THE LIBRARY The University of North Carolina V78I rie>8n tWu.3fC ilk. - ; -^~^<^ 0bi^&c6riwrd ////^/'- 7//?/^ . This book must not be taken from the Library building. LUNC-10M Ag 41 ' t Digitized by the Internet Archive in 2012 with funding from University of North Carolina at Chapel Hill http://archive.org/details/newmusicalgrammaOOtans New Mufical Grammar : OR, THE Harmonica! Spe&ator. CONTAINING Ail the ufetul theoretical, Psaciicaly and technical Parts of M U S I C K. Being a New and Correct INTRODUCTION T O AH the Rudiments, Terms y and Cbaraffe^ AND Compojition in all its Branches. WITH Several Scales for Muficil hftrnwcut* \ AND Philofophical DemonQrauons, o N The Nature of Sound. Laid down in fo concifc and eafy a Method, as to be underitood by the mcanen Practitioner, whether Vocal or Inflrumeutal, by Way 6t Ghiefrion and Anfi^r i Wkh variety oi Gtfj correctly engraved. ^7^IlLIAM"tANSL t R: Mufno Theonco. Author of The Umfoerfal Harmony \ &c Printed for the Author, and fold by him, and in Lcn~ den, by Jacob Robinson, Eookfeller, in Ludgatejireei* and by moft Bookfellers, in Town and Country. Price bound as. 6 L M. DCC. XL> VI. Ci ) THE PRE F A C E To all Lovers of MtficK US1CR, theiff^ofthisJD.^ * co irje, is a Science of Sound ■ or 1 an Art that Teaches how to bring ail Sounds to the Ear, whether Grave or Acute- and coniiils of three Parts, i.e. TW#*, 7-*w*, and Concord. 8 And as. this An was knov. n in the ea Times, id it ought now to have the oV/- priority of all ethers, as it is the moil curie and {libiime; whether we coniider it e::.;er in IzsTJbeGry, its Practical, or in-icsA/f ...:'.. i- P*rtt. 1 The Ibeottiick) or Afatbtmaikk-Party is the Grammar, &t Natur/zl Ground-tfork; and. grc&tly Employs the Tocught, to d otic £, ^fiw and porpcrtions ot Sounds, in ail their carious Branches. This lies very dec ii Natural- Philofotib\\ and reqiiires great Ke- ierch to untold it, before inch Sounds can be modei'd, to make Harmony compleat. Mhe Praffical-Ftrt,. is the well DifpoSng 4 of- ii The P R E F A C E. c ef Sounds, which compofe and contrive them € into fo many curious and pleafing ^^ail^cies ; * this proceeding from well taken Concords, and 1 intervening Difcoras, &c. in a regular Com- * petition. ' The Mechanic, or Jtfiye-Part, is that * which readily performs, and gives a Production f ofiuchSoxnds to the Ear and Undemanding; * cither from the fort Modulation of a natural * Face, or from the curious Dexterity oiHand, f on an Artificial Inftrttmnt* •Many Years have I laboured in this Divine *■ Science, under the Denomination of a Majler ( of Mufick, - nd have been acknowledged as 1 fuch by my Pupils ; when, alasil knew, and 'acknowledged at the fame Time, that I 1 fell a great Way ihort of it . ' Any Per/on that is qualified for fuch a * T///<;,muil not only be a Grammarian, but alfo ' a Mailer of Letters and Languages, in order to « untold what is iock'd up in the Ciofets of the ■ Learned.— He muft be an Anthmeiitim, and * able to explain Numbers, and even the Mifte- * rics— of Algebra ; and alio a Geometrician, to 1 eivnee in gr eat Variety, the Original of In- ■ tends, Conionant, and Difonani; by the Me- 4 chanical Dm/ton of a Monechord.—lle mufi * be a Port, to conform his Thoughts and JFora'j 1 to the Laws of precife Numbers ^and Diftin- ' guiih the Euphony of Vowels and Syllables, &c. c 1- He mull be a Mechanick, in order to know * the exquifite Structure of all Injlruments, ' whether Wind,ftnnged, or pulfatik. A Afcf- * .f*///L to explore or iind out the different Con- ' temperations The PREFACE, iii * temperations of Grave and Acute Toiled Met- 1 ah , for calling Bills for Chimes, &c. — He * mull be an Anatomift>\o fhew the Manner, and * Organs of the Senfe of Hearing, — An Harmo- 1 nian, to lay clown the Demonilrative Rules for 1 Compofrng 9 &c. and he rauil be fo far a Magi- ' dan, as to excite Wonder, by bringing into * Practice all the admirable Secrets of Mujtck : * Such as Sympathies, and Antipathies between 1 Concords and Difiords ; Together with the * Artifice of lubes, for the ilrengthening and 1 continuing of weak Remote Sounds , and mc- f lorating thefe that are Strong, &c — But Hop ' here, What a Field of Learning muil I pafsL ' thro' to be juftly called Mifter cfM'fick?— 1 A Title, that no one could ever juftly claim, ' yet attain to. i But let us be content, fince Go& from this c Gift of Mifick y hath enabled us to yforg his 4 Praife whilft on Earth, for our Godly Solace 1 and Comfort, bv which we may imitate the * very Angels in Heaven. * And as this yf/t is the Gt/T ^ GW, how c much ought we to endeavour to the right ' Knowledge of it ? But what (hall I do more to c promote it, then what I have done in this c fmall BOOK of Injlrufiions ? 1 As I have wrote at my own Peril 3 fo c I leave all to judge at their own Pleafure ; not * having the Vanity to think I am without * Error, nor yet fo weak, as to aflert it : neither * do I irm^ine it will efcape the Penetration of c the Critic's Eye : B.t let him that never Err y d % \cafi the Jirfi Stone, 8 \ As iv The PREFACE. c As to the Work it is Jkort> familiar, and hiftruBfae ; and contains ail the Practical and Lieinl *Ibeoretical Grounds of Mufick • which will be of general Lfe, fo long as there are any to Practice ir: in which many Stales are interred, to oblige tome particular Perfons, who greatly importuned me to publijh this ' And tho' this frnall Treaufi is intended to let thisiJ/i*/. : /d? Art in a more clear Light than it has been heretofore, and to end many Con-* trover/us that have been undetermined ; yer I know, it will not pleaie all, but if it will pleafe my Pupils t\io.x\ 1 have my End • being* well aiiur'd that none will ipi:rn againit it, but thefe who have been gtilit or inch Mi/la-kes as are within hinted at : But if what I have here- endeavour'd doth not agree with the Dictates of ioma Performs Judgment, I hope they will Pardon my Honeft well-meaning. Intentions; having through the Whole endeavour'd by Matter of Fact, to inform and JnftrucT: the Minds, rather than endeavour to pleaie the Ear, by Flowers of Rbe:or/c. i I therefore recommend this Work to all Perfons, both High and Low, Rich and Poor,. one with another ; hoping it may have a candid Reception, and be an Afftjiant even to All ; to the furtherance of Miifick, and the Glory of Gcd ; which will be a great Pleafure, and give .the greatefl Satisfaction, to their moll Harmo- nious, and humble Servant, June 24. A, D. . „ i74 6 - William Ta.nsux.j- C O N T /■ N r s. Chap, I. /~\ ^ t?ae Q&iuti, nnc ^ °i $*&*- \_J tone* arfd Cliffs. Pag. i II. O: Nc:es and mejpNameSi and ot Rcfrs, and other Characters ufed in Mufick . 15 I'll. GfTme in General, in all i:s various Meeds; and libw to beat them: and of the ' Dottviiie of Pendulums 25 VI, Ot Tuning the Voice; and of A^^J»- ~v "%P / ■**• ^ *V- "^- ^ -*ip- !**- New Mufical Grammar : OR, THE Harmonical Spe&atGr. By WILLI AM fA'NS'UR. CHAP. I. Of the GAMUT, or Sc$e of Muficki And of the Semitones con- tain d in an OBave : An J of Clifth (Scholar and Mailer.) Scholar. \ S MUSIC K is eitcemM Si jf\ this our Age, as well as in all -others palt, as a tfiv/ff; and miflerimts ART or Sci:?ice y I would gladly become a Froficitnt therein, never defiring a better Tr/iar than you alone ; would you but take upon ycurielr lo great a Trouble. Majter. I aril well pleafbd with your Choice, by Reafo.i, it is the very Marrow of all othec Scic?xts whstfrever, when Dhhiely applied ; z A New Mufical Grammar^ &c. and the very bell Method 'in fpending of vacant H' ( urs on this Side the Grave : By which we imitate a Heaven en Earth, and have a true Re- lifh of thofe harmonious Sonets that are per- form'd by Angels : Therefore, as you chuferne as a tutor in that delightful A rt, I fhail affilt you all 1 am able, to make you a good Profi- eienty and lead you regularly on, thro' the whole Science of Muftck, the eafiefl way lean invent. Scholar. Sir, J thank you moft heartily, and am ready to begin dirctfly -, and dejire you'll tell vie the very fir ft Ru'e. Majhr. The fitfl is the Gamut, or S r ale of Mujick % a Table or Lcffon lo called, which teacheth you the firft Rudiments of Song, when perfectly learnt and underftood ; and without which you never can attain either its theory or P raff ice. Scholar. Who firjl invented this Scale, and r jchy is it called Gamut ? Mafter. As to its firft Inventor^ it is hard to prove, it being attributed to feveral Grecians in pafl Ages ; all of which vary as to For?n and Method' But, the prefent Scale, is faid to be in- vented about 700 Years ago, by Guido Aretinus^ a Monk of tufcany, who added more Lines to it, to make 5 ; and plac'd this Greek Letter F Gamma, or G, at the Root of the Scale ; which (hew'd that he had it from the Greeks, and to perpetuate his Memory it be- gun with xhtfrji Letter of his Name, fhewing thereby that he was th* Improver oi it ,• The Scale is as follows : The Of the Gamut, &c. The Gamut, or Scab of MufivL G—foImrt in air, F~-faitt E—la T)—la- r L C-felfa Jb—Jabemi A — lamire ^ G—folreut— (K E — lami — ii-fa/bln Q—folfaut- B — fab e mi A — lamire G—foIreat V—faitt — rV Cliff- 'fa' %~-lam ^ la D—folre. C—faut B — ?;;/— A — re Gamut Scholar, What is the End^ and Q0C& cf u Scale of Mufick ? Majler. By the Gamut \ or Scale c we diftinguifh ail Sounds or Tones, Grave or Acute ; for which Reafon it mult perfectly be learnt by Heart. Scholar. In what Method mt ft I proceed ; inufv thofc hard Names always be it fed lefhe the Sri- whether talks, ns foL la mi, &c, A3 Afij&r; 4 A ?\czv Mu/kal Grarfifnar^ Sec. Mq/rcr. T.hofe Names or Words which you i -ill bard, are very eafy to what they were in the old Greek Scales ; for then, they were ten times harder, and more perplexing : and as thefe now ufed, appear fomewhat difficult to learn by heart, it will be more ufeful to re- duce them into JJ: crier Terms, according to the 7 Letters of the Alphabet ? as G~-fo/ f A— la, £ — mi, &c. which Abrevi attons arciii&deiit for the.underiranding of any Lejfon of Mnftck whatsoever ;by reaicp, thole difficult Terms are only fet to mow % jk\t Antiquity ', and not to cxpreis the fc versa Degrees of Sound. * Scholar. Mttft the whole Scale be learnt alto- gether, or in Parts ? Mafter. To learn the Scale altogether, is too ted ious, L:rd y and perplexing for any young Beginner ; One of the three Parts being foffi- cientaty'r/?, before you proceed to the other two : Beginning at the lowert Letter G, and fo amending toG above, and then down to G . again ; imitating a Ring of 8 Bells, both for- ward and backward in a regular Di atonic k~ Or- der, as follows ; The *■> ! fc$*m «r- 5 k * io ' v. | M 1 r «t -4 « xb rrfcU 'J. 1*3 a a i& H 3 * rut CO- Ps. +$ Hi Xl — L_, -1 i! tf-H-jo • Jingnre.*-g -T&>ynj£ gg|g y f ?j On the Gamut, &c. 7 . Obfcrve alfo, that, fjpml Note foe\r you pUafe to nam:^ \A>i Eighth to that is juft the fame, j And alio that, {Abcrje mi, twice fir. g fa, fol, la :1 Below mi. twice jing k, fol, fa. -r And then ?#/ comes in again. Scholar. Why have we in the Scale of Mufick, p&icefol, twice ta, and twice la y and but once mi ? Ma/fer. By reafon ;^i is the Mj/hr-Nct?, snd guides all- the other Notes y both abo^c and below it ; and when the mi is tranfpos'd, all other A 7 ^ are tranfposM with it ; ftill lying in their Natural-Order according to the Diato- nick-Scale^ &c. Scholar. Why hath C three different Terms in the old Scale of Mufick,- as C-faut, C-fol~ taut, ami C-fblfa, &c, ? Mijhr. I fuppofe, fuch Differences are only fet to diitinguifh the three leveral Syfitnis or Parts of the Scale ; as Bafs, Tenor y and tre- ble ; all being in efteeh as one and the fame, and Octaves or Eighths to ench other. Scholar. Why is the Scale of Mufick dijiui- guijbed two ways ; that u\ by Way of Letters, a?id by way of Sal- fa ? Mifter. Every Comprftrion of Mufick is tin-- deritood from the Letters, if it be ever ib art- fully dkguis'd by Iran^o/iiion ; which Letters are moitiy nfed for vflmntcxtal Pertormancc : neverthelefs, tho* the 6yllnb':es, (dl, la, mt y f&\ &c. are appropriated to. Vocal- Ada// ck, yee. I think it not amifs for young Beginners to mil A 4 theit 8 A 'New Mttfical 'Grammar, &c. their Notes as well by one, as by the other ; k being moil inftructive to the Art of Majick. Scholar. Alth? 1 have now learnt the Gamut, perfectly ly heart, and can fay it very readily , pray tell we, what ttfe will it be to me } in learning a Piece of Mufick ? Mafiet. O grand Stupidity ! would you learn a Table, and not know the tije of it ? the getting it by heart a vails nothing, unlefs you remember the Ltnes and Spaces, and call them by the Nettms given in the Scale : which Sounds (or Notes) mult be call'd by fuch Names as are given to that Line or Space ; always obferving, that every eighth Note (together with its Degree of Sound) bears the fame Name as it was before, as 1 before hinted. Scholar. Suppofe I Jhould meet with more Lines than 5 , how mnfi they be called ? Mafter. Such Lines are called Supernnmery, or Ledger-Lines; all above G in the £re£/e are called Notes in Alt; and all Notes below Gamut in the J5^/}, are called Doubles ; as, Alamire in alt. Double- Elamiy &c. Scholar, vfre *// Sounds regular one from ano- ther, afcending and defcendiug ? Mafnr. No, when you afcend, or defend from mi to fa, or from As to ja y you are to rife, or fall but half a tone, all the reft in the Octave be : ng whole-Tones ; fuppofe a whole-T&ne be an Inch, the femi or half-Tone is but halt an Inch ; which is a Mathematical Demonjivation, ac- cording to the following Scak 1 4%€ of Semi-Tones, The Practical^ Scale of Mufick, Diatonick and Semitomck. ■(o\ G natural -FJbarp, or Gftal F fa i-F natural E — la — ' — -E natural j IDjbarp, or EJIat D ~ fol — ' — - D natural — o C ia — ; — C natural -B natural—— -kfharp, or Bfat -A natural ■ B nil— — -fol- 1 -. -Gjharp, or Kfiat -G natural ■ Scholar. By this Table or Scale, I nearly un- derfiand the Regular-Order of the Tones ; But pray what is meant by the Words Diatonick, and Semitonick ? Mafter. The Word Diatonick, is, an Epi- thet, or Name given to the Scab of Mu/tck, when it moves by Tones, and Semitones, as the plain and natural Scale of Mitfick. The Word Semi, fignifies the iMftjf, or when azvlde lone is divided into two Parts ; which Natural Notes are either raifed or failed half a Tone from their Nitural-Orrftr, by adding a Flat or a 6top before tne Note: And as this jbffc takes 1 2 Semitones to compleat the Octave, it is cali'd the S?mttonick r or Chromatic k Scale ; which be- ing ufed to the Diatonick, enables us to exprefs- all the practical Degrees of Harmcr.y. (See the Plate,, Page 6-) Aa § » Of i o A New Mufical Grammar, &c § 2 Of Cliffs. fecl.ohr. CljlfHA? is a Cliff, *//./ fa At into, &c. which openeth to us the the Names of every 7o#tf in Mufick> &c Scholar, i^cc jttf##j,' Cliffs #r£ #0«? fj/Srf /# Muiick ? JMafter. If you look back into the Scale d Mu- Jtck y you'll rind f&m in Number, all of different Forms, each being appropriated to the three Yeveral Sjjfems, or Farts thereof; and are called the F-Q?£ zhzC-Clif, and the G-C/ff'. Scholar What is the Form, and Ufc of the F < W? • Mafter. The F-CUjf is generally let on the fe- ctnia Line from the lop, and proper for the i?tf;'}, and gives to its Place the Name F, and v.hcn/?///^, is-cajftljfa-; all other ?Wi lying in RtguJar- Order both above and below it 3 and thus made : Oj Scholar, 7F£rt* m frfo Ufe, ^rf Form 0/" ^feg 4/rf. The Of Cliff's J, A ' Mafter. The C-Cliff' is moveable, and may be let on soy one ot the 5 Lines, and gives to its Place the A*/;?? C, aodwhen fiingcaWdfai guiding all other Ib»« in Re? Jar-Grfer both l/wVL and below it, and thus made : H This Cliffy in the ancient MifaK wa $ moftly nfed to the Tenor, bu: now moiily applied to Quinter, or Inner-Part%. when above Three. Scholar. #Oy ss#$ f£? C-Clirl j[3 #?#££ u r ei formerly 3 and [jo little: in tifenciv? Mafrer. By reafon it was moveable and un- certain, and difficult for every Practitioner * by being fet on any Line the Compofer pleaied, to keep his Nates in th&CampaJs oi jive Lines ; for in thole Days they changed the Cliff] to change the Key ; &u£ owr A-^j are regulated - by (hitting the Mi (or Mafter-Note) by. the help ot Fl&ts, or Sharps , and thestifore we have no neceffity to change the C///f" ; but rather wife the G-Gliff tor the Tenor, oy reafon it y, of more certainty to the Performer ,- for in tho'e Times. I imagine, that /bifimgthe Ml by Sharps was not invented, neither was my lranjv r fit.on by them. Co nicely understood as it is at this pre'ent time. Scholar. \Vk:it is the Ufe, and Form of the G-Clift ?. Mijfer. The G C-fjf is uCau ly fet. on id Line from the Bottom, ana new moitly. u'ed to the Treble, or 'TWr j lor may. he vStd to any Upper- Part whuievet) a;td gives to i:s Plate meJfam G, and whenJ^/Mrg, ca.ed^o/; and gul; I z A Ne<® MujicaJ Grammar^ Sec guideth alii other Notes in Regular-Order^ botb *t>ove and below it ; and thus made : (u See the Clip's in the Scale. Page 3. 3T Scholar. Cannot a Tune be as well prick'd doivn witbotft a Cliff, as with ? Mafrer. No, by no means at all, for if there was no Clff] you could neither diitinguifh one Part from another, nor give a Name to any Note : Bat, put at the beginning, a proptr &ff y an ^ taac ® ! ff w ^ gi y e a Afatt* to that L*« whereon it iiands ; and then you> with, cafe-,, may find a Name for all other Notes- both above and below it. — — . To prick down Miifiik wit'oout a Clff\ is a thing too much practieu in, our Kingdom at this time, to the great Run. ind Contulion of many a good Com* pofiiion M ly m ny onceiteJ Coxcombs, who lead ot he si. the dark, being blindfold them- ftJvcs with Conceit and Ignorance ; and fcom to be contradicted £om their o>vn Way. Thus, they lead.others int) Error, and infiead of ' *m. 13 Alphabet; and -ealied &&y Lifter a Q-ff, thus : c, CO E D C B- A G 2f E. That in y tnofe Days 1 hey ufed but four Lines. Bur this being too perplexing, as well as cum- berfome r they afterwards ufcd only 3 Signa- tures inltead of 3 Letters to exprefs the JSatzt- ral 'Tone of the 3 Cuff* as are now ufcd. Mr. Kelper took great Pains, to ihew that the Signatures of the 3 Cliffs were nothing but Corruptions of the Letters they represented ; ar.d that they made the- Practice of Mufitk much -more difficult and perplexing :• whereby Mr. Salmon propofed to reduce all Parts of M:ifick\o one O ff\ But this was look'd or*, by fomci as mearly whimfical ;. and tho 5 1 may be counted lingular, I cannot 1 mi: giving my Opinion Concerning our preent Ciffs> knowing how in onveaient it is to every P'ra&itioner to be daily pcrplex'd with the moving ot them, Sometimes on one Line t and then again* on anc~ thcr j not only fo, but I think it would be m^ c eaiie to ever Pra&icioner, did our C^jfi-repfle- fent fuch Letters as they are afligned for ; whkfc I would have thus : For the Gdff G>- — ro Cliff \ccff if? Off Cf: FJ: By 14 /£, the Letter it: there appears to our VJCw, ttrjt, the /,fif/err itfeli'; tsv\iSfetond!y y an Abrcvation or the natural ^c- cai Syilabll \ which together, gives a clearer idea to i he- PerfvrmUr ; and all Mufick. would lie iu a far clearer Light, if fuch Cliff's were dflign'd .alwaj s to one hx J d Line ; tor every ,1jVj6 j of C/^i Hill caufes a new Thought, and coo many Thoughts clog the Memory. — From vi hat has been laid, it appears, Thar 7'be Gamut-Scale nittfl well be kamt by heart, Both Line, and Space, and Cliff of ev'ry Part: tfo Time aright y tnttfi be your chufcji Care, . Mi La, and la ta, natural Half- Tones are* CHAP, Of Notes, &c* 1 5 ■^a. -WIV. ^W» -«V* -^ •«»,•. 'VV- -VW. <^V* 'VV. *VV» ■* ^ Ai -%'i-. xrx -xtx ;xxx -Xt> ^ta :xjix 2Sg *£, pqpc ££\ ^ PQPQ •^; / -ir- H^ •*< "V* ^p* •*■ ^ *<*• -nf- ***• ***• 'V- *^r- CHAP. II. Notes, tf/;J ffe/Vr Names j mid Refts ; jW of other Characters p.Jed m Mufick, &c. Scholar. Q 1 R , you havings in the former Chap- {3 ter ? £ tT€n n;e a t' rU€ Light to i he Under jlanding of the Gamut, and jkeixcd we there- in the federal Degrees cf Sound : and aljo the Ufa of Cliffs :■ I now defire year farther /J ffi fi- ance ; bow long, or how port Spaces of Time fetch Sounds are to be held ?. Alafier, The Continuance of Sound is exprefs'd by fevcral Characters callM Notes ; e°ch having a different isame and Shape. A C (fat ten or leaving off of founding, is exprefs'd by various Characters caL'd Refis, or Notes of Silence ; which Marks import, that you muil refl\ or ceafe rrom ringing, or playing, jult as long ss you are founding any of the refpeeuve NoUs % &c. when thefe Characters are perie&ly under- flcod, then you will be able to knew, what is call'd June and Me a fare. Scrv lar. Tou feetn to hint, that Notes and their. Refts, are hut a late Invention ; Pray tell me 1 6 A New Miffical Gmtnm.\r, Sec. me who invented them, and when ; and how each- Note and Reft if- made, and what length of Time each Note contains ? Mafier. Before the Ktff 1330, the fever al Degrees of 6"o//»rf were all cxprefs'd of ?n equal Length of time; when Johannes- de M.i- ns Dr. •/ Ptfm, invented diflcrcne Figures,, called iWw and ##&, and gave them the fol- lowing Names: 1. The Semibreve, is is Form like the Letter O, and founded fo long as you may tell 1, 2, 3,4, by the fulfts of the Pendulum of a large Hotsfc Cock ; and is call'd the Meafnre-Note, be- eanfe it mcafu> eth all the other ; and its Refl r denotes to keep fiiena the fame fpaceoi Time, 2. The Minim, is but half the length of ft Semibreve, having a Taii to it. 3. The Gretchet, is but half the length of 4 Minim, having a black Head. 4. The Jgjtaver, is but half the length of * Crotchet, having the Tail turned up like ai 5 . The Semiquaver, is but half the length of a Jghiaver, having its Tail turned up with a double Stroke. „ 6. The Dcmifemiquaver, is but the half ot a jQjtaver, having its Tail tum'd up with a ttible Stroke. Thefe/x iVbto, and their £^j belonging,. are now generally nfed ; but the better to ex- plain each Note, Ktjt, and proportion of !f/w Q&Q* T IIJJL $mm Table ofCaxt&fevs . - P A fLcut A Sharp A. Slur - A Toint ADi-rector-W* A DivicUr- j — 'JiKepecvt A. Bar — *# A Shake tV m JLClo/e— "&■ Of Notes WChar afters 1 9 By this Scale, you Tee, that one Semibreve contains two Minims , two Minims contain four Crotchets v *°ur Crotchets _ contain eight Quavers - T eight Jjfaffiotrs contain fixteen 6W- quavers ; and iixteen Semiquavers contain thirty- two Demiftmiqtiavers So that in a Mathema- tical Senfc, if the Semibreve be ©ne Bar of Time, the Mffiffl is one 2d ;. the Crotchet one 4th ; thejgtorfr one 8th ; the Semiquaver one i<5th; and the Demiftn: quaver one 3 2d. &c. Scholar. Were no more Notes ufid formerly than thofi fix Sorts before-mentioned ? Mafter. Yes, when Notes were firft invented,, they iifed three other fcrts of A^x, i.e.. a Jt/we, a Zc#£, and a Ztfrg?. 1. The Breve, was a large fquare Note, and as long as two Semibreves ; and its Reft was drawn by a bioad Stroke over a whole-Space,, from Line to Line. 2. The Long, was a large fquare Note, as long as two Breves, with a Tail on one Side ; and its Reft wis drawn a-crofs two Spaces. 3. A Large, was a larger fquare Note, with a Tail on each Side of it, and was as long as two Longs ; and its Reft was as two Longs Refts, &c Brt as thefe Notes are feldom ufed but in .old Mftck, 1 fhall omit a Scab ; the £**£* beinq too long for a ay Voice or Inftnment, cx- cept'thc Or^i» : So that the Semibreve, which is now our hmgeft Note, was formerly their § 2 0/ to Al^ewyiuflcal Grammar^ Stc* §2. Of oilier Ckawflcrsukd In blftfich Scholar. /^%N Page vj.yon gave me a View of KJ 12 different .Characters vfed m Mufiek ; hut tf jcu don't Jlew their Ufe, as wdl as their Shape, / am (till in the dark. Alafter. I mult confeib your Demands are much to the Pui pofe, for to know a Character,. and not knew how ro t/fi it, is of little cr no- Service; therefore I fhalJ difcourfe oi them fe- parately, as they Hand on. the Plate before- mention'd, Page 17. A Flat (or rather a Feint} is ufed to (Ink any Note it is fet before, half a forte lower. Sup- pose a Kote fhou.ld rife a whole-Tone, and I place a Flat before it, it mud then rife but half a Tone; rhe fame as (rem mi to /•?, .or irom //i to fa. &c. In like manner, all Flats ""that are placed at the beginning of the /ftai •Z///«, ferve to /** or/fe* all fuch A^rr j as fhail fall on that Line or Space thro' ihe whole Stan- za or Lines, except any Note be contradicted by an accidental Natural, or Sharp. Flats are aToufed to regulate the w/' in Iranfpofetion r'of Kef Si A Sfozrp, is contrary in nature to a FAtf, and istifed to rare or parpen any Note it is let be- fore half a Ti ne higher. Suppcfe a Note fnould fall a whole-Tone, and I place a Sharp &?f6re it, then it muft fall but far£* Tom : the fame as from m to fa, or from jf* to la. &c. Ob- ferve that all Sharps that are fixed atv the be- ginning; Of Ch araclers, etV. 2 1 ginning of the five Lines, ferve to parpen or taift all fuch iVfrfrj that happen on that Line or Space thro' the Strain or Stanza ; which Sharps (as well as Flats) ferve to regulate the tones to the Diatomck-Grdcr, when the Key is tranipos'd, &c. A «S7//r, or J5ot», is drawn under, or ever the Reads of any Number of Notes^ when they are fang but to p#£ Sy//<*Z /^. Oftentimes y^u'ri mere with A 7 ;^ tied together with Strokes drawn thro' the fails, which are done for more eafe to the Sight. If they have (ingle Strokes, they are jghiavers - 3 if double Strokes, they arc Semi- quavers ; and if trible Strokes, they are Demi' femi-qaavctSj &c. A Part, or Point of Addition, is a little JDiaf, always placed on the right fide of any 2\fr*c', to denote that it mini be held half as long again as it was before, When this Point is added to a Semib'reve, it muft then be held as long as 3 Minim? ; Co or Crotchets, Jghtavers, &c. N- B. That fometimes you will meet with a Point at the beginning of a Ba-r, which belongs to the lail Note in the foregoing iter, which jy^fcs are called Syncopation , or Driving N-Jes. A Director, is always placed after the £?/? iVbft of any Stanza or £/*e of M.i/ick s at the that the Sight may not be pcrplex'd with a multitude of Lines together \ which Character fl o.vs, what Parts belong to one another, and move together, and which do not, &c. A Repeat, denotes 2 Repetition, or that luck n Strain oi the Competition mull be repeated over again from the Note this Character is fet over, under, or after. Either of thefe terms flgnify the fame, viz. Repetatur,RepIica, Replicato, Re- prefa, Reditta, Riditta, Encore. (Ital.) 2V. B. This Character is likewife ufed in Cannons, in order to direct the Performer that the following Parts or Fuges are to fall in at fuch Notes it is placed over, &c. A Bar y is a ftreight Stroke drawn perpendi- cular athwart the five Lines, and divides the time of the Compofition according to the Mea- fure-Note of the Movement, A double Bar is ufed to divide the feveral Strains of Miifick : and if it be dotted on each fide thus :||: it then denotes a Repetition or, that fuch a Part 9 or Strain is to be repeated. It alio fignifies a Paufe or to 2?f/} fo long a T»#£ ns the Meafure-Note contains. Thefe Bars are moilly uled in Church-Mufick, in order to give time between the Lines, that the C wgregation may not beconfusdby too quick a Movement, that Of Characters, feV. 23 that the whole Church may flop together be- tween the feveral Lines of the Pialms, &c A Natural, is ufually fet before £ny f&te, in the middle of a Compofit'ron, that was made ei- thctjtat or lharp on that Line or Space, at the beginning of the five Lines; in order to take away that /to or Jharp Quality occalloned to luch NUs by the Flats tt Sharps fo placed • canting fuch ffijtes to be lung or play r d m their Natural primitive Sound. Hence it is to he noted, that every Letter in the Scale of M'Jick hath three feveral Terms or Denomination*, according to the Sound given, i. e. Natural, Flat, and Sharp; the Natural being a Medium between the other two Extreams. See the Plates, Pages 6 and 7, A Shake, or Trilhe, is the principle Grace ufed in Mufick, and fo ornamental to a Compo- sition, when ufed in proper Places, that it is the very Life and Spirit of Harmony; fo that nothing elfe is e> peeled after it, when it is well performed, ending right, and hi a regular Key. This is, to (hake, tremble, or wrable your Voice, or hiftfument on fuch Notes h is fet over, very quick and diftin&ly, the diftance of a whole tone, as mi la, mi la, mi la, Sec. Firft learn to do it flow, and then quicker, and with a little Practice you will get it to Perfection. It may be ufed on all defcending prick'd Notes, on all defcending lharp 9 d Notes (if they are not too fhort) and on alfo on all deicending Semi- tones, and always on the Note before a Clofe. A Clfc 24 A N.^ Mufcal Grammar^ &c. A Ckfe 3 or ConcJtifion % is three, four, five, or more Bars drawn acrofs the five Lines y after the loft Note of a Piece of Mujick, in a conical Forrr^ each dimimfoing in length, 'tili k ends in a Point towards the left : which fianifics a Conclnfion of the Competition, or a cloiuig up of all Parts in the principle Key, &c. The whole in Verfe. The SemiWe, oui Tvleafure-Note m call, Good Reafon why, for it inciudetb all The lejfer Notes ; as I before have told, Or. PagefeveHteen, you may the fame heboid. A Flat, or Feint, dvth frefs a Note down lozv'r, J uft half a Tone, to what it was before : And what iff? if Tune fboald then require, A Natural will raife't a half Tone higher. Jf Natural-Notes/?^ be too flat and dull, A Sharp will raife pur Notes more high, and full By half a Tone, than id; at thy were before ; J Which if too high, a Natural will bring lowV, J And reftify both Flat, *W Sharp, in f core: ^ A Slur, <&*£ ***//? Notes together join ; A Point, & addeth half as much more Time : A Repeat, r^/^ Parts to move again, And Double -Bars, they do divide each Strain. A Sins-le-Bar, it doth' divide the Time ; JndaJyxe&, guides to the following Line: A Reft craves Silence, be it floor t or long ; 7 hi Trill, or Shake, doth ornament the Song- As the Divider keep the Score in Bounds, ■Btrnfi the Clofe includes the larefl Sounds. H hi D Of Time 25 C H A P. III. Of Time in general and alt its Moods : and hozv to beat any of them. hl»pt. -yHlS Part of Mujick is calied Time, and is as re- JL celTary to be underf'tocd as Tune 3 b . rcafon, no one can ei-ner ling or Play wi;hou: the true Notion of ic, neither in Concert, nor alone, to give any deligh: to a mu- fici! Ear ; ("or by this, every Note is truly regula-ed, lb a? to be neither too quick, nor toe/low ; but ad Parts :o move in a true Decorum. Scholar. Sir, Pleafe to tell me, haw many Sorts sf Time there are ? Mafier, Of TW, there are T&o Sorts, or Meafure s> viz. Binary -Meafure ; and Trenary- Meafure : i.e. Common-Time ; and TriplaTime. Scholar. W 7 ^? iV w^^n? £y r&g ffftnJ Binary, w^ // iV/i £ ailed, and hove is that Meafure underfeed I Mafier. It is called Binary- Mea fare (otherwise Common- Time) from its Rife being ftjswi co ' : * &*# ; • e - ot the Hand, or Foo:, in beating Time ; which regular Motions are called Time and Meafure: Being a juit Rep'efentation of the regular Motion* of a Pendulum; 4 or which Pulfes is the length ot a Ssmibreve ; 1 the length of a Minim ; and 1 the leng-h of a Crotchet ; (a Quaver being ieckon*d in Time as the Puife or Beat ot a common Watch) fo that 1 Pulfe of a Clock-Pendu- lum is the 7i'tftf of z Quavers, 4 Semiquavers, or 8 Dsmife- tniqitaverS) &c. §1 Of Common-Time. Scholar. How ;V Time and Meafure regulated by the Mo- tion cf the Hand, or Foot \ Mafier, It is firft to be noted, That Common Time, is ues* fired by even Numbers, a* i,z, 4, 3, i6 ; See. when one B*r includes 'uch a Quan'iry of Notes 2s amount to one Senti- ireve; which is sailed the Meafure-Notc, the Time Nott > or a Whole-Time. And as the Semibreve is held fo long as you may leafureJy tell 1, 2, 3, 4, you muft keep your Hand or Foot down while you tell in. thought i, z : an J up while you dy 3, 4; you 2 6 A TXew Mimical Grammar p , &c* you having wee do%n % and once up in every Bar; But in doing this, yourTboughts muff guide cbc MttUn % and nor the Mo- tion drive ihe Thoughts into Hurry and Confufion : This be- ing the rnoii curious Branch of Mufick, &c. If your Mufick confids of two Minims in a Bar t then, yw found one whilft you tell i, i 3 down; and Che other wfule you fay 3, 4, tfp. If /c*r Crotchets in a fl<*r, then I ^ww, and 1 up. If e/'g&f Q^avert in a Bar, then you beat 4 <2oB>n, and 4 up, &c. each Brfr containing nra Bf^fx, and each Bf many Moods art there in Common-Time ? Wft€f. There are Three, viz. iff. The Adagio AW; id. The Largo Mood ; and 3d. The Allegro M.od lit. Tne Adagio Mood, denoes a very /^ j£#» Movement, and is marked thus : \^ # id. Tr.e Largo Mood, is half at quick A* a^ain a» the Adagio Mood t maik'd thus : \l* t 3d. The Allegro-Mood, is half as the Largo Af^, and as quick Aiagio - Mood, and is thus So that a Minium in Alhgr^U but a Crotchet in the 44g^ Sometimes, in this Mud, you have but two Crotchets in a B^rmaikedthus; ^ being perform'd at 2 diminifhed Atf- nims: which, I think, are the mofi proper Mtes for this Moo.i, by reafon it is as quck again as Adagio, and ought to confift of Crotchets in their primitive length, and not of blinim; half diminifhed- &c But the better to explain what I have faid, I will fet you an Example of Notes, with Figures over them, directing how- to count 'the Tint; and iMItrt, (a for up, and <* for down,y how to fa* it) b« ; ng .-,,, A Tabic as quick sgain J^ c again as the Jj us rxarked : [ * Of Ti^i A Ta L le cf Cojumon-TiULe 7a ,;; ds* I. J dp^Q'io Ule&cL : 7 ei~ySlo iv . ^f^ ^^ S ^Xam 77?..-// ; A lit*/* & =K.z*i z r/-£ 7 3 . Alleg-ro ~ltl:cd: 7- try SLuzck . 1,-2.. I , .Z.I. 2.. 1,2.. I y 2-. 1,2-, 1,4. . ^W e 0-0- 3 (L,tcd .u. d,u.d,u- d>'U .d.it^du,- $t fe tf^^i ±: f/S*i*r Of Time *9 § 2 Of Tripla-Time. Scholar. S'r, As you have given me a dear Dtfcription of what you call Binary- Meafure, or Common- Time, both in Wards and exemplary Notes ; / now deji-e, yrill relate to me the Nature of Trenary-Mcafme, and why it is fi called ? Mafitr. Trtnary- Meafure, Tripla-Meajure, or Tripla-Time, i» fo called, from its Fall being double to its Rife ', i. e. heating as many more down ag up. Scholar. In what Humbert does Common. Time covfift, how is the Movement regulated, and how is it beat ? Ma/Ier. Tripla-Time-, moves by Threes ; as 3 Minims, 3 Crotchets or 3 Quavers in a Bar, to be juft as bag flgWii o «H H — t* t-» ,_ N °* ^> °*t»J 0\ ** O fr» 3 5 s-f *2 1 2 5 < 5 2 8-» 3 $ * 5. 3 5 pa S <3 *-> 0- W 3 — . Q- 3 g.5 0.5* g> 3 r - 0- - S_ = 3 „. a. 3 3 — . 3- 3 c 5 s I-* A> XI ft» JVM w ^ *» IM * ^» * CN 6» o» » •?»- -5 t 30 -1 r* -5 W -3 a- "1 • -1 -5 W "3 M Ey this 7^/V you Tee the Moid, or Mark, for every Degree of Time, and alfo how to bar, and beat any of them ; which 7W& will be of general Ufe :o every Practitioner. - ■ - - - " " " "" ' Scholar, 30 A NewMu/zcal Grammar &c. Scholar. Why are Trip! a -Time Moods mark'd with twt Figures m the beginnirg of the five Line?, and the under Fi- gures always i, 4, 8, &c ? Mafter. h is to be noted, that all Sort: or Time are de- ducted from Common-Time y for wh'ch Reaf'on the lower Figures have rccourfe thereunto, in order to denote what kind of tfotes the Triples doth confitt of. Ex.gr. fuppofc the Mood I be maiked th.s : --j then the z, underneath imports thac \ the Triple rru r ; conllll of Minim: : and as z Minims make one ' hn in Common Time, the 3 over the 2., directs that you mufl (ing 3 Minims (in Tipls-Time) to 1 in Common Time : So the 4 ha;h regard co Qachets, and the 8 to Quavers, c\'c. Scholar. 5;V, //* 70* nws/iJ explain each of the nine Moods before-mentioned fcparate, you, will then jet the -whole in a far clearer Ugh-. M'.fler. That will be almoft Tautology 1 neverthelefV, to gratiiy your Curioficy, nothing Pnall be concealed relating to this Science, rhar 1 am able to impart, euher to you, or any other of my Fellow-Crea-ures; which, I know, is as bad as Gravel to the Teeth of fuch as teach Mufick, and keep their Pupils in the Dark, for their own private Gain. 1. The/'-/?, and oenerally thc/IoweS Mood InT ipla-Tlme^ i? Se foul alt era Pmporrion^ being a Triple-Meafure of 5 Notes to z, fuch like tfjtes in Common-Time ; and performed in the far^e Time; whic"; is half as quick again, or one-third quicker than Common-Time , in every Bar : Two to be per- formed down y and one »&, mark'd thus ;**- 2 This Mood is moftly ufed in Church and other grave Mufick, 2nd generally performed flower than the Rule, by reafon of the folemniry of the Wtrds, to which fuch M//?,- mark'd thus: - - 4 ^O* This Mbft/ of T/7/J?, has been to many a gieat Stumbling- Block, by having a /i^i 7Vr//z, almoil by every Author ; either trom Ignorance, or from not being willing to impart to others what they knew themfelves ; or from their not caring to appear in print to be count- ed finfuilar. Suppofe, according to their form, it be call'd Three to Four y then it imports one fourth jlmier than Common-Time , becaufe I mult per- form but three Crotchets in Tripla-T^me, in the Time of Jour in Common-Tune. But if I fay Three from Four, then I amove fourth quicker than Common Time ; by reafoa I have but 3 Crotchets in a ifor, and in Cirri- mon-Tunc there are 4. This is my real Opinion concerning this Mco.i, tho* I have formerly been milled by adhering to the falfc c ierm berbre- mentioned ; knowing that when the Greater Number is over the kfsy then the length of the Notes are lefien- ed in Proportion to the lower Fifure : Th. t B the ; 2 A New Mu/tcat Grammar , &c. the /, mark'd 6 3 thus: — , being as quick again as - g -: the Fi- gure of 3 being changed to a Figure of 6. 5 . The fecond fort of Sextuple is Biuary-Tripla, •aiKi caii'd S/'.v 'to £/gitf j each Bar containing fix Quavers, 3 down, and 3 f//> ; marked thus: -, being as quick again as — . d.The Of Time. ?3 6 The next Species is a Compound-Triple in frtnaryMeafure^ call'd iV77/e fo F, mark- ed thus: -« bein^ halt as quick a^ainas • — ■ 7. The fecond fort of Compound-Triple, in Trenary-Meafure, is call'd A7/^ r m o/- 'Triplci-TtTtvz ■■ ^^ i ■ - Of Time. 37 Obferve, That both in Common-Time, and alfo in Iripla-Time, that your Hand or Foer. be down at the firft Note in every Bar; and that all odd Notes before a Bar be per- form'd with the Hand or Foot up : Alio, that Reft s muft be confider'd, and beat, as if they were Notes, &c. Sometimes, you'll meet with a Double-Bar, drawn between two Notes, when the Time is not perfect on either Side of it ; both Notes making but one Bar of lime ; but this moltly happens in Church-Mufick, to divide the Lines of the Verfe, dec. A Bar of Time being given between them. Obferve alfo, that you often meet with 3 Quavers join*d with a 3 over them, or perhaps over the firfl three ; which three are to be per- form'd in the lime of one Crotchet. Scholar. Were there no more Moods formerly tifed than ihofe I before mentioned ? Matter. If we look back into the old Mafick* we fh'all find Moods innumerable ; nay, I may without Error fay, pail finding out ; nor do I believe they themfelves could ever per- form what they pretended to write down, (Nevertheless, it will not be amifs to give you a fmall Glimpfe of fome Moods that I have feen in fome antient Authors ; which were as ioi- lows : Ant i em Tripk?. 2 I 3 16 5 2 5 ! 7i 6 1 6 2 6\\9 9 2 9 1 16' 12 1 1 2 2 rJ Bj rcr> i3 lit 38 A Ax -? ? J 2 '4 Miif.tr. To anfwer this Ghteftion, Three Things are to beconfidered, viz. lit. Whether your Triples are compared with Adagio-Mood ; id. Or the Largo- Mood ; Or 3d. with the Al- tyro-Mood: Thefe being of Common-Time. i. Suppcfe, — , with 3 Minims in a Bar, is confider'd and compared with the Adagio with 1 Minims; then your Jrenary is one third quicker in every Bar than Binary- Adagio ; by reafon you perform 3 Minims in — , in the the fame Time as you do 2 in the Adagi-y each of which 7 J Minims being diminifhed in propor- tion, one third of their primitive Adagio-length.: And as in - -, you have 3 primitive or Adagio- A- Crotchets in a Bar, each Crotchet is half as long as one Adagio-Minim ; fo that when both Af;Wx are in this C^ comider'd, — 3 is juft as quick 4 again as - - a &c. 2. If your Irifks are compared with the OfX lme. 39 Largo in Rivary , which is half as quick again as Adagio, (for a Largo- Minim is buc oszprickt Crotchet to a Minim of Adagio) then a Largo- Minim , and a Minim in — -, are of an equal Length 5 and a Crotchet 'in -5-' is juft the half, &c. 3. But, if you compare your TW/>/^ with the Allegro-Mood in Common Time, (which is half as quick again as Largo^ and as quick again as Adagio) then it is reafbnable, that every Afc;~ for, or Note of your Triples, mult proportion- ally be as quick again ay they were when pared with the Adagto, &c. &c. c Scholar. 6Vr, J thank you heartily, but tell me how I pall knew what Mood cf Com- mon Time the Moods cf Trip,..- rue are compared unto, eife 7 may perhaps :g too qu. ■: or too flow Mafrtr. You reafon very right, but that Secret, (as well as many others) I never yet law explain'd by any Author, nor yet what 1: 'c jii- tain'd in the Three foregoing Paragraphs, ha- ving been milled myfelf^ by ialie Terms and Moods in my Minority: Neverthelefs, I will give you my Opinion about it, mould 1 be counted ever fo lingular for fo doing. I think, (with Submiflion to better Judg- ment) that all Triples may bs compared with B4 any 4 o A New Mu/ical Grammar \ &c , any of the three Binary Moods , whether the yidagio, Largo or Allegro^ and vary in Velo- city accordingly; but H: ill to move in fuch a Degree of J^ucikuefs asbefr. becomes the main * Subject or the Words , or Faffion intended: Having cbferved that all Perions differ inTime, one from another, tho' taught by one and the fame Mafter ; and cannot perform fo well toge- ther s as if they had been regularly train'd up, and pradiled one with another. A Perfort may be faid to Jin 'g or play Good Tin:e> and yet, perhaps quicker or flower than another ; by reafon he makes a true DiflincHon of Notes and Refts ; and gives each its proper Length, it he pertorms ever fo quick or Jlcw: But it is beft to keep in a Medium, between the two Extremes, Better would it be, if our Tripla-Time- Moods had the Common-Time- Moods always affigned juft before them thus : C - 3 -, &c. or at leaft, the Ten s Adagio, Largo, or Allegro, fet over the Cliff, at the Beginning of a Piece of M/- Jick or when the Time differs \ for then, you might at one View, know what Sort ot Binary Movement your Trenary is compared unto ; and how quick, or Jlow the Movement was intend- ed by the Author. This I fay. would make Time very eafy to every Practitioner, and take away many Obfcurities that have heretofore confounded the Ignorant ; for when Things are fal/ly compared together, the Abfurdity thereof daikneth the Undemanding. § 3. The Of Time, 41 (J 3. The Doctrine of Pendulums applied to Mufick Scholar. Q^ 1 R, In Pages 16 and 25, j-0/j l3 told me, that the length of Notes Were to he undcrftood by the Pulfes or Beats of a Pendulum, I fhould new be glad, if you would inform me a little farther concerning that Inftrn- ment : Imagining within ray/elf] that it will be of great Ufe to me, in keeping Time. Majier. In Mechan\cks t the Obfervations made on Pendulums, is one of the niceft Pieces bf Art that late Times have discovered, (being firft obferved from the Ofcillancy or Ofcillation, or the waving or tolling of the Body to and fro, as praclifed by Children on Planks laid acroft Pieces of Timber, weighing each other up and down) the Motion or Vibration of Pend {/urns, backwards and forwards, afcertaining the Nuw- her of Beats at any determinate length, and the exact Quantity of lime that is fpenc in that Motion ; from which, thole excellent Ahchii.es called Clocks and Clock- JV Irk -ire made and re- gulated ; for it is found by Expe ience than a Pendulum, whole length from the Pel t o u So- fpenfion to the Center of th2 Ball, is 39 I aches and 2 tenths of: an Inch, Vibrdtis r Beats, Seconds, or 60 times in one Minute . a a ror the Certainty and Excellency thereof, it is called the Royal Standard: for it is demon- B 5 itratedj 4 ^ A New Mufical Grammar^ Sec. firated, that all lengths of Pendulums are to one another, as the Squares of the Times of the feveral O[cillations. Scholar- Pr^y ?*// f#£, whojirft difcovered to us the Doctrine and Life 0/' Pendulums ] and how they are made ? Mafier. I am told by Des Cartes, Kercher, Moretey, Bacon, Digbf, Malcolm, Holder, Sir Ifaac Newton, Mr. Derham, Martin, and feve- ral others, too tedious to mention, that Pendu- lums, were firft obierved, and brought in ufe by the ingenious Galileo : which may be made thus : Point of Sufp enfion. A " B Center of Gravity. EXPLANATION. Firft, Take a Wire or String, of any Length you pleafe, and fallen a Weight or Plummet at one End ; then make a Hole or Noofe at the other End, and hang it on a Nail, Point or Cen- ter ; and it will hang perpendicular 9 as from A to Of Time 45 to B. — Then draw up the Ball or THumet (io high from the Center of Gravity y as the Length between the Point of Sufpenfion and the Center of the Ball) towards the Point of the Semi- circle C. and let it fall, and it will ofcilatc or fwing towards D ; and then come back again towards C. and move both Courfe and Recoarie^ i. e. forwards and backwards 'till it reirs per* pendicular at the Center of Rft or Gravity t B : Its Point of Sufpenfion being A. Here you are toobferve, that, tho' die Phm- met ranges a greater Compafs between C and D, than it does between E andF, yet it always moves in Equal Spaces of lime both forwards and backwards, till it refts on ics Center B : for the wider Compafs it ranges, it moves more fwifr, and in the very fame time as when its Range is fhorter j for the larger the Body is, the more (low in proportion it moves. N. B. That whenibever I fpeak of Ofcilla- tions, or Vibrations, I mean the Courfe and Re* courfe of the Plummet from Side to Side, being the Extremity of its Range ; and not the Cen- ter B, by which it paffeth. Scholar. Sir, of what Length muft I make a Pendulum, in order to beat the true Time of the fevered Notes of Mufick ; as the Semibreve, the Minim, the Crotchet, &c. • Adafter.ln Page 25, I told you that Four Pulfes of the Pendulum was the length of the Semibreve^ two the Mm'm } mdfourxhtCrotchet, ace. I 44 ^ New Muftcal Grammar^ Sec. &c. I then fuppofe the pendulum to be ?- bout 30 Inches long, which Pulfes are faid to be almoft the doth part of a Minute, or nearly the Space between the beat of the Pulfe and JfrW/ ; the Syftole or Contraction anfwering to the Elevation or lifting up of the Hand, and its Diaftole or Dilation, to the letting it down, &c. The like being underflood of the Pendulum both Courfe, and Recourfe, in fuch a certain Space of 2'ime. Now, I fay, fuppofe a 30 Inch Pendulum fhould vibrate as the length of a Crotchet, then will one of 120 Inches be required to beat one Minim ; and one of 7 Inches and a half to the *fime of one Quaver ; and 480 Inches to com- pleat the lime of one Semibreve % &c. Always obferving, that a Double length of Tme 9 re- quires a Pendulum four times as long ; and a half ot T/flM but one fourth fo long : This be- ing the true Proportion by which all Pendulums are regulated: But, that you may the better un- der ft and this Doctrine of Pendulums, and ap- ply them to the feveral Characters of Mufick, in order to fhew the true and exact Duration and Length of Notes, obierve them in their proportional Length of Inches, as follows: Smibme. Of Time Sembrevc. M'unim. Crotchet. jQtta-i 480 120 30 1 77 45 Had you thefe 4 Plummets compleatly fe- ed, fo as to move freely without any Obftacle, and 46 A New Mafic al Grammar \ &c. and in proportion both in Lengthy Weighty and * Bignefc) 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 fvveet Agreement would there be in their Vibra- tions, could you- hear, as well as fee them ; each meeting or uniting in their Courfes ac- cording as they are in porportion one to another : TheM'T?/;^ being as 2 is to i, to the Semibreve, beating twice to once of the Scmibre c ve > the Crotchet, tuice to once of the Minim \ and the jGhtaver, twice to once of the Crotchet, &c. ■ — And from this very DccJrine, is comprehend- ed Concord and Difcor'd, horn the Uniformity, or Deformity, of the uniting of the Vibrations of the feveral iones founding together ax. one and the fame time, &c. (But more of this by and by.) In this manner many Secrets may be difco- vered by this noble Injlriiment, the Pendulum ; viz. To know how long time a Stone is falling from any high Place to the Ground, or 3 how long Sound is palling 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 hinted, I mall here con- clude this Chapter. What Of Time. 47 What long bath been conceal d as hidden Treafure, Thou here mayft fee, and read it at thy leafure ; Thefe Rules no ill be of general Ufe to all, And Jhezv what we do Time and Meafure call. I value not what carping Cr kicks fay, Nor gilded Dons, that I Jhould here difplay The naked Truth; let Dogs bark on in vain, Vve broke the Teeth of that impofing Strain. Our Mufick-men, have long been kept in Slavery, Ev'n in the Dark, by their falfe Teacher'/ Knavery , A Jhocking Afpetl ! when we're taught by Fools, Who know not ev'n the leaf of Mufick-RuLEs. Ev'n fome there are, who argue and contend, And do find Fault with what they cannot mendz Such Fools, if file nt, might for wife Men pa^ ' But by the Braying, all Men knozv the Afs. •fs, Nay, fome Vve known, who oft have made a Choice On any One, that had a pleafing Voice, Tbo' void of Skill-, fuch puny Curs will bark, But always leave their Pupils ilL the Dark. But fir from this : — Such as do take Delight In MufickV Art, and fain would know aright The nicefi Rules, and all that doth belong, May here find Aid, to Tune and Time their Song. CHAP Scholar. 48 A New \Aufical Grammar^ ®c. CHAP. IV, Of Tuning the Voice ; an d of Ac- cents '• Of Intonation, and of the Ufc of the Pitch-Pipe. SI R, Having made myfelf a tolerable good Timiftj by the Rules Gf your laft Chapter, I fill want farther AJftJlance in Tuning my Voice; and hope you will be as ready to inflruti me in that y as yen have been in the very firft Principles : Eat you know, Sir, my Voice is very indifferent. Mafter. Though your Voice may be rough 2nd fhatter'd, yet Practice, perhaps, may make it better ,• for mofl People general do thofe Things bell they are moll accuilom'd to ; but, in Vocal Mufck, a good Ear, is better than a fine Voice, and a bad Ear. Scholar. Why have Come Performs a good Ear, and Voice agreeable ; and others a bad Ear, dec. and found contrary to others ahnofi in every De- gree of Sound, tinkfs they hit on a Sound by chance ; and why do fine others^ not love Mu- fick? Mafter, This is the moll fublime Ghieflion that can be ask'd in Mufck ; and better be- ccmes an accute Anatomiji to mfwer, than any practical Muftcian whatfoever ; neverthelefs, I will give my Opinion about it ; hoping all will excufe my not being greatly acquainted with the Terms of their Art. I am Of Tuning the Voice. 49 I am inform'd by the Learned (and particu- larly Dr. Willis) that there is a certain Nerve in the Brain, which fome Perfons have, and fome have not ; and that fiich Nerves are com- pos'd et fmall Fibres, fuch as the Nerves of the Ear are compos'd of, &c.— Now, if thefe Fibres are imperfect, why may there not be a. Deficiency in fome Perfons in the Auditory-Nerve ? which Nerve conveyeth Sound from the Tympanum to the Underftanding ; which Nerves are put in Motion by the leaft Vibration of v#r. — And as it is faid, that this Mufical-Ne;*ve hath a Conformity with, and commandeth the Voice to exprefs any Tone tranfmitted to it from the Vibrations of the Air's linking againft it ; well may they, who are endowed with this Nerve, be faid to have a good Ear ; and they that have it not y be laid to have a had Ear : and fome to have a greater diilike to Mtijick than others, &c. But this very rarely happens; for the Italian Proverb is, cf God loves not him, " whom he hath not made to love Muiick." But to give you Directions for tuning, firft look back on p ige 6, and regularly afcend and defcertd the Eight Notes according to the Diatonick- Order of the Scale; and then sds, 4ths, jths, <5ths, 7ths and 8ths ; (proving the true Di- lbnce by the interpofing Degrees) and then de- fend again ; always having true Regard to the txco Natural Semitones, or to fing every Fa fiat orjawt) according to the following RULES: RULE 50 A New Mufical Grammar, &c. RULE I. A Scale cf Mufick, for Tuning the Voice. Amending Intervals. O 4ths. ;ds. -*-, fa fa mi mi mi la la 5ths. folfol fa mi la I foljol folfol ! folfol 6ths. la la fol fa mi la 7ths. la M f« mi la foljol | fol fol 8ths. * folfol fa la fol mi la folfol J 'Difcending Intervals. folfol [JoTfiTjol fill folfol •> -folfol fa la la j 3 Thus much for tuning the Voice. 5 2 Of the Accents in Mufkk' Scholar. Qf I R, Pray what is meant by the jjl Word Accent? Majier. in common Speech, the Word Ac- cent, (ignifies the 'Tone of the Voice ; of which the Grammarians have fundry Sc rts, mark'd by various Dafhes over the Vowels ; Signifying a more/^i? or low, longer, or Jborttf lone of the Voice; or a moveprej/ing Emphafts, ox lone, 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 prejjhig to the Audience \ according as the Paffton and Subject requires, &c. — So in Mujick An Accent is a fort of wavering or quavering of the Voice, or Tnjlrument on certain Notes with a ftronger, or weaker Tone than the reft, &c, to cxprefs itePaJJion thereof: which ren- ders Of Accents. 5 5 ders M-tficky (efpecial Vocal) (o very agreeable to the Ear ; it being chiefly intended to move and affhtf ; and on this the very Soul and Spirit of Mujick depends ,• by reafon untouches and caufes Emotions in the Mind, either of Love, Sorrow, Pitty, or any other Paffton whatsoever, &c. — And this is what is called the Accented^ and Unaccented Parts of the Meafure ; which the Italians call fempo-BuonOy or 'Time-Good : and Tempo-Cattivo, or Ttme y or Meafare-Bad : that is to fay, the good, and bad Parts of the Meafure. Scholar. In what Parts of a Bar of Time is the Accented Part of the Meafure ? Mafter. in Common- f me y the firft Notes of the beginning of a Bar, and the firft Notes of the laft half of the Bar is the Accented Part ; that is, the ifl and 3d Crotchet of every Bar; the reft being the Unaccented Parts : But, in Tripla-Time (where Notes goby three and three) the firft of the three is the Accented Party and the reft the Unaccented. The Accented Parts fhould be always as full of Harmony ^ as poffible, and as void of Difccrds as may be, in order to render the Qompofition the more qfctfing.- But the Unaccented Parts may confift of Dtfcords and the like, without any great Offence to the Ear, &c. This be- ing a Part of A/«//V£ that few, or no Authors have very rarely mention'd ; although it is the whole Ornament and Spirit of every Competition , especially when any Perfon performs alone. £ In Common-Time, remember zvell by Heart, ) \ The Firft and Third is the Accented Part : C ^ ^ */ jtfw Mujick Tripk-Time Jkould be, £ ( Tour Accent is the firft ef ^V? // ^« 5 54 A New lAufical Grammar •, &c. § 3. Of Intonation; mid of the U/w P^j above the Key-Note, and alfo the fe>£/2 2Vto of the Bafs- Bellcw ; which if you can do without fqueak- ing or grumbling, and all other Voices perform clear and fmooth ; then may your Song be faid to be pitch'd in a Proper Key ; for it is a gene- ral Maxim among Maficians, That, cc A Turn well Kefd> is half fit tig : " But oh ! how into- lerable is fome Pfalmody performed in many Places, for want of Judgment in this Point 1 whofe Leaders are fo itupidly conceited, as not to ufe a pitch-Pipe/ for it is daily found by Experience Of Intonation. $5 Experience, that Pfalmody is very rarely well per- formed without it, unlcfs by mere blind Chance ; and on the contrary very compleat, where they always make ufe of it. Scholar, Many there are, that reftife the ufe of a Pitch- Pipe, and jay , it is nothing but a late ischimfical Invention : Pray tell me how Jong this Inftrument has been in Vogue ? Mafter. If you would call your Eye into the Writings of primitive Authors, you'll find, that Anaftafeus, Pope Leo, and St. Hilary (Bifhop of Poitiers, who is faid to be the very firlt that compofed Hymns to be fung in Churches-; and was followed by St. Ambrofe,) and feveral others, erected feveral Mufuk- Schools, called Schola-Cantorum ; and that fuch lanes as were antiently fung, were called Chants -, as, theAm- proftan Chant, the Gregorian-Chant, &c. from the Authors who compofed them,- which lanes were fung in Unifon by the whole Congrega- tion; and that fome of which might the better begin, and keep up the Key or if one (which they call Sfonos, in Greek ; fontis in Latin ; or lone, in Englijh) they thought it convenient, to have a Bell, or a large Organ- Pipe, whereon a Perfon for that Purpofe ufed to found the 7 one of the Key to the Congregation, always beginning, and ending the lune ; and often founding in the Middle, if it was thought fit ; in order to keep up the Quire to the true and Regular Pitch ; which Key or lone is a certain Determinate, Dominant, and principal Degree of 56 Of Intonation. of Sound, which regulates every lo'tc, pro- portioned to the Voices. The Practice of this, was greatly recommended by the learned Be- nedi times, in a Treatife wrote by them, in the Year 1673 ; who alio charged the Organ i ft often ro found the l&y in many Places, to keep the Tone thereof always in the Peoples Memory : which Mr. Boffard fays, is the very belt Method that ever appear'd in the Practice of Divwe- Mitftck. Thus, you fee that a Pitch-Pipe, in Likeneft, is a very Ancient In fir anient, and greatly ap- proved of by the Learned; tho' it has been but little in Vogue with us, 'till within theie 20 Years ; for I remember I went fever a I Miles to fee the firft I heard talk'd of: which Inftrwnmt is greatly improved to what it was in former Days ; and is of ftngular \3fe in all Kinds of Mulick, i. e< for fetting of many un- fix'd Infruments in Tune, as well as in Vocal- Muftck $ we having it now fo as to carry in a Pockety and on whofe Regifler or Stop, is mark'd the feveral Letters of the Scale of Muftck ; which lones, either Flat, Sharp, or Natural, being given by drawing the Regifter, which en- larges the lithe, or Cavity fo as to contain fuch a Quantity of Air, as will produce any Degree of Sound, whether Grave or Accute, &c. But I fhall fay more of Airy when I come to treat of 7 he Nature of Sound, Scholar. Of Time. 57 "Scholar. Mujl the Regijrtr always be fet totte Letter of the Key of the Compofition f Majfer. Ic is generally fee thereabouts, but it may be varied half *Tone higher, or lower, it ic better fuits the Forces * by reafon, every Author fetteth his Mafic k on what Key he pleafes ; tho'forne too high or too low, with- out regarding whether it belt fuits the Voices or nor. But it was always my iVethod firft to found my Mttfick ovi fu h Keys as beft fuited the Com" fafs oi all Voices, both above and below \ and then, if I found the Parts would move /moot her f half a Tom higher, or lower than the Letter oi the Kiy, I then fet a Direction over the Q>mpfi- tim, in order to direct the JShiin how to fet the Rcgifler of the Pipe accordingly : But our nsji Cotifort- Pitch is more fitter lor Vocal Perform mance than the old Coiifort Pitchy which is half a Tom lower. See /iny Unherfal Harmony : Containing the whole Book ot Pfalms all new Set, inFour Parts y with variety of ffieqt Au* thems. &c» Price bound 4 s, 6 d, Orfaz*. This Inftrument Jome Teachers do rejufi, And laugh at Things , they knyw no: bevy to- sfe : $0 /elf-conceited Fools deem all Things vain That others do ; which they canrrot attain, Sur'r Pster-Skulls, much heifer had b:e& mute-, Ualefs they were more able to deftiUe, And fpeak with Judgment : — Rut, aiafi 1 *te"jSgS£ Tbift Tcbsu-ss run. msfit ttfhoft Br»k»s Ue vt?j? behini. € CHAP- 5$ A New Mujtcal Grammar, &c. CHAP V. Tie Scale of Mufick for federal In- ftrumcncsj with conpendious In- ifru&ions thereunto. § z. Of the Organ, and its Antiquity, Scholar. ^ IR, Having often heard of the vj grand Stru&ure and Tone of an Organ, I now dejire you would give me a port Defer iption of it s , and alfo of its Antiquity. Mafitt. The Organ, is the largeft, andmoft Harmonious Wind Injtrument of any other ; it being a Colleflion, or Imitation of all other In- Jiruments whatsoever, fuch as Trumpets, Haut- boys, Flutes, Cornets, &c. and differs as to Largcnefs, Tone, and Ornament, according to the Art of the Builder, and Charge laid out upon it. The Organ is faid to be a very ancient In- vention, even almoft as ancient as Adam, as is recorded in Gen iv. 27. where Jubalthz 6th is faid to be that Pipe or i&v which endetb one Onave, beginneth the next, &c* which j&«r Offaves are termed thus : FirftOfta^. I.") M/Wrffe 0c7aw . 2 .( F/>y? Sub-Oft a*ve 3. r' Second Sub-Oft a^e. - - -4. V N. B. That the Word Sub, is a Latin Word? and fignifies Bekw. Each of thefe Fatfr -Octaves* is dn ided inw 12 Stops or Frets, 7 of which iky* being ij/,j&£, which give the Natural -Tones, and 5 JFMe, for the Artifciai Flats, or Step ; fo that the; whole-contains 48 Stops : But iome Harpfim 'ds^ C 3., and 6z A New Mujical Grammar ^ Sec. and Spinnets have the Natural-Keys White; and the Artificial ones Black ; and fome Organ- Builders have added a 7 bird Sub-Off ave, or Pedals of two or three Offaves lower ; fo the Number of Stops or Offaves on an Organ are as the .£///& -j or Organift pleafes, &c. Our Organ-Builders, or Harpfichord- Makers have a Jftafe or Diapafon, whereby they regulate the Lengths , Ihicknefs, $enfion % &c. Having a large Cat the End of a Line y and by looking into the 2^&or5^/tf forflicha C, they find that the X/#£ fo marked, is the Meajure of the P/ps or Ctov/ deftinM to found the //?, or C, of the lower Off ave-, but if a fmall c, it is the id Offave ; if , the $d Off ave ; and if ^r it is th6« the SsaJwJ of the 4^ Offave, dec. and from this Scale, Rule y or Diapafon y our Mujical In* firument-Mafiers adjufl the P/p&f of their Or- ^//j, cut the £fo/£r in their Flutes, Hautboys, &c. in a due Proportion - y m order to perform any !ZW, or Semitone, &c. iV. jB. That if a Square be divided into 8 Parallelograms, the Points wherein a Diagonal Line interie&s all the Parallelograms will ex- prefs all the prafficaUlntervals in Mufak: and •a this Principal is the Diapafon founded. To p/tfy on an Organ, is, to prefs down the feverai Keys or Stop with the Fingers, ( or if Pedals. Of the Organ. 6$ Pedals, with the Feet) in order to open the fe- veral Valves or Vlugs, which correfpond length- wile with as many Holes as there are Rows- of Pipes on the Sound-Board y the Holes of each Row being opened and ^&afjp by a Regi/ler or Ruler, pierced with 48 ££i&j ; and by drawing the Regifier, the Holes of one i^iy are all opened ; becaufe the Holes therein correfpond with thofe of the Sound-hoard j fo by opening a Frt/4?, the Wind brought into the Sound-Board, (by feveral Pair of Bellows) finds a Paflage into the Pipes ; which correfponds to the open Holes of the Sound-Board : But by pulhing the Re- gifier, the 48 Holes thereof, (not anfwering to any of thofe of the Sound-Board, that Row oi Pipes anfwering to the puQicd Regifier) avcjbut, &c. Hence it is, that by drawing feveral Regijters, various Rows of Pipes are opened ; or feveral Rows together, if the fame Regifier correfponds thereunto ; from which the Pipes become either Simple, or Compound. — Simple? is when one Row anfwers to one Regifier ; and Compound, is when one Regifter anfwers to feveral Rows : Heaps the Organifis fay, that A Row is Compound \ when feveral Pipes found or play together, by only preffing downed Key or Stop • according as the Hoks and Regifier have Communication with each other, &e. But of thefe Keys, I will give you a Scale by and by, &c. C 4 Of 64 j4NP& Mtijic at Grammar^ &o" Of Organ-Pips \ there are two Sorts, viz. one Sort, whofe Mouths are Like Flutes ; and the other Sort with Reeds. The Jirjl, are termed Pipes of Mutation, and confiit of a J^rtf, which is a hollow Cone, which receives the Wind that is to give the Sound ; and to this Fact is fattened the Body of the P//>? ; between which Foot and Body is a Partition, which hath a little long narrow Arpcrture or Opening, to let out the Wind : and over which Ar pert ure is the Mouth, whofe upper Lip being cut level, cuts the Wind as it comes out,- which Cutter gives the Sounds by the JJ r ind flriking againft it. Some Pipes are made of Pewter, and fome of Head mixed with a- nth Part of Tin, which are always open at their Extremities ^ their Dia*- meter being very (mall, and the lone very prill;- but thole of. Lead mixed with coarfer Metal, are more large : thefhort Pipts being ap£#, and the long ones quite J} eft ; and the middk-ftz'd pipes aie a little y?tf/tf, having a little E#r on each Side cf the Mouth, to draw clofer or farther off, in order to taife, or lower the Sound, &c. So the finer the Metal, the fmaller the Pipe. The Wooden pipes are generally made fquare, and Jloped at their Extremities with a Valve or tampion of Leather - r the ?0//£ of the JFc&£ P/p^j- being very foft y as a Ho they that are made of Lead-, the longejl Pipes giving the graveft Sound, and thofe more Jbort, are more Acute ; fo that, both- their Lengths and Widths, are proportioned Of the Organ. 65 proportioned according to the Ratios' of their Sounds ; which arc admitted and regulated by their Rule and Z>iapaJon y as I before hinted ; and thole Pipes that are /but, have the fame Length as they that are open* ; but the Pedal" Tubes, or Pipes, that are playM by the Feet, arc generally open, if they are made of Wood, or o£ Lead-, and the longcft Pipe of a good Church-Organ is commonly 16 Feet long, and in fome very large Organs, 32 ,- all the other Pipes being kffened in proportion to x\\clargefi y or Grand Pipe, &c. Snch Pipes as are called Reed-pipes, confift of a Foot, which conveys- the JflndiMo the ShaU ktor Reed, which is a hollow half-Cylinder^ and fitted at the Extremity thereof into a kind of Mould' by a wooden Tampion ; the Shallot or .RW being covered with a thin Bit of Copper rirted at it's ^Extremity into trie Mi.'//./ by the fame Wooden tampion ; it's other Extremity being fo at Liberty, that the Air enterting the Shalkt or Reed\ h that, that Part cA the tongue may have more Liberty, by making IE longer ; and the longer ic is, the more Grave is the Sound; The Muild, which ferves tc fix ch£ Shallot or &W, the tongue, and the lampion, dec. ferVes alfo to flop the Fcflf of the Pipe, obliging the- Wind entirely to pafs thro 5 the Reed ; into which Mould is foldered that Part called the ttibe, whofe inward opening is a Con* tinuation of the Reed; the Form of this Tube being differenr, according ar the #rp« are in different Rows, dec. &c. &c C 5 Injtniffiont €6 A New Jhdujical Grammar } &£ It?Jlru$hoffs for the Orgaa Having thus defer ib*d that moft curious and harmonious Strufiure, the ORGAN, fo far as my Ability will admit, from both feeing, reading, and converfing with iuch as build, and ■perform on that noble Inftrument ; and alio by infilling fueh as have wrote on the fame :. I ihall in the next Place, refer you to the follow- ing plate, which is &e Scale of Mufick, on the feveral Keys of the Organ, &c. whether Na- tural, Flat, or Sharp ; whereby you may know, snd perform any Degree of Sound-, and alfo Biany Parts together, &c Tke Qtz the ~Q'r&an, ner. Of the Organ. 69 Explanation of the Scale. la this Scale, the Natural, or Proper- Keys are Black, all 8r£j or Octaves being the very fame in effect as was before ; and the two Natural- Semitones, (being from B to C, and from E to F,) are placed on the Black Keys in their Re- gular-Order v But the Semitones are White y and placed between the Whole-fanes ; one of which ferving for either Flat, or Sharp • h-Sbarp, be- ing ft ruck on the fame Key as B-F/at, and (b of all the reft. The Keys of an Harpjfc herd or Spinnct, lie m the very fame Order as thofe or an Organ, which Keys move the Jacks, which ftrikeths Strings , this being the moil curious and har- monious hijfruraent of the ftringed Kind. In Fingering, oblerve, That on the Right Hand, the Thumb is called the firft Finger, &C, and on the Left Hand, the Little Finger is call- ed the firfl ; and that thofe Fingers as are to A : ojid, on both Hands, are the 3 5 and Atb Fin- gers ; and thofe to Defcend are the id and 2^; and lb on- to the %tb of either Hand y dec. To p/^>' well" on the Organ, Harp/ichord, or Sprnnet, is learnt from a diligent Practice, and by being thoroughly well acquainted with the Gamut, Time^ and- all other Characters belong- ing to Mujhk ; and fo well acquainted with Concord, and Difcwd, as to fee through the whole jo A New Mujtcal (ZniMMW, &£ whole Compofttion, in order to flrike all the parts together $ for which Inftruments, all M't- Jfck in Parts ought to be fet in Score ; that is, all Parts one under another, and Bar againit Bar. o/ the TFiorough-Bafs. The great eft Performance on thefe kind of /;/- Jfrimaits, is the Therough-Bafs, it having Fi- gures placed either over, or under the Nvtes* thereof, in order to direct the Performer to flrike in fuch Cords, Notes, or Parts from the Ground or Bafs ; fuch as ids> $ds, qtbs, $tbs\ 6tbs, jths, or Sths, &c. For which Reafon the Performer ought to be well verfl in the Rules cf Compofttion, &c. 1 It is to be obferved, that where (ingle Flats, are only mark'd, that thofe Fiats or Sharps denote that you are t-o play Flat or Sharp Thirds ; and that where nothing is mark'd, then Common- Concords are to be plafd, &c. — Alfo where qths, jths, &c. which are Difcords, are only mark'd, they are only fet to introduce other Common-Concords to follow ; that is, fuch as lie next, 'or the neareit Interval to follow,. as. the Rules of Compofttion will admit. And altho' many Authors do only mark their yds with fingle F!ats y or Sharps $ and alfo qths, 6tfdsi 7ths y dec: and omit the Figuring of the Common^ Concords y (which are jtbs> Sths> nths^ } 5 tbs^ji yet it would be. more- ready lor every young- Of the Organ. yi young Beginner to- have thorn figured over or under the Notes ; which might probably pre- vent many M-iitakes. Obferve, that neither Two- Fifths, nor 2wril*> Eights are to be played together, neither Ri/hig nor Falling ; (as well as not in Composition)' therefore the belt Way to avoid them, (or any other Contention of Perfects of the fame Kind)^ is, to move your Fingers contrary one from ano- ther, as much as poftrble ; and in fo doing, you, will certainly avoid many Errors that you therwife might run into* o- Of Tuning the Organ, Harpfichard^ or Spinnec. Scholar. Q 1 R, I thank yon for this Hiitorical Lj Account of the Organ, Defcrip- tion, arid Inftruclion : But now defire you'll fa* vww me with a little farther Inftru6tion m Tuning cf them. Mafier. The part of tuning only depends on a good Ear, and is very difficult on ibme certain Notes, fuch as E-fiat, D-/barp y &c. But it is general the ufual Way of Organ- R'-u ti- ers, Harpfichord-Makers, &c. Firit, to fane C-folfaut by a Confort-P itch-Pipe ; and then an %th either above or below it • and after that ids, $ths, &c. and all Degrees that are in the Syfiem of Otfaze, But the better to explain this, obferve the following fable; A Table >jz A New lAufical Grammar ', &c # A Table /grTuning either Organ, Harpficord, or Spinnet. oConfort -Pitch. „ oo ' O- * 1 Q> CJ — by — O O c>"< C; — cc oo. q— ^ i * *■> to >" Ci^f tJ to OO 00 *>— S- b^—— — -■' ' fct>, ' ' ' ■ k^^t 00 00 * bt^ t*J - — — — — v-a v * tq. — tfl — ■ t*J t*j oo oo * _^ * — 1*1 — O vi ^ w^_ , *x — , W *, oo 06 *fc— k— or CT* i__ * 1 be — w— <*» , b3 — **i> to ^ oo , f-s —_ co * * 00 ►00 00 ct" tJ* oo ^ ^ « 0-? Pi" 00 . be — — bo h — ' °° , cr g* ■ i i oo CO co J^ — — fc^ - ^ 00 00 * _£ cS-oooo. v^— . Cy— bq j^g (N. B, This Mark * fignifo* a $barp-J ■ A Semitone, or Minor Secou d A Unifon, or One Sound » m Numbe* of Semitones. ~ 12~ IL — -IO ~9 —7 —6 S —4 —3 2 Obferve 74 TH E Violin, is the gay ell, and mo& fprightly of all other Injlruments ; and is above all others the fitted for Dancing : and may be handled fo by the F7a//?, or Performer, as- to caufe the ZVcfaj thereon to be either cheerful or /0 ^ or Iwta a or piano, that is rtrong, or as an Eccho, dec. which depends on the artful- Management and Dexterity of handling it, both in moving the Bow, and Fingering of the: Strings 9 &c. This curious and unnVd Jnflrument, confiils- of Three Parts, viz. The Neck, the fable, and the Sound-Board ; it having four Strings faftenM to the two Extrearns, with four Screws m the Nutt or Head, in order to raife, or to lower the *lenfton of the Strings to my Degree or .P*ta&- whatfoever; or according to any fixed lnftru~- ment that performs or plays along with it* Of Of tie Violin. 75 Of thefe kind of Inftruments, there are many Sorts all of which differ as to Siz^, and fome in way of tuning ; tho' all (truck with a Bow or Fiddle-Jrick, made of ftiff Hair drefs'd with.- Rofin, which gratmg againft the Strings, pucs them into a vibrating Mbtion; which gives the lone higher or lower* as regulated by touching them with the Fingers. The Viol di Gambo, or Leg-Viol, £fo called from its being held between the Legs), is what we call our Bafs-Viol, having jhc Strings t call • ed, lit The Treble -, 2d Small- Mean ; ^d Great- Mean ; 4th Counter-tenor \ 5 th ?£//0r, or G#/tf- mnuString ; and the 5th The Bafs -String ; be- ing f ///;#/ thus : The iftD — . 2d A — . 3d E — . 4th C — .. 5th G — . and the 6th is double D D— * In former Dayj they tiled to have whole Chefls full of thefe Kinds of Inftruments, which they called Setts ; fuch as trebles, Counters, tenors, Baffes, and Double-Baffes, aliofwhicb were mounted with 6 Strings, as Viola-tenor, A tenor-Viola, — Viola-Bajfo, A Bafs-Viol, &c. &c. But as thefe Kinds of Bafs Jnjlruments y are now partly laid afide, I fhall fay no more about them ; but go oil with what I delignedy &iz. with Dire&ions for the Violin The treble-Vhlin, is flrung with four Gut- Strings, on which may be play'd any Part, ei- ther Treble, Counter, Tenor, or Bafs ; but it generally performs the highefl Parts of Com- certs on Occaiion. The. >/6 A New Mufical Grammar, dec. 4 The four Strings are Timed Fifths to each other, viz. The treble or ift String, is E. — The 2d or Small-Mean , is A. — The 3d or Great- Mean, is D. — And the 4th or Bafs- String, is G.— Each being 5 Notes diftant from one another ; on which 4 Strings is per- formed thefe Notes, whether Natural, Flat,, or Sharp, viz. The Gamut on the four Strings. Firft String E. F. G. A. B. C. &c.' Second String — A. B. C. D. Ihird String D. E. F. G. Fourth String-^ G. A. B. C. c o o o o ^ OA bf) Ofl &A *-h c g c a *2 fe tM H* tU Thus, you fee what iVbf es are play'd with each Finger, on all the 4Sfrz#£5 ; but when any Note is play'd fat, you muft lengthen the String by Aiding the Finger half a Tone lower towards the Nat, than the Natural-Note ; and fo on the contrary, you muft fhorten the String by Aiding it half a lone higher towards the Bridge ; to Jharp a Note. But the better to explain what I have faid, I will fet you an £x- ample by Notes ; being Tie Scale Of */ie T^ioltri TzH T7ie Scale of 77lit/ick~ on thefbu-rStrinps ofthetfolin. *%M i & • ^ A.: ™*&2#1 ±tnn m .a: F. 1 4= -f 4 m D ^ v: o> | JSriaunpU of Timing zr Of the Violin. 79 V Firjf, Obferve to have the Strugs of your Violin in perfect Tune^ fo as to found the Tones before mentioned ; for nnlefs they are Tun'd re- gular, no one can can play thereon, be he ever fo dexterous ; and alfo to play every Lejjon or *fme t very Jim at firft ; for a diligent Practice will bring your Hand to a more fwift Motion : Pfalm-lunes being the bell for young Beginners, For the Nicety of Fingering, obferve, that whenever you skip a Fret or Stop, there to leave a Finger, for a Srop is but fo^f a tfone or JVbf* ; for from B to C. and E to F. are but half Notes ; and all the reft are whole ^ Ones ; and to leave a Finger is neceflary, to be in Rea- dinefs when any half Ton* lhall happen, either by Ftafs or Sharps. In Bowing, obferve to play any even Nttm- her of Tied Notes by ftriking the Bow up ; fuch as 2, 4, 6, 8, &c. and to play any odd Num- ber of Notes tied together, with the Bow drawn- down : I mean, to begin fuch Even or Odd Numbers tied together, with the fitjk up, or down M &c. and alio to learn the ufe of all Moods, Flats, Sharps, and other Characters contained in this Book ; belonging to practical Muftck, of 8 o A New y\ujic0l Grammar } &e , I 3 Of the Flute. TH E Flute, is a P//> &c. e Ihus i I the Organ fully have difplafd In all its Parts, and bow each Part is made : The Gamut-Scale, Tve fix'd on ev'ry Key, But, Diligence muft Teach tbee bow to play. the Violin'/ Notes, Pve mentioned* and t be Flute, Mtt, ftr the reft, fi t pre/em Flfee mute, CHAP. Of Keys. 85 CHAP. V, Of the fevcral Keys in Mufick, Natural, and Artificial: and of Tranfpofition. § 1. Of the Two Natural Keys. Scholar. CJ I R, What is a Key, and what is [3 meant by the Word Key ? Mafter, A Key (in Miifick) is a certain Prin- cipal and Dominant Tone, which regulates eve- ry lone elfe to a certain Degree or Pitch of Acutenefs or Gravity ; occafioning every Mem- ber of the whole Compofttion to move in a true Decorum ; and without which, every minute Part of the *SV, I thank you for this curious Di- sunion ; £//£ pray tell me which is the Key-Note. Majler. The Key- Note, is the /^ Note oi the Eafs /'which is the Foundation of all other Parts, be they ever fo many ;) all Otfaves or Eighths, in the upper Parts, being counted the fame in effeft, &c. This Key-Note ending the Song, like a period at the End of a Sentence; for when the &#/i of a Sentence is/////, nothing «lfe is expected alter it, &c. Scholar. How manyKcys are there in Mufick I Majler. There are but Iwo, which are call'd Natural or primitive- Keys, viz. Cj'a-ut, the Natural-Jharp and chearful 16^ ; and jf ; ^ the Natural-Flat and melancholly J&y : So that no June can be prkk'd down on any other Key whatfoever, but on thefe Two^ without the placing of either Flats, or Sbarpsat the Beginning of the five Lines, in order to change the mt, and regulate the Natural-feraitones to the felf- fame Order : making all Artificial-Keys the fame in effect as the Two Natural-Ones ; the Nature of which you may fee in the following fabh : An Example Of Key* 8; An Example cf the Natural-Order of tt Natural-Sharp-Key. C, An Example of the Natural- Order of A, tbd Natural-Flat-Key. By thefe two Examples, you fee the Places ot the two Natural-Semitones in every 0;Ja r Je, cither in the Sharp-Key, or in the Flat-Key. D Scholar S8 A f&w Mufical'Qrammar y Sec. Scholar. Although you have given me thefe Examples of the two fever al Keys you before men- twr,ed, I am fill tofeek in the true Undcrftanding of \m ; -not having Co much Skill as to know the Difference of one Key ; from the other. Of C the Sharp-Key. Maper. The Difference of the two Natu- ral-Keys are known from the Firfi third, the iixth, and the feventh above the Key- Mote: * Suppofe your Key be C, as the hrfl Example, .count the Number of Semitones in the Fv,fi 3d, above the Key- Note, faying, C, D, E ; or Fa, fol, la ; which is a Major or Sharp-lhird, containing Four Semitones ; and alio the Major 6th of Nine Semitones; and the Major 7th, of Eleven Semitones. Of A *& Flat-Key. But if your Key is A, as the Second Example, then is your Firft 3d above your Key -Note, A, B, C; or La, mi, fa; a Minor or Flat-lhird, of but fZ#ra Semitones ; and alfo the Minor <6zh> of £^feP Semitones ; and the A//»(W 7th, of but 7e» Semitones above the Key- Note : But the OCtave is always the fame again, in any i£t;y vvhatfoever: You being half a frnie higher in the very Firft 3d of 'the Sharp- Key, than you are in the Flat-Key ; and, this is the \ery S-e^.i'''i 3 one Key is called y£#;-j> and chearfi^ : and Of Tranfpolicion. 8? and the other flat, foft, and mournful : The one being proper for folid and grave Subjects, and rhe orher for Subjects more cbea-ful, merry and fp rightly. (See the fable of Semitones, page 73.) 5 1 Of Tranfpolicion, 0/ the ML Scholar. (T^ I R I thank you for sour Diffinkioti lj of the two Natural-Keys ; but now Attire you'll inform me bow to Tranfpofe, remove , or change them into any other Artificial-Keys, MI Tranfpofed by Flats. Majrer. To Uran pofi, or remove a Piece c: Miftck trom off one Key> and to fet it en a- norhcr, Firfc you are to confide^ that M i is the Mafter Nrte, and govemeth all other AV^f in Regular-Order ; both tf£oc<^ and fo/0® it, and cometh but once in every Octave ; your Na- tural ,£&/zr/> Key-Note being the very next 13c- gree 0#f /*.- Then, it /j be there fixed, Mi mutt of Neceflity be TrsnC pofed four Notes higher (or five lower) ro E, that the natural Semitones msy be kept in Re-; pilar \Di atonic k- Order : This being called the Fir ft Remove by a Flat. D 2 V e •oo A ISewMuJical Grammar , &c. The Second Remove by Flats, is, to place another Flat on E (that is, on Mi by one Flat) and then A muft be Mi, a 4th above, or a 5 th below the Place where on it itood before : Then you have both B and E Flat. The ihhd Remove by Flats, is to fat A, and then D is mi j you then having B, E, and A /to; and by this Method, you may by Hats artificially Travjpofe the Ml to any of the other fix Letters in the Scale of Mufick, 'till you hunt it home again to its primative Place: Observing, That, from tbe'hSt Flat, on Line or Space, Four Notes above, the M I hath Place. M I Tranfpofcd by Sharps. To change MLinto la by Sharps on the five Lines, y ojat frfl Sharp muft be on F, and the M. wili be on F alio : Your Mi being always with the la ft Sharp. ThzfecSnd Remove by Sharps, is, to place a iecond Sharp en C, a 5th above, or a 4th below the Place ot Mi, and then will C be Mi ; you having both F, and C Sharp. The 2??/>^ Remove by Sharps, is, to place a S^-^rp on G, and G will be .M alfo, you then having F, C and G Sharp, and by this Me- thod, you may artiully by sharps place the Mi on any of the cthcr/6; Utters, or the Scale, 'ail yt ii-chafe it home to its firll primative Sear, &e. — Obferving that, ?T7;r;.- that Iv Sharps the Mi-Note doth remove, Lfjl Sharp, and M, are both five Notes above-. A , Hi T7~a>nfps'tL . j& Table qfTXi-TranfpofitiorL ■ 'i I —**- T ... - *" : f : - §535? .i=t^:.- P : ........ ' p** : Of Tranfpoiitiorr By this Tri'k, you fee the Place of the M y on all the feven Letters of the Scale, both by Flats, and Sharps ; which Mi-Note. Tranfpofetfa all other Notes in Regular-Order both fl&ew and fo/tay it, the fame as they were in the ancient Scale of Mufick ; only they Hand on Different Lines and Spaces. Scholar. Why was Tranfpofition of the Mi &c, invented; or, why may not Mi be always- kept in its primitive Place ? Majler. Tranfpofiticn was contrived to bring every Compoiition, as near as poffible, within the Limits of the five Lines ; by reafon many Tunes cannot be kept in fuch bounds, nor yet to be practicable, neither by Voices, nor by In- JJtruments: For, fuppofe a Sto*/>-2&j>, in- C-fol-faut in the Tenor, fhould rife eight Notes to the Offave or Key above, how could they be prick'd down without two Ledger-Lines above the five ; or, how could any Voice perform it y unlefs I Tranfpos'd it lower} Then, if I fet a Sharp on F, and place my Key four Notes lower on G, and prick down all other' Notes of the Piece in their regular diitance, a- hove and below it, it will iland better in the Compafs of the five Lines , and more eafie tor the Voice, and Eye : And this is the very Rca fon that Tranfpojition was invented. Scholar. Many there are, who djeiJ cgirnfir the laft Remove of your Table ^'-Sharps (where- E /^fliarp/d, and becomes Mi"; ) arid fay, That D 3 Remove 94 ^ N.-cs; Mtifcal Grammar, &c Remove is farther than the Rule w*7/ &#r, 00^ ffotf /&«v is no Places for the two Semitones, by reafen (kjbbuld not be flnrp'd. Majter, I was once fo ignorant myfelf, and even lo confident as toaflert it, by the ill Exam- ple of others ; but fince, by Study I know better, let me ask thofe who object this Remove, thefc two Chief ions, viz. lit What Difference is there between E Natural and F Natural ? To which mult be anfwered, Half a Tone : — and jadly, What Difference is there between E Sharp, and F fharp ? To which again mull be anfwer- ed. Half a tfone : which Jdjiejtions, I think are Sufficient to prove the RU L £, to be as good even to the laft, as it was at the firfl fetting cut, § 3 O^Tranfpoficion of Keys. Scholar. O / R, T return you hearty Thanks ^3 i or y° liT curious Remarks and \a- ftructions, by which 1 underfiand the true Nature if the Two original Keys, wbetberSharp or Flat; and a/Co the Tranfpofition of the Mi-Note, fo as to make them Artificial : J now beg the Favour of an Example of the whole together by Notes. Mifter. Your demands are much to the Pur*- pofc. Therefore I fhall grant your Defrre, and fuew them both plat, and SbOfp, as follows. Example Of KPtff Wi Example ofaMtAe 14. Tzefs. Lb- l i" 1 apt rr 5 n 4*- 3. M p— bifo |bli ■' \b ^ w a » ■e- s: IE ■©■ IE EC 35 5 I TAt y %PAa7~v *2<£7/j L8,|.. J ■— U-f-:- *~~»V4. ..->.'.'".£ us • . i w gl | | &i - ■ -/■ "Hflj •-> On Tranfpoficiorr. gj By thefc two Examples you fee how everr Artificial-Key is Founded, according to the two- original Natural- Keys ; which when rightly foU fa*d according to the Iranftq/kien of the Mr, will be the very fame in Effect, though the Ky be higher, or lower. — For,. Tbo % Fourteen Keys Tve written here in Vim, Tkofe, in Efefi, are but the Jam* as Two. Scholar. Being one Evening in Company with joint Pfalmodifts, who were Bufy in looking over ' New Pieces cf Mufick; one amongfl the rcfi t prill' d out a new Book, wherein the Word Ano- nimous adorn 'd the head of many Pages, on one particularly, I Jaw an old Tune firangely dif- guis'd, its Key being G, with no Flats, nor Sharps at the Beginning-, hut the half-Tones were reconciled to the Natural-Key by accidental- Flats and it Ended fol. — *tkis Author they extol* d' very much, and ■render'd him really very farm is ; pray give me your Opinion about that Piece of Mufick. D 4 Mtgar- 9 8 A New Mtijical Grammar } &c. Majrcr No Man, that has any Judgment hi Mltftck, wrll ever agree that fuch a LeJJort can be right ; by Reafon the loft Note is nei- ther conformable to the Natural- Flat- Key, not vet to the Natural- Sharp -Key, k ending neither in La> nor yet m Fa. Therefore, it is either ignorantly done for want of Judgment, or clfe only to puzzle the Practitioner: For every Key ought to be found- ed by Zranjpo/ition, according to one of the %wo Natural Ones. ** Sum melur audio incerpatio fapitns ; " £>uam ut audio eantiexm Jlolidus. " It is better to hear the Rebuke of the Wife i u Than for a Man to hear the Song ef Fools/' Ecc. vii- 5.. Scholar. Some Tunes J have alfi feen, in fe- deral Parts, wherein the Mi in one Part is Tranf- pofed by Flats, and in other Parts, by Sharps ; pray tell me, if that be right or not, the Mi in e&k Part be on one and the fame Letter. Mafltr Of Falfe Keys. 59 Majler. That I- have often feen done for Curiolity Sake, only to difguije the Piece, and puzrzlc the Performer ; and tho* fuch Parts may be performed by Voices- by reafon, Voices arc conformable to one pitch, yet, it wilt not do for Inflrmmnts ; For Inflance, Suppofe- your Key is E, with a (Ioarp- t lhird y and your M/ is on D in the Eafs y by Sharps ; and alio on D, in the Tenor or Upper-Part by F/<#3 ; Then is the Key-Note of your 2i#or or Upper- Part, a Semit&ze lower, than the Key-Not e of your 5^?/} ; tho they both End on one Letter : By reafon, E in the lenor or Upper- Part, mud: be play' Flat, and £ in the Bats is play'd na- tural. You'll find an Example for this, fet for a Prefident, in a T'une of mine to Pfalm'ir, in my Univerfal Harmony ; which will not do for biftrnments, unlefsall Parts are 'Tranfpoftd' one way, as I before hinted. Objections aga'mjl fol-faing. Scholar. 7 am told by many old Singers, and alfo by many Inilrumental-Men, That you give me and a< ! l your Scholars elfe,a : deal of unne- cejjary trouble, in obliging me to fol-fa every jNote, according to the Tranfpofition of the Mi ; and' they a-lfo tell me, lhat I need not call every (hort .minute Note,./// the Natural-Keys; but only call all Ty'd or flur \1- Notes, by the Name oftbeftrfi' Note.; pray , give me your Oppinion about that. ico A New Mu/ieal Grammar , &c . Mafler. I know that all old Singers hate to hear others perform what they never could at- tain to ; and Fidlers what they never learnt : But let me afliire fuch old vocal practitioners, that they were bred up in the dark, and will ever remain fo 3 fo long as they harbour that conceited Opinion ; For can any Zone move fo fmooth by a falfe Name, as with its Natural Name? No, this turns the Scale of M'tjick Top fy Turvey, and confounds the very firjf Rudiments : beildes, when any Perfon thorough- ly knows the Natural-Order of the Scale, how eafy is it to keep the regular Courfe of Motes ac- cording to ic, ah ho' they fland on contrary Lines and Spaces) by which Method, every Perfon learns every piece of Muflck N)te by Note, and by the very fame Names as if they were always let in the Natural-Key. As to Inflrumental-Men, 1 have often heard them fay, their Leffon was F Jbarp, or Bflat, &c. meaning that fuch Letters were flatted or jharfd at the Beginning of the five Lines ; and that they always obfcrvW to play fuch Letters flat or Jharp) &c. and that it was enough foe them toObferve ; and therefore, they thought &ny other Method ufelefs, without having any Regard to either Key or 3M ; nor even fo much Judgment as to know one Key from another. —*• Thus for v. ant of a true Knowledge of Keys y (ol- faingy and Tranfpc/ition, &c. Conceit leads them into Error ; not regarding the Firfl Rudiments of Mutick viz. fol-faing ; which is The. CHIEF R E MIND E R of the pirfl Principles of Son? Tones Of Principal Tones* iar Tones mofl to be Regarded, Scholar. Sir, are there any Remarkable Tones in the Scale of Mufick, more- to be regard- ed than others, whereby I may keep -my Voice in- the Air of the Key, when the fol-faing cf which* ts made difficult by Trarnpofuion ? Matter. Yes, there are fome particular Notes, which being well regarded, ferve in a great Meafure as a Guide to keep in Taue on all the-" reft, viz. The P RING IpjiL fONES are the Kef-Note, and the Mi, which caufes it to be either F!at or Sharp, &c. — Some there are - who haye only regard to the Mt\ but as that comes but once in an Offave, I think it requires- not fo much Atrention as Fa, which comes twice in an Ocfave, which Jones muit always be funk or Feinted, whenfoever you hft up- on them, or cKq you immediately looter the Ah* of your Compqfttion ; for fa^is to be regarded in ■ your Fiat'lhir.i, to keep' you in the Air of the ' Flat-Key : 2nd in like Manner mull you regard la oft lie Sharp-Third, which keeps you in the • Air of the Sharp-Key alio; for which reafon, fnch 7i/7fj ought always to be kept in Me- - raorv Firfi, have in Mind jour proper -Key, • And Mi, tb.it doth all Notes elfefmSt) : And toeU regard your Sharp-Third's La ? - And not forget your Flat-Third V Fa. Mind well jour Sixths, and (I pre/feme,) You'll always keep loth Air. and fnne, D 6. CHAP, 1 02 A New Mufical Grammar, See. C H A P. V1L Of the fever al Intervals, Concords,. and Difcoidsi and how to com- pare one Past of Muiiek with a- vother. Scholar. \TT HA? Di fiances or Intervals, VV are called Concords, and what zre Difcords ; arid why are they fo called ? Majler. Concords are fuch Intervals as arc; tuneable and agreeable to each other ; that is, when two (or more) different lones found to- gether, To as to be Harmonious, and Delightful to the Ear, &c. fuch as the Unifon, $ds, *thj, tfths and. their Qtfavts, perfitf, and imperfeff. Mfcordx, are iuch Intervals as are untamable ,. jarring, and Difagreeable, fuch as a 2d, 4ths, 7ths, and their Offaves, &c. both of which are ekher Simgk or Compound, m TABLE Of Parts Compared. 103 A TABLE oj all the Intervals in Mufick. t [ 2 f 3 [ 4 ] 5 I 6 J r Simple Intervals. Q 8| 9[io[ii|iz[i3| 14 Double F5 j 16 J 17 [ 18 [ 19 J 20 J 2 1 Triple 22 J 23 I 24 I 25 [ 26 j 27 I 28 Quadruple U 1 &c. J I 1 I I 1 J I C Q A Simple Interval, \% w i t hout Parts or Divisions,. Hg But A Compound Interval^ % \ \ % confix of feveral LeiTer Q CJ rS ^Intervals. TheUnijon is not an Interval, becaufe it is but one found. Wliat Cor dfo'e^er you pleafe to name T An Eight to that, is deemed tbefame x To compair feveral Parts of MuJJck together fo as to know the Interval, whether Concord, or Difcord ; you mull firfl take the Letter whereon any Note flands in any one Part, and compair it to the Letter of the Note again!! it in another Fart ; and count the Dijlance from one to the other, according to the Scale of M:t/ick; by which you may know how many Degrees a Note in one Part, is different from any Note in another Part; and what Interval it is* whether Concord or Difcord ; and alfo what Number oi Semitones each Interval contains j and whether the 1 04 A New Mafic al Grammar y See- the Cord be Major \ or Minor \ or Ptrfcff y or Imperfeff, &c. often having recourse to the Table, on Page 73. Example of Two Parts compared together. E C . B EC B Taw. ■ — ■ - Middle Line A I f f I I ! A 5 Jo 7 5 I ! I I I 1 1 8 3 I I I A E E E 8 ,t/h. If you take the Letters of this Example and prick them down in 'Notts on the rive Lines, in their paper Places > in two Parts ; you'll then fee how many Parts may be compared together * TJbfu Parts together you compare, Conjult how many Half-Tones are In ev'ry Cord : which will Exprefs, Tii you the Gr-eater^ and the Lef^ , GHAP, 0/ Sound. 105 CHAP VIII. Of Theory in General: or^ A Phi- lofophical Demonstration ofThz Nature of Sound 5 mid of the Racios and Proportion of Practi- cal Intervals, &c. S cholar. \7£T H A f is Sound ? V V Majter. Sound, is the Rever- bation, or Modulation of Air y being the Qh- jeff of Mufick. \ Scholar. What is Air ? Majter. Air is. that Fluid or Element ; in which we move, breath and confiit, compofed of fmall Springy Particles, which give way to the leait Imprefficn made on them; which Par- ticles move freely one among another; for which Reafon, it is known to be a Fluid ; and every Force that preiTeth upon yf/r, prefieth at the fame Time, in all maimer of Directions : — And as the Prefmre increafeth, fo does its Denfity ; as is evident, of Air forced into a Blad- der, for the more it is forced, the more denfe it is; and as it decreafes, it expands itfelf again, in: all manner of Directions. — The force that prefieth common Air> is the Weight of the At- mofpbere 1 06 A New Mujkal Gramar } W** tnofphere (that is, the Clouds, Rain, &c.) and. the Spring of the Air is equal thereunto 5 by Reafon they always Ballance each other, and produce equal Effe&s, &c. &c. Scholar. Ton Jay that Air is the Object of Sound, pray tell me the Generative Part thereof ? Majter, The Generative Part of Sound, is- that which produceth Sound, and bringcth it forth; and that is Motion > If ColUJJwn ; or a Body's ftriking agair.it the Air, which caufeth Sound;, and this Sound is wove gra-ve, or acute, according to the Force and Magnitude of the Body that Urikes againft it;. this being that which eonftkutes different Tones, &c. Scholar. What is ffo Support, and Continua- tion oj 'Sound ?. Mafier. All Soimd is fnp ported and carried diftant by the Medium or Ah\ which is called, £ will a " .-) .,-;■ >rss Mufical Grammar •, &c. will Tremble or Vibrate in ^//d/ Spaces of -timet in chc very Nature of a DguLU- Pendulum (o long as it S.-;.- :' . extending itfe'f w-idcitin the Mid ice tfding to the figure : A B String one Here you have both a Muficdl- and a Pendulum.; ?\\ in whole VbratiohS cocftitute both £##*?, and PrpporUcu of bound: And 'this : tfre very Prin- cipal, and RcaffiR chat Mujkk comes under Mrihmatical pro- portions, both in ST/wy« and TV///?, &c. — Thus by a larger Weight you may make your %one more acute, which will make the Vibrations mew/wift accordingly; andfooa to what c ten£o,n you pteafe. Thus have I laid down ail the mofi ute ful and Natural Grounds, Ratios, and Proportions of Har- 0k mony, which proceeds only from 'B the Vibrations ofc the Courfes, and Motions of the Sonoricus-Bodies ; which Mo- tions determine both liine and tune ; and alfo render each Sound more or lefs Pleafant, ac- cording to the frequent uniting ot their Courfes as they fall on the JStfr together ; from which we diflinguifti both Concord, and Difcord, Con- cord being nothing but the hcqumt Motions falling on the £>/*, at the fame Time, and Difcord is when they feldom or never meet whofe Proportion of Sound. 115 whofe Ratios are innumerable, by region of their crofs Motions, &c. As to other Matters that are partly ofelefs in fraffkal Mufick x Ifliall herein omit /leaving that to the Criticks and Hair-Splitters of our Age to determine ; and fo conclude this Chapter. Thus, by Divijton of a Line, We Met/are Sound, as well as Time : Wbofe trembling Motions toe do fum t Like as tbofe of the Pendulum. For by Experience it is found, 'That Motion // the Source of Sound; Not without Air : — (it do'h appear) For Air tonveys it to the Ear/ Air, like a circling Wave ftb y Ocean Expands it/elf at every Motion; But when that Force is /pent, Air then Return; itfelf to reft again. Concord is fomid, it doth appear, When various Sounds meet on the Ear ; But when they in crofs Motions move, Tour Sound dies then Discordant pnve. Nuo tobat is ufeful Pve exprefi : — Let Study then compkat the reft. CH !?. i io AlSewmufical Grammar ',&c § CHAP. IX. O/^Praclical-Mufick m General: con- taining the RULES of Compofi- tibh, according to the moji Auth en- tick Authors, &c, f) i , The Allowed Paffages oj Concords^ &c. R U L E L WH E N the Notes of one Part fland- eth Hill on one Sound^ and the Notes of another Part moves to various Sounds j the jVoi-ing-Part may move to a y Sound that mak- eth Concord to the Si an ding- Part. Thus : — N. B. That whensoever any Jingle Cord is named, its Eighths or OElaves are alio meant. RULE. II. Yv hen the Notes of c Iwo y or more Prfrtt $0//^ you may take as many Concords of one £orts y as you pleafe. Thas: RULE. III. You may not t,:ke Two Fifths, nor jTsn? Eighths together, neither Rifing nor Falling, un- )efs one be the Minor \ and the other the Major Fifth, as Thus: •«— RULE IV. You may take 7Wtf or more Major Sixths, or S/x/^j of ; different Kinds together ekher ri ng ox falling, either by Degrees , or £&*p$ Thus-. _ Qf Composition im Rule I. m fab "FT? Jtj ?\t 2 f 3 g ffrfrrrTffs ' i , ,1.1111"' I 'lim ir :eB3 ^f ^ i±: s at %*.m ^ 4~ ngtllta .. fl-toU Of Compomion. 119 I cold you in RULE III, that Fifths and Eighths, &c. were not to be taken together, neither Rifing nor Falling ; which may not be done by any means in fvco Parts, by Reafoii they will cloy the Ear: But two Fifths, or two Eighths (and no more) may be taken together in Three, or more Parts (when it cannot be well avoided; rather than fpoil the^f/> -, but then fuch Fifths, or Eighths miift be covered by an higher Pay:, and the Piece mufl be never performed in 'ewer parts, but to have them covered.— The like is to be upderitood of Fourths, by reafon, in Ctf»00 of Double -Defiant, they will in the Reply, become Fifths. R U L E. V. You may ufe as many thirds as you pteafe, either Riftng, or Falling ; by Degrees, or by Leaps, if one 7£/V// be Minor, and another chs Maj&r: But two Major "thirds together are not good nor allowable, unlefs it be juit before a Cfy* ; or in kich Places where it cannot be well avoided. RULE. VI. When two parts move Gradually by Contrary- Mrtims, (that is, one Part Afiendrng, and the other Defcendiwg) the Notes in one P r;t may be lb broken or divided, wlii'it. the other Part Stands, fo as to Sound no Difa.rd, ccc. as the Gempofer alone plcafes. E 3 By 1 2o A New Wiufical Grammar 7 &c. By this RULE, you may pafs, by Con- trary-Motions, from any one Concord to another, cither by Degrees, or by Leafs ; I mean, when the Upper- P art-Rife s, and the Lower* Part- ialis ; ■ Or, when the Lower- Part Rifes y and the Upper- P art- Faits, Suppofe, your Key is G, and your Upper- Part-Rifes, and the Bafs-Fatts % &c. Then you may move each Part accordingly to this Scale , by Way of Letters, Allohved Contrary-Motions. Temr G] D Key Safs< B ^ i G3G5G 8GioGi2Gi5Gi 7 ^ * I E 5 C3V. By this Scale you fee the various Movements of CiMrary-Motions, from any Concord wfaat- focver : - . This Of Composition, lit This RULE being meant backwards^ as- well as forwards ; and to move from any Con- cord elfe, as well as from the Vnifon, &cv § 2. The Ufe of all Concords. The Unifon, is fo Gonfonant, and Perfect a Sounds that if ever fo many Sound together, the Ear cannot Diflingiiifh them to be but as one and the fame Sound ; only the Sound is more Strong. — It may be ufed at the Beginning of Strains, and alfo at the Conclufton ; and as oft in the Middle of a Compofition as the Compofer alone thinketh fit. The fhird, is a Concord that yieldeth great Variety to the Ear, and is properly called, an Imperfefi Concord.- It may be ufed in any Part of a Compofitton, to render Perfect Cords more Sweet,- when they follow it, &e. The Fifth, is a very fweet, pleafant, and ¥erfe$ Concord: Two of which are Not allowed to be taken together, neither Rifivg nor Fallings (unlefs cover'd by another Part) by reafon they cloy the Ear.- It may be ufed in any Part, or Place of a Compofition, and moftly to follow other difagreeab/e Intervals, that 3r3 not fo much affecting. E 3 The ill A A><& Wufical Grammar ', &a The Sixth, is an hnperfctf Concord, and is mere like aDifcord, in Quality, than any other Concord whetfoever ; and is Compounded of a Third and Fourth ; for which Reafon, it ought to be carefully ufed. Sixes of different Kinds may be taken together, either Rijtng or Tailing, either by Degrees or by I^pj- ; or be mixed with other Perfeci Concords in any Part of a Piece of Mufick; but never to Begin, tior yet to £;;^ with. — In Four Parts, the Sixth may take the Place of the Fifth, on all jhartfd Notes ; or otherwife when the Fifth is omited, The Sixth is of lingular Die to ren- der other following Perfect Cords more fweet and melting; and may be properly called a Middle Concord, &c, Of the Eighths or Diapufon* The Eighth, is the Firft and Principal of all Concords ; net only becaiife its Sound is Perfect^ and Pkafeng, but that it is Tfo Whole Sy/rem if Harmony, and containeth all other Letter I&Ur- sw/xj and that all other Intervals agree with it, if they do eot agree with each other; and being added to itfe-lf, it itill produces Concords. It may be ufed in any Part cA a Pica of ivhfick, either to begin with, or elfewhere in the Middle, being mixed with Ln perfects, &c. but no Cord ft proper to conclude with : and may properly be called, The Period cf Bar mo ny\ RULE 12? Of Compofition- RULE. vir. lO* You may pafs from an Eight to a Fifth* or from a F*/fi& to an Eighth , when the Uffer- Part either £;/*£ or F*7/s but 0#£ Degree (and not otherwife.) Thus : Example allowed. CTenor — G A— A G. > j 3 5 5 3 > CBafs — G D DG, J Thus have I fhewed all the Allowed Paffkges of all Concords included in the Diapafon • fo that what ever Double, or Triple Concords are above ^ or below it, are only a Repe.ition of. the fingh Cords over again ; by Reafon, every Eighifc or Octave is counted the very fame^ £$fc, § 3. 0/ Paifages 2Vfo «//> Kder -Parts 'both £/ ■>, or Aiff by Leaps. Kthctfyper-PartRifes You may not Pafs f 6th to a 8th 1 ori^Z/j by Zf^v. and the from a \ 8 th to a 6th j Under -Part Rijes, or Falls the fame way by Degrees. Nor from an 8th to an 8th — by Degrees, ncr'by Leapt. E 4 § -i. (Ji" i^4 A New Mufical Qrdmmar^ dec. § 4. ^Confecution,/^Tranfition. A Confccntion, is when Cords of tht fame kind follow one another ; — which are generated by Imnfition. i. e. by moving by Degrees from one Note to the other, to molifle the Harfhncfs of a Leap ; for every D// Talhwance doth end either in the Fifth, or in the Eighth j according to the following Example. — — — By this Example you fee that tfranfition, or breaking oi Note's begets zConfemtion of Perfects of one Kind, by both P^rt* moving one way. Hence it is, that if the Upper- Part moves but by one Degree, and the Bajs by Leaps, that no Disallowance can happen ; (only as the Pajfage from the 6th to the 8th) unlefs it be fet on Purpofe, &c. From this, it appears, That Degrees are the propereft Movements for the Upper parts, and Xft?pj for the 2^/} : But if you make a Diforder in your Movemenp, -then will that Diforder 4bon generate a Confiscation : But that which is .Afa- fr/ra/, cannot be dilpleaiing, and this, I think is Sufficient to iliew what we call Inharmonical, and how fuch Pajfage s may be avoided. § 5. Of Taking Difcorcls. When Dificofds are concern'd ?.s well as Con- i&rds, then is the Defiant called Figurate. Dif- icrds are admitted into Qompofetion two Ways, tfcs. by way of P#/j, and by way of Binding ; according to this Example. ■ , ■ ExampB Of 'Co-trvpofitipTi, l$k Example ofTranfiiio?i . ■.ufirrifojhT$ $^Ad$xkm n i f.f 8-iz$.t£jti.i ?.*34& $ m -9* U7 ZC1 m p=f=P U 4- ffofd :%(LcL:{/cQ(bxtLcL . tyod\Ead* Jlxc&nple 3^ taAzriQ 2) if cords , Ttifr. £ 2±£ IE ■a- 1+ h- *> 2 ^ 3« 4v g t 7> &• fr. H^ Sound J7$, A ^c PPJP * crcrtg r TJ 0/" Difcords, 127 By this Example, you fee how Difcords are taken by Pafs, i. e. when Parts nnkc a gradual Iranjhion from one Concord to another ; which* may be allowed in any Iranjition whatsoever, it xhvfirft Note be a Concord , and the %? does not produce a Confiscation ot Perjetfs y !kc t which Zk- tf/#p/. Compofition of Three Parts, If you would fet a Second Treble, or Cartas s Med 1 us, or Con titer, to any P/^e of Muftck y that was before in IZm/o P#r/J, to make Three Parts ; let it begin from the JBd/} on iome dif- ferent Cord from the Tenor, find fo on to other Cords, on every Note (if poiTible) through tke whole Companion, avoiding Dijfalhwances be- tween your Upper- Parts, as well as between them and your Bafs ; obierving to keep your Inner-part in as true bounds as you can, that it may net be too high and ftrong, to as to fpeii the Air or your Tenor or Leading-Part, Two Fifths, or two Eighths (and not mere) may be taken together in £i&r« parts, ir they be between the Middle Part and the i^G, and be covered by an higher Part, rather than ipoil the Mr oi the Compofition ; but take care, that you dp not make a Conf edition of Perfects from the -B/z/i unlefs covered • which often Will happen, and your En? cannot foon difcern it, when your S?Wr makes a Fifth, or an Eighth ( it being then the high eft Part) and the other P^ immedi- tcly fupplies the Office of an higher Part u and fo makes a Confecutim of the fame kind. — Sappofe i j i A New Mufcal Grammur> &c. Sr.ppofcthc lienor and Bafs be D D, an 8th, and your 7>#or falls, ana your #4/5 rjfcr to E, and your Medius fifes to E, to be the higher Part] then is there a Confeattien of 8ths; i. e. D D, the e ttnor and i>#/}, and E E, the Me- atus and Bafs ; an Error that I have formerly ran into, ft ho 3 not feen by a thoiifaiid tolerable judges,) nor is it fo readily to be feen in the Scores as it is heard. As fcr other lnha>monicai 1 Dial! civ ances,t\\ty are caficr tolerated in TLree Parts, than in < two g when covered by the high eft Part. An £x- tftf//>/c cf STi/Tfe P^/tJ you have as follows. - ■ $ io. Compofition ^Four Pares. To make a Tctir Part Ccmpcfition, your three Upper-Parts mufti, each of them, take a Different Ccrd from the Ground or Bafs : that is, if one part be a UfJtfon or Eighth, the other two /^?7.f nuiit be a Third, and F//f#; and fo on : obferving always, that each Bart has a dif- ferent Cord from the Bafs; unlefs where it can- not be well avoided, rather than fboiLthe Air. Example Of Co)7ip0 4 ltij ' t — - * * — ar — i'SL Example qfThrt Tarts. 3 i _* 123 27 ^ 10 m c^ ' 1 PI b* ^ ^ fpfi 1 3 %7 f 8, 3i m tr-^pa 3DJ g a v. ■e- » '> Example cfFour Farts. fc s>t S 3M *£ u *o io 8 id 15 15 12 JO i &c. will become Eighths to the Higher ,• and where the Bafes are Unifon, or Eighths to each ether, the Cords of the Upper-Parts y will be the fame DifUnce to each other. — And tho* Ihirds are allowable between the Two Bafes, yet if they move fuccefsfully, the whizzing of the Lower- Notes will offend the Ear, &c. Of this curious Sort of CompofMon, I made a Yiece to a Gloria ?atri, fome time ago, as de- fired by a Gentleman of Exeter, in Devonshire; where it is compleatly performed; which I de- fign to print very fhortly, for the Ufe of my Scholars. Hence it appears, That If you Err eft a thoufand Tarts, or mtre y Tbey in Ejfeft, are but the fame as Four, CHAP. X. 0/~ Canon rff General, and how to compofe tf#y of them* TO compofe a C*000, you muft firft prick down your F//£ or below the Leading^ art. Example Of CctTLOT-L . EocanvpLe of Fuge . "(13% oi Con in $&e Diapa/on i* *Z- -JJtvp ill 371& * _ J r 1 ' .^ y- ^ — r- H- ZtaJieLuieiL, S £7tee O/'CanonsJ 139 Then fill up your vacant Bars with fuch Notes as conform to the LAWS of Har- mony. By this Firft Example, you fee how a Fuge is formed ; this being in the 8th, below, and called a Jingle-Fuge: and by this Method, you may compofe any Canon whatfoever, and of any Degree above or below the Leading-Part ; either in Two, Three, or Four-Farts, &c. The fecond Example, fhews how the Whole ftands in Score -, and the Third Example directs how to prick it down in one Fart ; this Mark :S: Directing at what Notes the following Farts are to fall in at. A Canon is a perpetual Fuge, i. e. Farts al- ways flying one before another ; the following Farts repeating the very fame Notes (either in Unifon, or higher or lower) as the Leading-Fart : and becaufe it is carried on by fo ftri£fc a Rule, it is called Canon ; which is the {uperiative, or higefl Degree of Mulical Compofiticn. %^T N. B. That the Words 0/^ 3 fwo, &c. being P^r? of the Titles of Canons -, fignifies that they are compofedof One % Two, or more Fuges; "as the 7t$k directs, &c. § 2 Denom^^^ions ij 8 A new Mu/ical Grammar^ &c. (j 2. Denominations of Fuges, or Canons. A Jingle-Fuge, or Immitation y is when ?a;ts immitate one another, as the former Exampfc. A Doulk-Fu-e^ is when rttfo feveral ?6ihts t or JF7/£y? Oj Canon. 139 Strain, till the Mark divccks th&FollGWing-Varts to fall in, &c. and fo they go round as often as they pleaie. A Canon Reffe c? Retro, is compofed as two Tarts in &0rs; and the latter End of the Bafs is fet next after the lajt NAe of the Upper-Fart, and prick'd backwards ; fo the nrit Fart is performed Forwards, and the latter Fart Back- wards, &c. A Canon D cable- Defc ant, is fo compofed that the Replication or A^faer of the Upper-dart ; becomes the Fa s ; and the Bafs the Upper - Yart ; in which 5 ths are to be avoided, becaufe, in Reply, they will become 4ths, £&. y l**fc 4f R U L E S of Compofition ?jkovm> And Cords Allow' d ? *r* clearly here mads known: jDifcords Tve mentioned, and what elfe we call Cords Not Allow'd; and Inharmonical Which RULES offered, Jbews how we Frame each Part,. Whereby we Judge $f this cur {acred J R T< Tou 140^ New hiu/tcal Grammar, &c. You may have variety of Examples o.ffeveral Compo/itions, either in Tivo, Three, or Four Mw fical Farts, in A WORK of mine, lately Pub- liihed, bititled, THE Univerfal Harmony: CONTAINING The Whole BOORofP^IM.? Newly Sett in Four Tarts, to the very Belt Por- tions. w 1 r h A New Jubilate Deo^ and Magnificat; and variety of New Hymns, Jlnthems, and Canons: This being the moil curious Book extant. ( Price Bound 4 s. 6d.) N. B. That I intend ( if G O D permit, ) Speedily to Publifh A Work, Intilkd, EXCELLENCY O F Divine - Mufick . Containing, The Original life of every Portion included in the B O O K of ?SdLMS, dec. C H A..P. CHAP. X: THE Mufical Alphabet : Explaining all the Technical Terms fifed in Mu- iick ; as they are derived from tbe Greek, Latin, French, Italian, &c. A. A An Abrevatinn of Alamire. A . A Bene P/acito. Signifies, If you pkafe. Accent. A warbling Tone. Accentor. The leading Singer. Accord. Agreement Acute. Shrilnefs of Tone Adagio. The flow eft Movement in Time Ad Libitum. If you pleafe Ad Due. or Doi. Two Parts. ?a- h l° y r r Tender and Affectionate Allegretto. Pretty quick Allegro. The Time quick and lively Allegro Allegro. M^re quick than Alkgro Allegro ma non Prafio. Not too quick Alto Ripieno. Tenor of the Grand Chorus AlUhjah. Praife the L O R D Alternate. Performed by Turns Alto. The Counter-Tenor Alto Concert ante. Tenor of the Xttk Chorus- F Aim 14* The Mufical Alphabet^ Alt us Counter tfenor Andante. Go, or move diitin&ly. Anima, or Animato. Brisk and lively. Anthem. . A Divine Song in Profe Aria A ftiort Air, Song, Tune, &c. Ariffa. The Movement of any Mufick Arjts, Rifing in one Partx and and \ *tbtfis. Falling in another 3 Ajjai. Not too quick, nor too flow A (jay. Try. or prove your Voice, or Instru- ment. Atempo giitfto* Perform the Time jufl and equal B. B. Signifies, Bafs, or Baffo Bar. A Stroke that divides the Ttme Bafs. . The loivefl and fundamental Part Counter- Bafs, The Second or Double- Bafs 3 borough- Bafs. The continual, or figur'd Bafs Baftfta* One who (ings or plays the Bafs Bajfb. The Vocal- Bafs Bafo- Con cert ante. Bafs of the little Chorus Baflb-Coniimo. Continual, or tfhorow-Bafs Bajjo-Recitante. Bafs moving continually Bafe-Ripieno. Bajs of the Grand Chorus. Batt ut a . Motion of the Hand in beating lime Binary. A Meafure of Time, equal down and up Bmi. An Abreviation oiBfabcmi Braollarcy or Molk. Soft and Flat Breve. A Note, the Length of: two Semibrevcs Bulkntc. Brisk ; Gay, and Lively. Bum* The Mvftcal Alphabet. 14 Biono. Good ■ Bur(kn l The Repeated Part at each Veife end C. C. An Abbreviation of C-fol-faut Cadence. The doling Note Camera . Ch a mbe r-Muiick Canon. A continual Fuge Cantata. Mufick for both Voices an&. Shrill, loud, acute, &c t Homophonous. Sound in Oni(on\ or sne ' :^d Hymn. A Divine Song in Vcrfc Hypo, 7#/ra. Bellow Hjpoproflambanomenos. The fcse/gf Dogree of Sound. !. j^sr* When Sounds difagrec- Imitation: When Parts imi at: one another hidou A DircHor. F 4 bitarmcnkah s 148 The Mufical AlphaUl. Inharmonic aL A difonant Sound unexpected I no. An Hymn, or Spiritual Song InWrjaL The diftance between two c-r more Sounds faiihk. A Mood, Soft Any, and Melting K. jKey. The Fundamental Note or Tone, &c. Key. Note. The Jaffi Note of the Bafs Keys. The Toutches of Organs, Harpfi- chords, &c ; L. La„ An Abrcviation of Manure Lament atone. Lamenting and flow Languente. Soft and languishing Xargetto. A little flower than Largo Largo. A middle Movement of ffime Legato. When Notes are tied together Legerment. Lightly, Gently, and careful Lett*, i*X»A V flow a ; a foft JLenteinente. + . y Latere. Notes untied ', and at liberty Ztwfj-. An o/d JVete, of four Semibreves Lydian. A Mood, very doleful and (low i^ f/f . i. e. That is M. Madrigals. Short Verfes fet to Mufick M«*Mo> J With Strength and Grandeur Maenuofo. L ° Major. The Greater Man i chord. The Wiufical Alphabet, 149 Afani chord. 1 K cv • » j t a. Monochord. 5 A ° ne Stnn S d ^"iment Mi/icr-Note. The Key-Nte, and Mi-Note M^an. Qoanter-Tenw Mjafitre. The Motion of the /fo;/d or Foot, (Ice. Mcditis. The Counter or Middle Part .M/0J. A Piece of Melody Men. Not fo much ML The Note B-/i ^«wi Minim. Half a S emit revs M^nor. The Lefler. Minuet. A quick Dance Mood. The Movement, £&! Modulation. The expreffing of Sounds, &c> .A/g//*. Flat or Jfo'ff*. Monfira. A Director Motetto. A Church Compofition in various P^rtt Motion. Time quick or (low Mufick. The whole Dotfrine of Sounds, well difpofed, &c. Miiftco tfheorico. A Perf>n who Studies the Science of Mufick in private, and w/te j SfW«- f*/&i and Comments thereon-; endeavouring to explain in the *for& Pajfages of the An- tients, as well as to give Infttuffions by Practice. Mutation. The feveral Changes oi 7Wj, &c* N. Natural. Notes not tranfpofed or fo mark'd Necejfario. Neccilary, or that muft be done pfm. Not F 5 Nenpula. 150 The Mufical Alphabet. Ntmupla. Quick Jigg time Notes. Characters fo called, long and fliort Not a- Bent. Mark wel), or Note well O. OMigatio. Signifies, for, or on Purpofe for O clave. An Eighth Offavina. A fmall Spinner. Ode. A Song, Sung to- an Jnilrurnent Omnes. All together Ondeggiare, The flow return o£ the Hand* doubling the Motion Opera. Song for both Voices and Inftruments Organ. The moil Harmonious Wind Inftrument Organo, The tfhorough-Bafs Overture. Play'd before a Play or Concert begins P. Piano, or P. Soft, like an Ecchse. P. P. More foft than Piano P. P. P. Pianifpmo. As foft as poffible, but juft heard Para. "Near, or next of all Part., A particular Portion, in its proper Cliff Pajfepied. A very brisk Air, &c. very lively PaJ/ionato. Paffionately, tender, and effecting Paftoral. A foft Air, fung like Shepherds, &c. Pathetica. Pathetically, moving, and effecting Pavin. A grave Spanifh Dance Paufe. A Reft, or to keep Silence Pedals Feet-Organs Per. By Pkrygian-moodl The Mfjfcal Alphabet. 1 5 1 Phrygian-mod. War like Mufick Pieno. Full Piciofb. Soft and pitiful, and companionate Pique, Each Note to be heard diilinctly Pitt. A little more. Pcco. A little kjs Point. Any Number of Notts, or a Mark fo called prelude. An Interlude*, &c. fft^k A Repeat, or a Mark where a OM begins -P^. Quick f/Wl Pre/to. Ikt . , • Pr^jfi*,. jVery quick. Prime, or 10. The F/^f. Prolation Shaking the Voice Pronto. Quick, without lofs oiftme Proportion. The relation of Sounds, ffinte, &cl Profalmbanomenos . A loud Sound added Pfalm. A Divine Song, &c. Pfalmody, The Art of unging pfalws, or the Place Vfalmodtft. A Teacher, or Singer of Pialms, &c» ^danh. B maae natuM? Dy that Character Jzhiadrupk. Four Folu Jguarto. Four Parts .Quaver. A Note, being half a Crctrtrt Quavering. Shaking Gfc/Wtfa A fflfifc R. |U. The ancient Vocal Name for G or fit Rcc/;a:ivo. 152, The y\ufical Alphabet. Recitative. «% To fing in a Tone like chant- King, &c. pronouncing the grave Recit, or Reo. ) Parts, &c. Regijler The Stop of an Organ, or Pitch-Pipe Reherfal. The repeating, or learning of Muftck Repeat, — — . :$: This Character is fo called Repetition. A Repeating the fame again Repetatur^ Replica, ( T . , j X4*rt». > Let 1C be repeaIeci - Reprefa. J Refinance. A Refounding or Sounding again Refponfary-Song. A Compofition, fung by Turns Reft. To keep Silence, A Character fo called Ribattuta. To give one Note many flrikings Ricercata. An Air play'd Extempore £I?S} A Part re P cated at the £ ^ &c: Riga~Lin$. The Z/»w whereon Notes are fixed Rigadoon. A gay pleafant Dance Ripiano i or Ripieno. Signifies, Full Rtfvigliato. A lively Strain following a dull one Ritornello. The End of a Tune repeated, &c. Rondeau. A Tunc ending with the ftrft Strain* Round. A Canno, ;<::})% rounds or Round-Catch Roundeky, AStrain Vtne End of every Fhyi S. Solo, or S. Signifies X7 , 7 - -, - , Symphony. ^ NoteS 4ST^& to the Compcfition Singing. The Mufical Action of the F one being a Difcord; fuppofes the other to be a Condord. Supra. Below Syncopation. Notes divided with, and drove through Ears y dec. Syjlem. An Interval^ containing many lejfer ones T. T. often Hands for Tutti, and for frillo. tt\ The yiuJJoal Alphabet, *D3 fablatura, Letters Handing for Notes facet. Be Pent, or Reft far do. Very (low, much the fame as Largo tattoo. A Drum Leffbft, calling to Quarters Ttrpermenta. To change imperfetf Cords, to be as Perfect tempo. Signifies Imc lenderment. Tenderly, foft, and gentley tenor. Thzflrft Octave above the Bafs ; being the ordnary Pitch of all Voices, or the ffo; burden or leading Part of any Ccmpcfiiion frecet A third Ireza. *\ frezetto. >Three Parts Trezo; J fefto. The JV;tfj or main Subjec? theory. The natural Catifes, Grounds, occ. Ihe/is, A falling of Notes - third. A concording Interval. Thorougb-Bafs. The continual, or Fignar'd 2te/9 threnody. A Funeral Stag 57/s*. The attention or Sound, long or ihort Timorcfo. With Dread, Fear, and Refpecl: lempogiuflio. Time equal and harmonious Toccata. An Air play'd to the Organ Extempore tone. The Property of Sound, whether Grave $ or Acute Iranfpofttion. A Removing from one Key to another fre, Three Trelk, Three Fold, being the 3d Olfave above the B^/5 tremolo. The Sfr/'/fo, fr, -or to /;^ a JVote 156 The M/fficJ Aphakt. frio. Three Parts Tripla. When 7) me moves by Threes I'rijkgicn. A Church Hymn, with three Hoiks l>ite. Three, or the Third Tntone. The greater/ or mz)ox Third Tune. The Property of Sound, Grave, and Acute V. Vefto: Tarn over the Leaf Titration. The trembling Motion of Sound, htr:ngs, 3cc* VtgorcfcameMe. } With Stren S^ and Vigour Vtllanella. A Peafant-like, Country Dance vf/ainente. }Q- uick > without Lofs of Time Vivace* With L: r e and Spirit VivaceJJimo. Very quick and lively (Jnifon. Two or more Notes in o#£ 5?/W r, f^i Mufick performed by Voices Fr .- /c/./j. yf fi;ig!e Voice. F0&2 Once, or one Time Vohijt pace. Turn over if you pleafe £?■', :V._ Zimri. An ancient V^in-gloripus* conceited Mujician, who, becaufe he could not out-do, his Mailer Ela iq the «4tf..of Musick, he murder'd him, that in order he might become more famous. FINIS.