NE 5 oan se $:9D.9S.9O09604 ; . N : N N ‘ N N \ y . 2 ~~ FROM THE LIBRARY OF SIR WILLIAM OSLER, BART. OXFORD Pimi 4649. The Art of Descant or Composing of Musick in Parts. By a most familiar and easie Rule: In three several Treatises... By Dr. Tho. Campion. Annotations thereon, by Mr. Ch. Simpson. sm. 8°. Lond., pr. by W.G. for J. Playford, 1667. Bk. 3 (pp. 105-51) of ‘A brief introduction to the skill of musick: in 3 books’, 1667, of which bks. 1-2, wanting in this copy, are by John Playford (1623-¢.1686), the musician-publisher. With bk.-plate of W[m.] H[aymans] C[ummings, 1831-1915]. Campion’s work, first published c. 1617 with title ‘ A new way of making fowre parts in counter- point [&c.]’, was appended by Playford in 1660 to the 3rd ed. of his ‘ Introduction ’. The R.C. P. has Campion’s ‘ Observations in the art of English poesie ’, 12°, 1602. [W. O.] | The Art of IDESCANTorC OMPOSING } OF MUSICK n PARTS. By a moft familiar and eafie Rule: | : | Inthree feveral Treatiles, ; {, Of making four} parts 7n Counterpoint. | Il. Ane cefjary Difcourfe of the feveral Keyes, | and their proper Clofes. | [1.The alowed pafjaces of all Concords,perfet and imperfed, By | ‘By Dr: TH 0. €:A MP TON. aa Annotations airtla sh by Mr, Ch. Simpfon, | eton, Prince by WG. lot 7. Playford. 1667, a a eee, = sn Uy a ee ee — peat S 4 be A PK Neha SN yo ea oat 28, a 1A INS 3 ; j SS : So a i a : ) oF, > =: Sages y Ke There are Nine Concords of Mufick, as followeth , A Unifon, Third, Fift, Sixt, Eight, Tenth, Twelfth, Thirteenth, and Fifteenth : whereof five are called perfect,and four unperfect. The five perfect, are Uxifon, Fift, Eight, Tmelfth and Fifteenth : Of thefe you may not take two of one fort together, neither rifing nor falling, as two Fifts or two Eights. The other four, called unperfect,you may take two or three together of one fort,rifing or falling,which are,a Third,Sixth,Tenth,and Thirteenth, Thefe Nine Concords are comprehended in four, VIZ. Unifon fon are accounted as one, for every Eight , npr Fifteenth, Fight isthe fame. Third, ’ Tenth, likewife. a Fift, Sothat in effe Hm fib, Pilcewite e there are but four Sixt ; Concords. T; se in like fort. J The Difcords are, a Second, Fourth,and Seventh, with their Eights ; which being fometime mixt with Concords, make beft Mufick, being orderly taken. SREASESESEEE SE: SFFIRESRESFEEE FETE T TESTI TE FTF TET TIE TITE er Of Counterpoint. * pH E parts of Mufick are inall 6 but Four, howfoever fome skilful Muficians have com- poled Songs of twenty, thir- ty, and’ forty parts : for be : the partsnever fo many, they *" are but one of thefe four in nature. The names of thofe four partsare thefe : The _ Bafs,which is the loweft part and foundation “of the whole Song : The Teor, placed next above the Ba/s ; Next above the Tezor the \] Adean, or Counter Tenor 5 and in the highett place, the Treble, Thefe four parts by the Learned are faid to refemble the four Ele- ments, the Ba/s exprefleth the true nature fi of the Earth, who being the graveft and lowett of all the Elements, is asa foundation it 50 the reft. The Tenor is likened to the Water, the Jeax to the Ayre, and the Tres ble tothe Fire. Moreover by how much the ni Water is more light than the Earth, by fo eli much the Airis lighter than the Water, and bel Fire 7b. ~ Xe 108 Of Counterpoin¥. Fire then Ayre : ‘They have alfo in their native property every one place above the other ; the lighter uppermoft,the weightieft in the bottome. Having now demonttrated that there are inall but four parts, and that the Ba/s is the foundation of the other three, I affume that the true fight and judgement of the upper three muft proceed from the Joweft,which is the Bafs; and alfo I conclude that every part in nature doth affect his pro- per and natural place, as the Elements do. * Countervoint, in Latin Contra pun&tum, was the old man- ner of Compofing parts together, by fetting Points er Pricks one againit another( asMinums and Semibriefs ave {et in this follow. ing Treatife,) the mea(ure of which Points or Pricks were fung according tothe quantity of the words or Syllables to which they were applyed. ( For thefe Figures cy were not as yet in- vented.) And, becaufe in Plain fong Muck we {et Note againf Note, astheydid point againit point, thence it 1s that this kind of Mufick doth fil retain the name of Counterpoins. True itis, that the ancient Muficians,who intended their Mufick only for the Churcl,, took their fight from the Tezor, which was rather done out of neceffity than any refpect to the true nature of Mufick, for it was ufual with themto havea Tevor asa Theam , to which they werecompelled to adapt their. other parts : but] will plainly comer e= (aaa | i oF a ounterpoint.. 109 t4demonftration, that (contrary to fome opini- egons) the Bafs contains in it both the Ayreand bi ,true judgement of the Key, exprefling how ae ty Manat the firftfight may view in itall {jy the other parts in their original eflence. he. Inrefpect. of the variety in Mufick which ee 19 attained to by farther proceeding in the , Art, as when Notes are fhifted out of their 4s native places, the Ba/s above the Tezor, or sm the Texor above the A/ean, and the Mean a- .j, Dove the Treble, this kind of Counterpoint , ‘ whichI promife, may appear fimple and on- in ly fit for young beginners(as indeed chiefly wm it is) yet the right {peculation may give "much fatisfaction, evento the moft skilful , ib in laying open unto them ; how mantfeft and i) Certain are the firft grounds of Counter point, ja Pirft, it 1s in this cafe requifite that a for- mal Bajs, orat lealt part thereof be framed, the Notes ‘rifng and falling according to N the nature of that part, not fo much by de- : "Brees, as by leaps of a third, fourth, or fifth, 'oreighth, a fixth being feldome, afeventh he never ufed, and neither of both without the tt diferetion of a skilful Sed Next we 1s" muft confider whether the Bajs' doth Tile or ti fall, for 1 in that conlifts the myfterie : Tha ce , rifing | (it IO Of Counterpoent. rifing or that falling doth never exceed 4 fourth, (2) fora fourth above, isthe fame that a fifth is underneath,and a fourth under neath is asa fifth above; for Example , if Ba/s fhould rife thus : I (2) If the Bafs dovife more yp then a fourth, it muftbe called —E-—-~- falling : and likewife, ifit fall ——-O-9= rn St move then a fourth, that falling muft be calle The firft rifing is faid to be by degrees, becaufe there is no Note between the twa t Notes, the fecond rifing is by leaps, for G skips over 4 to Bwand fo leaps into a third, the third example alfo leaps two Notes into a fourth. Now for this fourth, if the Ba/ had defcended from G. above to C. underneath, that defcending fifth in fight and ufe had been all one with the fourth,as here you may difcern, for they both begin and end in the fame Keys : thus , (6) If sour Bals {hould fal a fe- wenth,tt ixbut the fame as ifitdid —— rife a feconds or a fixth falling is but the fame of a third vifing : and fo on the contrary, if the Bafs d) rife a feventh or fixth,it is the fame as though it did fall a fecond ¥ third. Thisrule likewifé holds, if the Notes de- fcend a fecond, (4) third, or fourth P for us | | Yi fife ceed ne fi und 4 Seer poss WS , drawn it all into thefe 6 figures. a” ample ofsthole figures prefixed ; When the Of Counterpoint. 38 fifth afcending is all one with the fourth de- {ceriding. Example of the firft Notes. oS ae The third two Notes a S-aiS-3f85 which make the diftance = —-*f ofa fourth, are all one with this fifth following. Butlet usmake ourap- GC D proach yet nearer : if the Sauer a ee ' Bafs fhall afcend either a <2 ae oe fecond, third, or fourth, GD , that part which ftands in the third or tenth | above the Ba/s, fhall fall into an eighth, that | which is a fifth fhall pafs mto a third, and that which isan eighth fhall remove into a fifth. But that all this may appear . |8] 37-5 » More plain. and eafie, I have 3\5 ral Though you find here onely mentioned | and figured a third, fifth, and eighth, yet not = onely thefe fingle Concords are meant, but } by them alfo their (a) Compounds, as a tenth,a twelfth, a fifteenth, and fo upwardss. i and alfo the unifon as well as the eighth. (a) By their Compounds +s meant tbeiy Offaves; as a third and its erchts; a fifth and sts eights, cc. This being granted, I will give you Ex- Bafs 112 Of Counter pount/ Bafs rifeth,beginning from theloweft igure, and rifing tothe uppersas . __. ot ; if the Bafs fhould rife a a 2 ae mt : ge | fecond,in this manner. Then if you will begin with your third, you muft fet your Note in 4 /a sz re, which is a third to F fa vt, and fo look upward,and that cord which z you fee next above it ule, and that is an eight in G fol re vt. After that, 1f you will take a fifth to the firft Note, you muft look upward and take the third you find there for the fecond Note, Laitly, if. you. take an eighth for the firft Note, you mut{ttake for the fecond Note the cord above it, which is the fifth. Example - all the three parts tee to the Bafs, vs ‘2 85 Treble. Steet S29 Mean, —~-..2., the fecond 3 & ae tf ter the rifing of Tenor, 3 = rifing of they $3: an 3 & 4 thus: This a = riferh a third, a fourth, afi. = 5 j seein eee Of Counterpoint. ng Albeit any man by the rifing of partss might of himfelf conceive the fame reafon in the falling of them, yet that nothing may be thought abfcure, 1 will alfo iluftrate ,, thedefcending Notes by example. di If the Bafs defcends or falls,a fecond,third, lor fourth; orvifeth a fifth ¢ which is all ‘one as fit had fallen a fourth, as hath>been . thewed before ) then look ‘upon the fix id figures, where in the firft place you thal find * the eighth which defcends into the thitd,. in othe fecond place the third defcending into the _ fifth, and in the third and laft place the fifth fe which hath under it an eighth. Be 83 8:2 §; Treble tS a =i55 Thus much for i Setiss rey the rifing and fal- mae 5 8 5 8.5.8 ding of the Bafs in Mean. Gy—s i= AHeveral : Now I will oh : =A give you a briefiexs e 5.35°35 ample of both of Tener Aik aet——H chem mie: Loses 3 fistieses | ther in the plaineft ae gee oh) 1 15a dathion 8 ters this —~ Bafs, op tiesite {train ferve for the - awit Bafs, e i Examp- ~ SN Of Count as, Le er port ; Example. See See Se ee ot ec of ape ae Fe 0 Rens Grew ree GEE come ~ af oo Ene weet The two Notes fall: a fecond, the fecond andithird Notes fall 4 fifth, ‘which you muft calbdifing a fourth, the third’ and fourth Notésrifea fifth, which you muit name.the fourth falling ,..the. fourth and fifth Notes rife afecond; the fifth and-fixth Notes falla thirds:the fixth'and feventh Notes alfo fall a third, the feventh and eighth rife a fecond’, the eighth and ninth Notes rife a fourth, the tenth and eleventh Notes falfa-fifth, which you muftreckon rifing a fourth, Being thus prepared, you may: chule whether you will’ begin-with an eighth, of fifth,’ ora third; for as foen-as you have ta- ken any one of them, all the other .Notes neceflarily, without: refpett of the reft of the parts; andevery one orderly without mix ing, ‘keeps his proper place above the other, as you may eafily difcern in the following Example. Exame- ow! ah Of Connterpoint. 1¥5 tn patah iz Exav 16.6 a ee ON ee Elee f icc Dhst MP ee vd: ade Re a ig eoeiceoesejess eo eS eee) 3 3. 5 8: ‘ever EEE Heth psa af. BES ea Let us examine onely one of the paits, _ and.Jet that be the Teor, becaufe it {tands , hext.to the Bafs. The firft. Note in B. is’ ) third to the Ba/«,, which; deftends. to. the fe ' eond Note of the Bafs.: Now look among . the. fix figures, ‘and when you have found _ the third, in the upper place, you fhall find under it a fifths then takecthat fifth which "is. next from.F.to B. below,..is a fifth de- f I {cending,for which fay afcending,and fo you thall look for the fifth in the loweft row of the figures,above which ftandsa third,which I 2 is ie 116 Of Counterpoint istobe taken ; that third ftands in D. then from B.to F. the Bafs rifesa fift,but you muft fay falling, becaufe a fifth rifing and a fourth falling is all one, as hath been often declared before 5 now a third when the Bas falls re- quires a fifth to follow it: (4) But what needs firther demonftration,when as he that knows his cords, cannot but conceive the ne- ceflity of confequence in.ajl thefe, with help of thofe fix figures. (d) when you bave made a formal Bafs, and would jon ober three parts to it, fet the firft Note of your Tenor either a third, fifth, or eighth above your Bals, ( which of them you pleafe) which done, place your Meanin the next Cord you find above your-Tenor, and your Treble inthe next Cord above your Mean, ihen follow the Rule of your fitures, according to the vi- fing or falling of your Bafs, and the other Notes will follow ia their due order. But let them that have not proceeded fo far, take this Note with them concerning the placing of the parts; if the upper part or Treble bean eight, the Afean mutt take the next Cord under it ,- which is a fifth, and the], Tenor the nextCord under that,which isa 3*} But if the Treble be a third , then the AZean}" muit take the eighth, andthe Tevor the fifth. |; Again, if theuppermoft part ftands in the} ‘/ fifth or twelfth, (for in refpe& of the Lear-|_ ners ear, inthe fimple Concord F conclude all TS. eee eons / a Of Count erpoint. 117 all his compounds) then the Afean muft bea tenth,and the Tesor a fitth, Moreover; i 2! thefe Cords are to be feenin. the Buf. Ng and‘fach Cords as ftand above the Notes of | thes Bafs. are eafily known; but—fuch-dsae , dight.are found ( 2.)..under’ if, trouble the fey YOUNg beginner 5 let him therefore know , that a third under the Bafs, isa fixth above “it, and if itbe a greater third, it yeilds a yp teller fix “above if the lefier-third> the ntik St€ater tixth. A fourth underneath the Bajs is 18a fifth above, and a fifth under the Bafs is a ig LOUlth above it. A fixth beneath the Bafs ini: Sa thirdabove, and if it be the lefler fisth j "then is the third above the greater third.and | 1 the greater fixth underneath, then isit the eigtCHler third above; and thus far have I di- wii BtCLled for the Scholars fake. , . Ce) If this Difcourfe of Cords under the Bafs do trouble the nt young beginner, let bim think no more upon them ¢ for itis not 9)| Fateaded chat he (pould place any Notes below the Bafs) but tee , jy 088 L00k for bis cords, reckoning always from bis Bafs unward ; "which that be may more eafily perform, let him draw eleven relllt dines (which is the whole compass of the Scale) and fet thé three int ufed Cliffs in thebr proper places = this done, be my prick his Ba/s mm inelowe fue lines, and then fet the other three parts in CLM their orderly diftances above the Ba{s, Note’ avainft No: b, as ncluiyon fee in this Example. a NS See sis c { will here place them again, and 3h 2 m”-after them plain Examples, = I4 ; Ie 120 OF Canaterdotnt. mpttyst 86 58 51.58 In thefe Jaf examples ‘you S-§— 4 ties elise tale al may fee wha ao Sto~t——H——t-—-14—-f Variety Nature aietiattes lage i offers of her % 38 38-38 8383 a3 felfsfor if in the Flattest Ut Se oe not in expected apse ea/8 sis a5 at formality ,. this fecond way. be- ing quite contrary to the other, affords us fafficient fupply : the firft and laft two Notes arifing and falling by degrees, are not fofor- malas the reft; yet thus they may be molli- fied, by breaking two of the firft Notes, Ng 5 ee How both the Spgs ttwayes may. be TS ee te ‘d_ together, wt 3 = you. may — peél- ut ae ris eye by this ex- a 43 he wherein 4 i be a te black Notes is Sey a SA GOR diftinguifh — the pLaey REE a es from tl Se a ones oo oes ee were os BE Ge hi ete a Wey} \ OF Conuterpoint. rat 358 In this éxample SPF =F the fifth and fixth | Ase Sess ee notes of the thrée 523 upper parts are BES at SSH after the fecond | fies i reeieey: way, foi-from the §'8 3 fourth Note of | Eerie etiee the Bafi which is en eee -—ttin from G, and cere! -$- ro gocth tO Fall aa, SSE: gS ieee rifing,, fo that ae- Ete aor ee weer Corde tO. THe firft Rule, the eighth hall pafs.into the fifth, the fifth into a third,the third into an eighth, But here contrarywife ‘the eighth goes into a third, the fifth in an eighth, and the third into a fifths and by ‘thefe Notes you may centure the reft of that kind. (f) (f) hen your Bafs flandeth Rill (that is tofay, bath two or more Notes together in oue and the fame place) you may chufe whether you will make your parts do {o too, or change them, as you fee our Author bath done in the fecond Note of this prefent example. If you change them, you may do it either by the Rule of defcending or afcending, which you pleafe, fo you do but. obferve formality, ’ Though I may now {eem to have finifhed all that belongs to this fort of Counterpoint, yet there remains one {cruple ; that is , how the fixth may take place here, which I og alfo 122 Of Counterpo alfo. declare... Know that whenfoever a fixth Is requifite,. asin B. or in. E. or 4) the Key being in Gam-xt, youmay take the fixth in fiead of the fifth, and ufe-the fame Cord following which you would have'taken if the former Cord had been a fifth. Example. 3 The fixth in +: ia me 3= both. places (the xe Pi-s- he ae rifing)) paf- es into a 3. as faa or op nes oes eee Se |e d josie ae eer eae 3 fixth. had been SSE pt Fifth, More. fat Ee . een: over, -if the Bafs Eiger le Shall ufe.a share Fa +: =: t2EeH as in F. fharp; ht FO then mult we take the fixth of neceflity, but the eighthto the Bafs may not be ufed ; fo that exception is to be taken againft our rule of Couzter point: To which Lan{wer thus : firft, fuch Ba/es are not (¢) true Bafés, for where a fixth is to be taken either in F.fharp, or in E. fharp,.or in B.or in A. the true Bafs is athird lower, F, fharp in D.E. in C, 8. in GC. 4, in F, as for Example, = ates — eat — (z) He OF Counterpoint. £23 (z) He doth not mean, that [uch Baffes are had, falfe, or de- feétive, bu tth at they} pave (; ae ps for eler ganly or variety) aja fumed'the nature of fome part for a Note ov two, and fo want the full latitude of a Bas in tholel Notes. ae ee =a of: In the firft Ry = a} -—-ff-—-¥-¥-—-FF two fixes are to be RE taken, by reafon of the imperfection of the Bafs wanting due latitude, the one in E. the other in F. th arp, but in the 2. Bafs the fixes are removed away, and the Mul fick is fuller. Neverthelels, if any be pleafed to. ufe the Bajs tharp, then in ftead of the eighth to zs Bé ef hemay takethe third to the Bafs nanner, : Here the Treble in the third —— >... Note, when it fhould have patt 8s: pt in the fharp eighth inF. takes for ita third to the Bafs in A. Hee oe Beer" which caufeth the Bafs and Tre- c= 3 9-9-6 le to rifetwo thirds, whereof Sg eg we will {peak hereafter. a abs Noté alfo that when the Bafs “VO- $= & inds ‘in E. flat, and»the part hat is an eighth to it mutt pafs Sit into afharp, or greater third, is: 32 f- ag no this paflage from: the flat ro the iE p would be unformal and there+ fore #24 Of Counterpo fore it may be thus with fmall alteration as ‘i voided, by.removing the latter part of the Note into the third above, which though it meets in unifon with the upper part, yet it is right good , becaufe it jumps not with the whole, but only with the laft half of it. Example. I Treble ———__ Te SE" $$ 8 eon ESSE EMS et ro SEE eee cere SS SS eS = 5 5 EE =o = For the fecond Example look hereafter inthe rule of thirds, but for the. firft Ex- ample here .:. if:in the eax part the third Note that is divided, had ftood till a Af» num (asby ruleit fhould) and fo had-patt in F. tharp, as it mutt ef force be made fharp ata clofe, it had beenthen paffing un- formal. But Of Counterpoint. 125 tig) Butif the fame Bafs had been fet in the, fharp of | Key, the reft.of the part would have fallen ont for- 4 of Becucivss without any help, as thus; © Treble.= = Bree ase When the Bal ~~ fhall -ftand ftill in <5 Linone Key 5 as above Mean. Bibs. pet it doth inthe third me ce gee Note .,-then- the o- Tr st rors ther parts may re- es Bae +t ——Hmove at, their plea- fure, A . RPESZ zie Moreover , it is th Aah, ae ar to - be ebjerved. ee es Er ne ™ that in compofing of “the Bafs , you may -; break it at your pleafure , without altering pt any of the other parts: as for example. : Treble. Perse aanes FEE ts SS os ces SS ee 2 ew Ghee beet peas. i Hes ss é = pe, eee a 2 we as eoey EEE : bo xo$ rele” 126 OF C ounterpo One othér obfervation more | wi!l handle, that doth arifé out of this Example , ~ which}, according to the firft Rule may hold thus: Se A Treble, At» 4p Herein are two}! See = re -#-errours ,. firft in the] j, _-. fecond Notes of the} i the Bafs ought to enor, BESS ebay t have ah this 3 fe- nen enase condly in the fecond | wns... gr And third Notesof Bafs, Jeeress the, fame, parts , Ty Sow, Where the third bes ing a lefler third,; holds while the Bafs falls lato.a fifth, which is uneligant, (:)-butif the upper third had been the greater third , the fifth had fitly follow'd, as. you may fee in the third and fourth Notes’ of the ‘Tézor and the Bafs. - (/) But that feruple may be'taken away by making the fecond Note of the Treble fharp, and in ftead of a fifth by removing the third Note into a fixth. Baffé and “Treble,}' where the third to], a aie iow SEs =a ae ee pe S's t {1 Sey Bos er p) Counterpoint. 1o7 haw i _YVhaw any informality doth occur, the Scbolar-need 08) te ~bimfelf tothe fir{t Rules of the Bafs vifing or falling » but may thu take fuch Cords as bis Genius [hall prompt him to, ( having a care that be take not two eights or fifts togetber)) vifines Oy falling betwixt any two parts whatfoever : *Tis tres our. Hite It chor did invent this Rule of the figures, at the. eafieft way to (tn ead the young Beginner t6 this kind of Compofition’; in which : be hath done'more then any that Ihave ever {een upon thisifulr NO jeEE 5, but theses he did ro (how the {moothe(t way, and not.ro tye Th) Bis ScholaPtO keep (tri étly that way when a block or flone (hould ki happen to lye init, but that be may in fuch a cafe fep out ‘of | this way for a. Note ot two, and then return again into it. val arn: E xample, SEE ETE al yr to soe Sse eat ii : Haees| Bef . ‘by. or: eS ees itt eer e-- SeeCRGO ? ., the Tete ! fourth Notes TEREST] Co ne FEET ed 01 ding to. the See Pee Son BEE EES d= ee eee a -- = ,,. But that] may. (as near as I can) leave no- “thing untouch’d: concerning this kind’ ‘of Counterpoint , let us now confider how two Thirds being taken together between the Treble 123 Of Counter pois Treble and the Ba/s,may ftand with our Rule| ' For fixes‘are not inthis cafe to be’ mentio- | ned, being diftances fo large that they can} produce.no-formality : Befides, the fixthis| - of it felf very imperfect, being cotimpoun} ‘ ded ofa third, which is an imperfect Com } cord ;:and of a fourth, which is a Difcord;| | and this the caufe is, that the fixes produce fo many fourths inthe inner parts. As for thethird, it bemg the leaft diftance of any] ' Concord, is therefore eafily to be reduced into good order. For if the Bafs and Treble do rife-together. in. thirds , then the firft Note ofthe Treble is regular with the other part, but the fecond of it is irrigular; for by rute in ftead of the rifing ‘third, it fhould fall into the eight. In like fort, if the Bafs and Treble do fall two thirds , the firtt Note of the Treble is irregular, and is tobe brought:into rule-by being put into the eighth, but the fecond Note is of ,it felf regular... Yet whether thofe thirds be re duced into eights or no," ‘you fhall by fuppos fition thereof find out the other parts, which never vary from the rule but in the fharp Bafs. , But let me explain my felf by Ex-|‘ ample. fil ling, and confequently in all the reft. K Of Counterpoint. 129 Sibjee cotetieiicts Pe HA Flee {e oo tie SSE eas Ses 2 SPSS TTE p Or ee oe es The firft two Notes of the Treb/e ate both thirds to the Baf?, but inthe fecond ftroke , the firft Note of the Treble is a third, and the fecond which was beforea third, ismadé an eight, onely to fhew how. you may find out the right parts which are to. be ufed when you take two thirds between the Treble and the Bas: For according to the former rule, if the Bafs defcends, the third then in the Treble is to pafs into the eight , and the Mean mult firtt take an eight, then a fift 5 _ and the Texor a fift, then athird 3 and thefe | are alfo the right and proper parts, if you ree turn the eight of the 7r reble into a third AgaINy as May appear in the firit example of the Bajs But <2 Naga £30 “4 onnter po fF. But let ts proceed yet further , and fup- pole that the 84/s fhall ufe a fharp, what is then to be done ? asif thus: : the firlt Note of the Bafs-had “Ht been flat, the A/eax part fhould have taken that , and fo havede- 7 fcended ‘to the fifth; but being #e-~H tharp, you take for it (according to the former obfervation) the % thirdto the Bas, and rife up into the fift. & The Tevor that fhould takea fift, and { fall ts, by degrees into a third, is here forced by rea- dY fon of the fharp Ba/s, for a fift to takea fixt, CY and fo leap downward into the thirds.- And fo much for the thirds. Laltly, in favour of young beginners let me alfo.add this, that the Bafs intends a clofe as-often as it rifetha fift, third, or fecond, and then immediately either falls a fift , or rifeth a fourth. In like mariner , ifthe Bafs falls a fourth or fecond: : land. after fallsa fift, ty ties: b Of Counterpoint. 131 fift, the Ba/s: infinuates a clofe, and in all thefe cafes the part muft hold that 3 in holding can ule the fourth or eleventh, and fo pais either inthe third or tenth. This, or thus. ‘PFhus, or thus. Sralalisd Hats spate ‘ ee st Thus, ‘or thus. Thus, ‘or thus. Stats tilstadeetiek FASS int a eS 3-44 ‘iy sie or thus. pee BO es oe we ee PR SE ney OS TE emery stats acne pehcaabe e-eshe oe een —> 315 es en EE Ok GN Sm Be39- ee b 4 et Se NN Nema ae we mente Sere se Le enn “$= oman en eR ee ETE) AEE eR ER ee PRS 9: zs = “33 SLAY § MTCC STE Sa ea REN | —b-—-+-—9 : 5 kore! 1 —— — In the examples before fet down I left but the Clofes, of purpofe that the Cords aight the better appear intheir proper pla- ey ee Ces, 132 Of Counter poi ces, but this fhort admonition will dirett any young beginner to help that want at his plea- dure. And thus t end my Treatife of (7) Counterpoint both brief and certain, fuchas will openan eafie way tothem , that without help of-a skilful. Teacher endevour to ac- quire the firft grounds of this Art. (4) Counterpoiat is the ff part and ground of Compoftion ; the fecond pat of it is figurative Mufick ar Defcant , which muxeth falt axl {low Notes togeiber , bindeth Difcords with Concords, and maketh one part to anfwer another in port or Fuge, with miny otber excellent varieties +29 the attaming of svhich, I cannot commend you toa better Auibouy > then our moft excellent Country-mi2 , Mr. Morley , iz the fecond and third part of bis Intvoduétionto Mufick. If you deftre to (ee what Foratgn Authors do write on thus (ubjed , you may (if you un- Reiland Latine) perufe the works of AthanaGus Kirkerns and Marfenus, two excellent late Authors. But firft perufe the two little Treaties follow- engin this prefent Book; the one of the Tones of Mufick , the other of paffages of Concords 5 in both which, our Author ( according to his accu= fiomed Method) doth more briefly aud wore per Spicuofly treat, than any other Author you foall aect with on the fame Jubjed. | Of Counterpoint. 133 A foort Himn, Compofed after this form of Counterpoint,to (pew how well it will become any Divine or grave Subjed. | Ogg MERE? . aa. ok — ai Lord hava mercy upon me, O ere gy prayers both — ORB te Lord have mercy upon me, O bear my prayers both : OF besletrisalt tise a} Lom A= — ee ae Loid haye metiy upon me , Ohcarmy prayers both mSieflieettieed z Lord have mercy upon me, Oheas my prayers bozh See ES te ee a ae ee $5) ee wr hn ee ee ee day and night, with tears peur’d forth ta thee. g = ace [xe =i =f=Fox Se STE PO I SOE ETS MAKE es ches KRONE RSE f SAE NP' > day andnight, with tears pourd forthto thee, k :- RI -4-4-6— 1-6 — 8 weatheeee aE FoF : Suna =e = “¢ 6 eae day and night, wi ith tears pour’d forth to thee. die tess= sess day and night, with tcars pour’d forth tothce, a ee ee ———_ a > s fake, alrer. ed from the Rulc,in the laft Nore of rhe Treble ; where the eight being a perfe@ Concord , and betrer befi:ting am out. ward pare at the Clofe, is raken for athird 3 and.in the Tenor in ftead of the fifth, that third is taken defeending ; forina middle part,imperfe&ion is not fo manifeft asin che Treble ataclofe, which js the perfe@ion of a Song, SLSLISELILLSIFLEELELIDEESEASSE Second Part. . Of Tones of Mufich, bots ee all things that belong to the making up of a Mufician, the moft neceflary have any grace or fweetnefs, unlefs it be bounded within a proper Key 5 without run- ning into {trange Keys,which have no affinity with the air-of the Song. Ihave therefore thought good in an eafie and brief difcourfe to endeyour to exprefs that which many. in large and obfeure volumes have made'fearful to the idle Reader. The firlt thing herein to be confdered js the eicht, which is equally divided into afourth, anda fift, as thus ; The 8 5 SES thea. = the je PEGS Weg es > ar aa Of Counterpoint. 435 Here you fee the fourth in the upper place, cand the fifth in the lower place; which Is cal- led: Afodus_Authentws : but’ contrary thus: The 8 27ST the 5. ago the 4. —— Oo This is called Afodys Plagali7,but howfoever the fourth inthe eight: is placed we muft have our eye onthe fift, for that only difco- vérs the Key 5 and,all the clofes pertaining properly thereunté:: This fift'is alfo divided into-two thirds.;-fometimes: the lefler third hath the upper place, and the greater third fupports it below ,. fometimes. the greater third is higher,and the lefier third refts in the lowelt-place, as for Example : Sf SS greater 3. —— the leffer 3. The loweft Note of. this. fife bears the name of the Key, asif the eight be from G; to G. the fift from G. beneath tm Dz above; G. being the loweft, Note of the fift, fhews that G.is the Key, and if one fhould: demand in what Key your Song is fet, you mit an{fwer in Gam-vt, or G folre vt, that is, inG. If the compafs of your 2oisce Song thould falloutthus; =-fr%g¢ajiums K 4 Refpect a): the leffer. 3. “ the greater 3. 336 " O Counterpo At. Refpect not the fourth below, but lookto your hit above, and the loweft Note of that fifth afiume for your K ey, which is C. then di- vide that fift into his 2 thirds,and fo you fhall find out all the clofes that belong to that Key, The main and fundamental clofe is in the Key itfelf,the fecond is in the upper Note of this fift, the third is int] loweltthird, if it bet! 5 O- xs —¢e- ~ ee SS Sa T Ee === Lod The tuftclofé is that which maintajns the aire of the Key; and may be ufed often, the {eccnd is next to be preferr'd,& the laft, laf. But ifthe Key fhould-be in G.with BAharp, then the latt clofe being. to be made in the greater or {harp third, “4s unproper; and therefore for varicty fometime the tiext Ke abave is joyried with it,which is 4. and fome- times the fourth Key, which is c. But thefe changes of Keys, muft be done with judges ment, yet have f aptly clofed in the upper Note of the lowelt third of the Key,- the Key aL st epy \fas> soe tf t-B57 V RY te DY fCirbol YT gsYTrep? eh ’ Sips pala SLIME O} Counterpoint. 137 Key beingin F. and the upper Note of the third f{tanding in 4. as you may perceive in ( this Ayre. BESS eee oa Jt esa oe Tle Sees eee Oo mE ta Se to — em ee te —w ee ee ere ww —— ee ee — OO cm, fos seieaeccerezine peice es = ane co Nees ry een oo FF et EE ee ED ee Ue pr [mei teeete toatl Ran pena EEE ST So =F ny tre ee rey = —_ — —_ —.— ot Ea rr —— a ee — — _ ~om, a ee, ee — — —— ee ee eee os led = ee eee Mi, Si re ea eee eg So eer In this Ayre the firft cloféis in the upper Note of the fift, which from F. is C. the fe- cond clofe is in the upper Note ‘of the great third. which from F. is 4, But the laft and final clofe is in the Key it it felf, whichis F. as it muft ever be, wherefo- * ever your Key fhall ftand, either in G, or C. | orf. or elfewhere, thefame rule of the fift _ 3s perpetual,being divided into thirds, which can f= : 138 Of Counterpoint: Can be but two ways, that is, either when the upper third: 1s lefs by half a Note than the lower, or when the lower third contains the half Note whith is 4@ Fa, or La Fa. If the lower third contains the half Note, it hath it either above as La Mi Fa: La Me, being the-whole Note, and 17 Fa but half fo much, that is the half Note ; or elfe when the half Note is underneath, as 44 Fa Sol: Mi Fa, 1s the half Note, and Fa Sél is the whole Note; but whether the half Note be uppermoft or lowermoft , if the lowett third of the fift be the leffer third, that Key yields familiarly three clofes; example of the half Note, f{tanding in the upper place was fhew- ed-before, now I will fet down the other. ees Beate Soe ee Er RES Wis? SE. AS Sinas Self conan amesquien 43TH) tess! ri tel I ieans _— — - ee et et ee a en et ns Be eg es ee om nes cote ees come he 0 er re Se pee Be oes wo: Dee oe 44 — —e oe es ee iin ee tee meted ——— ae — on os oe _ _ an ee — ee ee ee See on 4. we es = ee ed ees SS ee a et es et rw, — ee Cee a es Oe ter ~ But ‘for the other Keys that divide the fift, fothat it hath the lefs third above, and the greater underneath, they can challenge but two proper clofes,one in the low eft Note of the fift, which is the fundamental Key, and the other in the uppermoft Note of the lame, wherein alfo you may clofe at plea: fure. BRUNT, EOE / Wa : SSeS PeSSSieseieesisa: = \. Of Counterpoint. 139 | hire. True it is,chat the Key next above hath a great affinity: with the right Key, and may therefore, asf faid before, be ufeds as alfo the fourth: Key above the final Key, Examples:of both 22tmo beginnings of Songs. I pos seas eeeeeeae = See mee Neem Set See gees | SP EPS PEEPS / OED SY eres re a me Teen wm tae ne © te AO es oe weg ee ee eee eee et OS mee ne ee, es ene < owes oo eee es ae ey GS PS a eh, rey ety ee os em og — In the firftexample_A, ismixt- with G, and inthe fecond C. is joyned with G. as you may ; underftand by the fecond clofes of both. To make the Key known is moft:neceflary t in the beginning of a Song, and it isbeft ex- 0 preft by the often ufing of his proper fift,and q fourth, and thirds, rifing or falling. There is a Tune ordinarly ufed, or rather ( abufed, in our Churches, which is begun in | one Key and ended in another, quite contra- T i ty to Natures which errour crept in firft throu gh Of Counterpoi throughthe ignorance of fome Parifh-clerks who better underftood how to ufe the Keys|n of ae Ghurch- doors, then the es: of i een Ne sy LE Fn MAS Me mazed: a is the Tune. osuee cceerices | Specie iseesee ‘eer | If one fhould requeft me to make a Ba/s to}! the firft, half of this Ayre, I am perfwaded a thet I ought to — it in this =o SEER TEEPE Now ifthis be the right Bafs (as without |tt ‘doubt it is) what a f{trange unaireable change mutt the Key then make from F. with the}; firft third fharp to G. with B. flat. | But they have founda fhift for it,and begin |, the Tune upon the upper Note of the fift, } making the third to it flat 3 which is as abfurd |* as the other : For firft they erre in riling from jy 2 flat third into the unifon, or eight, ‘which is condemned by the beft Muficians ; next, the Of Counterpoint. 14t tl the third to the fifth » Is the third which ‘makes the cadence of the Key, and therefore | affects to be fharp by nature, as indeed the i Author of the Ayre at the firft intended it 0k fhould be. I will therefore fo fet it down in it four parts, according to the formerRule of th. Counterpoint. gaze Seeteuees te qe SE eeS Geert aie ges ere faeesitcs'= SC EH rere Ji ira Hn SSeS pr This = NESS spaces Bap cae | 142 Of Counter pors® This was the Authors meanint,)\ aad.thus st1s lawful to be Bin a Song in the fift, fo.that you maintain the Air of the Song, goynine to it-the proper parts ; but for [ach diffonant and extra- vagant erfors as I have puftlyreprebended, |beartely wifh thy ould be remedied, efpecially in divine Service, which u devoted to the great Author of all harmony, And briefly thus for the Tones, Y Peas es des FOO) PII 3 Sat h < S BS, KEEEPEEEEEEE EEE EEE EEE EES EHS | Te TkTaTtTTE “ co eA Third and laft Past. Of the taking of .all Concords ,.perfed imperfecr . all _the Jacrer Writers in Mufick, whom I havi” known the beft- and moft learned, is Zethus Calum} b (us a.German : who our of che chodcft Authorsf) . S “hath drawn into'a perfpicuous method , the right and elegant manner of taking all Concords, perfc@ and ime perfe& ; to whom 1 would refer our Muficians, buc rhat his), Book is {catce any where extant » and befides it is written. if Latin, which tanguage few or none of them underftand 51] aur therefore content tor their fakes to become a Tranflacongh, yer fo, that fomewhat I will add, and fomewhat 1, will alter, The céon(écution of perfect Concords among]. themielves is eafie; for who knows not tivo ejohts) or two fits, are not to be taken rifing or falling), together, but a fifth may either way pa(s into al eighth, or an eight into a fift, yet moft convent ently when the one of them moves by degrees, and the other by leaps; for when both skip rope €iG]"* t f | Conuter point. 143 in) the paflage is leffe pleafant ; the ways by degrees>ar hn thele, “4 I 2 5 4. 5 6 i =e Ses eee ese Se | ma Sa nop np i go = tie orto ee ae "OS 6-9 "T-S- i» ace heat The fourth way -is. onely excepted againit, where — the fift rifeth into the eieht, and in few parts it cannot j p Well be admitted, but_in Songs of many voices it is oftentimes neceffary. The paffage allo of perfe& Concords into impers — fectseither rifing or falling by degrees or leaps,is eafie, (mand fo anunifon may pa{s into a leffer third, ora uu preater thirds alfo into the leffer fixt , but feldome ulnto the ereater fixt. A fife pafleth into the greater 'lfxt, and into the leffer fixt.; as alfo into the ereater Hye leffer third; and fo you mutt judge of their eights, ighOt de oltavis idem eft jndicinm : and therefore when ‘ol ¥Ou read an unifon, or a fift, ora third, or a fixt, know altthat by the fimple Concords the Compounds are-alfo d!meant. ., » Note here that it is not good to fall with the Bafs, “being fharp in F.from an eight unto a fixt. ~ As thus: — But concerning imperfect Cords, B: ie oor becaufe they obferve not all one way ij = in their paflases, we will {peak of ~ them feverally , firft declaring what Oem geonst Hot harmonical doth fignifie , where- at of mention will be made hereafter. 1] gee cpaetiat Or oo NTS ak ? of Connterpok Or thus: Relation or reference, or féfpect nb harmonicalis 47 againtt Fa ina crofs form, and it ts in four Notes, when the] y one bei ine confidered crois with the o- |; ther, doth produce in the Mufick aly ftrange difcord; Example will yteldit]), 3 more = | s * 5 6 tapes =e ees ed $4355: 5 —— = Tis firft Note of the upper parts in £ la mi tharp , which being confidered, or referred to the*fecond Note of the lower part, ‘which is E lami, made flat by the cromatick flat fien, begets a falle fecond, which is a harth difcord; ‘and “though thefe Notes found not both together, yet in few parts they leave an offence inthe ear. The fecond example is the fame defcending, the third is from £ /aws tharp in the firft Note of the lower. part, to the fecond Note inthe upper part, it being flacby reafcn of the flat fien, and fo between them they mix in the Mufick a falfe fife ; the fame doth the fourth example , but the }iy e example yields a falfe fourth, and the fixt a falle |p ft. There are two kinds of imperfe& Concords; thirds, or fixes, and the fixes wholly participate of the nature of the thirds; for to the leffer third, which confifts but of a whole Note and half, add + Se a ta = A Of Counterpoint. 148 a fourth, ‘and you have the leffer fixt; in like man™ ., merto the greater third that confifts of two whole 4, Notes, add a fourth , and it makes up the ereatet fixt; fo that all the difference is {till in the half Note, according to that onely faving, Adiand Fa i" fant tota Mufica. OF thefe four we will now dif- courfe , proceeding in order from thelefle to the > _oreater. = Of the leffer ar rmaper feck third, at The teffer third paffeth into an unifon, firft by de- grees, when both parts meet, then by leaps afcending or deicending when one of the parts ftand ftill, bue when both the parts leap or fall together, the paflage is not allowed. pans fj AONE SERED SRR, | LEERY Sn ceNUR RMSE INE ef SSS See: =: of ST Ny The lefler 3. into che unifon, The paflages noc allowed. ly —— = ar neat inter EESAE a SNE HEARS MSRSrTee | MOISE \ Ie Gerenieemne menenenen ' = “75 “yk eae ae 1N Secondly, the leffer third paffethinto a Aft, firft in { degrees, when they are feparated by contrary moti- (d Ons; then by leaps, when the lower part rifeth’ 6y yt! degrees, and the upper part defcends by degrees ; and jf thas the lefer tenth may pa(s into a'fift. LaQlv, both parts leaping, the teffer third may pafs into fift, fo «that the upper part doth defcend by leap the diftance | Ofa lefler third. Any other way the paflace of 2 fit Lefer third into a fife, is dilallowed, M as Al- be tas we tis Se Sa = ———— ee aes 146 Of Counter point. AER EM | WE! RAT WR POAT $.—. Sate aa —-$- ree RAVE 8 Spitek ic > fests air =e : Ce i et Cert te el ry (aoe O~ ees ao 8 Allowed Difallowed. i Se ee in O-3- “> ~O-¥-4-—~=OTS-2- =9-—4 pees ae a! In the faft difallowance, which is when the upper] jj part ftands,and the lower part falls froma leffer third. }} toa fife, many have been deceived, their ears not |i ? ith finding the abfurdity of it, but as this Way isimmu-> ]/ fical, {ois the falf of the creater third inthe former |x manner, into a fift, pafting harmonious ; i infomuch | § that itis elegantly, and with much grace taken in one | u part of a fhort Ayre four times ; whereas had the F fift been half fo often taken with the leffer third 12 falling, it would hive yeildeda moft unpleafant har- | mony. fh — TET PTRR |: me ee ee BEstey eS ee ple - see : boty SEE sate Mae is | | ee +45 | — oe ee ee He we anpuabioue cues! i ee: ieuse 4: fase =e a Ft < uss if, = — areal oS bd: 0S Emme PTe e SOA DURE A f Abe Ae ih Wr "7 S7NORS Neg of Connterpoiit. 147 He that will be diligent to know, and careful co obferve the true allowances, may be bold in his com- pofition, and hall 1h ove quickly ready in his fight ,. doing that fafely and refolutely which others attempt timoroutly and uncertainly. Butnow let us proceed in the paflages of the leffer third. Thirdly, the leffer third paffeth into aneight, the lower part defcending by degrees, and the upper par by feaps ; but very fe idome when the up pe part rifeth by degrees, atid the fower part fall s by a leap. 5-— ota tt. Fourthly , the Jeffer third -§-— 6-9-8: paffeth into other Concofds, as As EY whe n it is continued , as in de- = -shitp Hang 4p Srees it may be, but notin leaps. Leese : ree Alfoit may pafs into the greater == third, both by degrees and le caps, as alfo into the leffer-fixt, if one of the parts ftand ftill, into the great fixt itfometimes paffeth, but very rarely. 3 4 i sian | i A a mabe = ¥ cS er RG HT ge pF TRY ERASE ERR ce * re +