trinity. DoSor of the Pfalter-^-Oae who ex- plains the Pfalms, Dot, Duo, or Duetti—~ Songs in two Parts. D Dolce — Soft, fweet, and agreeable. Dorick Mood — An ancient Mood, very grave. Duodecima — A 5 th doubled, or a 1 2th. Duplafefqui Quarta — 9 to 4. Duplicate — Doubled. Dulcimer — A wire Inltrument {truck with two fmall Pieces of Cane. Dulcino — A Baffoon. Dupla — Double . Dux — The leading Fuge. Dramatic — Mufick for Plays. Drone — The two large founding Pipes in Bagpipes, called, The Greater and Leffer Drone, one be- ing an 8 th to the Chanter, and the other often a double 8th. Drum — A well known martial pul- fatile Injlrument, on which the Time of Mufick is only beat, and not the Tones, which is very de- lightful and animating. It is a •warlike Injlrument, and may be tuned to any Pitch or Tenfon, a- greeable to the luflruments it ac- companies. Its Mufick is gene- rally prick'd all Handing on one Line or Space, in very exact Time, on but 4 Lines. Drums may be tuned 5ths or 8ths to each other. Drum of the Ear — The inner Part of the Ear, like a Drum, whofe outer Part is covered with a very thin Membrame or Skin, called Membrana Tympani ; whofe Of- fice is to modify the Sound; which it performs by its different De- grees of Tenfion, to convey Sound to the Auditory Nerve : whereby we perceive, and judge of Har- mony, &c. I am inform'd by the Learned (and particularly Dr. Willis) that there is a certain Nerve in the Brain, which fome Perfons have, and fome Of Terms, Instruments, &c. Book V* 197 fome have not ; and that fuch Nerves are compos'd of fmall Fibres, fuch as the Ear are com- pos'd of, &c. — Now, if thefe E Emphatical — Sounds or Words on which lieth the main decent, or Principal of the Subjecl, &c. Evova- — The ending Note. Fibres are imperfeel, why may not Entata, or Rnchorda — Sounds made there be a Deficiency in fome Per- by playing with Fingers ; as Violins, Harps, Spinnets, £ffc. Encore — More of the fame: or per- form it over again. Enharmonici-^-A fuppofed Scale of Quarter-Notes. fons in the Auditory Nerve ? which Nerve conveyeth Sound from the Tympanum to the Underfianding ; and are put in Motion by the leaft Vibration of Air. And as it is faid, that, this Muftcal Eptacbardo — A Seventh. Nerve hath a Conformity with, Epi — Below and commandeth the Voice to ex- Epithalamium — A Marriage Son* or prefs any Tone tranfmitted to it, Poem. from the Vibrations of the Air's Epiodlan — An Hymn before a Bu- ftrikingagainft it; well may they rial. Alfo the laji Part of an who are endow'd with this Nerve, Ode. be faid to have a good Ear; and Errata — Faults made in printing. they that have it riot, be faid to Et Cetera, or tjfc And fo forth. have a bad Ear; and fome to Etymology— ThefirftDerivation, t5?/_The Note G-folreut. Grado Moving by Degrees. Gradual- Pfalms— 15 Pfalmsfo called, as 15 Degrees of Virtue, cifr. See my Expofition on the 150 Ffalms. / IG folreut— .The Clift'e-note of the Tenor, or Treble. lGuitarra — A Gut, Hand Inft.ru- ment, very ancient, like a Lute. (Guido Aretinus The Itrprover of our prefent Gamut-Scale. Guida— The leading Voice, or In- ftrument. H Hallelujah^ 'raife the Lord. . H Habitude —The Relation that one Sound bears to another. Hand- Harmonica/— .The old Scale of Mufick, exprefs'd by Fingers. Harmonicks^JThat Part which con- fiders the Proportions of Tones, grave and acute, &c Harmonick Sounds— AW agreeable In- tervals. Harmony — The Agreement that re- fults from practical Muftck ; and made by the Agreement of diffe- rent Sounds, whereby the Ear is delighted, l$c. Harp A very ancient ftring'd In- firument, faid to be invented by Apollo, which the Hebrews called Chinnor, the Italians, Arpi, the Latins, Harpa, or Carpo, the Ger- mans, Herpff, and by the Romans, Cytkaram. Some Harps are in the Form of a Jugg Bottle, with very few Strings, and others triangu- lar; and of greater Perfection than the Lute, if large and full of Strings. — The grand Triple Harp, has '78 Strings, t is made triangular, containing 4 O Slaves. The firft Row of Strings is for Semitones, and the third Row is Unifon to it ; and the fecond is the half Turn. There are two Rows of Pins or Screws, on the right Side, to keep the Strings tight in their Holes, which are fattened at the other End to three Rows of Pins on the upper Side ^. So that all its Strings go by Semi' tones, like thofe of the Spinnet, or Harpjlchord ; and when play'don, is held between the Legs, and its Strings pulfd with the Thumbs and fore Fingers of both Hands. This is commonly called the Weljb-Harp, having Strings of O2 Gut 1 >200 A New Mufical Dictionary: H Gut; but the Irijb-Harp has ge- nerally Strings of Wire. — The Bell- Harp, is in Form like a Bell, andjwung with both Hands whilft playing ; whofe Strings are of Wire, ftretched over feveral Brid- ges, and ftruck with a Piece of Quill or Plectrum, fattened on the Thumbs. SeeCytbra. tiarpeggio— Sounds heard diftindl:, one after another. Haut- Contra The Counter Part. Hautboy^. A Wind Reed Inftru- ment. Harpjichord A Wire Inftrument, with Keys, like an Organ, under whofe fmall Strings the Belly is made thicker than under the Great Strings, to give the finer Tone, &c. _ Some Harpjichords may be fixed over the Strikers of the Pallets of an Organ to play both the Organ and the Harpfi- chord together with one Set of Keys ; or either to be play'd alone, by moving the Keys for- wards, or more back ; a Hole be- ing ■■•«der to drop over the Sticker when the Harpjicbor^a plays alone : which when pull'd out of the Hole, forward, they both are play'd together, \£c. Harper- — A Player on the Harp, cifr. Harmonich — The whole Do&rine of Sound. Harmonical-compojition — The whole Art of compofing Melody fox Jingle Voices, or Inftruments, in Jingle Parts ; or many Parts to move barmonioujly together, by Rules, Methods, and proper Ways, cifr. Harmonical-Canon — The fame as Monochord. flautdejfas— The Treble Part. H Head— The chief; alfo the Screw* part of a Viol ; or the Skin of a Drum, &c. Hemitone — An Half Tone. Hemiola — As much, and half as much. Hernia. .The Half. Hemiopus A Wind Inftrument. Heptachord— A Seventh. Hexacbord- A Sixth. High-Shrill, and lofty. Hilarod'tas Short, merry, diverting Songs, or Poems, fung by the Greek Poets, fo called ; who, irt ancient Times, went about fing- ing them. They were drefTed al in White, with little Croivns o~ Gold on their Heads ; and had generally a little Boy or Girl with them, playing on a fmall Injlrw ment, as they Jung in the Streets whofe Shoes had only a Sole, call- ed Crepida, being tied over their Feet with Straps, like Sandals, Horn —A Tubical Inftrument, made of Horn, Tin, Brafs, or Silver, &c. See P. 99. Homift—A Sounder of the Horn Hornpipe— A quick Dance for on< Perfon . Homophonous — In one Pitch, or ir Unifon. HoJannaSzve now I befeech Thee. Hymn A divine Song in Honour to God, derived from a Greek Word which fignifiod celebro, or I cele brate : Being firft brought into Churches by St. Hilary, St. Am hmje, and others, who compofed them, about the Year 370 : Some of which they called Chants. Hypoprojlambanomenos — A low Sound, in the old Scale, under Projlam banomenos. Hyper Of Terms, Instruments, &c." Book V. 20 r Hyper—Below. Hypo— .Below. I Tfar — Disagreeing Sounds. laftia, or Ionick Mood — The ancient Mood, very light, airy, and melting. Jacks — The rifing Pieces that ftrike, with fplit Quills, the Strings of Spinnets, \£c. Id eft, i. e. — That is. Jejjeian Harper — A Name given to K. David. Jigg — A brilk Air or Dance. Imitation — ■ Parts imitating each other. \Imperfea — Cords of the lefler In- tervals. limitation The Part that mocks or imitates another Part, or a fhort Fuge. Incorpo — Parts bound up in Canon. Inharmonical — Sounds difagreeable. Infra — Below. \lnier — 5 — 9 — — g — If, — f ? t which Characlers were the Notes of their Gamut : and that Mercury gave his Lyre unto Orpheus, which was hung up in Apollo's Temple, where it re- main'd for many Years. Others fay, that Pythagoras found it in a Temple in Egypt, and added an 8th String to it. Some again fay, that when Orpheus was kill'd, his Lyre was thrown into the Sea, where fome Fijhermen rinding it, they gave it to Tejpander, who Carried it into Egypt, and faid he was the Inventor. But Mr. Barnes, in his Anacreon, makes Tubal the firft Inventor ; and Fef- tus A ufual, done Mixio, mores, J by Rule, c5V. Mean — The Medius, or Counter- Tenor. Meafure — In Muflch, is that Space or Interval of Time that Muficians take in raifing and falling the Hand or Foot, which is marked out by Bars; one rife and one fall being called one Meafure or Bar. Alfo one Swing of a Pen- dulum, (which is the 6oth Part of a Minute,) or the Time of one Crotchet : So that in Common-Time, a Semibreuieto ?naniere — Changing agree- ably. R. Ratio — Rate, or proportion, &c. Radical — The Root, or loweft Term. Ratios, or Rational— The Propor- tions, &c. of Intervals, fought and known by their Vibrations. Re/ol'vent — The Concord that fol- lows a Difcord. Refolving — Pafling next into, &c. as Difcords are refolved by Con- cords. Reconcile To make an artificial Key ~to be in effect as the two natural ones. Retle & Retro — Forwards, and backwards. Recheat An Horn LefTon to re- cal the Hounds when they run after a Coumer-fcent, and have loft their Game. Reflus DuSius — Riling Or falling by Degrees. Regula — A Rule, or according to rule. Refearcb, or Ricercata — A Voluntary pricked out, and played on the Organ, before the grand Piece begins, C3V. Retto — The Manner of moving Sounds properly, fmooth and agreeably. Re — The ancient vocal Sol-note. Recitative — To fing in a Tone like grave Chanting. Regi/ler — The Stop of an Organ, or Pitch-pipe, that draws out. Rehear/ah — Time of Practice, to learn Mufick. Rtmifjio — The Voice defending. Let it be repeated over again. R Reply — An Anfwer, or Imitation. Repeat — A Character denoting a Repetition :S: or thefe words: Replica Re/ret Rep tic at Repetatur^ :S: Reprefa Reditta Riditta Refearcb Repofta Relation inharmonical — A foregoing Sound reflecting on a following one; not melodious. Refinance — A Refounding, or Sounding again. Refponfary fang — A Compofition, fo fung by Turns. Reft — To keep filence, or a Mark called. Rigoh — A Wooden Inftrument of ^feveral Sticks bound together, with Beads between them, and ftruck with a Ball on the End of of a Stick; making tolerable Harmony. Rijentito — Brifk, lively, and expref- five. Rwogliomento, Rivoltare, or Rever- fico — Parts interchanging. Riga-Unes — The 5 Lines whereon Notes are fixed. Rigadoon — A gay pleafant Dance. Ribattuta — To give a Note many Strikings. Rtfvigliato — A lively ftrain, follow- ing a dull one. i?/^« 7 Fu ^ orallPartstoplay. Rtpieno f^fingtofil uptheHar- * 3 m°ny compleat. Ritornello — A repeated Part; afhort Air, &c. Alfo a Glee. Ringing 2ro A New Mufical Dictionary R Ringing_The Art of performing Melodies, called Peals, on Bells, by Courje, of which I hinted only of the original Six Score, on Five Bells, in Page 107 ; but, fhall herein give you izo Changes, more modern. In this Five- Bell-Peal, are two Hunts to be obferved, viz. the Whole Hunt, and the Half Hunt; the Treble is the Whole, and the Tenor is the half Hunt, which I fhall fet over the Peals. The whole Hunt finifheth, its Courfe every 10th Change; when it takes the Lead of the Tenor, the Half Hunt goeth into the 3d ik/f's Place, and lies there a Whole Pull; and then goes to the Lead; which is the Reafon it is called the Half Hunt; and when it dodges behind, a Bob muft then be made by two iW/'s taking the Third's Place ; the Half Hunt, and the other Mmuft dodge 'till the Treble parts them. Two fingle Changes muft alio be made by the Bells in the 2d and 3d's Places, lying ftill, as follows : Grandsire ; on Five Bells. J2345 21354 23 x 45 3 2 4i5 3425 l 43521 45312 54'3 2 5 H23 15243 12534 Bob. 14352 »34 2 5 15324 13542 Bob. 12453 H235 ,'543 2 '45 2 * Single. «3254 I3 2 45 15342 i35 2 4 Hunt I — 5?~~ Bob. 13452 14325 Bob. H253 12435 15234 12543 15423 14532 Single. 12354 12345 N. B. It is faid that this Five- Bell Peal may be rang 120 different Ways, only by altering the Hunts : for any Bellmay be made the Hunt as the Ringers pleafe, c3*c. Of Peals, on Six Bells. Firfi, the Ringers are to obferve, in Six-Bell- Peals, that 3 Bells are called Hunts, the Whole; the Half-Hunt, and the Quarter-Hunt ; and that Six Times the Number of Changes may be rung on $..*■ Bells as orj Five: For, 120 multiplied by 6, the Produdl will be 720 ; the Number of Changes made on 6 Bells. — Secondly, That every Time the Treble leads, the Bell, in the zd's Place, muft lie ftill ; and the other four make a fingle Dodge, except at a Bob, when the Bell in the^th's Place lies ftill, and the two hindermoft Bells make a fingle Dodge; and a Bob muft be always made when the Half-Hnnt dodges behind, without the Quarter, as fol- lows. — Two fingle Changes muft alfo be made by the four firit Bells lying ftill, as follows Grandsire 123456 214365 24 t6 35 426153 4625 1 3 645231 654321 563412 536142 351624 315264 Bob. 132546 123564 Of Ringing, &c. Book V. 211 i R- Grandsire, or Plain-Bob; on Six Bells. Hunts 1 6 5- 132465 ThisisthefirftCourfe 134256 of Bobs. 132654 136245 163425 164352 146532 145623 Bob. 154263 145236 Bob. 1 54326 .145362 154632 156423 165243 162534 126354 123645 H2356 Second Courfe. Single. 1243O5 „, . An iZ43 > 6 H3$ Fourth Corfe. Ij^fl Fifth CW, Single. 12246c „. , _, 123456 SmhCouife. This M 'tis faid, may be rang 720 difFerent Ways, only by altering- the Hunts to fuch Bells as the Ringers mail appoint, c5V. Of Crown-Bob. Croivn-Bob is the grandefl Peal rang on 6 Bells, it being a Compofi- tion of three other Peals, called Oxford Treble-Bob ; College Pleafure ; and Co/%; treble-Bob : a Lead of one, and a Lead of the other; which being- repeated Five Times over compleats 360 Changes, the Half Peal : The Treble is the Whole-Hunt, and in 24 Vbjmes fini&es its CW/£ ; for, it dodges with the Bell that takes the Lead of it ; and dodges in the 3d and 4 th's Place, alfo behind ; and lies ftill a Whole Pull-, then it dodges again behind ; hunts down in the 3d's Place, and dodges again in the 4th's Place ; hunts down, and dodges again before, and then leads a Whole Pull. As there are no other Hunts in this Peal (all other Bells having their Courfe alike) there are no Bobs'm the Half Peal; but, for the 720 there a re two Singles, in their proper Places ; as follows : , ' > Crown- 212 A New Mufical Dictionary; R Crown -Bob, on Six 123456 21*4365 124356 213465 231645 326154 321645 236154 263514 62534 1 623514 265341 25.6431 524613 526431 Z54 6 i3 245163 421536 425163 241536 214356 123465 213456 124365 142635 416253 146235 412653 421563 245136 241563 425136 4S 2 3' 6 543261 453216 542361 4S z6 3i 54621 3 456231 542613 524163 25 1 43 6 254163 521436 512346 153264 513246 152364 I25346 213564 123546 215364 251634 526143 521634 256143 526413 254631 245613 426531 246351 423615 432651 346215 436125 , 341652 346125 431652 413562 145326 415362 143526 134562 Here ends the firft Courfe. Bells. Second Courfe. 154632 , H5623 Third Courfe. 165243 *5 6z 34 Fourth Courfe. 126354 162345 Fifth Courfe. 132465 123456 This is the Half Peal of Crown. Bob.- For 720 Changes move as follows. Firft Single. 132465 132456 Laft Single. 123465 123456 From what has been faid, the Number of Changes may be known on any fet of Bells, by multiplying the preceding Produfi by the following Figure ; (as I faid in Page 106 :) from which Rule, 40,320 Changes may be made on 8 Bells; and 479,001,600 Changes on 12 Bells, &c. &c. More on Bell-Mujick cannot here be inferted for want of Room : For fome of which I am, in fome meafure, obliged to my Friend and Corres- pondent, Mr. William Mitham, of Snuavefey, in Cambridgejbire, who is an ingenious Pfaimodift, a fteady ftrong Baffijl, and an expert Ringer, &c. From the above Hints, on Numbers of Changes, it appears, that 40, 320 various Changes of Notes may be made on 8 Notes, or in one fingle Odave, of the Scale of Mufick ; befides the many Varieties of 'Time, &c. Roulade— The Trilling or Shaking of the Voice or lnjlrument. Round Of Terms, Instruments S Canons fo performed &c. Book V. 213 Round- Rondeaus — Tunes ending with the firft Strain, D. C. at the end. Roundeky — A Strain repeated at the End of every Verie. Roftrum—A.n Inftrument to rule Pa- per for mufical Compofitions. Roulade — A trilloing or ihaking. Rotondo — A Natural R . 'Rudiments — The firft Elements of any Art or Science. Rhymes — Lines that gingie mufi- cally. S. Sackbut — A Tubical Jnftrument, play'd by drawing a Regifter. Salve — An Anthem. Saraband — A Kind of ilow.Minuet. Salmo — A Pfalm. Salmodia — The Art and Knowledge of Singing of Pfalms,Hymns, and Spiritual Songs. Saltarella Time leaping, jumping: or Point and Semi. Sackbutijl—A. Player on the Sackbut. Salto — A Leap, or moving by Leaps. Sambucus A Kind of Flute. Salve Regina—A Sort of Anthem. Saraband A Sarazen Dance, played on the Guittar, or on Caftenettes. Scale — A Table of any Sort drawn uniform: Our prefent Scale of Musick was improved by Guido Aretinus, in 1028, fee Diagram- ma. P. 19$. Science — Any Sort of Knowledge in Learning, which concerns itfelf principally about the Reafon of Things more than the Practice, &c. There are/even liberal Sci- ences, viz. Grammer, Logick, Rhe- torick, Arithmetick, Geometry, A- Jironomy, and Mufick ; all of which require both Learning and Know- ledge, in a fuperlative Degree. Score — All Parts in View, Bar a- gainft Bar, as firft compofed. Second — A difcording Interval. Selah — An Hebrew Word ufed 73 Times in the old Book ofPjalms, and twice in the Book of Habak- kuk, fignifying for ever, Amen, &c. But moftly for a Paufe or Stop, for the Singers to raife their Voices, in a full Chorus, to Verfes of great Importance, c5V. Semi — The Half; alfo a Semitone wanting. Semitonick — A Scale confifting of Semitones. Senza — Without. Seranade — Night Mufick, play'd at the Door, or Window. Sefquialteral — As much, and half as much more. Seventh — A difcording Interval. Sextuple — A Binary Triple. SeSiion — Part of a Chapter, &c- Semibreve—A Note of 4 Beats. Seraphic — Sudden angelic Emo- tions, or heavenly Songs, &a Services ^Church, Hymns, &c, fet to Mufick.' Segna, or Signa — Any Sign, Mark, or .Character. Semidiapafcu — A defective Eighth. Semi-Ditone — A major Third. Semi quaver Haifa Crotchet. Seftima The Seventh. Septinaries Containing Seven, &c, Seqtienz—A Romijb Profe Hymn. Sefqui—A Whole, and a Half. Sefta, or Sexta. A fixth, or fix. Secundo — The fecond, Sfuggito — To omit, leave out, or avoid. Shojhanim — An ancient Pfalm In- strument, or Tune. P Shagion 214 A New Mufical Dictionary i Shagion — An ancient Pfalm-Tune. Sharp — A Mark of" Extenfion ; alfo Notes raifed half a tone. Shah—To trill or ftxake Notes, &c. Sheminth — -An ancient Inftrument of 8 Strings : Or the 8th Band in the Temple. Shaivm, or Serpent An ancient Trumpet -like Inftrument, fo called from its having many cir- cular Folds or Wreaths to fhorten it ; or it would be 6 or 7 Feet long, if ftreight. It confifts of 3 Parts, the Head or Mouth- piece, the Neck, and the Tail, • and covered with Leather ; it having three Holes to give it the Compafs of three Oclaves ; and is Bafs to a Cornet, &c. we read of this in Pfalm 98. It is faid this Inftrument is fufficient to cover a large Choir of Singers. Shaivmi/i—A Player on the Shawm. •Shtijhan — An ancient Pfalm-Tune. Shanks, and Crooks Are ftreight, and circular tubical Pieces fixed on French Horns, C5°c. to alter the Pitch, higher or lower, when ufedinConcert. See Flutes, p. 189. Sicilian — A flow Dance, in Tripla- Time. Simple — Single. Sing— To found Tones by Voice. Sixth — An agreeable Interval. Singing of Pfalms — Said to be brought into Churches in 1 548. Si piace — Ifyoupleafe, or will. Singing- Mafter— A Teacher of Sing- ing, £sV. Siflrum, or Cijlrum — An antient Inftrument ufed by the Priefts of lfis and OJlris, made like an ova! Racket, having three Sticks traverfmg it broadwife, which, moving freely, agitates the whole to be melodious. And though Jer. Baffus, wrote a whole Trea- tife on this Inftrument of Per- cuflion, it feems to be but little more than a Rattle. See Cre- talum. P. 194. Strings— The Cords that Sound, when ftruck. &. or the Notes thereon; or, a Series of Verfes. Stentato— .Strive to exprefs the Sub- ject juflly ; or Bold and Stunt. Stentorophonic Tube — A Speaking- Trumpet : Said to be firft invent- ed by Arthur Kircher, and im- proved by Sir Samuel Mor eland. Some Speaking Trumpets are from fix, to fixteen Feet long, made of Tin; through which, one may be heard a great Way._Itisfaid, that Alexander's great Tube was heard, when hefpoke to his Ar- my, an Hundred Stadia or Fur- longs, or 1 2 Miles and an Half. Stretto Shortened, or more quick. Stromento—Inftraments in general. Supplement — Additions, or the Re- mains. — Sub— Below. Style— The Manner in which Mu- fick is compos'd, to ail Sub- jects. Suoni or Sound — Ts the undulacory Motion of the Air, arifing from the tremulous Motion of the Parts of any Body, occafioned by a Stroke; and thofe Undulations or Pulfes of the air beating on the Tympanum, or Drum of the Ears, convey, by the Nerves, this Sen- fation to our Minds, &c. which Sounds are more, or lefs pleafing to the Ear, according to the A- greement of their different Motions in the Air producing them, CSV. __Mr. Derham fays, that the mean Velocity of Sound is at the Rate of 1 142 Feet in one Second ofTime: and that in all Manner of Directions ; Obftacles excepted. f 2 * Sh* 2l6 A New Muficdl Dictionary; s or ^Syringe Symphony— Airs agreeable to the Compcfition, to ornament. A'lfo a Canon in unifon. *> Syncopation — Driving the Time of Notes, thro' the next "Bar. _.An lnftrument of 7 reed Pipes, joined Side by Side, invent- ed by Pan the Shepherd % found- ing much like our Bagpipes* Syftem— The moft ancient Greek Scale of Mufick, faid to be in- vented about zooo Years after the Creation, by Mercury ; who then alfo invented the firft mufi- cal lnftrument, being a Lyre, of only 3 Strings ; and tuned as A, B, C; to which Apollo added a 4th, Corebus a 5th, Hiagnis a 6th Trepander a 7th, and Pythagoras an 8th String, to make an Oc- tave; and afterwards 15 Strings to compleat a double OBavex which Boetius called, The Syftem of Mercury, being tuned as our A,-B, C, D, tiff, rifing : which was afterwards called, The Py- thagorian Syft m, which was as follows : Subito— Quick, or Quickly turn over. Succeftion -Sounds — Going on con- jointly to produce Melody by Degrees ; or by Leaps disjointly, to produce Harmony. Suono — Sound, Tone, Voice, Cord* Note, 'Wt. Supra—Below. Supernumary— Above number. Svegliato — Brifk, gay and lively. Superlative— The higheft Degree, ' Suppojition — The Concord fuppofed to follow a Difcord, Sec. Swell— To ftrengthen ; Alfo the Eccho Stop of an Organ, &c. hfiK ia — Concords, Handing, often founded harmonioufly, from whofe Octaves all Parts may be heard. Synthefis _ A Compcfition, or a Joining. Syncopated— Driven on or forward. Synantia — Pipes only playing by turns. Syncope _ A Divifion, on longer Notes : Or Notes fyncopated or driven, &c though-not through Bars. The moft ancient Ariftoxenian, Diatonical-Syftem, or Scale ^Mufick, «' ufed by the Greeks and Latins : As laid down by Vitruvius. (The Greek.) {The Latin.) (Divided.) Nete- Hyper boleon • O Paranete- Hyperboleon Trite-Hyperbokon I Nete-Diezeugmenon — Paranete-Diezeugmenon Trite- Diezeugmenon Pare Mefe - Mcffe ■* Lychanos Me/on Par Hypate Me/on Hypate Me/on Lychanos Hyp at on • Par Hypate Hypaton — Hypate Hypaton Projh.banomenos Tetrachordon-Hyperboleon ; Principal extended. M f L] K -[ — H G — F - dJ — C — B — A' _ G — Lonveft Sound; or more lower. 1 j r I Tetrachordon - Diezeugmenon ; or extended Principal. Tetrachordon- Me/on ; or fecond Prin- cipal. Tetrachordon - Hypaton ; or Prin* cipal. This Of Terms, Instruments, &c. Book V. 217 This Scale the Ancients called Diatonical, from the Semitones ly- ing between B and C, E and F, as ours now does : But in Procefs ofTime, Timotheus added ano- ther String between C and D, and F and G, and fo brought in a Chromatick, or Half-Tone Scale: and after that, Olympus adu^d an- other between B and C, E and F, tiff, to make an Enbarmonick, or Quarter-Tone Scale : But this latter was looked on as but of lit- tle Ufe to Praftical Mufick.— In this Form the Scale remained till the Time of the Latin}, who find- ing the Names too long and per- plexing, they ufed the above Let- ters in their Stead. And, Pope Gregory, (according to F. Kircber) finding that H, I, K, &c. were only a Repetition of the 7 firft Sounds, he repeated the 7 upper by the fame Names ; as we do now. — After this, Baronius in- forms us, that Guido Aretinus, about the eleventh Century, in- vented the Scale we now have ; confifting both of the Diatonick, and Chromatick, on 5 parallel Lines; (or more if Occafion) which were formerly fet on but one, tnvo, three, and four Lines : whofe Scale is now fo ready, and undeniable, that it fets afide all the Difputes of the Ancients ; which are too tedious here to mention_We alfo now fit down by the Contrivance of Dr. Minis for our Notes , and Refts ; where- by our Scale (lands in fo good a Form, as will fcarcely ever un- dergo any other Alterations ; (exceptingfome little, that would be neceffary, with refpeil to Cliffs,) &c If is faid that the ancient Greeks had above 1240 different Terms and Characters in their old Scales cfiMufck; which the Latins reduced into 15, as as the above Letters. — See Lyre, and Diagramrna. P. 202 195. T ' Taborin, or Tabor-^-K fmall Drum, being a Bafs to. 'a (brill Pipe. Tablature — Letters (landing for Notes; in pad Ages, for Lutes, &c. As a, b, c, &c. for the Frets. Tacet- — Be filent, or relj. Tafia, Tad, or Tacitus— The Mea- fure, yral Perfons behind me, fome drying the Sweat from my Face, others blowing with a Fan to keep me cool, (for it was about two o'Clock in the Afternoon) (Others diftancing the Peoplethat they might not throng about me; and yet notwithftanding all this, Ifuffered along Patience to keep up fuch long Time, for I played (without Exaggeration) above two Hours, without the leaft In- terval. When the Man had danced about an Hour, the People gave him a naked Sivord, which he applied with the Point in the Palm of his Hands, and made the Sivorrf jump from one Hand into the other, which Sword he held in Equilibrium, and he kept ftill dancing. — The People knew he wanted a Sivord, becaufe, a little before he got it, he fcratched his Hands very hard, as if he wquld tear the Flelh from them. When he had well pricked his Hands, he got hold of the Svuord by the Handle, and pricked alfo the upper Part of his Feet, and in about five Minutes Time his Hands and Feet bled in great Abundance. He continued to ufe the Sword for about a Quarter of an Hour, fometimes pricking his Hands, and fometimes his Feet, with little or no Intermif- fion : And then he threw it away, and kept on dancing. When he was quite fpent with Fa- tigue, his Motion began to grow Slower, but the People begged of me to keep up the fame Time, and as he could not dance ac- , cordingly, he only moved his Body and kept Time : At laft, after two Hours dancing, fell down quite motionlefs, and I gave over playing. The People took him up and carried him into a Houfe, and put him into P 4. a larg« 220 r A New Miifical Dictionary : a large Tub of tepid Water, and a Surgeon bled him ; while he was a bathing, he was let Blood in both his Hands, and Feet, and took from him a great Quantity of Blood : After they had tied up the Orifices, put him in a Bed, and gave him a Cordial, which they forced down, becaufe the Man kept his Teeth very clofe. About 5 Minutes after, he fweat- ed a great Deal, and fell ajleep, which he did for five or fix Hours, when he awakened, was perfectly well, only weak for the great Lofs of Blood he had fuf- tained; and four Days after he was entirely recovered, for I faw him walk in the Streets ; and what is remarkable, that he hardly remembered any Thing of what had happened to him ; he never felt any other Pains fince, nor any one does, except they are bit again by the Tarantula.. This is what I know of the Taran- tula, which I hope will fatisfy your Curiofity, and as you are a great Philofopher, may philofofy as you pleafe. I need not make any Apology for my badWriting, you muft excufe it, confidering that it was only to obey your Commands : If you have any other, you may difpofe of: SIR, Your mojl humble Servant, Stephen Stor.ace." The TARANTULA TUNE. w* *- £±tt±G-_ zP'i -zttr fc!-t-£zM?;tzhE- —£±- -Rr r '£*&:£& ^pi:t_.rp : h:|_:t::h_ e i_ p^ttizsfctz — R-ffl i^tTi^^^'tir'h-^^b'z _ t" — ~z' — w*~& a • ^ » " ~s ~ "* ~ ~*T*~~T ~~~~~~ ~ — 1 3 E -Ez- : :: -F-— : F — w-. — t-tt-t-'-t-izd^- ] ;_i ~t"~;~~~ 7 "!; ; :p {~"r:T~{7;~"p~tzzdl-]l-».lj Of Terms, Instruments, &c. Book V, 221 Tagliato — Cut, or the C in Com- mon-Time, with a Line acrofs it, to make the Movement quicker. Taflatura — The Keys of an Organ, fge. Tafio — The Toutches or Keys of Organs, dsV. Tajlo Sblo— To ftrike fuch Sounds till other Words, orParts come on. Tapto, or Tattoo — A Drum-LefTon, for Soldiers to repair to -their Quarters, Garrifons, Camps, or Tents. Technical — The Scholaflic Terms, or Words, ufed in Arts and Sciences : On which I have herein wrote very copioufly ; with their feve- ral Elucidations, or Explanations. ffimperatio, or Temperament — To temper or amend imperfect Con- cords, to give more Grace and Beauty to feveral Defects, by taking away, or adding a Semi- tone to any Cord required, in the feveral Elements, &c. Tenor e Concertante — Tenor of the little Chorus. - Tenore Ripieno — Tenor of the grand Chorus. Ternary-Meafure — Tripia-Time. Tejludo — A Lyre; or Bafs to a Lyre, &c. Tejlo, Textura, or Textus — The Text or Subje'l, to which Mufick fhould be fo nicely fet.'as to ex', prefs every Pajjicn emphatically. Tempo Buona — Time good ; on a Concord. Tempo Cani'vo — Time bad; on a Difcord. Tenfion — The Tightnefs or Pitch of Cords, or mulkal Strings, c5>. Temporegiato — Give the Singer Time toexprefs Paffions. Tendo — The fame as Rotondo. TeDeum — A famous Church-Hjws or Service, compofed by St. Am- brofe ; and frequently fung as a national Thank/giving for a ViSio- ry ; and oftentimes by the De- feated out of Ridicule, c5V. • Tempo — Time, in general. Tempo ghtftio — Time, very equal. Tenore, or Tenor — The Church Tune, or Leading-Part; being the 2d Octave above the Bafs, or the chief Melody. Tenor if t — A Performer of Tenor, &c. Tendermeni — Tenderly and foft. Ternario Tempo— 'Triple Time. Ttriia, Terza, Trezetto — Three Parts : Alfo a. Third, or Part. Tetrachord — An Interval commonly called a Fourth, which is either greater or lefier. — The ancient Greek Diagram was divided into three or more Tetrachords — Alfo an I/ifirument of four Strings. See Diagramma and Syftem. Tetradiapafon — A Quadruple, Oc- tave, or 29th. Tetratonan — A fuperfluous Fifth, of 8 Semitones. Terms — The Glaffary, Words, and Names ufed in Arts and Sciences, which generally are more to per- plex, than enlighten the Under- standing; which fincere Writers muft, in fome meafure, a little comply with, rather than be torn in Pieces by the captious Critics of this whimfical Age; who count plain Honefty Igno- rance, and Sincerity old faj]?ioned ; Nor is any Compojiti'on, now?, of any etteem, unlefs leafoned with a few Frenchified Terms, to deco- rate it, hke Lace to a Doublet. Thofe that flrive to ihine in Ety- mology, 222 A New Mufical Dictionary.^ mology, muft, in vain, dig thro' many Soils, and to buc little Purpofe ; by reafon, Words in our own Language are known to us with lefs Labour. Hence ic is much better for us, to, Let other foreign Tongues alone, Until 'we're Mafter of our o%vn. Thiorko — One who ftudies, writes, and teaches any Art, &c. See Mufico. Theorbo — A large Bafs Lute. Theorifi — One who ftudies the Theory or demonflrative Part of any Science. Theory — The contemplative Part of any Science ; wherein the Demon- Jlration of the Truth is more ex- amined afrer than the bare out- fide practical Performance. Themody — A Funeral Song. Thefts — Falling. 7 bird— A Concording Interval. Thorough Bafs — Continual Bafs, of- ten figured. Invented in the Year 1 600, by Ludovicus Viadana, an Italian. Theological - Mufick — Divine, or Church-mufick. Time, Tune, and Concord The three great Properties of Melody and Harmony : Which, (with fome Difcords) give us all the pleafing Varieties of Mufick. The Word Time does not only mean the whole Meafure in every Bar, or the up and dovjn it is beat by, but aifo that every aliquot Bart in each fhould have a private Mo- tion, or thought, as the feveral Strikings, &C. Time — In a general Senfe, is that idea as we have of the Duration and Centinuance of the Exi/ience, or Being, of all Things whatfo- ever : which we meafure by th$ Motions of moving Bodies ; as the Sun, Stars, Clocks, &c. which Parts of Duration being meafur'd and compar'd, meafures to us what we call Times, Seafons, (our Lengths of Notes,) and Ages, &c. Tierce— A Third ; Major, or Mi- nor. A Stop in fome Organs. Tirata — Tied Notes ; moving by Degrees ; or by Leaps, cjfr. Timor of — With Dread, Fearfulnefs ; and Refpeft, c5V. Toccata An Organ Voluntary ; when both Hands are employed, quick and flow. Tono, or Tone — The Property of .Saund, whether grave, or acute. Toccatina — A fhort Voluntary. Touch — Good ; Keys clofe and limber. Tranfitus — The feveral Changes from high to low, c5V. or from gay to mournful % Some call this Mutation. Tria Harmonica!— The harmonical . Triad, when 3 Sounds are heard together in Harmony, viz. Tvoo Thirds in the Fifth, one 3d being Major, and the other Minor. Alfo when an Odave is divided into a rth and a 4th. Thus : __Q_ e- -*e- fometimes the Major 3d is above, and fometimes below. In like Manner the qth may be above and the 4th below ; yet all har- monious : But to divide an Oc- tave exact in the Middle, is to make the 5th below the Minor. Trumituono, or Trihemituono •■ — A Major 3d of 4 Semitones. Trite — Three, or a Third. 5W- Of Terms, Insmrum T Triplicate _ Intervals tripled ; the 17th being only a 3d tripled, thus : from 17 take 7 twice, and 3 will remain ; 3 being the loweft Term, the other are its Ottaves, &c. In this Manner all other large Intervals may be re- duced to their Radical, or loweft Term. 'Tritone — A Major 4th of 6 Semi- tones. Tronco — To cut Sounds fhort, leaving room between to make Signs of Grief, Wonder, Sighs, or Surprize, &c. Troppes — The Laws or Moods of Time. Tranjition — Slurring of Notes from one to another, between Leaps. Tran/ponendo, Tranfpojition • — Re- moving a Tune from one Key into another, to fuit Voices, &c, Tre, Tria, Trio, Trezo, or Trezetto — Three Parts. Treble — Threefold, or the 3d Oc- tave above the Bafs. Treblijl — A Performer of Treble. Trecet, or Trite — A Third. Trece/—A Third, major, or minor. Tremba^A Trumpet. Tremoletto, or Tremolo, or Trill, or tr — The Shaking of any Note : or Tr emblement. Tritone— The Greater 3d. Tripole, Triple, or Tripla Time Or Threefold. Moving by 3 in a Bar. Trifagium, or Trifagion — A Church Hymn, with three Holies. Tromp de Beam, Jews-Harp, or, . Jews -Tromp — A little Iron and Steel Inftrument held between the Teeth, and play'd by linking the Spring, whokSound'is made high- er or lower by the Breath: from ents, &c. Book V. 223 T which trifling Inftrument we may learn, that all Sound is returned by the ^Vinclofed in the Bodies offtringedlnftruments ; and even in thofe of Wind : for, if you ftrike a Jews-Tromp, in your Hand, you can fcarce hear it, but if you hold it in your Teeth, and ftrike it, it will give fuch a muftcal Buz, as to be heard a great Diftance. Hence Monfieur Dodart obferves, that the Mouth, Palate, Tongue, Teeth, t No/e, and Lips, add nothing to the Tone of the Voice', but only,- that their Effeft is very great, as to the Refonance, or Refounding, &c. Tronco per Grazio — Cut your Notes (o Jhort as to have a fmall Space of Silence between each Note, Sec. Tromba, or Trumpet— A tubical loud Inftrument. Trumpet Marine A Triangular In- ftrument with a long Neck, and one large Gut-ftring, ftruckwith. a Bow, and fretted with the Thumb, which gives a Sound like a Trumpet. Trumbone A Sackbut. Tuba — A Trumpet : Or any hol- low Pipe. Tune — An Air judicially compofed according to the Rules of Mufick, C5V. Alio to put Pipes or Strings in Tune, according to the Scale. Tuono, Tones, or tortus — Tone, or Sound. Tutti, T»tf_FulI, or all Parts move together ; or called Fulls. Tymbal — A Kettle-Drum. Tympana, Tympanium, or Tymbal — ■ A Drum, Kettle-Drum, or Notes for a Drum. V. F_Violin Mufick, &c. Vacua 224 A New Muftcal Dictionary v Vacua iVi?/te_Head of Notes open. Valore, or Valuta — The Value, Content, or Length. Vagante fuoni — Sounds moveable, i3c. Valve— The Lip or Stopper in the Wind-cheft of an Organ, or in Bellows, or in the Wind-pipe of Bagpipes, cifr. Vaump — To amend, or fill up, or a Kind of Sham Bafs, &c. Variamento, or Variato, or Varia- zono. — Add all the Graces pofli- ble, to ornament the Piece. Velcce — Very quick. Verfe — When Parts do not all per- form in full Chorus, that the Words may more eafily be heard. — Alio Ver/es put into Metre: Said to be fir It done by King Bardus, in Abraham^ Time. Verte — Turn over the Leaf. Verbero — Divifion on long Notes. Vergelia, Vergula, or Vergetta — The Tails of Notes as aj'cendente, upwards \defcendente, downwards: cbliqua, hooked : bijlorta, double Hooks. Vibration — The Tremblings of Sounds, Strings, &c. Vigorofo, Vigorofamente — With Strength and Vigour. Vide — See thou, or look thou. Vide Infra — Look below. Villanella — A Country-Dance. • Viol, or Violin — A itringed Inftru- ment, of if, or 4. Strings ; faid to be firft invented by Jubal. Viola — A Viol ; or, Viol de Gambo. Violincello — A fmall Bafs Violin. Violin— A Fiddle. Violono — A large Bafs Viol. Viol- Bafo—A Bafs - V ic! . Virruojo—Axi expert Mailer of Mu- ' fick. V Violijl—k Player on the Viol, cj c . Virginals — A Wire Inftrument, with, Keys like an Organ : Said to be firft invented by Jubal. Gen, iv. Vifto, Vijlament — Quick, lofe no Time. Vivace, Vi And fteal Applaufe, d'd h>s good Master kill- \ As Times of old, jo Tunes no-zc 7 * And did, in Order, to their Stations leap. When mighty Jove the Earth's Foundation laid, On Golden Harps, Angels before him play'd : , So, when it falls, (as fall it furely muff,) Dan.xii. 2 , Musick, moft fure, will penetrate the duft. From Harmony the Univerfe began, The Diapafon fully clos'd in Man. Ver. 27, Thus, from the Power of All-fa cred Lays, Pf. cxiviii. All loudly fung their great Creator's Praife. When 228 CONCLUSION. When Jubal (truck his well-tun'd corded Shelly Whofe charming Sound could ev'ry Paffion quell i Ver. z6. His lift'ning Brethren flood amaz'd around, And worfhipped its foft celeftial Sound. Gen. iv. ver. 21. Gen. iv. ver. 21. What Tongue can fpeak the mighty Organ's Praife ? Whofe /acred Notes our Thoughts to ffeav'n can raife : Infpiring Z^z/, all Peace; and holy Love, That'we enjoy what Angels &o above. When Orphus (truck his pow'rful trembling Zyn?, face. The Streams ftood (till, and S&wj then did admire: • The Trees did dance, and nodding Beajls around Attending flood, for to devour the Sound. Gen. iv. The loud-ton'd Trumpet calls us all to Arms. W 7 ith mighty Notes of Anger and Alarms : The double, double Beat of thund'ring Drum : Proclaims to us, prepare the Foe is come. . Sharp Violins, and Hautboys can proclaim Thefrantick Pangs of the difdainful Dame: ■ The hollow, foft, complaining H«/^difcovers, With dying Notes, the Woes of helplefsi>iwj. Such moving Charms fweet Musick. doth contain, pfai. lxiii. a s thrilling Joys run thro' each trembling Vein : Teat ev'ry well-tun'd Soul muft fympathize, And tafte its pleafing heav'nly Extafies. Musick Divine, religious Flame infpires, And fills the Soul with heavenly Dcfires : pfai. i. ver. The great Almighty's pleated with the Song *4« Q£& pure Hearty and of a well-tun'd Tongue. King CO N C LU S ION 229 King David's royal Harp a Charm could find, * Sam - xv ''- To heal the Body, and compofe the Mind: ver ' 23 ' Each trembling 6>% his princely Hand obey'd, When he the pow'rful warbling Notes difplay'd. Musick can ftifle Wrath, caufe Grief to ceafe, And can excite the furious Mind to Peace : fc«?. Can kindle heavenly Raptures, and Defires, To ffeav'n's high Center, it, in Love, afpires* This heavenly Art mould never be neglected, «u. * cvli} ; Ood s gracious Gifts fhould always be refpecled • ver - l6 - This is the^r/, which ## v enthron'd, do praile videT.- liieLoRDofL^, in everlafting Lays. Deum - Let evVy well-tun'd F^, and Infirument, p*,.^,. Now W, the Lord, with Zeal, and free Confent : Pfa , cI And jointly imitate the Blefs'd Above, ' ' Whofe Songs are Joy, all Harmony, and Z*w. «mT$ That when the/ t0 *e *«A Tet on the lower V r\ 7 3 /' a " 1" Wan£ing °" the * th Line ' in the ^arp Ke*.-~ p 5 4 ' ^ ' 2 from ^ : and iz Smiquawr, foould be ineach i?i.-_ R g /- u £' m the N * B - W two ' or more iV««.-P. 1 m flur the BafsK the ^.^ P. 54; the , ower Dot of the 2d A ftou d 3' b ^ f i / r u *"' over the ^ Plor'd. in the upper Space._P. 1 J '•5Wfor John._P ,34, J. ,; forMufick, r. Psalmodv.Zp. !J' T : *W, '54-r-P- 212, for Pfa/modift rezd P/almift.^P 2-8 for Teat, read That.-P. ,8 2 , J. ult. r. bottom Line of the 1// ' [ 2 3° 3 T H E INDEX. Painting to the Principal Matters, BOOK S. in all the Five A. Accented Notes - - - Alamatb -- ~ - » - Jntbem - - Art or Science - *- - B. Bafs-Thcrougb - - - Baffoon Scales - Bell-Harp - - - - Bells tuned - - - - Bagpipes - - r j^,^/ Scale - - , • Bombardo ----- . C. £/»#} ufedin Mufick - Characters in Mulick - Clarinet - - - - - Citern Scale - - - - Chime'- Barrel pricked - Compofuion in general Church-Mufic confidered Concords how taken Compofuion of 2 Parts C/o/?* or Cadences Compofuion^ from 2 to { l 7 8 Conclufon - - - • Canons, how .formed Canons, Names, &c. - Cecilia's Day - - - 6V<& firft round out Cornet - - - Crotalum - - - - • Crcmbkorn - - . - - Page 25 190 190 190 - So - 04 104 105 191 • 84 ■ 192 - 6 - 12 100 102 ic8 *73 174 - 161 176 176 i Parts to r83 226 184 186 - 193 194 194- J 94 194 Curtail - - - - - Clareambalo - - - - D. Dulcimer - Drams, and Tymbah Difcords, how taken • Drum of the Ear - Diagramma, old // - 97 - 201 ■ 154 *59 Keys The I N Page Keys difguifed - - - 40 Keys on all the \2 Semitones 32 L. Lute ------ 102 Lyre . - - . - . - - - 102 Lyre chord - - - - 20 3 M. Malatb ----- 203 Monocbord - - - - 204 Moods explain'd - _ - 55 Mutb ----- 205 N. Notes, and their Rejls - 9 Nigincth ----- 206 o. OjtfEngWh March - - 115 Organ's Antiquity and Struc- ture - - - - - 67 Organ's Scale of Mufic - 70 Organ, Sec. tuned - * 76 Organiji blind ; tf &#/* - 82 P. Pitch pipe's jor'iglnzl - 26 Pendulums applied to Time 57 P//>*, and Tabor, Scale - 103 Psalmody's original - 132 Pfalm-Tunes, in Parts - 135 Proportions of Intervals - 154 Pandoron - - - - - 207 Pentachord - - - - 207 Pfalferion - - 208 Pfalm-Tunes - - - - 135 P^fl/f for ]&/Zy - - - 209 Prepare, for Difcords <- 206 Q: Quarto- Fagotto - - - 208 R. .&£/?.s of 7/W - - - - 9 i?«/y.>- . - 38 77/w£, Common - 45 T?z?z*, Trip/a - - - - 48 Time-Table* of Triples - 48 TWj for Chimes - - - 1 1 j Te Deum - - - - 221 Trump de Beam - - - 223 Trilloe t or 67;#fk - - 15 2 2 t rhe [ INDEX. Tube- Si en-tor ophonic - -' 2.1*5 Voluntary - - * «- ' 224 Tubes improved - - - ' 198 W. U. Wires, and their fizes - 225 Viol, Bafs, Scale - - 84 Z, Violin Scale «.--«** 86 Zampogna - 225 ^?r/* ------ 224 Zimriy an old Mufician - 225 ■Virginals Scale - 70 Zuffalo - - - - - 225 BO OK .V, Contains a New Hifiorical, and Technical DICTIONARY; of Ancient J«i/«, Tiraw, and 7«/?ra- ,,jnents, and their Inventors, c3V. W-ith many Infhuclive, and Entertaining Things worthy the Perufal of all Lovers of Musick, &c. from iVg* 1 go, io Page 230. FIN I S. BOOKS published by the Author of this Book, and. fold by Him and His Son, (who teach the fame;) and by Meff. Crowder, at No. 12, in Pater-nojler Row, London. I. flT^HE New Royal Melody : Containing, Pfalms, Hymns, JL Anthems, &c. in Tzvo, Three, and Four niufical Parts, &c. II. The Psalmist's Jewel ; being an New Exposition on all the 150 Psalms : With Rules for adapting Pfalms to all Occa- sions, bV. III. Melodia Sacra : Being a New Book of Psalmody in 2, 3, and 4 mufical Parts ; With feveral New Tunes, never before printed. And Doxologies to the Whole. IV. The Life of Holy David King pf Jfrael: A Sacred Poem : With Exfofitory Notes thereon, &c, ts'c.