TEXTS ON MUSIC IN ENGLISH
School of Music
University of Nebraska--Lincoln
Lincoln, NE 68588-0100
(phone: [402] 472-2507; Internet: plefferts1@unl.edu)
Data entry: Peter M. Lefferts, Ausra Motuzaite-Pinkeviciene
Checked by: Kristie Withers
Approved by: Peter M. Lefferts
Fn and Ft: MOR1597D_TEXT
Author: Morley, Thomas
Title: A Plaine and Easie Introduction to Practicall Musicke, End Matter
Source: Thomas Morley, A Plaine and Easie Introduction to Practicall Musicke (London: Peter Short, 1597) [STC 18133], ff. G1r-(:.)4v.
Graphics: MOR1597D 01GF-MOR1597D 10GF
[-f.G.1r-] ANNOTATIONS necessary for the vnderstanding of the Booke, wherein the veritie of some of the preceptes is prooued, and some argumentes which to the contrary might be obiected are refuted.
To the Reader.
WHen I had ended my booke, and showne it (to be perused) to some of better skill in letters then my selfe, I was by them requested, to giue some contentment to the learned, both by setting down a reason why I had disagreed from the opinions of others, as also to explaine something, which in the booke it selfe might seeme obscure. I haue therefore thought it best to set downe in Annotations, such thinges as in the text could not so commodiouslie be handled, for interrupting of the continuall course of the matter, that both the young beginner shoulde not be ouerladed with those things, which at the firste woulde be to hard for him to conceiue: and also that they who were more skilful, might haue a reason for my proceedings. I would therefore counsel the young scholler in Musicke, not to intangle himselfe in the reading of these notes, til he haue perfectly learned the booke it selfe, or at least the first part thereof: for without the knowledge of the booke, by reading of them, hee shal runne into such confusion, as hee shall not know where to begin or where to leaue. But thou (learned Reader) if thou find any thing which shal not be to thy liking, in friendship aduertise me that I may either mend it, or scrape it out. And so I ende, protesting that Errare possum haereticus esse nolo.
[Morley, Introduction, f.G.1v,1] [MOR1597D 01GF]
Chromaticum, is that which riseth by semitonium minus (or the lesse halfe note) the greater halfe note, and three halfe notes thus:
[Morley, Introduction, f.G.1v,2] [MOR1597D 01GF]
(the greater halfe note is that distance which is betwixt fa and mi, in b fa [sqb] mi). Enharmonicum, is that which riseth by diesis, diesis, (diesis is the halfe of the lesse halfe note) and ditonus. But in our musicke, I can giue no example of it, because we haue no halfe of a lesse semitonium, but those who would shew it, set downe this example.
[Morley, Introduction, f.G.1v,3] [MOR1597D 01GF]
of enharmonicum, and mark the diesis thus X as it were the halfe of the apotome or greater halfe note, which is marked thus #. This signe of the more halfe note, we now adaies confound with our b square, or signe of mi in b fa [sqb] mi, and with good reason: for when mi is sung in b fa [sqb] mi, it is in that habitude to alamire, as the double diesis maketh Ffaut sharpe to Elami, for in both places the distance is a whole note. But of this enough, and by this which is already set downe, it may euidentlie appeare, that this kind of musick which is vsual now a daies, is not fully and in euery respect the ancient Diatonicum. For if you begin any foure notes, singing vt re mi fa, you shal not finde either a flat in elami, or a sharpe in Ffaut: so that it must needes follow, that it is neither iust diatonicum, nor right Chromaticum. Likewise by that which is saide, it appeareth, this point which our Organists vse
[Morley, Introduction, f.G.1v,4] [MOR1597D 01GF]
is not right Chromatica, but a bastard point patched vp, of halfe chromaticke, and halfe diatonick. Lastlie it appeareth by that which is said, that those Virginals which our vnlearned musytians cal Chromatica (and some also Grammatica) be not right chromatica, but halfe enharmonica: and that al the chromatica, may be expressed vppon our common virginals, except this
[Morley, Introduction, f.G.1v,5] [MOR1597D 01GF]
for if you would thinke that the sharpe in g sol re ut would serue that turne, by experiment you shal find that it is more then halfe a quarter of a note too low. But lett this suffice for the kinds of musicke: now to the parts Practical. Musicke is diuided into two parts, the first may be called Elementarie or rudimental, teaching to know the quality and quantity of notes, and euery thing else belonging to songes, of what maner or kind soeuer. The second may be called Syntactical, Poetical, or effectiue; treatinge of soundes, concordes, and discords, and generally of euery thing seruing for the formal and apte setting together of parts or soundes, for producing of harmonie either vpon a ground, or voluntarie.
[-f.G.2r-] [Morley, Introduction, f.G.2r; text: Systema harmonicum quindecim chordarum in genere diatonico. tonus, semitonium minus, diapason, diapente, diatessaron, ratio sesquitertia, sesquialtera, dupla, Disdiapason maximum Systema ratio quadrupla. Nete hyperbolaeon, Paranete, Trite, diezeugmenon, Paramese, Mese, Lychanos meson, Parhypate, Hypate, hypaton, Proslambanomene, 2304, 2592, 2916, 3072, 3456, 3888, 4096, 4608, 5184, 5832, 6144, 6912, 7776, 8192, 9216] [MOR1597D 01GF]
For vnderstanding of which, there be three thinges to be considered: the names, the numbers, and the distances. As for the names, you must note that they be all Nounes adiectiues, the substantiue of which is chorda, or a string. Proslabanomene, signifietsl a string assumed or taken in, the reasonne whereof we shal straight know.
[-f.G.2v-] Al the scale was diuided into foure Tetrachordes or fourths, the lowest of which foure was called Tetrachordon hypaton, the fourth of principals. The second tetrachordon meson, the fourth of middle or meanes. The third tetrachordon diezeugmenon, the fourth of strings disioyned or disiunct. The fourth and last tetrachordon hyperbolaeon, the fourth of stringes exceeding: the lowest string Proslambanomene is called assumed, because it is not accounted for one of any tetrachorde, but was taken in to be a Diapason to the mese or middle string. The tetrachorde of principals or hypaton, beginneth in the distance of one note aboue the assumed string, containing foure strings or notes, the last of which is Hypatemeson: the tetrachorde of meson or meanes, beginneth where the other ended (so that one string is both the end of the former, and the beginning of the next) and containeth likewise foure, the last whereof is mese. But the third tetrachorde, was of two maner of dispositions, for either it was in the natural kind of singing, and then was it called tetrachordon diezeugmenon, because the middle string or mese, was separated from the lowest stringe of that tetrachorde, by a whole note, and was not accounted for any of the foure belonging to it, as you may see in the scale, or then in the flat kind of singing: in which case, it was called tetrachordon synezeugmenon, or synemmenon, because the mese was the lowest note of that tetrachorde, all being named thus mese. Trite synemmenon, or synezeugmenon, paranete synezeugmenon, and nete synezeugmenon. But least these strange names, seeme fitter to coniure a spirite, then to expresse the Art, I haue thought good to giue the names in English.
[Morley, Introduction, f.G.2v; text: All the names of the Scale in English. Tetrachordon hypaton. Are. Proslambanomene. B mi. Hypate hypaton. Principal of principals. C fa vt. Parhypate hypaton. Subprincipal of principals. D sol re. Lychanos hypaton. Index of principals. Tetrachordon meson. E la mi. Hypate meson. Principall of meanes. F fa ut. Parhypate meson. Subprincipal of meanes. G sol re ut. Lychanos meson. middle. mese. A la mi re. Mese. Index of meanes. Tetrachordon diezeugmenon. B fa # mi. Paramese. Next the middle. C sol fa vt. Trite diezeugmenon. Third of disiunct. D la sol re. Paranete diezegmenon. Penulte of disiunct. E la mi. Nete diezeugmenon. Last of disiunct. Tetrachordon hyperbolaeon. F fa vt. Trite hyperbolaeon. Third of exceeding or treble. G sol re ut. Paranete hyperbolaeon. Penulte of trebles. A la mi re. Nete hyperbolaeon. Last of trebles. Tetrachordon synezeugmenon. Mese. Trite synezeugmenon. Paranete synezeugmenon. Nete synezeugmenon.] [MOR1597D 02GF]
So much for the names. The numbers set on the left side, declare the habitude (which we call proportion) of one sound to another, as for example: the number set at the lowest note Proslambanomene, is sesqui octaue, to that which is set before the next: and sesquitertia to that which is set at Lychanos hypaton, and so by consideration of these numbers, may be gathered the distance of the sound of the one from the other: as sesqui octaue produceth one whole note. Then betwixt Proslambanomene, and hypatehypaton, is the distance of one whole note. Likewise sesquitertia, produceth a fourth: therefore Proslambanomene and Lychanos hypaton are a fourth, and so of others. But least it might seeme tedious, to diuide so many numbers, and seeke out the common deuisors for so many fractions, both the distance is set downe betwixt euerie two notes, and the consonants are drawne on the right side of the Scale. Thus much for the explanation of the table, but what vse it had, or how they did sing is vncertaine: onely it appeareth by the names, that they tearmed the keyes of their scale, after the stringes of some instrument, which I doubt not is the harpe. And though the Frier Zaccone out of Franchinus affirme, that the Greekes didde sing by certaine letters, signifying both the time that the note is to be holden in length, and also the height and lownesse of the same: yet because I finde no such matter in Franchinus his Harmonia instrumentorum (for his theorica nor Practica I haue not seene, nor vnderstand not his arguments) I knowe not what to saie to it. Yet thus much I will saie, that such characters as Boetius setteth downe, to signifie the stringes, do not signifie any time: for it is a great controuersie amongst the learned, if the auncient musytions had any diuersitie of notes, but onely the signe of the chord being set ouer the word, the quantitie or length was knowne, by that of the syllable which it serued to expresse. But to returne to Guidoes inuention, it hath hitherto been so vsuall as the olde is gone quite out of mens memorie. And as for the Gam, many haue vpon it deuised such fantastical imaginations, as it were ridiculous to write, as (forsooth) Are is siluer, B mi quicksiluer, et cetera for it were too long to set downe all. But it should seeme, that he who wrote it, was either an Alcumiste, or an Alcumistes friend. Before an old treatise of musicke written in vellim aboue an hundred yeares ago, called Regula Franchonis cum additionibus Roberti de Haulo, there is a Gam set downe thus.
[-f.G.3r-]
[Morley, Introduction, f.G.3r,1; text: [Gamma] vt. Terra, A re. Luna, B mi. Mercurius, C fa vt. Venus, D sol re. Sol, E la mi. Iupiter, F fa vt. Saturnus, G sol re vt. Coelum. E la my Saturnus, F fa vt Iupiter, G sol re ut Mars, A la mi re Sol, B fa # mi Venus, C sol fa vt Mercurius, D la sol re Luna, Boetius.] [MOR1597D 02GF]
And at the end thereof the words Marcus Tullius pointing (as I take it) to that moste excellent discourse in the dreame of Scipio, where the motions and soundes of all the sphaeres are most sweetlie set downe: which who so listeth to read, let him also peruse the notes of Erasmus vppon that place, where he taketh vp Gaza roundlie for his Greeke translation of it: for there Tullie doeth affirme, that it is impossible that so great motions may be mooued without sound, and according to theyr neerenesse to the earth, giueth he euery one a sound, the lower body the lower sounde. But Glareanus, one of the most learned of our time, maketh two arguments to contrarie effects, gathered out of their opinion, who denie the sound of the sphaeres.
The greatest bodies, saith he, make the greatest sounds,
The higher celestiall bodies are the greatest bodies,
Therefore the highest bodies make the greatest sounds.
The other prooueth the contrarie thus.
That which moueth swiftest giueth the highest sound,
The higher bodies moue swiftliest,
Therefore the highest bodies giue the highest sound.
The Greekes haue made another comparison of the tunes, keyes, muses and planets thus,
[Morley, Introduction, f.G.3r,2; text: Vrama Mese Hypermixolydius Coelum stellatum, Polymma Lychanos meson Myxolydius Saturnus, Euterpe Parhypate meson Lydius Iupiter, Erato Hypate meson Phrygius Mars, Melpomene Lychanos hypaton Dorius Sol, Terpsichore Parhypate hypaton Hypolydius Venus, Caliope Hypate hypaton Hypophrygius Mercurius, Clio Proslambanomene Hypodorius Luna. Thalia terra.] [MOR1597D 02GF]
And not without reason, though in many other thinges it hath beene called iustlie Mendax and Nugatrix graecia. Some also (whom I might name if I would) haue affirmed, that the Scale is called Gam vt, from Gam, which signifieth in Greeke graue, or antient: as for me I find no such greek in my Lexicon, if they can proue it they shall haue it.
[Morley, Introduction, f.G.3v,1; text: g, c, F, [Gamma]] [MOR1597D 03GF]
c. naturam dat. f. b molle nunc tibi signas,
g. quoque b. durum tu semper habes cantiturum.
Which if they were no truer in substance then they be fine in words and right in quantitie of syllables, were not much worth. As for the three themselues, their names beare manifest witnes, that musicke hath come to vs from the French. For if we had had it from any other, I see no reason why we might not aswel haue said the square b. as b. quarre or carre, the signification beeing al one. In the treatise of the foure principals I found a table, containing all the notes in the scale; and by what propertie of singing euery one is sung, which I thought good to communicate vnto thee in English.
[Morley, Introduction, f.G.3v,2; text: by the square [sqb], by nature, by b mole, by b mol, by [sqb], by b, vt, re, mi, fa, sol, la, In gamut is no mutation because it is one only key, and one voice maketh no change, In are is no change because it is but one only voice, In b fa b mi is no change because it is b in one voice, In b fa b mi no change bicause in it diuers signes and diuers soundes, Here is no change for the reason aforesaid, [Gamma], A, C, D, E, G, a, b, c, d, e, f, g] [MOR1597D 03GF]
[-f.G.4r-] But for the vnderstanding of it, I must shew you what is meant by mutation or change. Mutation is the leauing of one name of a note and taking another in the same sound, and is done (sayeth the Author of quatuor principalia) either by reason of propertie, or by reason of the voice. By reason of the property, as when you change the sol in g sol re ut, in ut, by the [sqb] and in re by the b. and such like, by reason of the voice when the name is changed, for the ascension or descensions sake: as for example, in c fa ut, if you take the note fa, you may rise to the third, and fall to the fourth, in the due order of the six notes, if the property let not. But if you would ascend to the fourth, then of force must you change your fa, into vt, if you will not sing improperlie, because no man can ascende aboue la, nor descend vnder vt properlie: for if he descend, he must call vt, fa. Now in those keyes wherein there is but one note, there is no change, where two, there is double change, where three is sextupla: but al this must be vnderstood where those three or two notes be all in one sounde, for if they be not of one sound, they fall not vnder this rule, for they be directed by signes set by them. But all mutation ending in vt re mi, is called ascending, because they may ascend further then descend, and all change ending in fa sol la, is called descending, because they may descend further then ascend, and thereof came this verse: vt re mi scandunt, descendunt fa quoque sol la. But though, as I said, these three properties be found in plainsong, yet in pricktsong they be but two: that is, either sharp or flat, for where nature is, there no b. is touched. But if you would knowe whereby any note singeth (that is whether it sing by properchant [sqb] quarre, or b. molle, name the note and so come downeward to vt: example, you would knowe wherby sol in g sol re ut singeth, come down thus, sol fa mi re vt, so you find vt in c fa ut, which is the propertie whereby the sol in g sol re ut singeth, and so by others.
[Morley, Introduction, f.G.4r,1] [MOR1597D 04GF]
But if a white note (which they called black voide (happened amongste blacke full, it was diminished of halfe the value, so that a minime was but a crotchet, and a semibriefe a minime, et cetera. If a redde full note were found in blacke pricking, it was diminished of a fourth part, so that a semibriefe was but three crotchettes and a Redde minime was but a Crotchette: and thus you may perceiue that they vsed their red pricking in al respects as we vse our blacke noweadaies. But that order of pricking is gone out of vse now, so that wee vse the blacke voides, as they vsed their black fulles, and the blacke fulles as they vsed the redde fulles. The redde is gone almost quite out of memorie, so that none vse it, and fewe knowe what it meaneth. Nor doe we pricke anye blacke notes amongst white, except a semibriefe thus:
[Morley, Introduction, f.G.4r,2] [MOR1597D 04GF]
in which case, the semibriefe so blacke is a minime and a pricke (though some would haue it sung in tripla maner, and stand for 2/3 of a semibriefe) and the black minime a Crotchet, as indeede it is. If more blacke semibriefes or briefes bee togither, then is there some proportion, and most commonly either tripla or hemiolia, which is nothing but a rounde common tripla or sesquialtera. As for the number of the formes of notes, there were within these two hundred yeares but foure, knowne or vsed of the Musytions: those were the Longe, Briefe, Semibriefe, and Minime. The Minime they esteemed the least or shortest note singable, and therefore indiuisible. Their long was in three maners: that is, either simple, double, or triple: a simple Long was a square forme, hauing a taile on the right side hanging downe or ascending: a double Long was so formed as some at this daie frame their Larges, that is, as it were compact of 2. longs: the triple was bigger in quantitie than the double. Of their value we shal speake hereafter. The semibriefe was at the first framed like a triangle thus [signum] as it were the halfe of a briefe diuided by a diameter thus [signum] but that figure not being comly nor easie to make, it grew afterward to the figure of a rombe or loseng thus [SB] which forme it still retaineth.
The minime was formed as it is now, but the taile of it they euer made ascending, and called it Signum minimitatis in their Ciceronian Latine. The inuention of the minime they ascribe to a certaine priest (or who he was I know not) in Nauarre, or what contrie else it was which they tearmed Nauernia, but the first who vsed it, was one Philippus de vitriaco, whose motetes for some time were of al others best esteemed and most vsed in the Church. Who inuented the Crotchet, Quauer, and Semiquauer is vncertaine. Some attribute the inuention of the Crotchet to the aforenamed Philip, but it is not to be founde in his workes, and before the saide Philippe, the smallest note vsed was a semibriefe, which the Authors of that time made of two sortes more or lesse: for one Francho diuided the briefe, either in three equal partes (terming them semibriefes) or in two vnequal parts, the greater whereof was called the more semibriefe (and was in value equal to the vnperfect briefe) the other was called the lesse semibriefe, as being but halfe of the other aforesaid.
This Francho is the most ancient of al those whose workes of practical musicke haue come to my handes, one Roberto de Haulo hath made as it were Commentaries vpon his rules, and termed them [-f.G.4v-] Additions. Amongst the rest when Francho setteth downe, that a square body hauing a taile comming downe on the right side, is a Long, he saith thus: Si tractum habeat a parte dextra ascendentem erecta vocatur vt hic
[Morley, Introduction, f.G.4v,1] [MOR1597D 04GF]
ponuntur enim iste longae erectae ad differentiam longarum quae sunt rectae et vocautur erecta quod vbicunque inueniuntur per semitonium eriguntur, that is, If it haue a taile on the right side going vpward, it is called erect or raised thus:
[Morley, Introduction, f.G.4v,2] [MOR1597D 04GF]
for these raised longs be put for difference from others which be right, and are raised, because wheresoeuer they be found, they be raised halfe a note higher, a thing which (I beleue) neither he himselfe nor any other, euer saw in practise. The like obseruation he giueth of the Briefe, if it haue a taile on the left side going vpward, the Larg, long, briefe, semibriefe, and minime (saith Glareanus) haue these 70. yeares beene in vse: so that reckoning downeward, from Glareanus his time, which was about 50. yeares agoe, we shal find that the greatest antiquity of our prickt song, is not aboue 130. yeares olde.
But it is to be noted, that the long rest was not alwaies of one forme: for when the long contained three Briefes, then did the Long rest reach ouer three spaces, but when the Long was imperfect, then the Long rest reached out ouer two spaces as they now vse them.
[Morley, Introduction, f.G.4v,3; text: The Resolution] [MOR1597D 04GF]
[-f.*1r-] And by these few the diligent Reader may easily collect the value of any other, wherfore I thoght it superfluous to set downe any more, though infinite more might be found.
[Morley, Introduction, f.*1r] [MOR1597D 04GF]
as though they wer semibriefes, but dashing the signe of the time with a stroake of diminution to make them minimes. But if you thinke that would not be perceiued, then may you sette downe numbers before them thus 2/1 which would haue the same effect: but if that pleased you no more then the other then might you set them in tied briefes with this [C/] or this 4/1 signe before them, which were all one matter with the former.
Againe, all imperfection is made either by a note reste or cullor, but no imperfection is made by a pricke, therefore our Monke (or whatsoeuer he were) hath erred, in making a point of imperfection. And lastly, all diminution is signified, either by the dashing of the signe of the degree, or by proportionate numbers, or by a number sette to the signe, or else by asscription of the Canon: but none of these is a pricke, therefore no diminution (for taking away halfe of the note is diminution) [-f.*1v-] is signified by a pricke, and therefore none of his rules be true sauing the first, which is, that a prick following a blacke briefe perfecteth it.
[-f.*2r-] [Morley, Introduction, f.*2r,1] [MOR1597D 05GF]
And this shall suffice at this time for the vnderstanding of the controuerted moods. But to the ende thou mayst see how many waies the moods may be diuersly ioyned, I haue thought good to shew thee a table, vsed by two good musytians in Germany, and approued by Fryer Lowyes Zaccone, in the 57 chapter of his second booke of practise of musicke.
[Morley, Introductioin, f.*2r,2; text: Mood, Prolation, Time, Small, Great, Strokes, that is measures. Perfect, imperfect, 1, 2, 3, 4, 6, 8, 9, 12, 18, 24, 27, 36, 81] [MOR1597D 05GF]
But by the way you must note, that in all Moodes (or rather signes) of the more prolation, he setteth a minime for a whole stroke, and proueth it by examples out of the masse of Palestin, called l'home armè. There is also another way of setting downe the degrees, which because I had not seen practised by any Musition, I was determined to haue passed in silence. But because some of my friends affirmed to me, that they had seen them so set down, I thought it best to shew the meaning of them. The auncient Musytians, who grounded all their practise vpon Speculation, did commonlie sette downe a particular signe for euery degree of musycke in the song: so that they hauing no more degrees then three, that is, the two moods and time (prolation not being yet inuented) set down three signes for them, so that if the great moode were perfect, it was signified by a whole circle, which is a perfect figure: if it were imperfect, it was marked with a halfe circle. Therefore, wheresoeuer these signes [Od33] were set before any songe, there was the greate moode perfect signeified by the circle. The small mood perfect signified by the first figure of three, and time perfect signified by the last figure of three. If the song were marked thus [C33], then was the great mood vnperfect, and the smal mood and time perfect. But if the first figure were a figure of two thus [C23], then were both moods vnperfect and time perfect: but if it were thus [C22], then were all vnperfect. [-f.*2v-] But if in al the song there were no Large, then did they set downe the signes of such notes as were in the song: so that if the circle or semicircle were set before one onelie cifer, as [O2] then did it signifie the lesse mood, and by that reason that circle now last sette downe with the binarie cipher following it, signified the lesse mood perfect, and time vnperfect. If thus [Cd3] then was the lesse mood vnperfect and time perfect. If thus [C2], then was both the lesse mood and time vnperfect, and so of others. But since the prolation was inuented, they haue set a pointe in the circle or halfe circle, to shew the more prolation, which notwithstanding altereth nothing in the mood nor time. But because (as Peter Aron saith) these are little vsed now at this present, I will speake no more of it, for this wil suffice for the vnderstanding of any song which shal be so markt: and whosoeuer perfectly vnderstandeth and keepeth that which is already spoken, wil finde nothing pertaining to the moodes to be hard for him to perceiue.
[Morley, Introduction, f.*3r,1; text: ut, re, mi, fa, sol, diapente, diatesseron, diapason, 6, 4, 3, C, G, c] [MOR1597D 06GF]
Thus you see what proportion is, and that proportion is not properlie taken in that sence wherein it is vsed in the booke: yet was I constrained to vse that word for lacke of a better. One whose booke came lately from the presse, called the Pathwaie to Musicke, setting downe the proportions, calleth them a great proportion of inequality, and a lesse proportion of inequalitie: and a little after treating of dupla, he setteth down words which hee hath translated out of Lossius his Musicke, but it seemeth hee hath not vnderstood too well, for (saith he) dupla is that which taketh from all notes and rests the halfe value, et cetera and giueth this example:
[Morley, Introduction, f.*3r,2] [MOR1597D 06GF]
But if he had vnderstoode what he said, he would neuer haue sette down this for an example, or else he hath not knowen what a minim or a crotchet is. But if I might, I would aske him of what length he maketh euery note of the plainsong? I knowe hee will answer of a semibriefe time. Then if your plainsong be of a semibriefe time, how will two minimes being diminished, make vp the time of a whole semibriefe? A minime in dupla proportion beeing but a [-f.*3v-] Crotchet. O but (saith he) the plainsong note is likewise diminished, and so the diminished minims wil make vp the time of a diminished semibriefe. But then how wil one barre of your partition make vppe a full stroke? seeing in the lesse prolation a minime is neuer taken for a whole stroke. Againe, no diminution is euer knowne, but where the signes of diminution be set by the notes, and except you sette the numbers in both partes, diminution wil not be in both parts. But to conclude, he who set downe that example, either knew not what dupla was, or then vnderstood not what he himselfe said, which appeareth in many other places of his booke: as for example, in the tenth page (leauing out the leafe of the title) A perfect sound (saith he) containeth a distance of two perfect soundes. What would he say by this? in mine opinion he would say A perfect second containeth a distance of two perfect soundes. Yet I know not what he meaneth by a perfect sound: for any sound is perfect not compared to another, and though it were compared to another, yet is the sound perfect, though it be not a perfect consonant to the other. But our master who shewes such Pathwaies to Musicke, would say this, A perfect second conteineth a whole note (or as the Latines tearme it integer tonus) as from vt to re, is a whole note, et cetera. In the beginning of the next page, he saith, An vnperfect second a sound and a halfe: but I pray you good Master Guide of the Pathway, howe can you make that a sound (for so you interpret the word tonus) and a halfe, which is not full a halfe sound or halfe a tonus? But if you had vnderstood what you saide, you would haue said thus: An vnperfect seconde conteineth but a lesse halfe note, as is euer betwixt mi and fa. Also defining what diatessaron, or a fourth is, he saith, a fourth is the distance of the voice by a fourth. And likewise, a fift the distance of the voice by a fift. Notable definitions: as in the play, the page asking his maister what a Poet was, he, after a great pause and long studie, answered that it was a Poet. Likewise, giuing the definition of a note, he saith it is a signe shewing the lowdnesse or stilnesse of the voice, but these be light faultes to those which follow after. For the Ligatures are set downe false, and comming to speake of the Moodes, or degrees of musicke, he maketh no mention at all of the lesse mood. And defining time he saith, it is a formall quantity of semibriefes measuring them by three or by two: and prolation he calleth a formall quantity of minimes and semibriefes, and shewing time perfect of the lesse prolation, he setteth it downe thus.
[Morley, Introduction, f.*3v,1] [MOR1597D 06GF]
And in the imperfect of the more prolation, he maketh two minimes to the semibriefe. But I am almoste out of my purpose, following one quem vincere inglorium et à quo atteri sordidum. For if you read his book you may say by it, as a great Poet of our time said by anothers, Vix est in toto pagina sana libro. What, said I vix? Take away two or three scales which are filched out of Beurhusius, and fill vp the three first pages of the booke, you shal not finde one side in all the booke without some grosse errour or other. For as hee setteth downe his dupla, so dooth he all his other proportions, giuing true definitions and false examples, the example still importing the contrary to that which was said in the definition. But this is the Worlde. Euery one will take vpon him to write, and teach others, none hauing more need of teaching then himselfe. And as for him of whom we haue spoken so much, one part of his booke he stole out of Beurhusius, another out of Lossius, peruerting the sence of Lossius his wordes, and giuing examples flatte to the contrary, of that which Lossius saith. And the last part of his booke treating of Descant, he tooke verbatim out of an old written booke which I haue. But it should seeme, that whatsoeuer or whosoeuer he was, that gaue it to the presse, was not the Author of it himselfe, else would he haue set his name to it, or then hee was ashamed of his labour.
[Morley, Introduction, f.*3v,2] [MOR1597D 06GF]
[-f.*4r-] The signe at the beginning sheweth time perfect, so that euery briefe not hauing a semibriefe after it is three semibriefes, and so being diminished of halfe their value in dupla proportion, are but three minimes a peece: those briefes which in dupla haue a semibrife following them, are sung but in time of one semibriefe, the signe of imperfect time comming in after the proportion destroyeth it, but these numbers 4/2 being the notes of dupla habitude, following within foure notes, make vp the proportion againe: but in the latter dupla, you must marke that the diminished briefe is lesse by a whole minime then it was in the former, because the first followed time perfect, and the halfe of a briefe in time perfect, is three minimes, the latter followed time imperfect, and the halfe of a briefe in time vnperfect, is a semibriefe or twoe minimes. Likewise you must note, that when dupla or any other proportion is in all the partes alike, then can it not be called proportion, seeing there is no comparison of notes together, according to any imparity of numbers.
[Morley, Introduction, f.*4r] [MOR1597D 06GF]
But this tripla is double as swift in stroke as our common tripla of three minims, which though I haue vsed and stil doe vse, yet am not I able to defend it by reason: so that if any man would change before mee, I would likewise willingly change, but of my selfe I am loth to breake a receiued custome. But one may aske me, if our common tripla be not a proportion, what it is? I will answere out of Glareanus, that it seemeth to be a kind of perfection flourished by Art, and different from the auncient and first kind of order, because in it, both imperfection and alteration haue place. And by this, which in dupla and tripla is spoken, may all other things concerning proportions of multiplicity be easily vnderstoode, therfore one word of sesquialtera, and then an ende of this first part.
But if I should go about to say al that may be spoken of the proportions, I might bee accounted one [-f.*4v-] who knew not how to employ my time, and therefore I wil conclude with one worde, that proportions of multiplicitie might be had and vsed in any kinde without great scruple or offence: but those superparticulars and superpartients carry great difficultie, and haue crept into musick I know not how, but it shold seeme, that it was by meanes of the Descanters, who striuing to sing harder waies vpon a plainsong then their fellowes, brought in that which neither could please the eares of other men, nor could by themselues be defended by reason. Here was I determined to haue made an ende, but some more curious then discreet, compelled me to speake some words more, and to giue a reason why, after the proportions I haue saide nothing of the inductions. And therefore to be briefe, I say that all which they can say of these inductions, is nothing but meere foolishnesse, and commenta otiosorum hominum qui nihil aliud agunt nisi vt iniuniant quomodo in otio negotiosi videantur. Yet I maruel, that a thinge which neither is of any vse, nor yet can be prooued by any reason, should so much be stood vpon by them, who take vpon them to teach the youth nowadaies. But yet to refute it I need no other argument then this, that not any one of them who teach it, deliuereth it as another doth. But to be plaine, those inductions be no other thinge (as I saide in my booke, page 92. verse 7) but that number which any greater notes broken in smaller do make, as for example (though their opinions be false) sesquialtera or pricke semibriefe is the induction to their tripla, for sing your sesquialtera in minimes, and you shall find three of them to a stroke. Likewise, breake eyther your tripla of three minimes or your pricke semibriefe into crotchets, and so shall the prick semibrief bee the induction to sextupla as they say, but this is so false as what is falsest: for in whatsoeuer notes you sing sesquialtera, it is alwaies sesquialtera, because the value of a semibriefe and a halfe doth alwaies make a full stroke. Breake true tripla in minimes it will make t<h>eir sextupla, make it in crotchets, it will make their duodecupla, and this is it which they call their inductions, which it shal be enough for the scholler to vnderstand when he heareth them named: for no musician (if he can but breake a note) can misse the true vse of them. It resteth now to giue a reason why I haue placed that table of proportions in my book, seeing it belongeth no more to musicke, then any other part of Arithmeticke doth (Arithmeticke you must not take here in that sence as it is commonly for the Art of calculation, but as it is taken by Euclide, Nicomachus, Boetius and others) but the reason why I set it there, was to helpe the vnderstanding of manye young practicioners, who (though they see a song marked with numbers, as thus 8/3 for example) yet doe they not know what proportion that is. And therefore if they do but look vpon the numbers, and marke the concourse of the lines in closing them, they shall there plainly finde set downe, what relation one of those numbers hath to another.
Vpon the second Part.
[Morley, Introduction, f.(:.)1r; text: Hymnus: Conditor alme syderum. The faburden of this hymne] [MOR1597D 06GF]
And though this be prickt a third aboue the plainsong, yet was it alwaies sung vnder the plainsong. Other things handled in this part of the booke, are of themselues easily to be vnderstood. Therefore I will cease to speak any more of them, and proceed to the explanation of other things as yet vntouched.
[-f.(:.)1v-] Vpon the third part.
Vult descendere par, sed scandere vult modus impar
Also for the better helping of the schollers memory, they haue deuised these verses following.
Impare de numero tonus est autentas, in altum
Cuius neuma salit, sede a propria diapason
Pertingens, à qua descendere vix datur illi;
Vult pare de numero tonus esse plagalis in ima
Ab regione sua descendens ad diatesron,
Cui datur ad quintam, raróque ascendere sextam.
Now these tunes consisting of the kinds of diapason or eights, it followeth to know which tunes ech kind of diapason doth make. It is therefore to be vnderstood, that one eight hauing but one diapente or fift, it followeth, that one diapente must be common to two tunes, the lowest key of which diapente ought to be the finall key of them both. It is also to be noted, that euery autenta may go a whole eight aboue the final key, and that the Plagale may go but a fift aboue it, but it may goe a fourth vnder it, as in the verses nowe set downe is manifest. So then the first is from dsolre to dlasolre, his fift being from dsolre to Alamire. The second tune is from Alamire to Are, the fift being the same which was before, the lowest key of which is common finall to both. In like maner, the third tune is from elami to elami, and the fourth from b fa b mi to [sqb] mi, the diapente from elami to b fa b mi, being common to both. Now for the discerning of these tunes one from another, they make three waies, the beginning, middle, and ende: and for the beginning say they, euery song which about the beginning riseth a fift aboue the finall key, is of an autenticall tune: if it rise not vnto the fifth it is a plagall. And for the middle, euery song (say they) which in the middle hath an eight aboue the final keye, is of an autenticall tune: if not it is a plagal. And as for the ende, they giue this rule, that euery song (which is not transposed) ending in G sol re vt, with the sharpe in b fa b mi, is of the seuenth or eighth tune in f fa vt of the fifth or sixth tune, in elami of the thirde or fourth tune, in dsolre is of the firste or second tune. And thus muche for the eight tunes, as they be commonly taught. But Glareanus broke the yce for others to follow him into a further speculation and perfect knowledge of these tunes or modi, and for the means to discern one from another of them, he saith thus. The tunes or modi musici (which the Greeke writers call [armonias], sometimes also [nomous kai tropous], are distinguished no otherwise then the kinds of the diapason or eight from which they arise, are distinguished, and other kindes of eightes are distinguished no otherwise then according to the place of the halfe notes or semitonia conteined in them, as all the kindes of other consonants are distinguished. For in the diatessaron there be foure sounds, and three distances (that is two whole notes and one lesse halfe note) therefore there be three places where the halfe note may stand. For either it is in the middle place, hauing a whole note vnder it, and another aboue it, and so produceth the first kind of diatessaron, as from Are to dsolre, or then it standeth in the lowest place, hauing both the whole notes aboue it, producing the second kind of diatessaron, as from [sqb] mi to elami, or then is in the highest place, hauing both the whole notes vnder it, in which case it produceth the third and last kind of diatessaron, as from c faut to effaut, so that how many distances any consonant hath, so many kindes of that consonant there must be, bicause the halfe note may stand in any of the places: and therefore diapente hauing fiue soundes and foure distances (that is three whole notes and a halfe note) there must be foure kindes of diapente: the first from dsolre to Alamire, the second from elami to bfabmi, the third from F faut to c solfaut, the fourth and laste, from g solreut to dlasolre. If you proceed to make any more, the fift will be the same with the first, hauing the halfe note in the second place from below. Now the diapason conteining both the diapente and diatessaron, as consisting of the coniunction of them together, it must follow that there be as many kinds of diapason as of both the other, which is seuen. Therefore it is manifeste that our practitioners haue erred in making eight tunes, separating the nature of the eight from that of the firste, seeing they haue both one kinde of diapason, though diuided after another maner in the last then in the first. But if they wil separate the eight from the first, because in the eight the fourth is lowest, which in the first was highest: then of force must they diuide all the other sortes of the diapason, likewise after two maners, by which meanes, there will arise fourteene kindes of formes, tunes, or modi. And to begin at the first kind of diapason (that [-f.(:.)2r-] is from are to alamire) if you diuide it Arithmeticaly, that is, if you set the fourth lowest, and the fift highest, then shall you haue the compasse of our second mood or tune, thogh it be the first with Boethius, and those who wrote before him, and is called by them Hypodorius: also if you diuide the same kind of diapason harmonically, that is, set the fift lowest and the fourth highest, you shal haue the compasse of that tune which the ancients had for their ninth, and was called aeolius, though the latter age woulde not acknowledge it for one of the number of theirs. Thus you see that the first kind of the diapason produceth twoe tunes, according to two forms, of mediation or diuision. But if you diuide the second kind of diapason Arithmetically, you shal haue that tune which the latter age tearmed the fourth, and in the old time was the second called hypophrygius: but if you diuide the same harmonically, setting the fift lowest, you shall haue a tune or mood which of the ancients was iustly reiected: for if you ioine [sqb] mi to F faut, you shal not make a ful fift. Also if you ioine F fa vt to b fa b mi, you shall haue a tritonus, which is more by a great halfe note then a fourth. And because this diuision is false in the diatonicall kind of musicke (in which you may not make a sharpe in F fa vt) this tune which was called hyperaeolius arising of it was reiected. If you diuide the third kind of diapason from Cfaut to csolfaut Arithmetically, you shal haue the compasse and essential bounds of the sixt tune, which the ancients named hypolydius: if you diuide it harmonically, you shal haue the ancient Ionicus or Iastius, for both those names signifie one thing. If you diuide the fourth kind of diapason from D. to d Arithmetically, it wil produce our eight tune, which is the ancient hyperiastius or hypomixolydius: if harmonically, it is our first tune and the ancient dorius, so famous and recommended in the writinges of the Philosophers. If the fift kind of diapason from Elami to elami, bee diuided arithmeticallie, it maketh a tune which our age wil acknowledge for none of theirs, though it be our tenth indeed, and the ancient hypoaeolius, but if it be harmonically diuided, it maketh our third tune, and the olde phrygius. But if the sixt kind of the diapason be diuided arithmetically, it will produce a reiected mood, because from Ffaut to b fa b mi, is a tritonus, which distance is not receiued in the diatonical kind, and as for the flat in b fa [sqb] b mi, it was not admitted in diatonicall musicke, any more then the sharpe in F fa ut, which is a moste certain argument that this musicke which we now vse, is not the true diatonicum, nor any species of it. But againe to our deuision of the eights. If the sixt kind be diuided harmonicallye, it is our fift tune and the auncient lydius. Lastly, if you diuide the seuenth kind of diapason (which is from G to g) arithmetically, it wil make the ancient hypoionicus or hypoiastius (for both those are one) but if you diuide it harmonically, it wil make our seauenth tune, and the ancient mixolydius. Thus you see that euery kind of diapason produceth two seueral tunes or moods, except the second and sixt kinds, which make but one a peece, so that now there must be twelue and not only eight. Now for the vse of them (specially in tenors and plainsongs, wherein their nature is best perceiued) it is to be vnderstood, that they be vsed either simply by themselues, or ioyned with others, and by themselues sometimes they fill all their compasse, somtimes they do not fill it, and somtime they exceed it. And in the odde or autenticall tunes, the church musicke doth often goe a whole note vnder the finall or lowest key, and that most commonly in the first and seuenth tunes: in the third it commeth sometimss two whole notes vnder the finall key, and in the fift bnt a halfe note. But by the contrary in plagall tunes, they take a note aboue the highest key of the fift (which is the highest of the plagal) as in the sixt and eight, in the second and fourth, they take bnt halfe a note, though sildome in the second, and more commonly in the fourth. But if any song do exceed the compasse of a tune, then bee there two tunes ioyned together, which may be thus: the first and second, the third and fourth, et cetera an autentical still beeing ioyned with a plagal, but two plagals or two autenticals ioyned togither, is a thing against nature. It is also to be vnderstood that those examples which I haue in my booke set downe for the eight tunes, bee not the true and essentiall formes of the eight tunes or vsuall moodes, but the formes of giuing the tunes to their psalmes in the Churches, which the churchmen (falsly) beleeue to be the modi or tunes, but if we consider them rightly, they be all of some vnperfect mood, none of them filling the true compas of any mood And thus much for the twelue tunes, which if any man desire to know more at large, let him read the 2 and third bookes of Glareanus his dodecachordon, the fourth booke of Zaccone his practise of musicke, and the fourth part of Zarlino his harmonicall institutions, where hee may satisfie his desire at full, for with the helpe of this which here is set downe, he may vnderstand easily all which is there handled, though some haue causelesse complained of obscuritie. Seeing therfore further discourse wil be superfluous, I wil heere make an ende.
ERRATA
[Errata 1] Page. 9, line .1. read tuning.
[Errata 2] line. 20. read the rests (or as you, et cetera
[Errata 3] line 21. dash out them.
[Errata 4] Page 12. line 2. read vnderstand
[Errata 5] line 21. read speculation.
[Errata 6] page 31. line 3. from below 12.
[Errata 7] page 45. [recte: 54] line 8 read retorted.
[Errata 8] line 14. read three.
[Errata 9] page 70. line 29. blot out of.
[Errata 10] Page 74 line 12. read had.
[Errata 11] page 75. line 6. dash out the second it.
[Errata 12] line 15. read twelfth.
[Errata 13] line 18 read descant.
[Errata 14] page 78. [line 41] blot out as.
[Errata 15] line 42. read for a semibriefe.
[Errata 16] page 84. line 8 read take not aboue, et cetera
[Errata 17] page 88. line 3. read so far.
[Errata 18] page 89. line 7. read came to sing.
[Errata 19] line 11. read were disposed.
[Errata 20] page 110 line 4. blot out, and
[Errata 21] page 115. line 8. read present instruction.
[Errata 22] page 116. line 24. read so far.
[Errata 23] page 120. line 17. read Pol.
[Errata 24] page 125. line 2. read to be don.
[Errata 25] page 129. line 3. blot out the.
[Errata 26] 142. line 18. read infinity.
[Errata 27] page 143. line 11. read. two.
[Errata 28] page 145. line 4. blot out the last the.
[Errata 29] page 150 line 9. blot out one.
[Errata 30] page 151. line 41. [recte: 14] read cite.
[Errata 31] page 155. [recte: 157] line 13. read Phi.
[Errata 32] Page 158. line 40. read way,
[Errata 33] Page 166. line 21. read vnsweet.
[Errata 34] page 167. line 4 read are.
[Errata 35] page 170 line 1 read here be good instrucions.
other small faults there be, both in the matter and musicke, which the attentiue reader may by himselfe easely espie and amend.
[-f.(:.)2v-] [Morley, Introduction, f.(:.)2v; text: Altus. Tenor. quatuor vocum. Domine fac mecum misericordiam tuam propter nomen tuum quia suauis est misericordia tua.] [MOR1597D 07GF]
[-f.(:.)3r-] [Morley, Introduction, f.(:.)3r; text: Cantus, Basis. quatuor vocum. Domine fac mecum misericordiam tuam propter nomen tuum quia suauis est misericordia tua.] [MOR1597D 08GF]
[-f.(:.)3v-] [Morley, Introduction, f.(:.)3v; text: Altus. Tenor. Quatuor vocum. Agnus dei qui tollis peccata mundi miserere nostri.] [MOR1597D 09GF]
[-f.(:.)4r-] [Morley, Introduction, f.(:.)4r; text: Cantus. Bassus. Quatuor vocum. Agnus Dei qui tollis peccata mundi miserere nostri.] [MOR1597D 10GF]
[-f.(:.)4v-] Authors whose authorities be either cited or vsed in this booke.
Such as haue written of the Art of Musicke.
Late Writers.
Jacobus faber stapulensis.
Franchinus Gaufurius
John Spataro.
Peter Aron.
Author quatuor principalia
Francho.
Robertus de Haulo.
Andreas Ornitoparchus.
Incertus impressus Basileae
Ludouicus Zaccone.
Iosepho Zarlino.
Henricus loritus Glareanus
Lucas Lossius.
Ioannes Listenius.
Ioannes Thomas freigius.
Fredericus Beurhusius.
Sethus Caluisius.
Andreas Rasselius.
Nicolaus Faber.
Joannes Magirus.
Manfredus Barbarinus Coregiensis.
Ancient Writers.
Psellus.
Boethius.
Ptolomaeus. [Cited by Franchinus. in marg.]
Aristoxenus. [Cited by Franchinus. in marg.]
Guido Aretinus. [Cited by Franchinus. in marg.]
Practicioners, the moste parte of whose workes we haue diligently perused, for finding the true vse of the Moods.
Jusquin.
Johannes Okenheim
Jacobus Obrecht
Clement Janequin
Petrus Platensis
Nicolas Craen
Johannes Ghiselin
Antonius Brumel
Johannes Mouton
Adamus a Fulda
Lutauich senfli
Iohannes Richaforte
Feuin
Sixtus dietrich
De orto
Gerardus de salice
Vaquieras
Nicolas Payen
Passereau
Francoys lagendre
Andraeas syluanus
Antonius a vinea
Grogorius Meyer
Thomas Tzamen
Iacques de vert
Jacques du pont
Nicholas Gomberte
Clemens non papa
Certon
Damianus a goes
Adam Luyre
Iohannes vannius
Hurteur
Rinaldo del mel
Alexander Vtendal
Horatio ingelini
Laelio Bertani
Horatio vecchi
Orlando de Lassus
Alfonso Ferrabosco
Cyprian de rore
Alessandro striggio
Philippo de monte
Hieronimo Conuersi.
Jouanni Battista Lucatello
Iouanni pierlulgi palestina
Stephano venturi
Ioanne de macque
Hippolito Baccuse
Paulo quagliati
Luca Marenzo
Englishmen.
Master Pashe.
Robert Iones.
Iohn Dunstable
Leonel Power
Robert Orwel
M. Wilkinson.
Iohn Guinneth
Robert Dauis
Master Risby.
Doctor Farfax.
Doctor Kirby.
Morgan Grig
Thomas Ashwell.
Master Sturton.
Iacket.
Corbrand.
Testwood.
Vngle.
Beech.
Bramston.
Sir Iohn Mason.
Ludford.
Farding.
Cornish.
Pyggot.
Tauerner.
Redford.
Hodges.
Selby.
Thorne.
Oclande.
Auerie.
Doctor Tie.
Doctor Cooper
Doctor Newton
Master Tallis.
Master White.
Master Persons
Master Byrde.