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31

W£?
ME T fiPOD To Learn to

W HERE Bt
One (who hath a good Voice and
£> ) may without Other help
,
,

learn; to Sing true by Notes.

DtfgrPd chiefly for, and applied t o y t he promoting
of PSJL MO DT; and fnrmfhed with
variety of Pfalm Tunes in Parts , with
Directions for that kind of Singing.

LICENSED,
Jan. 29. I 6% %. Rob. Midgley.

L ND N<
Printed for William Roger s$t the iV/^againft
St. Dtwftan's Church in FfceuStreet, i6$6.
J*

)
 To the Ingenious and Hopeful

THOMAS FOLEY,
EUeft Son of the Worftipfnl

Thomas Foley, of WttUy3 Efq-

AN <D ALSO
To the Vercuous Young Ladies
LETiriA and ANNE,
Eldefi Daughters of the Worfhipfnl

Philip Foley, of Trefiwood, Eiq 3 -

The AVTHO R (as an Jcknowl dgment

of hit Obligations to th*t Worthy Fa*
mily , whereof thefe are Branches)

HUMBLY DEDICATETH
THIS
ESSAY.
 i

THE
PREFACE.
AMONG that are
thofe Human
made ufe of in Di-
vine Things, none is more
Am

immediately fervkeable than

Music, which not only is
admitted within the Walls of
the Church , but alfoaffifis at the mojl Sacred

Offices therein performed. what EJleem

Of
r

ani Vfe in Divine 1 hings it was of Old among

the Jews, the Scriptures give us account, and
largely afford the Subjects and Matter of their
Song : The good Kjng y and chief PfalmtJIJbeing
therein characterized with the Title of The
Sweet Singer of Ifrael. Under the Go/pel,
we have both the Example of our Saviour at
his lafi Supper , and the Commands of the Apo-
files y for Singing ; and accordingly, in all Ages
Jince hath it ken pracTifed by Chriftians. The
A 4 iV4-
 ,

The Preface.
filature and Efells
of Muftc, are fuch as com-
mend, it Jo honour able Service ; Motion
to
Proportion , Concord, and Harmony, being
the very Soul of it , and to excite and exprtfs
the^ bejt Ajfeft ions , its genuine Effects.
j

Of all kinds of Mufic , that exprefsd by

"Human Voice hath the precedence , as being
tnojt ancient and natural
Nature affords us
Organs , and
both to exprefsentertain its Me-
lody y t herein , as in other cafes , Nature is
;

to be perfected by Art and Induflry. A Rujlic,

the? he may have Natural Parts, and a Soylfor
Learning , is yet , if illiterate , incapable of
Converfe with Scholars, or enlarging his know-
ledge by Books : In like manner , the? a perfon
have naturally a good Voice and Ear, yet without
fomething of Art, will he be incapable of Mujlcal
Confort or Learning, more than what (as a Par*
rot) he gets by rote.

Thatfo few perfons (out of Cathedrals) under*

fiand Prick- Song, a main reafon *, the Obscu-
rity and Confnfion in the Method commonly
taught, wherein the following Particulars make
it a long Drudgery to attain Proficiency.

i. As
 The Preface.
I. At we have pre fen ted a lo*g
firft fight ,
Bead-roll of bard and ufelefs Na+es , to be
conned backward and forward the Gam-ur. w
*
2. Whin this Drudgery is over, follows a,

worfe , to lam th^ differing Names of the

Notes , accord ng to the ftvtral places of Mi,
which in each Cliff barb three fever al S at ions,
being one whik in B, another v- bile in F another
while in A, the other Names (Fa, SoL, La,)
attending its motions.

3. Wh n you are paft thefe tvo , and can

name your Notes thre manner of ways, you are
yet to feek for the chief
^1 •
+1 1 T„ ^ As to the Notes Names,>
thing, the Tuning ;
or
aud the cliffs e the01 d
, ,

them, if y9U have not a and Vew way's compared

Mailer at hand to kadyo* ** ™J at the end of

\vith bis Voice or lnjiru-

ment.

4. A fourth Difficulty arifes from the many

Cliffs , which no Lfs than J even ways change the
places of the Notes upon the Lines and Spacrs^
and makes it a mofi tedious thing to beptrjtci in
flly or but fome of them.
1

Ik
 The Preface.
The removal of thefe Difficulties, and thereby
the Encouragement of Learners , is that which
J have endeavoured, in this EJfay ; What I have
done in order thereto y l Jhali here give the Reader
fome account of.

Firft, as t$ the Gam-ut, omitting the old

Names of the Notes as unnecejfary , I retain
only the Letters of the Alphabet , by which
the Notes are therein exprefs*d : Thefe Letters
being feven,A, B, C, D, E, F, G, I affign them
as Names for the /even Mufical Notes, taking
only the liberty (for better found-fake , and indi-
cation of the Half Notes places ) inftead of
calling thefe three Letter s, A, E, F, as in the
Alphabet, to name them L$, \J&, Jf a, When
a Flat or Sh/trp alters the nature of a Note, its
Name alfo admits the like alter at ion, yet fo as to
keep the Letter belonging to the Line or Space,
thereby making the Change to be no trouble to the
Memory, but an help to fing the Notes in Tune.
So 015 being fometimes /harp and fometimes
,

fiat , I cdl it 05 when it is (harp, and Tge when

it is flat, as in [Begin, Before,] withafofter
found, and therefore the more agreeable to a
fixt or foft Note , as the other is to a {harp.
The like is done by<&. iQ, being a Vowel, hath
before
 :

The Preface,
before it,when /harp an L, and when flat an M.
Py this means, we have [even difiintt Names
for the [even Notes , keeping always the fame
places in each Cliff] and thofe Names fuch as
both comply with the Gam-Ut/<? much as is need-
ful, and alfo with the Alterations that are made
fW Flats and Sharps , without burthen to the
Memory*
That there fhould be feven diftinci Names,
for the feven Notes , isfo reafonable, that it is
jufily to be wondred at , that the Writers of
Mufic fhould generally affign no more than four
or fix : This fome have complained of, particu-
larly our Learned Dr. Wallis , in his Appendix
J
to Ptolemy s Harmonies, by him publifhed,
pag. 288. " Sed omninp deeft vox feptima
<c
pro fedibus Ff voce deftitutis ; ( nam
" quod ibidem habeantur Fa Vt, id eft,
" alterius fyzygia ) :
Quod mirum eft
" Guidonem non vidiffe &prxcaviffe. Re-
" centiores aliqui ( inter quos Merfen-
" nus ) fupplent vpcem ft aut huic fimk
lC
lem.
The next thing, wherein I have endeavoured
to facilitate the Learner's Task, is, by /hewing
a way to Twne the Notes aright in any O&ave,
or (Cliff, witheut the help of 4 Mafler or In-
Jirument
 The Preface.
Jlrument : To which , I require no more in the
Learner , but that he have either heard , or
can fwg the Notes of SIX BELLS.
He who hath not Natural Mufic enough to do
this, ( efpecially in this Ringing I Hand, as
fome have called it ) may he fuppofd not fo
defirous of the Art , as to concern himjtlf in
this or any other method.
The reafon why I chufe Six Notes , ra-
ther than Five , Eight , or any other Num-
ber^ is, becaufe the Half- Note more naturally
and eafly falls in its right place in MX,
(viz. between the third and fourth Notes )
than in any other number of Notes , it being
not eafie to fwg them falfe as any one th it ,

tryes will find : The reafon becaufe if the is ,

Half-Note be mifplaced, it mujl b by Sing-

ing three whole Jones fucceilively , which
is both unpleafant upon an Inftrument,
and difficult to the
* Amiflio autem triplicati * yQ Js JrQr pj ve
-

Tom, em ad per Sciendum .. .

ubique Diapafon n-ceiTa.ia, Notes or B lis , the

dura, um juu cznmibi* unde
7i .

Semitone may be ei-

ad talem duritiem temperan- f L ,
'

damArtifices divide tediumthr ^ween

t tfoe fp
t p je-

ilium ronufn in femkonia (?«?/;- cond and third, or

irediEiemenra Muhcz inter l tt:Vtmt l)e third and
Opuic. Serf. 25. r 1 j r 1
fourth^ and fo can be
no
 ,

The Preface.
no certain guide : And for Eight , they con-
tain two Semitones , and thofe in no certain
places. Taking therefore Six Notes, or the
Tune of Six Pells , for the Clue to lead the
Learner by , / have applied thtm to the lea-
ding him through all the places on the Staff
of Lines in each Cliff, both without and with
Flats and Sharps. The cenveniency andfuffi-
ciencyof Method any one may be fatisfed
this

of\ who a, little conftders it. NotwMJtan-

ding that nothing may be wanting that can be
up d as an help , / have /hewn how to ex~
prefs the Notes upon a Bafs- Viol. To thefe
Directions , they that can procure a Majler
they will be an help both to him and the Lear-
ner , in the more fpeedy and ea/ie attaining
their Ends.
The third thing I have taken in hand , k
reducing the many Cliffs to as few as might
be, or ( which u the fame ) to /hew how to
fing true ftfc ^siotespriced in a Cliff one is
a fir at as if they were in another bet-
ter k ";„. To this purpofe , / have made a,
Table, by nhich all the other Cliffs are redu-
ced to the Treble And Bafs ; fo that he who
hath learht in thefe only , may be able to fing
hk Notes true , tbo* priced in other Cliffs.
The
 ,;

The Preface.
The courfe I take for effecting this , u by
the help of the ufual Flats and Sharps , to
bring the Half-Notes into the fame places of
a Staff, thd* fign'd with differing Cliffs. By
which means , thtfedfe Notes be fung in ano-
ther Kfy, anlt0$pre called by other Names
yjj&fre Semitones being accordingly fet in dm
fSm by regular Flats or Sharps, the Tune
mil be truly exprefs'd by the Voice. 1 know
this way not wholly practicable upon Inftru*
is

?nents , efpecially fuck as hive fixed Stops,

which will feem out of Tune when Leffons
are played in a wrong Kj.y : But the Voice
being at liberty , will naturally rectify thofe
fmall inequalities of greater and lejfer Tones
and Semitones, which on an Inflrnment, being
mifpUc*d, diffatisfy the Ear.
In the Conclufion , For a Praxis, 7 have ad-
ded feveral Pfalm Tunes in Three Parts
with Directions how to ftng them, to promote
that mojl harmonious and delightful kind of
Singing. This requires fomewhat ?rt~>ye Skill
than the Common way , yet is eafie enough , at
lea[I for a felect Company of Perfon s , with
good Voices to attain unto. It would there-
fire be a commendable thing , if Six, Eight,
$r more , fober young Men that have good
Voices,
 The Preface.
Voices , would affociate and form themfelves
into a Quire, ferioufly and concordantiy toftng
the Praifes of their Creator: Afewfuch in
a Congregation ( efpeciaUy if the Clark wake
§ne to lead) might in a little time bring into
the Church better Singing than is common,
and with more variety of good Tunes , as I
have known done.
*Tis pity we have not a better Tranjlation
of the Singing Pfalms publickly in ufe . how-
ever, for Private families there are feveral
weM done , efpeciaUy the lafi by Mr. Patrick,
which hath met with a general and deferved
EJleem. He hath put more of the Pfalms into
the Metre of the Hundredth , than were m
the old Tr an flat ion , for the fake both of the
Meafure and Tune, which are both good. This
Tranjlation, together with ilfr.BartonV Hymns,
will abundantly furnifh fuch with apt Matter,
whofe Piety and Tunable Voices jhaH difpofe
them to Pfalms and Spiritual Songs. Ihe
promoting of this ( as to the Tune and Me-
lody )is the chief of my defign in this Effay.

If therefore any Reader come with no better

ends, than to accomplifh himfelf to bear a Part
in a Drunken Catch , a Smutty or Atheifiical
*>*£• I *fjurt kim 9 4 Word here
there's not
deftgjd
 The Preface.
defigtfd for his fervice , V/7/ upon betted
thoughts a Penitential Piklm/hou/dfeem more
fuitaik,
I have onh this farther to acquint th? Rea-
der with, Ihxt I hue not Unfled wholly to
my o.vn Judgment , ( tho* confirmed by Expe*
riment mide ) but h we communicated thefe
P.tpers to Ptrfons of Sk*ll and Eminencyjvhofe
Approbation hath been my Encouragement tp
Pwiifb them, with h*prs, that they may be
ferviceable to unprejudiced Learners.

ERRATA.
PAge 27.
nadlB. Vt%e\%.
fecond and
in the
i9-/or[- line
thtri Lines,
in nmrtoa
infieid of fc
^cmibreve,]}
1

Jhuldbe Jjs equal in time to a remnr vfi J The word Equal .

may be added rv-th a Pen at the beginning )f th fine. Page 62.

in the fir (i Staff and fecond Cliff gr there Jhuld be another Flat

thvA ij~r: AJjd in the fifth Stat) folvvriog, the fourth Cliff gf|
[bouldbj.ve another Flat thus S=J? . Pa«e 66. under the biri

Stiff, tbe{€) in 35e may beflruc^ out with a Pen, Page 89. Up
fi< "Sotesof tbsTuncQooullbetbw jj^j^iliisSfeistti

A New'
 L * 1
~~~

A New and Eafie

METHOD To Learn to

im
C HA P. I.

Of the Scale of Muflc ; and Cliffif;

Shall not trouble the Prafttcal Reader

with a Mathematical Account of Inter*

I va/s 9 or
how they
how Eights are the fame,
differ
4
. It will
and
be fufl^cient
to obferve tS him,That there are feven Notes
in Muficj which are commonly exprefsM by
thefe {even Letters of the Alphabet, J,B CP
9

£>, £; F G
y ; a Voice or Inftrumerit rife or
if
fall gradually more than feven Notes, the
B foi-
 E»]
following 8th, $th, \othy &c. will proceed
in the fame order, and bear the fame relation
each to other as the ist y idy $d, &c. to
which they are refpeftively Eighths or
Offaves, and that hence every eighth Note
being alike in nature, is called by the fame
name with that to which it is an Eighth,
whether above or below it.
That the various Muficaf Compofitions
out of thefe Notes may (as Languages) be
communicated by Books and Writing, cer-
tain Lints and Ch>raffers are deviled and
made ufe of by Mttjiciam+ot which you have
here an Example.

iipiMiiiriiiiil
In this Example (till we come to the Par-
ticulars)you may obferve thefe things in
general Firft, That the Chara&ers at the
beginning of the Lines are called Cbfs or
Kjys, opening and flgnifying what Part or
Pitch of Voice, i//** Treble, Mtan y or 5j/J,
the Notes properly belong to, and aifb on
what Line or Spice each of the feven Letters
is placed. Secondly, That the five Lines and

Spa<#s between themferve as Steps whereon

to
 :

to exprefs the degrees of Sound, or Notes

afcending and descending. Thirdly, That
the Characters you fee upoti the Lines and
Spaces ftand for the Notes themfelves, and
their different form expreiTes their Quantity,
whether longer or fhorter.
Your bufinefs therefore in this and the
following Chapters will be, Firft, In the
(jam-ut td l£arn the ufe of the Cliffs
.

Secondly, To learn the names of theJLines

and Spaces, that you may feadily; know
what to call a Note {landing upon any Of
them: Thirdly, To fing thole Notes Jq
right Tune, both by degrees and leaps: And
laftly, How to give each Note its due Quan-
tity of Time,
Having premifed this in general, to give ;

the Learner a profpeft of his^asfe, Iftiall

proceed to fay (bmething of the Camera as
far as is necenary to niydefign; which is,
That you may underftand thereby the ufe of-
the Cliffs, and the Order and pittances of
the Notts as the Parts lye together ia a
Body. • •

ti w
 E4l

\l am ut #£z\
3$M ofMUSK \Q

^Ji la ini re

£ Ai
> mi—
ftlafoire
CMfant ,

\A la mt re
., Q fol re ut

faut
hA mi — re
T fa

Thb Stdt (confiftingof eleven Lines

contains the
With the intermediate Spaces)
ordinarily made ute
places of all the Notes
In the firft Column
you
8 i i Vocal
Mafic.
I only down,
have the old Names, which
fet

are The fecond

Xt you may fee what they
ColuLn flJws, which of the
Space, The^rd
<^£*«
belongs to each Line and
 C 5 3
Column contains theC////, or Signed fceyt,
and fhews how many Degrees or Notes thejr
are one above the other ; which being
known, the other degrees of Diftance are
eafily computed.
Five of thefe Lines, with their Spaces, are
commonly fufficient for the pricking of any
Tune, therefore is the Scae divided into
three Staves or Parts, compafled in by
Arched Lines. Of thefe, the lower Five be-
long to the Baft, and are known to do lb by
this mark 52 upon the Line of F, commonly
called therefore the F fa ut Cliff or Key,
opening to us what Letters ftand upon tlie
other Lines and Spaces, as will be fhewn ia
the next Chapter.
1 he upper five Lines contain the higheft
Notes, and belong to the Treble, or higheft
Part: The Key. to thefe Lines is ^, or
fbmetimesG/, on the lower Line fave one.
The Tenor or Middle Part takes in commonly
two of the upper or Trebk Lines, and two
of the Bafs Lines , having one only in the
middle proper to its felf, on which is ft
this mark f for the Cliff\ its proper place
is the middle Line, but is oft fet on one or

other of the other Lines, which ever the

Cliff ftands upon, that Line is the place of C,
B 1 and
 E«3
and the other Lines are to be reckoned accor-
dingly. Sometimes alio the Bafs Cliff is
removed to the middje Line, and then that
Line is F, &c. This fhifting of the Cliffs is
troublefom ; but general ule having made
the knowing of them neceffary, you 'muft
at leaft underfidnd the manner of them.

CHAR II.

Of the fflames of the Lines and Spaces*

HAving (hewed you id the Gate*) how

the Notes lye together in a Body, I
Chall now take them into Parts according to
die three Cliffs^ beginning with the upper-
tnoft as raoft common, And here your firft
bufinefs will be to learn the Karnes of your
Lines and Spaces $ whicii the Cliff or I\jy
opens to you.
The Names are [even, expreFs'd in theft
ieven Letters, A, B, C, D, £,F, G, which (for
better Sound-fake and Reafons hereafter to
be given ) you muft call Lflj, $ji Ce, p,
LC, jra,<S, pronouncing j?a broad, as in
&4H, Falcon, &c. Ihefe or the like Names
are given to the Notes , both beraufe the
Voyce
Voyce is beft put forth in exprefling Tome
Syllable , and aLb that the {even Notes
might be known by as many diftinft Names.
Their r>laces in the three Cliffs are as m thefe
Examples.

^a 4- S -f-f-

H-
cr±^
-e-S-

0- -t-e
fe^
*€-
T*
\ -^ 4 d^-
3
t±
&-g-
4-
Tt~*
7*
It will be convenient that you begin wkh
and keep to one Clif only at the firft, wi jch
you pleafe, or which belt agrees with your
Voice for a pitch high or low ; when you
B 4 have
 C * 3
have gone through all the Rules, and arc
perfeot in that , you may proceed to the
other.
You need not trouble your felf with the
Tenor or C Cliff, which keeps no certain
place 7 the ninth Chapter fhews you how
-

to fing any thing you meet with prickM in

that 'ClifT"
Before you proceed any farther* you muft
be ready at naming your Lines and Spaces,
fb as to tell readily, as foon as you caft your
Eye upon any Line or Space, what Letter it
is called by. The Cliff leads you to all the
reft, forbeginning thereat, and afcending,
the Letters lye in order ; and defcending,
you name them backward.
The Dafh-lines that you fee above and
below are only added, when the Notes afcend
above, or defcend below the Staff.

CHAP. III.

. Of the diftances Note from Note 3 as

'
'
to Sound,

fTpH E diftances of Notes one from ano-

'

I ther/as to found, are not all equal, but

- *
in
 C 9 ]
in the rifing or falling of any eight Not£s
?
there be two leffer diftances called Semitones
or Half Notes, which muft be well known
by their places in the Staff of I ines.
The better to remember them, take the
Rules in thefe Rhimes.
In ev*ry O&ave half Notts two
Then are , the which their Places fhew ;

One half Note is from Q5 to <£e,

The other lies 'twtxf J7 a. and L\Q.
This Rqle (hews the ordinary places
where tke half Notes are tQ be fung, when
there be no Flats or Sharps let on the Lines,
to wit, between 13 and Ce, and between
LC and fa.
What is to be done when you have thefe
marks (L) and ($) upon the Lines, fhall be
Hie wed in Chap. 6.
-_---.- -
rc r + _AA£ft_

ra=f**=»:
la thefe Staves you have the Notes gra-
dually afcending, of which thofe Pairs mar-
lied with Arches are diftant half a Note.
This
 g. This Figure reprefents to the
f. Eye the diftances of the feven
* Notes one from another, the
D '
Letters guiding you to the Paf-
\

C
B\
titulars ; where you fee 15
> as
u Ce, and L(£ jfa, lying nearer
'<?. than the reft, fo are their founds
to be nearer.
That you may with your own Voice ex-
prefs,and thereupon obferve the difference
between whole and half Note diftances, fing
thefe fix words, Oae 9 two y three four, five, fix,
diftin&ly in the Tune qf Six Bells, and after
you have done fo feveral times fing only
J, i, }, 4, and ftop there, repeating j, 4, by
themfelves for (they are diftant in found a
Semitone, all the reft are a Ttf#e or whole Note
diftant each from the next. By a little ob-
fervation you will perceive the 3 and 4 Bells
or Notes to be lefs diftant in found than the
Other.
1 he Numbers i, 2, 3, 4, J, 6, in the for-
mer Figure, fhew to the Eye the feveral di-
ftances of the fix Notes, where V& is the
firft, <D the fecond, &c. and the third and

fourth are Ce, 0?, diftant half a Note or

Tone.

CHAP.
 u

[n]
*
CHAP. IV. •

Of Tuning the Notes.

Seci.I. rr He readied way to learn to tune

A your Notes aright, is by follow-
ing either the Voice of one skill'd in Mufc,
or fbme tuned Inftrument that hath Frets or
Keys, which are the only ways hitherto made
ufe of, that of a Matter being moft common ;
butbecaufe (in the Country efpecially) oft-
times none of thefe can be had, the follow*
ing Directions are laid down, which may
fuffice for one that hath a Mufical Ear. The
only poftulate is, That the Learner hath ever
heard, or can fing, the Notes of Six Bell
which Requifite I think few are without,
whole Genius inclines them toMufic.
Suppofing therefore that you can fing
i. 2, 3,4, 5,6, right,- 1 fhall proceed by the

help of thofe Notes, to lead you to all the

reft.
Obferve, That when you begin to fing the
firft Note, on what Line or Space fbever it
ftand,you may fing it with what Tone you
pLafe, high or low, (as to the pitch of your
Voice)
Voice) with this Caution, That you count
how many Notes you have above or below
it, that the pitch of your Voice may be fo as

to reach both, without fqueeking or grum-

bling. After you have tuned the firft, or
any one Note, all the reft follow neceflarily
in their due diftances above and below it.

Example L For applying of the Six Notes.

Begin with the fir ft Bar, and with your

Voice high, fing the fix Notes you fee on the
Staff fevcral times, calling them by the
Numbers over, 1,2, 3,4,5,6, as you
viz.
did in the former Chapter ; which when
you have done, fing the fame Notes, calling
them by their Names, L3,$, ifa >
L^2,*D>Ce.,
in the Tune of Six Bells.

2 4 6
} 3 5

illliliiliii^ip
1 Bir. 2. ?.
 C«»]

+*£

4- 5-

2. In the fecond and third Bars fing the

two Notes of the fix by themfelves,
firft

both forward and backward. In the fourth

Bar repeat all fix, and in the fifth and fixth
Bars repeat the two laft Notes, 3D, Ce, both
forward and backward. Thefe Notes are
diftant a whole Tone, which diftance, by
often repeating thefe Notes in the fecond,
third , fourth , fifth , and fixth Bars , you
will the better know and diftinguiih from
lefler.

7-

In the feventh Bar, after all fix,repeat the

three laft often over, firft down, Lvg, g), (£e;
Le,D, Ce, &c. and then backward, &t&$
 In the eighth Bar, after all/?*, repeat of-
ten the four firft, La,£>, M, L£ ; and in
finging them, oblerve efpecially the two
Notes jfa, LC, becaufe their diftance is a
Semitone ; therefore afterwards' in the ninth
Bar, fing them by tWemfelves fo often, 'rili
you have fix'd in your fancy their diftance,
for this you will find the hardeft thing, to
fing true the half Notes in their places.

IO II

*mmmmmm 10 ir

In the tenth Bar, fing the four firfi: Notes

both down and up.
In the Eleventh Bar,firft fing the fix'Notes
ih order , then repeat the four laft, Jfa, L£,
 C 15]
3D, Ce, leaving out the two firft Notes, L<3,
®, and ftill marking the Semitone between
f a, L<£> which two Notes fiflg by them-
felves in the twelfth Bar.

A Clofe.

In the thirteenth Bar Gng f a,L<£, £),£e,

down and up aS they are prick'd, and ob-
ferve the three lait, jf a, L<£, JFa, becaufe it
is a common Clofe, or ending of Tunes.

Note; If any where you doubt whether

you fing right a repeated part of the Six
Notes, (as here in the nth and i^ftars)
fing over again all fix in order, aaJ then try
at the Parts'by themfejves.

EsAmpk

- .
 c <n
txampk II.

*&±^ &A
123.1234^
liilllllliilllliii
I Bar. 2. 5.

iltilllillliiiiliiliiiill
4. 5* Clofe.

12 j. 12^456 .

lllliilllilililiiliii
1. 2. j.

lilllilillliiliiiiiill
4. 5. Clofe.

Sett. II. Having often gone over the

former Examples, you may now proceed by
the fame Clue of the if/d Notes to defeend
three Steps lower* 0£. to <g>, Which is ah
QElave to the fecond Note of the firft Six,
1. In the firft Bar begin with A high pitch
of your Voice, and having fung (as in the
former Examples) L3 9 $, jfa, LiE,D»'C?,
leave out L3, and only the five laft;
firig

then in the fecond Bar repeat only the three

laft, L<$,-£), Ce, but call them not now L<£:,

3D, Ce, but One, two, three, altering the

Karnes, but not the Tune. This
 C »7 3
m
This done, in the third Bar fing the Six
Notes from L<& to ^calling them as Bells,
One, two, three, four, five, fix ; fb that yout
three firft of thefe,be the lame in Tune with
the three laft of the former Six : After you
lave fung them as Bells, i, 2, j, 4, 5, 6, four
*r five times, fing them again as oft, calling
hem
1%
by
«.
their Names, LC, D, Ce, ^
Iii the fourth Bar fing the four firft, L^,
3D, Ce, TB) three or four times, and then re-
peat Ce, 05, by themfelves, pbferving well
their diftance or difference, which is a
Semitone, like to jfd,LC, above.

! In the fifth Bar, after you have lung all

fix,repeat the four laft, Ce, 15, L&, <S5, often
over^ keeping them in the fame Tune that
they had in all fix j fb Khali Ce,/B, be di«
ftant half a Note: Then fing them back-
ward, <55, L3, %
9 Ce repeating *)$, Ce, at
5

%
the end, as you did L<£> |f in the 1 jf£ Bar
before!,

$
 C '8 3
— 4— I
4
L-i i 1 * 1 i

8,

In the fixth Bar, after you have fung aft

fix in order, fing the three firft, L®, £>> Ce,
and ftop there j then fing thole three over
again in the fame Tune, calling them not
Lg, D, Ce, but, Three, four, five, feverat
tiroes : Then proceed to the feventh Bar,
and adding two Notes above, fing them
as five Bells , One , two , three , four , jfoe,
three or four times, and then call them by
their Names , $, fa, U£, D, Ce, This
done, proceed to the eighth Bar, and to the
other five, add T$> L$> ®> to make up an
Octave,
Oiiave,
......
remembering
Ll
the
O ,..,
Diftances as you
.

fung them in the former Examples io have ;

you now a whole Octave, or eight Notes

from <J5 to 0, which you muft pra&ice both
down and up and when you are perfect in
;

it, fo as to fing your Diftances true^ with

the Semitones in their right places, the fol-

lowing Directions will lead you through the
reft of the Notes to fing any other Offtve,
beginning at any other Letter/

-— —i— -»—.—

N *+
9 10

In fhe ninth Bar begin at L(£ again, and

begin the fix Notes,. Li£ ? jSi Ce, 15, L3, @*
in order ; which done, repeat the two laft
Notes, La, 45, by themfelves Then proeeed
:

fo the tenth Bar, and fing thefe fix, La, (J?,

a, Ls£, D, €e, fo that La and $ be the
jf
fame in Tune as they were in the former fix^
If your Voice will not reach to Ce at
the pitch you began the firft Bar, fing as far
as you can, or begin L(£ in the ninth Bar
higher, finging thefe three laft Bars diftin£fc
from the foregoing.

C i In
 [20 ]

In the eleventh Bar fing your laft fix

Notes backward , Ce, D, L£, jfa, <£>, L3,
rifing from Ce to La ; then going one Step
backward to 0, rife to Ce, (as in the fifth
Bar before) wjiich is an Oifave or Eighth to
the lower Ce.
I have omitted thefe three laft Bars in the
Ba/s Cliffy becaufe the Notes would run too
far below the five Lines.
Thus are you gone through all the Notes
upon the five Lines and their Spaces, with
the half Notes in their own places ; in pra-
ftifing upon which, make not too much
haft, but by often Repetitions fix in your
fancy the diftances Note from Note.

CHAP.
 C2I 3

CHAP. V.
Of %jfing and Vailing hy Leaps*

YOur former rifing and falling was by

Degrees or Steps of whole and half Notes,
your next bufinefs is to learn to rife and fall
your Voice by Leaps of Thirds , Fourths,
Fifths, Sixths, and Eighths, that is; by skip*
ping over one, two, three, or more Notes.
Having begun with falling the Six Motes
by Steps, I ihall proceed the fame way in
fetting down the Leaps.

Note : That in finging theft following

Examples, it will be convenient in the pat
fage by degrees, to give thoft Notes a longer
time of prolation, which are to be repeated
in the Leap, that their Tune by themftlves
may the better be remembred Therefore
:

'have I in the Examples pricked the Notes of

the Leap in Semibreves , which are longer
Notes than the other with Tails, called
Minims,

G | Begin
 — —
C n 3

I. 2.
J.

Z$5.-~~±-X. -i &ZZJkZ.ZZZZ —a -XI jl-y^-SZXI— n_ —-- it

^r^::±-iT-=2rf3ir;±:J:t3;i-—:i:5—

lillHlllliiilisii
I. 2.
J.

lififiliilgpli
Begin with the firftBar; where, having
fung the fix Notes once or twice, begin therii
in the fecond Bar,arid ftop at the third Note,
Tinging only L<£, &,&€]' after which, it
will be eafie to skip over £)* and fing L^
Cc, which diftance being two whole Tones,
?

is called a Greater Third.

In the third Bar, you may firft fing over
the fix Notts ,%$ in the firft, and then fing
only thefe four, L<£, D, Ce, 05, /lopping
at 03 this done, fing LC, 15, omitting
; D
andCe: But that you may be fare you tune
.them ? right, go often over 2\\fix } and theH
•<•
the
i
 ;

Cm 3
the four fir/l by degrees, immediately befofre
you try the Leap.
In like manner you muft do by the other
Bars.
In the fourth Bar you leap from L<£ to
L<3, which being a prefeft Concord, ealled
a Fifth, is the oftner to be repeated. You
may eafily know this Leap y if you take no-
tice, That always from any Line or
it is

Space, to the next Line or Space fave one

as you may fee in the the fourth Bars of the
two Clip.

6. 7.

:t=~==±z±=r=x=$ = r=fc#
E|EJE£5E?E"E
S=$
10.

c 4 Thefc
 Ch]
6. 7.

"9."

10.

Thefe four laft Bars lead you to rife xhp

fame Diftances or Leaps that you fell before.
In the Treble Ctijf, I have repeated the fix
Notes y eyery Bar with To many both filing
and riftng as contain the Leap. In the other
Cliff [have omitted fo doing for brevity. You
may fee by the Treble Cliff how to proceed
juuhe reft,

In General , 70 rife or fall by Leaps, firjl

-proceed flep by ftfp, from the one iyote to the

vti and then "pafs ov-'r' the intermediate
;
'Ncie or Notes'7 at you fee done in the Ex-
kmpks
;--v
T.here
 C >5l
There is yet remaining to be fling att
Octave , ( the chief Concord ) for which,
fook back to the fixth, feventh, and eighth
Bars of the fecond Example of the laft
Chapter,- and the Dire&ions belonging to
thiol by which, having fung eight Notes
,

in order, falling by degrees, it will be eafie

to leap from the firft to the eighth, and from
the eighth to the firft, as here.

H
12. l|.^^
i$:=$^:r::z
12.

In the thirteenth Bar, fing eight Notes,

beginning a €e above, (to which you may
proceed in the manner you did to the other
eight, from <£> to ©,) and then rife and fall
the Octaves. The like may be done in other
( cfaves.
Sect. II. Of thefe Leaps ,a Fourth, Fifth, and
Eighth , keep always the fame Diftances in
all places ; fb that all Fourths are alike in
Tune ; in like manner, all Fifths, and all
Eighths ; but as to 1 birds and Sixths x they
have
 ;;

C pfr'l
have a Greater and Lejjer ; •£>/£. a Greater
and Lejf/'er TA/W, and a Greater and ie/Je/
67jc/£ ; as will appear in the following Ex-
amples.

14. 15, 16

illilfiliilSlgll 17. 18.

19.

In the fourteenth Bar, you leap firft from

© to D, which is a fourth, whofe diftance
is two Tones and an half; viz. from to $
jfd, and from L(£ to D> are each a T'^e
and from jfa to Log a Semitone. In like
manner in the fifteenth Bar, from Jpa to Ce
is a Fourth, of equal diftance with the other

for from Jfa to L(£ is a Semitone ; ancHrom

Lig to D, and from jp to Ce, are two 7i#ef
more and fo will you find the Fifths and
;

Eighths to have the fame diftances, though

in different places, if you reckon the inter-
mediate Diftaqf es.
Is
 In the end of the fixteenth Bar, you fcave
£ greater Third from D
to ©, rifing and fal-
ling. Thefe Notes D
and <Jg, are diftant
two whole Tones.
In the feventeenth Bar you have a lefler
Third y viz. from <£e to LSI, they being
diftant but a T^e and a half.
1

In the eighteenth Bar you have a lefler

Sixth, from <£? above to % %
they being di-
ftant three Tones , and two Semitones, or
(which is all one) a Fourth , and a lefTer

In the nineteenth Bar you have a greater

Sixths from Lgg to ®
below, which are
diftant four Tones and an half; all which
you may eafily county and fee reprefented to
the Eye in the Scales in the fix th Chapter.
Of thefe Diftances, an Eighth and Fifth
are called Perfect Cords \ two Notes being;
diftant an Eighth or Fifth ,and fung or play 'a
together, yielding a moft pleafing Harmony
to the Ear. A Third and Sixth are called
Imperfect Cords, or lefs pleafing ; the other
Diftances are Difords ? oi a. harfh and un«
pleafant iQtind.

C H A P,
 C 28 ]
* .
"
••••"—- -

CHAP. VI.
Of Flats and Sharps.

Sect. I.
| N the former Examples the two
I Semitones fit Half-Note Diftances y
were in their proper places , viz,, between
15, Ce and L<£, jfa \ which places they
,

do not always keep,but are fhifted varioufly,

fometimes one, and fometimes both. When
the Semitones are thus fhifted, is known by
thefe marks (t) and (^), called a Flat
and a Sharp) or (as in the Latin) a Hard
and &/f.

When you fee this mark (t) fet upon

Xine or ^pace at the beginning of the Staff,
it all the Notes upon that Line
denotes, that
or Space through the whole Song, are to be
-funghalf a Note lower than otherwife they
'fhould have been But if in the middle of a
:

Tune it be fet before fome one Note, it only

flattens that Note.

There be two places where Flats are com-

rtjonly ict, viz. Q3 and L<£ ; and then 05
is
 : : :

C'9 1
is brought nearer to 31, and L(£ to £>. In
may be a correfpondency
this cafe, that there
between the Names and the Notes, and
thereby the Names be a help to the- right
tuning of them, I have affigned two diffe-
rent Names to each, yet fb, that the Letter
it felf not changed ; and therefore the
is

Names of the Lines and Spaces, both Flat

and Sharp, are eafily remembred, without
the trouble that arifes from the confuted
fhifting of Sol, La, Mi, Fa, in the old
way.

The difference you are to make, is this

That when 15 hath no Flat upon it, you call
it T5» as you do in the Alphabet but when •>

it is Flat ^ call T5e, as in Before, Belong, Sec.

it

which is a flatter or lofter found, and fuits the

better with a flat Note.

So for <£, when it hath no Hat upon it,

call it Lt£ ; and when it hath, call it M<£ ;
fo is the Letter <g preferved in both. You
may remember them by this Rhime

When 05 * Flat , you call it %z ;

When LC "* Flat, then call it M<£,

The
 ,

C 1° ]
The ( § ) Sharp is of a contrary nature
to thb f/*f, and makes the Notes before
which it is fet, a Semitone higher than their
owridiftance; and that through the whole
Tune, if it be fet at the beginning of the
Lines ; of only one Notev if fet before it in
the middle.

There are two places where Sharps are

ufually fet , viz. 5F and C, which being of
their ownnature jfoj Notes, are hereby made
/harpy or a whole Tone diftant from the next
below them.

In this cafe, for diftin£tion, when f hath

nofbarp upon it, call it jfa, (as hitherto you
bave done) founding ( a ) broad and fbft,
Which beft agrees with a flat Note; but
when it is zfbarp, call it jfa, with a (harper

found of (a) as in Famous y Taionr: Like-

wife when C hath no (harp, call it Ce, asf
in the firft Syllable oiCefar ; but when it is

{harpy call C, as in the Alphabet, which

it

is a fharper Sound , and fo is the fitter

Name.

When Ce is Jharp . then caH it <t ;

When fa is Jharp, then $a V mufi be.

Here
 C ?« ]
Here let not the Learner think he hath
met with any great difficulty by this altera-
tion of Diftances , for ftill there will be but
two half Notes in every Octave , though in
other places ; and thefe their Names will
mind you to fing flat or {harp.

For the better remembrance of the Semi-

tones places, take this Rule :

Vnder each (b) Flat m half Note lies ,

But o*re a (jj ) Sharp the half doth rife.

That is, when this mark ( t.

) is fet upon
a Line or Space , it is but half a Note to the
next degree below ; and when this mark ($)
is let upon a Line or Space, it is half a Note

to the next degree above.

That what hath been hitherto laid of the

Places of whole and half Notes , with
their alteration by Flats and Sharps, may
the better be conceived in order to Pra&ice,
I have inferred a Figure in the following
Page , which reprelents them to the Eye
in two O&tvif, beginning below at ©.

Five
 -

C»« 3

-&-1 -$-*%
Tf- u

*-5

<0
J 1 /' pfiJ^L

g4 1t=^ r*~
tsLi
o^
to
sr* -#-

M-4U- pf-M
V?iS ^
«> > z
—
r8
m
1;

;ii<

t btsFigure confifts of Five Saks • In the

firft, are all the WKi in their proper Order
and Diftances,
In
 ,

Cm 3
In the fecond Scale, 05 is Jtf, that is,
half a Note nearer to i0 ; the reft keeping
their places.

In the third Scale, 05 and <£ are /fc*/ f

and fo the two half Notes are between
% 05, and ©, (£.
In the fourth Scale , $
is /harp , that is

raifed half a Note nearer to &

; the reft
keeping their proper places as in the firft.

In the fifth Scale, jf and C are both

fharp, and fo the two Semitones are between

€,&, and f, ©.
which you may fee that ftill there
In all ,

be two Half Note Diftances, neither more

. nor fewer in every Otfave. <g>, 3, and ©,
keep their places, having feldom either
Flats or Sharps on them, except in one fingle
Note, or two fometimes in a Tune.

Note : That when a Flat or £ft*y is fet

at the beginning of the Staff, the Ottaves or
Eighths muft be marked with the fame, as
you will fee in the Examples following.

D Self.
 x

C h3
Secf. II. Having Hiewed you the nature of
tins and Sharps, i fliall now proceed to ap-
ply the jfar Notes to the Staff of Lines, and
fi'rft with TxFlat.

illiiiliiiaiiil

iiiHsBmiiiP I. 2. 3- '
"$

illliiiil!t§iiiit
In the three firfl: Bars, you have the fi
Nous thrice repeated, in fuch manner, as
to bafs through the whole Staff, and lead
y u to tune all the Distances aright." In
i:;i.:ng theie Examples begin wirh your
,

Voice at as high a pitch as you can well

reach and having fling ihe firft Bar as in
;

the former Chapter, proceed to the fix Notes

L
t*» I ia
 C?5]
in the fecondBar, of which, the two firft
D, Ce, muft be as in Name, fb in Tune, the
fame with the two laft Notes of the former
fix.

Repeat this fecoad Bar often > that yoa

may know how to fing 05e flat, which now
you muft call fb, and not 35,
In the third Bar, repeat L$, £J, jfa , and
make them up fix , by finging down to Ce,
(if your Voice will reach fo far.}

In the fourth Bar, begin the fix Notes

at jD> and fing them down and up,

Then in the fifth Bar , fing the five firft

down and up, ftill keeping the Semitone be*
tween ^e and La.
r

By thefe two laft Bars , you learn to rife

from jf a and © wkh ^tfiat, which are two
ufual Keys.

ii^lililiiliiiiii

In
 £?*

8:

In the fixth Bar , fing the fix Notes^ be-

ginning at L3 ; then in the feventh Bar
repeat the four laft, jfa, L(£, D> <£e, and
going one ftep backward to D
fing on the
>

fix Notes down to jfa from thence*

; rife an
Eighth to jfa, in tlie eighth Bar, where it
will be eafie, after two or three times fing-
ing oVer the foregoing Notes',' to fing the
whole Octave orderly, both down and up.

Note: That this Oc7ave^o£ jfa with

*&tjlat, is the fame in Tune with that of
Ce , in the laftBar of Chap. 4. wherein
the eight Notes lye in the moft natural and
tuneable order. At the end are added Leaps,
Which firft you may pace by Degrees or
Steps and then leap.
,

Scl
 C-ar.-a .

. When 73 and vE are Both made

Sect. III.
jh'tby this mark (L) then will your fix
,

Notes lye as in thefe Examples.

in i.
tp§§ mm&
mim
lilliiirtiSHi I. 2. 7.

In the firft three Bars, you have the fix

Notes in their fevera! places with T3e and
TA-Bjlttt; in finging of which, follbw ths
Directions given in the end of the hft Se-
ction, efpecialfy noting Migand T5e, which:
are tire fLxt Notes; therefore in' the fourdx
Bar, after all/*, repeat the. four l'aft frost
Mi£ to /Be down and up, as they are pricked,
A^e •
That the fir ft j?x Notes' begin molt

conveniently at © above, in the B*/> Cliff.

 [** ]
Sect. IV. jfa(S) Staff.

When you fee a (f ) Sharp at the begin-

ning of any Line or Space , it denotes, that
all the Notes thereon, muft be fung half a
Note higher than then ordinary place , as
4

is before faid ; when jf a is therefore to be

fung fharp 9 the fix Notes lye as in thefe Ex-
amples.

i^lliiiiiiiiiiiiii

^iillilliliiii
|pii~

. I. 2. J.^
*V

>ir*~"<
 :
C 39 3
, In the firft three Ears, you have the fix
Notes in their feveral. places, as they lye
when jfa is {harp. Begin them with your
Voice as high as yon can, and defcend in-
die method as is before dire&ed, efpecially
marking jfa the (harp Note, which now you
muftcail fb, and not jfa, broad, as before.
In the fourth Bar , you have the method
ufed in SefifJ^to lead you through theQBavc
from <& to @ , which is tn Turn the fame
with that there, from jja to if a, with 2p£
fiat ; and in Chap. 4. from Ce to Ce.

Sett. V. jfa and C (I) Sharp.

When jfa and Care both (harp, the two

Semitones are removed a decree higher, fo
that now they lye between C, «p, and jf^tf£
in this cafe the fix Notes lye as in thefe Ex-
amples,

D 4 I need
 C4o]

^
I need add no more Drre&ions ; what is
faid in the other cafes being fufficient. Sing
the Notes as you fee them prick'd.
the Names, Ce and f a,
The changing of
into C
and jfa, will, when you come to
thofe Notes, mind you of finging them
fbarf.
It any time you meet with two Notes
at
together, upon the fame Line or Space,
whereof one is flat , and the other jbarp ,

you will find it a little difficult at firft to alter

your Voice from Flat to Sharp, or the con-
trary, in one and the fame Note If you :

therefore obferve the method of the follow-

ing Examples, it will be fome help to you.

Example i.

Suppofeyou
—~±:~:zrff
S'pKSjiffir?
:5|^iJ:r5:S:5^
1
were to fing
i. 2. the Notes of
the firft Bar, where &(harp follows Ce fi*i:
In this cafe, firft skip the (harp Note, and
fing
 C 4« 3
fing the next above it, viz. D, as in the
fecond Bar and from thence , fall half a
;

Note to the Sharp C

under, as if you were
going to make a Clofe , like as in the 13/A
Bar of Chap. IK Sett 1. Sing the Notes
%

in the fecond Bar feveral times by which ;

means, you will at laft perceive the diffe-

rence between (£e)W, and C./W/V and fo
may you go back, and fing the Notes of the
firft Bar.

Example
In the firft
Bar of the.fe-
^S ±=5 ± xEft
:

§&~2x$:$:$E
: : rr: 3E :::::
#:£:$::
cond Example i> 2.
you have jfa, firft with a (1) before it, and
then jfa proper, without. That you may
fing them true, firft fing the Notes in the
fecond Bar, © jfa © , jfa (which you
, ; ;

are fuppofed able to do by the foregoing

Direftions:) And in finging, take notice
of the difference between the firft j?ayW/>,
and the fecond j[a flat; which when you
have done , you will the eafier fing the firft
Bar.

And thus have we gone through all the

ufual Varieties of the Tones and Semitone*
places.
 :

c 4*
places. To him that is perfe£t in thefe, an
odd irregular Flat or Sharp now and then
will not break fquare.
I have been the larger in thefe three lad
Chapters , that I might make all as plain as
might be to the meaneft Capacity. The^
who need not lb much, may the fooner pals
it over.
That you may the better know where to
begin your Six Notes in all cafes, thefe Five
Rules following are eafily committed to me-
mory.

au Pro-
5 When therms no Flat nor Sharpy* may
fcr. iBeginyour Six at L\£ and L$ :

II.
<£?#/ When a Flat is jet on 05 ,

^^IBeam the Six at L$ and®.

III.
55s and S When
Flats at TB'e andM(£ arefixt,
M<£ fiau From $ and <£) defcendyour Six.
IV.
a a ^om I* Sharp, begin
S^^
-fa
Jharp, i From %
and L(£ your Notes to frag,
V.
shar P s hoth f* *** &> affe6i
$* ntfjf
€ jharp.iWhere to begin ^fa, 05 direct.

CHAP.
 C 4? D

CHAP. VII.
Shewing bo% to exprefs the Notes on a
Bafs-Viol for guiding of the Voice.

to an ordinary Capacity the former

THo'
Dire£tions may fuffice yet for the
;

fake of fuch as may have the conveniency

of an Inftf ument to help them, I have added
this Chapter.
Firft, it will be convenient, that upon the
Neck of the Viol% at each Fret or Stop, you
put a Letter with a Pen or Pencil, to diftin-
guifh them by. Begin at the end of the
Strings next to the Pegs, and there put (a)\
at the firft Fret next to that, put (b) ; at the
fecond Fret, put (c) and fo on, to the jth
;

Fret,which mufthavef^.
Having thus done, tune the String
fifth
(or biggeft fave one) to a convenient pitch
for a low Note ; then wind up the fourth
String 'till it be Vnifon^ or the fame found
with the fifth String ftop'd with your Finger
on (h) Fret ; fb will thefe two Strings be in
Tune for the exprefling of eight Notes.

The
 C 44 3
The Strings being in Tune, fit down and!
place the Viol between your Legs, and reft-
ing the Neck upon your left hand, draw the
Bow fb upon the fifth String unftop'd, as to
give a clear found , to which, tune your
Voice, pronouncing the Note <0 Then flop:

the fifth String upon the Fret (c) with a Fin-

ger of your left Hand and drawing the,

Bow upon the fame String, time your Voice

thereto, exprefling L3 a whole Tohe di-
stant from <©.
In like manner proceed to flop the fifth
String at (t) and (f) ; then drawing the Bow
over the fourth String,firft unftop'd or open,
then ftopM at (tfy (d), and (f)x one after ano^
ther , and tune your Voice to the Notes
refpettively , calling them in order fro:n
®, L3, 15, Ce, D, LS, |*i ©, as you
fee in the firft Example, where you have
the Notes rifing and falling on the five Lines;
and underneath, two Lines reprefenting the
fourth and fifth Strings of the Viol , on
which are the Letters , iliewiog where to
flop the feveral Notes.
In the (econd Example^youhavean Octave
amending and defcending with 05c and M£
flxt) by which (compared with the firft Ex-
ample) you may Jparn how to fing any
other
 C 45 3
Note fat or (harp: You may feealfq,
jOthcr
that two Frets or btops make a whole Note,
or Tone; and one Fret, an half Note, or
Semitone.
The third Example (hews you how to
exprefs Jf zjharp, and C bother zndjharp.
All Proper,

Example I. g:±J$|;^
Fourth String.
_LUJ_^n?)v£_Ldrdr^a i i
u
Fifth String.

% ^d (Q FUt.

Example 2. ^^^^^S^^ :

Fourth String.
Fifth String.

lar^oFi^^ r) mini
Fifth String. -
i i

ar^vf
i

^^h sh^rra

CHAP-
 Ctf ]

CHAP. VIII.
Of Time, or the Quantity of Notes,

BEfides the giving to Notes their right

Tune or Sound, there muft be a due
obfervation of the Quantity of each Note,
as to its Time of Prolation.
The diverfity of Notes, according to their
diftance or difference in Tune, is before trea-
ted of, and is known by the feveral Lines
and Spaces on which they ftand. Their diffe-
rence in Time is known by diverfity of Fi-
gure.
The Names and Figures of the ufual
Notes , in refpe£t of Time , and their Rejls,
are as follows.

Large. Long. Breve. Scmibreve.MiiKin.Crotcbct.gutvcr*

axpci
Ni
The Strokes or Marks you fee after each
Note, are called Panfes, or Refts and they ;

denote a ceafin^ or intermiffion of Sound

for
 C47 3
for the Time of the Notes they are joyned
to.
Their Proportion to each other, you have
in the following Scheme.

For Common Time.

t t

iiiniii
*\A^> /\A^ (V\y (\A/1 <VA/1«V»»0 f\AS)fVA>t

HOTjmmm

It t t 1
TttTtt nun
fi fi 8 fj S n ft ft ft If ft ft

One
 One Large (CEj) is equal in Time to
two ( Dp) Longs one \
(
a) Long, to two
(

(p) Breves; one (p) Breve, to two (q)

Semibreves and fo on, each Longer being
;

equal in Time to two of the Shorter. Of

thefe, the Large and Long are now of no
other ufe, than to fhew the Time of the
Paufes or Rejfs , fet by them in the firft and
fecond Bars of the Example.
When you fee a ( # ) Prick fet after any
Note, it encreafeth its Quantity half as
much more So a prick'd Semibreve ($) is
:

m Time to a Semibreve and Minim {$\)\

a prickM Minim (t *) as long as a Minim and
Cra/r^e* ($f), or a Minim and a half; and

a prickM Crotchtt
(f
) as much as a Crotchet
and Quaver (tt) You will have Examples
.

afterward.

By the foregoing Scheme, you have the

Proportion of Note to Note; the next
thing is to know, how to give every Note
its true Time in any Song or Leffon ; for
.which purpofe, every Tune is divided into
Farcels,called Tmts, by Lines or Bars ftruck
acrofs the Staff

In
 C«9]
In finging,or playing upon an Inftrumenr^
the due Quantity of Time from Bir to Rtr,
is kept by an even Motion of the Hand or

Foot, up and down.

This Motion of the Hand, for keeping
of Time , is fbmetimes flower , and feme-
times quicker, according as the Air of the
Tune is grave or light ; therefore are there
two ufual forts of 1 ime.

L Common Time marked thus % at the

,»

beginning of the Tune, in which, every

Bar contains a Semibreve (\>) in Tirrie, which
you may value, by counting, 0#e, tm, three %
four, in an ordinary reading time, for its
length ; of which, count i, 2, with your
Hand up and }, 4, with it down. By pra-
>

ftifingthus your Hand, you will get a habit

of keeping due time.

E Exawpk
 C 50 1
Example.

A i,2,?,4. 1,2,3,4. 1,2,3,4. 1,2,3,4.

A 1,2,3,4. 1,2, SA- i>2,?i4« 1,2,3,4.

-U

,i
1,2,3,4. 1,2,3,4. 1,2,3,4.

In this Example , you have two Staves of

Lines ; in the upper are Semibreves, each of
which is a Time, and fills up a Bar In the
:

lower Staff, you have under each Semibreve

four Crotchets, being, together,equal in Time
to a Semibreve* Between the Staves, you
have
 L 5» 3
have the Figures, i, 2, J, 4, in. each Bar,
which you are to pronounce in Tune with
the Crotchets, for the gaging the motion of
your Hand up and down.
If the mark C for Common Time be rever-
ted thus $ it denotes,that you muff double
,

the fwiftnefs of the ordinary Time,

It. Time , marked thus £3Yis

Tr/pla
when the Notes have a light and fwifter
motion, as in Jiggs, and Airy Songs. In
this Time, the Notes go by Threes , and
are fortietimes three, fbmetirnesfix Crotchets
to a Meafure or Bar ; the Time-Note there-
fore of three Crotchets in a Ear, is
f*, and
of fix Crotchets to a Bar, <V ; which latter,
is mod
convenient for the motion of the
Hand, in that three Crotchets may be fung
with the Hand up , and three witn it down;
The like may be done with. Minims when
you meet with three of them, or equiva-
lent, in a Bar; viz. making two Bars a£
one , fing three Minims (or one Bar ) with
the Hand up, and three with it down.
Note : The Minims in this .kind of Tr/pla,
are in Quantity about the length of Crotchets
iti Common Time.

E 2 M
 L 5 3

An Example of Six Crotchets to a Bar

,
out of Mr, Simpfon'.r Compendium.

Example I.

Hiiiiill
iig§ISiif=
Example II.

Sometimes the longer Notes ( as the Mi-

nims in the firfl: Example) are prick'd black,
and without Tayls, thus ( * ) and then the
,

two firfl: Bars will be prickM as in the fecond

Example,

Ano-
 C5*3
Another Exmple <?/Tripla Time, which being
a Tune commonly known , may poffibfy the
betttr hint the Time and Humour of it to
the Reader.

The Flatteries of Fate.

iiiiiiiiiiiiifin

Befides the Notes themfelves, and the

narks for their Refts, as before, you will
bmetimes meet with thefe following Marks.

i. Firft a Diretfer, thys (v) , which is

,

et at the end of the Staff of Lines, to fhew

eadily where to go on at the beginning of
:he next Staff, as in the laft Example.
E 3 2. A
 I 54 1
2. A Tye, thus ^-n, over two or more
.Notes fignifying that they muft be fung to
>

one Syllable , or ftruck with one motion of

the Bo\v upon an Inftrument.

3. A
Note of Repetition (-£) This fet :

over a Note, (hews that from thence you

,

tnuft repeat the following over again.

4. A Hold (?.), which fet over any

Note, (hews, that it muft be held to a lon-
ger Time than is expreft by the Note it felf.

j. A Double Bar This is fet at a

Clofe, or End of a Strain. If it be prick'd

thus g"" , it fignifieSjthat the foregoing Strain

muft be repeated.

6. When
you fee an Arch or Crooked, Line
two Notes that have a Bar be-
ftruck over
tween them, it fignifies, that thofe two
Notes are to be fung or piayM but as one,
equal* in Time' to both; which happens,
when the Bar for dividing of Time falls out
m tho middle of fame long Note, as in this
Example foliowlng* ^
l '"
*" *
' •£ The
 [5? 3

m The two Crotchets

with the ftroke o*
*—---# verthem, are to bo
fung as one Minim , the Hand or Foot ftri-
king Time in the middle of it.

More Examples te exercift the Voice in rising

And, ftitling
Thirds, Fourths, and Fifths,.
in Notes of differing Meafures*

Thirds falling.

#Ei^liiiiiEiiil
£4 fourths.
 I

Fourths.

JUT IT "17.. 777

Hfths.

iliililiiiiiiilill I

liifliiiililllli

If
m '..
• 5-J
%>

you obferve the Quantities of the Notes

- L

in thefe Examples, you will find each Bar

to contain fuch Notes, wbofe Time makes
up a Spnikrev.e.
In the fourth Bar of the Fourths^ there-is
but one Minim, which is but half a Stmt-
prtvt:, the other half of the Time is made
up by a Minim Re/}, or Paxfe. The like is
in other of the Bars.

CHAP,
 :,

[57]

CHAP. IX.
Shewing how to Compare and ^con-
cile different Cliffs.

THe Cliffsor Signed K^eys , though as

,

to Character or Figure, they are

but three, g, 3, ?*', yet as they areufed
or fet in feveral places of the Staff' of Lines,
many more.
they are
The Tenor Cliff being arbitrarily fet on
any of the five Lines , is in effect five diffe-

rent Cliffs, in as much as it five feveral ways

alters the Names of the Lines and Spaces ;
the Bfs Cliff alfb, whofe proper Place is

the upper Line fave one being fometimes

,

fet on the middle Line , thereby in effe£t

is

two Cliffs ; fb that in all , there be Eight

This , tho'it be done for more convenient
pricking, is yet very inconvenient and trou-
blefom both for Voice and Inftrument. A
,

general Remedy , by reducing all the Cliffs

to one (or three as one) w as fome years 7

ago ingenioufly contrived, and publilh'd

by Mr. Thomas Salmon of Trinity-College in
,

Oxford : Of this, I thought to have given a

brief
 C 58 1
brief account , bat have omitted it , judg-
ing the following Dire&ions to be diffident
for the Voice.
Having by Pra£tice perfected your felf in
the Rules of the foregoing Chapters, to
that you can readily fing what you fee prickt
in the Treble and Bafs Cliffs, (or atleaftin
one of them ;) your next bufinefs will be,
to learn what to do, when you meet with
the other Cliffs that you are a Stranger to.
In this cafe, that you may the better under-
ftand the Grounds I go upon, it will be con-
venient, that you well know and remember
the Half-Notes places , both with Flats and
Sharps and without, as they are taught,
,

and reprefented to the Eye, in the five Scales

of Chap. VL For to name and fing true the
Notes priek'd in one Cliff, as if they were
in another, the only Requifue is, That the
Semitones be either in their natural Order, or
by help of Flats and Sharps reduced to the
;

lame places of the Staff figned with a known

Cliff as they are in the unknown.
When you meet with any thing priek'd
in a ftrange Cliff, take this following Rule:
Reckon from the Cliff Line the feven
Letters places , confidering alio the Flats
or Sharps, if any be, and thereby find
be-
 ,;

t 99]
>etween Lines and Spaces the two
wha^
Semitones lye in the Tenor Cliff; which
.vhen you have obferved, confider what
_etters thofe Lines and Spaces are named by
n the Cliff you would reduce to ? and ac-
cordingly, whether the Semitones be in the
Lame places of the Staff, or not : if they be,
^ou have nothing to dp, but name and fing
your Notes, as if they were in yourdcfired
Cliff: But if the Semitones, one or both of
therp , fall not in the fame places of the
Staff that they do in a known Cliff; con-
fider what regular FUts or Sharps, placed on
the Staff', would reduce them to thole places
and then fuppofing the Treble or Bafs Cliff
let to the Lines with fuch Hats or Sharps,
name and fing your Notes accordingly. An
Example or t ;
wo will make this plainer
than many words. Take for inftance, a
Tenor and Bafs, as I find them prickM in an
old PfalmBook, to the 125 th Pfalm.

1. For
 r»3

l!i|8iiil?i^fe-:{iigllS=
i. For the Tenor, the C Cliff Sj ftanding

upon the middle the place of C,

Line, that is

and Tge being flat under it , therefore is one

half Note's place between T5e and L<J, that
is, between the lower Line fave one, and the

Space above it. Now

in the Treble Cliff,
that Line is Q, and the Space L$ , which
are diftant a whole Tone, or Note ; and be-
caufe no Flat or Sharp is ufually placed on
either of thofe Notes therefore you cannot
,

reduce and fing them in the Treble Cliff, but

in the Bafs only wherein the lower Line
\

fave one is TJ, and the Space above it Ce,

which two Notes are properly diftant half a
Tone.
Then for the other- Semitone in the Tenor,
it betw ixt L(£ and jfa that is, (recko-
is
T
;

ning from the Cliff-Line) betwixt the upper

Line fave one,and the Space above it which ;

Line, in the JB*/i, is jfa and the Space @

, 9

whofe proper diftance i: a whole Tone but ,

t is
 ;

[6i }
is reducible to a Semitone, by finging jfa

fbarp; that is, half a Tone diftant from©.

So therefore, if you fuppofe or imagin the
Tenor Cliffy with its flats, ftruck out, and

the Bafs Cliff, with jfa fignedyW/>, thus^~

fet inftead of it, and fing your Notes accor*
dingly , D, D, Ce, 05; L<£, D, Ce, 15
©, Q5, eK. you will fing them as true, as if
you had underftood the Tenor Cliff, and
lung them as thfere , calling them, Ce, Ce,
15e, La ; DiCe, 015e,L3, ^
2. The fecond Tune , being the Bafs to
the former, is prick'd in the Bafs Cliff; but
the Cliff being fet on the middle Line to
take in the upper Notes , alters the Names
of all the Lines ,,nd Spaces, and removes
the Semitones That you may therefore fing
:

the Notes true, you muff reduce to the

Treble Cliff, by the former Directions ; by
which you will find, that they may be fung
true in the Treble Cliff, with 05 and (£/&r,
and fo they will be called, Qge, 05e, M<£, ;
05e, © ;03e, Ce, © $, 03e, &c. ;

Obferve , That by whatever Names you

call thelites, for the Cliffs fake, you mull
in finging of Parts , reckon the Cords in
which
 ,

C#3
which the Parts begin , by the diftance and
true names of the Notes, according to the
Cliff they are prick'd in. Thus in the for-
mer Example, if you reckon the diftance
between the firft Note of the Tenor, and the
firft of the Bafs , as they are prick'd, you

will find, the Cord is a Fifth ; viz,, from jf

in the Bafs, to C in the Tenor.
When you are perfeQ: in the foregoing
Rule, you may your felf reduce, and fing in
any Cliff whatever But 'till
: then, and to
help you therein, here follows

A TABLE, therein the feVeral

Cliffs are by the foregoing (fiule re-

duced to the Treble and Bafs.

r^~zz:5^z::^'fzE:

II.

IIL
 -

in.

IV.

-•3rr-w. « — —
-ft^ "H -3S —
V.

&::

VI.
*.
:^=: =tfe=:r:=t=:i=-=::s~-
OC

VII.

This Table confifting of feven Staves,

hath in each of them all thofe Cliffs put toge-
ther which have the Semitones in the fame
places. The firft Cliff in each Staff is the
Treble or Bafs > to which the reft are re-
duced.

Ihe
 : i ;

t HI
The Vfe of the foregoing Table of Cliffs.

When you meet with any other Cliff', be-

fides the Treble or Baffin their right places
Look that Cliff, as it is figned with Flats^&c.
in the Table, and in the beginning of the
lame Staff, you have the Treble or Bafs Cliff,
Chewing how to name and fing your Notes.
Example.
In the former Example, the firft Tune is
figned with the Tenor Cliff on the middle

Line, and aflat on 15, thus If : Look for

this Cliff in the Table, and you will find it in

the feventh Staff, and at the beginning of
the fame Staff is the Bafs Cliff, with jfa
figned /harp which {hews, that the Notes
;

may be fung true, naming them as if they

were in the Bafs Cliff, thus

ipillilillil
2>,D,Ce,©,cfcr.

«— —-—— -X«f--—+ i 1 —---—

After
 1^3
) Aftfcr this Difcourle of Reconciling the
Cliffs , that the convenience of the feven
Notes Names made ufe of in thisE(Tay,tniy
the better appear, I fhall here infert

iTABLE, therein the Old Ndmes of

the Notes dre compared Tilth the Newi
La fa fol la mi fa fol la.

lc «a $ La 05 Ce d Le
Mi /i /#/ /* fa fol U mi.

L<£ Jfa © L^ 03e Ce © fcC

7
J * /c2 mi la
/^ fa fol fa.

~M& "© La TDe Ce"D M^*

if!

&?/ Z* mi /i /a/ /<* /^ /#/.

F &>/
 ,

Sol la fa fil la mi fa fit.

«=
jgf. »
M 'C
«S3* *•

$ La €e
056 D L<£ jfa #.

£4 mi fa fol U fa fol la.

tjj La «c Ce £) Me Jfa 0. i

*® L& 05e Ce D U£ tfa $.

*lbu Cliff U reduced to the Btfs, and the Notes named Accerdirgly.
The Cliff" figp&d with Sharps.

La mi /i /?/ /* /i /#/ /*.

:3z
be bg~T —:t-^f£E~ 11
L<£ fa ^ La 15 Ce D L(£.

Sol la fa fol la mi fa fol. life

~3 2 am
L<£ fa $ La 15 € £> LC.Ii

In this Table, the old Names being feci jj

over the Staff, and the new ones under, itgjj.

will by inlpettion appear i . That™
 ,

1. That the feven Letters, of flew Names

Dr the Notes, have but two different places,
(with their Ottaves,) <vi&. as in the Trebk
ind Bafs Cliffs > to which , all the reft are
reduced.
i. That Mi (and therewith the other
Names ) in the old way , is fhifted into
r
even different places (marked with black
Notes) ;and accordingly, before a perfon
in that way can be Matter of all the Cliffs, or

mdeed of the Treble and Bafs only, he muft

earn to fing Mi in every Line and Space o£
:he Staff.
3. That if theCliffs have Sharps annexed,
>ach Cliff feverally will have five different
places ofiW/, if it be placed as it ought,
viz. in jf , when f
is figned Jharp at the be-

ginning of the Staff; and in C, when Jf and

C are both/harp * But I never met with any
Book that (hewed where to fet Mi in cafe of
Sharps , though Tudes are fometimes prick'd
that way, as well for Voice as Iriftrument
] and then, if they alter not the place of Mi y
j
they muft fing contrary to their own Rule,
i,
in finging a whoig Note next under Fa.

fl By what hath been faid, may be under-

L^Aood how to transfer Leffons from one Cliff
to another, and (for the Voice) from one
Key to another ; the only Requifite being,
that the Semitones be in their right places.

C H A P. X.
Containing Pfalm Tunes y Vttb $ire-
[lions hol> to Sing them.

i;/*"\F all the Ufes of Mufic that in ,

\^Jf Divine Things is moft Excellent

and Honourable whereby it becomes in-
;

ftrumental to the celebrating of the Praifes

of Almighty God , the Author of Being ,
Order, and Harmony. Tis true, the Melody
of a devout Heart is that which is moft plea-
fant in the Ears of God , without which, all

other Mufic is but Jarr and Difcord ; yet

when both are well conjoyned, the Confort
is more full, and the Affections more cafily

excited. Heaven it felf is fet forth to our

ApprehenfionS by the joyful Melody of H*l-
klttjahs, and Songs of Praife > and 'tis furely
one of the moft Heavenly Exercifes on Earth,
when good Qhrijli&ns, with Heart and Voice,
concordantly Praife their Maker, Redeemer,
and Comforter.
But
 C *9 3
But this Confideration including
more
things than are proper here to
be 1 poken of,
next place after a
I fball therefore in the ,

few Direftions , prefent you with a Colle-

ufual Metres,
ction of Tunes fitted to the
wherein Pfabns and Hymns are compofed.

There be two forts of finging, the one

a.
is common and ufual
in all places, viz. when
the lame
all the Company fmg in Vnifon, or
Tune the other kind is, when they fing in
;

that is, when

Parts, two, three, or more;
the Company is divided into fo
many Parts,
and each Part fings a diftina Tune ; yet fo
compofed in Concordance, that being fung
together, they yield a moft delightful
Har-
mony, moft grave and folemn
befitting
Matters. This latter kind of finging being
:
not fo commonly underftooJ, is more rarely
; ufed I fhall therefore give fome Examples
:

of with Directions how to perform it.

it,

In all Tunes or LelTons confifting of Parts,

•
one Part is the Bafs, ( fo called, becaufe it is
the B*fts, Foundation, or. Ground- work, to
the other Part or Parts, and on which the
Harmony is built :) They that fing this Part,
. muft have deep, ftrong, and big Voices ; in
it , the Notes move for the moft
part by
F J Leaps}
Leaps ; but in the upper Part, their Move-
ment is more by degrees.
Here two things muft be obfervM :

Firft, That you begin at a convenient pitch

of Voice for reaching the Notes ; for
all
which purpofe, you muft count how many
Notes in compafs the Parts take in, that you
may ib begin, as to reach them without
Iqueeking or grumbling. Secondly You ,

muft obferve on what Notes the leveral

Parts begin, and in what Concords, that
you may fet out accordingly.

3. In Anthems', and fbme Hymns, where

there be Refts, and Notes of different Time,
it is alio neceffary to keep Timeby the motion
of Hand or Foot ; but this is needlels in the
ordinary Pfahn Tunes, becaufe the Motion
is flow, and for the moft part the Notes go

one for one.

Ap Example of two Parts,

 ;

[7« 3
:

m\\,»i&mm
wmm
In this Example, the firft thing to be con-
fidercd, is the Compafs of the Notes,which
if you reckon from the higheft Note of the
7><r£/<?,58e, to the lowefl: of the Bafs, 5fa,
is eleven Notes , viz. three above the firft
of the Treble, and feven below it ; therefore
muft the Treble Part begin jf a high, having
but three Degrees higher to go : The Bafs
begins at jfa, an Otfave below the Treble.
Having begun, they move on Note for Note,
in various Concord, to the Clofe.
Note : That the upper jfa of the Bafs is
fuppofed to be in Vnifon the lame Tune with
the lower ifa on thtTrebk ; and therefore is
the Compafs reckoned but eleven Notes ,
which otherwife would have been eighteen
too much compafs for the Voice. The like
muft be underftood in the Examples follow-
ing.

One thing more to beconfideredinthefe,

and all is the Air or Humour of
other Tunes,
the Key in which they are fet, to wit, whe-
F 4 ther
 C n 3
ther it be {harp or flat. T he Key in Leffons,
if many Parts, is known by
the Bap, thd
Iaft Note of that Part being always the Key:
In other fingle Tunes, thelaftNoteis on the
Key. When you know the Key, confider
the Third above it, whether it be the greater
or leffer Third ; if it be the greater Third,
(or two whole Tones) then is the Key /harp ;
and if it be the letter Third, (or a Tone and
an half) then is the Key flx£
The knowledge of this, gives you to
underftand fbmething of the Air of a Tune,
before you begin to learn it. A Flat Key is
foft and/rree* ; aSharp Key is more lively
and cbearful ; yet fb, as that to thefe Quali-
ties inboth , the Movement and Time of the
Notes do alfb more or lefs concur.
When you haveobferv'd the Key, begin
thereat, and marking where the Hdf Notes
lye, rife with your Voice eight Notes to the
Octave above, and by the fame Steps deicend.
If you do this heedfully two or three times,
before you begin to" learn a Tune you will
,

be the readier at it:

:

If your Tune rife not more than fix Notes

aboVe the Key r iyou then need only to begin
your fixsNofes, fo that the Key it felfbe
always either the fifth or fixth Note: Tor
which, take this R U L E.
 RULE.
Every Sharp Key u the Sixth) or loweft of
Six Motes and every Flat Key is the Fifth
;

Note of the Six.

Here follow two Examples te apply

this Rule.
Example L
FirftStaffi
^

Second Staff.

ii^Hgiiiiiiliiiigi
lililiiligiliillil
^ipiiii!!
Thc.laft Note of the Tune is £>, which is
the Key : From © to Jo is two u hale Notes,
and therefore is the Keyfedhfi Begin your
fx therefore, fo that $-'be im laft, that is,, at
 C74 3
L<£ , and fing, L<£, ©, Ce, %
9 La, <$, and
then backward, ©, La, 15, Ce, <D, L<2, two
or three times, and then proceed to the
Tune.
In the firft Staff; you have a Pfalm Tunc
for an Example, which confuting much of
Leaps , I have in the fecond Staff put the
intermediate Steps in Quavers , or fhortcr
Notes So that if you fing the fecond Staff
:

firft , giving* the Notes their due time, it

will be eafie to fing afterward the Tune in

the firft Staff. The like you may do your
felf by other.
Example II.
Firft_Staff

Second Staff.

rtfOfcfc

Slllliii^l:
In
 C 75 1
In this Example, the laft Note is © ; from
whence to Ibpflat, is a Note and half, there-
fore is the Key flit. Begin your Six at 5D, fo
will <S5 be the fifth Note. After you have
fung all fix, begin again, and flop at $,which
five Notes give you the Air of a flat Key.
Sing the fecond Staff firft, and then the
firft, which is a Pfalm Tune.

AN EASIE
PRAXIS For Exercife of the

Foregoing RULES:
BEING
A Colle&ion of Pfalm Tunes in Parts,prick'd
in feveral/Ce>S with the Varieties of Flats
and Sharps, for Example fake ; the Com-
pafs of the Parts fuch as will not exceed
the reach of ordinary Voices.

The Words are (for the moft part J taken out

of Mr. Patrick'/ Vcrflon.
 [7* J
Firft Treble,*/ C.Tune. Pfal.i. Sharp Key.
gg.— - 1« a.~^>».S*> a. — a ..—.. 1.3-.. *--S-tS!3^"2Sl^
feS#;l:5:lli:$;!-:iiS=l^|E=E
He mm U bkfi, mho bath not bent, to wicked read Ik ear t -

ililliliiiiiijiiall

Pliilliiiliiiiill
%oj lei bit life as fmncrs do , nor [ate in [corners chair.

SecQnd Treble, or Middle Part. /rs

I Be mm it blift-, xobo kxtb not bent, to voiced read bis ear ;

illiiillliliiilll
nor hi hit life as (inners do, nor fate in fcorntrs cbair.

* ^

mmm ™ J
 C 77 1
Common Tune. Pfalmzj FlatK«y.

EB 'x&
Mr Shepherd it the living Lord, nothing therefore I need ;

Bafs.

E§r ±EH±zxE5E2EEJ:5E:xE:±E"iE±3Ei
:

HHiliSiHiiii
In pa/lures fair, with waters calm 3 he fets me forth to feed.

Middle Part. ^
Mr Shepherd U the living Lord, nothing therefore I neti\

i» pa/lures fair, with voters calm, fe fets me forth to feed.

in -i n » •

' t immim* m «

-
i
i
'
i
» » ii .1 « II ..I iikHi « Ml
IW— I ,., I . II i

—
, I I

I -<ni i
i "mm . ..mm i «—».,. «fc | ». , , , m , ,,., .. i m »
Common Tune. Pfalm^j. Flat Key.

giiipiiSiliilz
jL» none be trw&kd » Sd&o/i, the wicked's profp' rout f!Ate,
Bafs. a

«cr ^y*r/^/r good fuccefs grow boldt tbebr crimes to i-mi-tate*

Middle Part.

LEtnotttbe troubled to behold, the weird's frof?TQttiJt*te\

Wmmmmm
nor by their good fucctfs grov> bold,tbcir crimes t§ i-wii-we.

m > ii wmm > H

 [79]
Treble. P/a/m^g.

Lord, teach rrt when my m\ y ini dx)s J have to Uw, I view ;

Baf^
xi-JJux'-. ^ --

Bws»»»>a<

to tyw my [elf and them, bow frail I am, and they are few.

Middle Part.

ill^iiiSiiigiil
Lord,K2ch roe when my end, and days I have to live, lvkw ;

j£n gN^< .

tofyowmyfelf and them Jhm frail I am, and they are few.

» I, ,- »—

«|RM|fMMm«H .•»—.-
 [ 80 3
Treble. Pfalm 40.

Bafs.

illliiilililliiiilll

n?I>e« 0t/;tf fuccours fail'djo bim 1 prafd^jjho hard my cry._

lElliiliiilllilililli
Middle Part;

ili|pi||lii!pill
J- IS good with patience to attend) and on the Lord rely;

lliliiipfliiilpl
vcben other fuccoursfaiVd, to him I prafdjvko heard my cry.

Or the Afiddle Tart may be prick'd thn§:

iPiiiiilililliiii 1
(Q*.' Begin in Vni'vn w.ith the Common Tune, andfingthe
Ntya as if in the Treble Cliff Proper ; L#, L M
\ 0, \M» 85V.
 [ li ]
Common Tune, Pfatogt}.
£±£
-A-J-^-f^

Lome let ui with u—ni'-tei joys, to Goi our voices raij'e j

Bafs... K l A. A A-

ililliiilliillgl
vtitb thankful harts before him come, and loudly png his prai

Middle Part. ^
Come let ui roith u~ni-*ted joys % to God our voi ces rati %

with [harmful hearts b?jorekimcome y and loudl) ftrg hn fraife*

c
 .

r q* n

Common Tune. Pfalm 5 1

lliEiEliiillliiill^
BEhold , Lord, my fitful Soul to the for m:ny flies :

Bafc
/y_ I . t 1 I
I >„ , _ T _ 1 ,
V~ y^ O O "**""" **""

liilliillillilii
thy mercy boundlefs tt, blot out all mine i — if |g( hVi

Middle Part.

DEbold, Lird, my fitful Soul to thee for me'cj flies;

lliiliillifliiiil
thy mercy boundlefs U, blot cut all mine i-^-ni-qii-ties.
 Can
The former Tune prick'd on £ Cliff, td
S
exercife Reduction according to Chty. IX,
The Bafs is the lime as before* but the
other Parts muft be fung in <£> Cliffy with
05 e and M(g,flat. The Common Tune be-
gins an Eight above the Bafs , and the
Middle Pan a -flat Third above the
Common Tune.
^Z3S&
BEboli, Zordy my finful Soul to thee for mercy files ;

'
3aft.__
_ .. ;
. .... . .

thy mercy b.undlefs it, blot out all mine i—ni— qui ties

Middle Part.

BsboJd, LorJt, my fnful Soul to thee for mercy pies

•

{by mercy btnmtkfs if, blot out all mini i~~nh*J*Hm*

G 3
 . :

C 84]
Here follow long Tunes of Eight Lines
to a Stdjf, for the Metre of the
Firji Tfahth

Treble. Ffdm 119.

iipjiiiiiiiiiiii.il
^Ifijk *$* MM&kofe. btimelefs life the hw of God direils •>

'

Bafs. tv

whokeefs hU precepts , and whofe heart t9 ferve the Lord affetts

Tl:ej never iiii-ful-Iy tranfgrefsjuhg to ihoje paths repair ;

flltiiililltililf
! iiiliiiiiiiiilii!
thou* Lord, baft charged fa to keep all tby commands with care.

liiiliiiiiifillFiiii

Middle Part.

illiHili^iliiiilElli
Ble^i U ibe majiyvchofe blamele\s life the law of God directs;

iiHHiillllilill
Vfbo kS e P hi* precept s>and voboje heart jofervc the Lord affeiti:

3
They never ml-fhil-lj tranfgrefs, who to thofe paths repair ;

mtbou,Lord,h,'ft charged m to {eep all tby commands with care.

G 3
 !

Common Tune. Vfdm 84.

Ho™ beauteom k thepLice^here thou th) preface, Lerd,do/l gram!

Bafr.

Ob ! how I Ion? r'pproah thy courts, impatient of reftrnnt

ilHiiyilillllli
v>bofe tru/i U in thine aU
t whofe hart devout tjftBioPS f,U.
 C§7]
Middle Part.

How beauteous U the place, where thou thy preface >Lord,dofl grant \

Ob! how I long? Appro tch thy courts, impatient of refir aim!

ilfeill SESEE-
Ob happy men I that may frequent thine houfe to praife tbeeftiU;

jvhoje truft u in thine tid, whofe heart devout affeftions fill.

p < • » •*

G 4
 !

C 88 ]
An Hymn taken out of the Revelations:
Treble, By Mr. Patrick.

illliziillliillilil
Ail ye thai ferve the Lord his nam.3 , fee that ye re- le-bratc ;

Bafs.

illiPilllilllllll

^wij'e */;jt /jir him fog a- -loud, his praife both {mall And great:

thou great ruler of the world, thy worlds our roonders raije ;

fifillilllllfllll
ilfiiiiliSiiilili true, and righteous are thy ways
thou blejftd i\ing of faints J:ow

:
?':lE±El=iEi;i^Ei;|;i E!Ej=|E|i. $}:
;
 ; , : !

C *9l
Mean,

iliirJipsgi iliiiiiiy i
All ye that ferve the Lord hit name, fee that ye celebrate ,

liiliiiilfliillll
ami ye that praife himfng aloud , hit praife bothfmall andgreit:

llillilil tllflill
O thou great ruler of the world, thy worlds our wonders raife\

iilillpiiilililli
thou biffed King of faints, how true, andrighteom are thy ways

11. (Xante, 111.

Who would not fear ond praife thy Allglory,
powV, and honour, thou
Thou only holy one! (whom Art worthy to recede ; (madey
y
The world will worjhip thee, to For all things by thy pow r were
Thy judgments are made {nown: And by thy pleafure live
Moft holy, holy, holy Lord To thee of right, Limb of God,
Almighty U thy name laches and pow'r belong \
which was before all ume,and u Wijdom and honour glory (irength,
y y

And (ball be (till ike fame. And ev'ry priifirg Song.

IV.
Thou, as our Saerif.ce, waft fldin >

And by thy precious blood,

From ev'ry Torgue and Nation, hafi
Xedeyrtd at unto God
and honour, glory , pow'r
Bltjfing >

By all in emb and keav'n ;

To him that [its upon the Tkroy,r }

And to th Lmb heg'r/r..
 C9o ]
An Example of Four Parts.

Common Tune, Pfalm i o <;

Iplliiiiiiiiililill

ililiiplpllilllail
kUgrac'iou and hU mighty voorkj, to all the world proclaim :

iliiiiliiiiiiiij

Let m in fongs> andfacred hymns y our great Cre-a-tor blefs ;

Ipililllilliillill

find what his powerful hand hath wrote fiur joyful tongues exprefs.
 :

[9* ]
Firft Mean.

let m all give lhankjtoGod, and call upon bis narne\

bit gracious and bU mighty wo-\s y to all the world prod aim

llilillPi Jlfifpii
Let us in Songs ,andfacred b)mns y our great Cre a-tov blefs ;

*»i what bit powerful bind bath wrote 9 our joyful tongues express.

Second Mean,

p III- illlfflllfill
O let va all give thxnh to God, and call upon bit name ;

pfiliflifnil Hill
hit gracious and bit mighty wor{s, to all the world proclaim :

Let m in [ongs y and J acred hym^s^ our great cre-a-tor b'efs ;

PWXIf iiffilt If
w
Illii
what bit pqw'rjul hard hath wrote,t ]?; {\il tor.gucs ex-trci
 x )

C?*3
Tunes for the Metre of the ioo'* ffalm,
Eight Syllables to a Line.

Another Example of Four Parts.

Treble. Pfalm ioo.

AlI people that on earth do dwelling to the Li. with cbearful votes
Bafs. ,

tferv with fear, his pr life forth teU>comye kefor him & rej 9yce.

—
Firft Mean.

M people , &c.
 d ;

Second Mean, ^ ^ /
i--I£|:i:J:i;±'*:5!5*:i:I:5:I:Jiia:§]j
ii~iI:i:!:f:|:i:i:!Ji;El:S:I:5|5=J^
^// f Wp/ff, &C.

iltlglfllifilllall
Treble. Pfalmijg.

Lord,wben Ihxve to do with thee, in vain J fee^ to be conceaVd

Bafs.

iiiiiiiiiiiiiiliiiii

a=I:I::i::?:±:$:?xj{:|:t:S::?::S::?xi:55
thou ^now'/l me perfectly, to thee my very thoughts are aSreveaVd*

K7T*T"T ,, T" ^"Af*i "", "f*T*1""T*T"T'"A'" 1" -~"1

, , ,

Mean,

iifStipiliiliiill
Lord,mben J have to do rvitb thee, in vain I fee^ to be conceal' ;

*Jw t«en»^ me frfrtl)) t9 tier, my very thoughts are all nvetf'd*

 C 94 ]
Treble. Pf*fa i,

ifiiliiiiilitiniii
"Left it the man.tobofi vertuozijleps no mitkii counjeis lead tfidc ;

Bais.

iliiillllllilll
not (lands in/inners way ,nor fits where God tfgoodnefs wen deride.

SilMilillllilll
Middle Part:

Biefi it ibe man 9 rchofe verxnom Steps no wicl^d couxfets lead aft'de;

/-N

iiiililll!iiiiltll
norJiandsin/tnn€rs way t norfis where Gcd tfgoodnefs men deride.

•mmmmm^'* *• m tmm wiw^ti . i w fc

m\
 Common Tune. Pfalm ioj,

fes

O let not hit pd/l favours lye for-got-ten in untban^fulnejs /

Middle Part. ^

A£tf/i tfou the Ld.my foul, bit nam J it all lbs potv'rs within mebkfs\

let not his paft favours lye forgotten in untban^fulnefs!

* * ~— «» .
——— «»—~. . -1 —»» » ^
Treble. The 1 1 ph Pfalm Turn.

ifpiiliifiliplll
Te ferjxnts oftfreternd k}*£>tQGo&) our chearful praifts fing,
Bafs.

£fcEli:$::t:i::f:^

Iliillilsl-iipf | ii f iiil!!
T*fo/e nimcbdbkftfor evtrmore.Hti goodnsfs over all *t£reat,

iPiifiiPi^iiifi=S=
wkr? e'reibefun fyes rife or fit) fitted! trebleftjtt ail adore.

Iplilliiliiiiiilll

i?2illflt§§£iiIPtlfl
oVe atftfo earth the LJoes reigntf bejv'ns too narrow to certain

ipiiiiiiilliiiiili
 C 97 1

ililllilllilligl
bit glories that are infinit?*L$t not poor boretfdgreatfiefsdaro

HlPiilpilllif
iwrfc bit perfections to compre^Vfbo ivtcUs in un-crc-A-icd lights

iaiiiiPiSiiil^l
Middleware

ggiiffpiiipgpg!
Te ServMS&t,

ii'iiipipippii
iiiilllipipliil
illlllliliiiiiiiilll
^||liiiiiiliilfel
 :

In the fo lowing Tune, the Treble and Middle

1

P^rts are prick'd in the Cliffy and left C

without Dire£Hons,that the Learner may
try his Skill in ReduUion^ by the Rules
in the Ninth Chapter.

Com. Tune. The 148 h Vfdm Tnne.

"$"-"""' *~ - +—
*0 ltd the heavnl] J{irg , Jet ad their fvLes raife;
Baft

It Angels* firji be- -git the great Cre-~d—tofs praife

liiiii^ili^^^I

Let Sun and Moon, and evry Starlit Glor) fjero tkifs brighterfar.
 a

C 99 3
Middle Part.

ISljiilpliiilllii
J O hud the Heavnly f£f«£ ht all their Voices raife ;

Te Avgzh, frjl be—gin the gut Cre-a>-tcr's praife:

let Sun atd Moot, mI y

c
ur hu Gb—ry jlxw t

—
ei) -ry ,

y,,^^,^.,^ :
g —
tku's brighter far*

* — "' r=

•a ^ *w

H
 C ioo 3
Treble. To the Metre of Pfalm 2$.

/ lift my bem to thee , tny God and guide mofl juft ;

Bafs.

mm -••4" "T*""'~~i ~'"^Jt"-— " ~ — " """"v'*

"^^

»»v>fu';cr me tg take no Jbamtjorinttee da I tru/i.

Middle Fart.

/ lift my hem to thee, my Cod *nd guide mofl juft •,

fi0t9 fuffer me to tattf no fame, for in tbee do I trujt,

— »— t-r» tmm x ^^^fiip* y « V*

'W^m'm y, . 1
-„

«*<**«» <*.*
 '

The Nptes of the foregoing Tune are ufu-

ally broken or divided, and they are
better fo fung , as is here p* ick'd.

^UlSIlItllllli
/ lift tnjf heart to tkec ,

—
<
i

~>

iww fuf — fer me to ta^e no fame,

for in tbee fo I truft.

» - » "*

'Iwwi m mw iiiw n >«

/
 ;
<

[ 101 }
r

Another Tune for the Metre of Tftlm 25.

Treble.
A ^
Ptlllillflilill
~d*V#sy my Soul lookup!
y thy hcf *f —fe^ions rrffa

With Hallelujahs ftng dloui^ thereat Jehovah *s praifc.

Middle Part:

Awat>e t my Scu!y Im% trp! thy brft Af—fc-ftions raife ;

w/^ Hal-le-Iu-jabs fag aloud, the gnat Jehovah'; \tJfu

Angels
 ;

Angels and Saints all reft ,

The Heavenly Hofis above I
There ceafe not dty and -night toftng
The Songs of Praife and Love,

The Hetv'ns declare tkePow't

And Glory of the Lord',
Their ufeful light and influence ,
Large Praifes do afford.

The Mr and Earth Below ,

All things that roe behold >

Eternal Powr and Godhead fhew,

And mfecn things unfold.

Ifon great and manifold

Are all thy worlds, O Lord!
In Wtfdom has! thou made them all,
By thy mod powerful mrd.

Buty Lord, what Tongue of Man

Or Angels can declare y
The Wonders of thy Love and Grace,
which in Chrift fefus are?

All we, like wand'ring Sheep9

From thee were gone afide
Tkoufeni'p thy Son to[ee^andfave 9
Who came, and for dy yd. m
Glory to God on high!
On Earth Good Will and Peace ;

Let Heav'n and Emhgivc praije to GodP

And praiftj?g, never ceafe.

A Tunc
 I io4 ] =

A Tune for the Long Metre of Ten

Syllables to a Line.

2 Parts. Pfal.6j. Mr.G^r/^^sTrannationb

Be mtrciful, O God, chafe away night, andblefs u& with the

|S|||liig|
vifiou of thy Light •, that un-~to all the earth thy way be known,

i|ii=feiEM:~iEii:
thy U'-ni—ver'fal glad Sa'*va~u-on.

g^gsiil
Moft of tHe Vfdms in this Metre, with
more Tunes to them , you may have iti
Mr, Gwdridges late Verfton.

>- FINIS,
 s