Selected quad for the lemma: cause_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
cause_n	good_a	great_a	think_v	4,338	5	3.9369	3	true

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A08534	Andreas Ornithoparcus his Micrologus, or Introduction: containing the art of singing Digested into foure bookes. Not onely profitable, but also necessary for all that are studious of musicke. Also the dimension and perfect vse of the monochord, according to Guido Aretinus. By Iohn Douland lutenist, lute-player, and Bachelor of Musicke in both the Vniuersities. 1609.; Musice actiue micrologus. English	Ornithoparchus, Andreas, 16th cent.; Dowland, John, 1563?-1626.; Guido, d'Arezzo.	1609 (1609)	STC 18853; ESTC S115197	65,261	101

the Tenor for below it cannot the Altus shal be in a third aboue or an eight below But if the Base fall to an eight below the Altus may be in a fourth below or in a third or fift aboue 7 When the Discantus is in a twelfe aboue the Tenor the Base must be in an eight below the Altus in a third fift or eight aboue But when the Base is in a third aboue the Altus shall be in a fift eight or tenth concordantly 8 If the Discantus be in a fourth aboue the Tenor the Base requires a a fift below the Altus a third or sixt aboue Contrarily if you make your Base first you shall make it with the Discantus But if a man will make more than 4. parts let him take the Concords aboue or below as other parts shall require obseruing those things which are to be obserued which we referre to the Setters iudgement THE SEVENTH CHAPTER Wherefore Rests are put in the Counter-point THe placing of Rests in a Counterpoint is for many causes tollerated 1 To auoide difficulty For whilst two parts of a song or more are so fitted together that it is hard to fit the other parts we set Rests for so long till that difficultie cease 2 To auoide Fict Voices and the forbidden Interuals 3 To distinguish two perfect Concords which cannot mutually follow one another vnlesse a Note or pause come betwixt 4 For the making of Signes Now a signe is the successiue distribution of one and the same Close in the beginning or any other place by diuers parts of a Song Or it is the repetition of the same Close in diuers parts of the song thus Discantus Tenor. Bassus 5 Rests are admitted for taking breath least by the swiftnesse of the Song either the Singer might be out of breath or breed confusion by taking his breath at vnfit times 6 That the Intrinsecall signes and markes of Musicall degrees consisting in their perfection may be perceiued For a perfect Mood is inwardly noted by a rest of 3. times A perfect time by 2. Semibreefe Rests placed with a Semibreefe as before is said in the fift Chapter of the second booke 7 Because of the many parts of a song For when a song goes with more parts than foure it is necessary that some Rest whilst others sing least the sweetnesse be dulled either by the too much prolonging of the Voices or by the vnelegant commixtion of Concords and so the Consort seeme rather to make a noyse then a Concordant sound THE EIGHT CHAPTER Of the diuers fashions of singing and of the Ten Precepts for Singing EVery man liues after his owne humour neither are all men gouerned by the same lawes and diuers Nations haue diuers fashions and differ in habite diet studies speech and song Hence is it that the English doe carroll the French sing the Spaniards weepe the Italians which dwell about the Coasts of Ianua caper with their Voyces the other barke but the Germanes which I am ashamed to vtter doe howle like Wolues Now because it is better to breake friendship than to determine any thing against truth I am forced by truth to say that which the loue of my Countrey forbids me to publish Germany nourisheth many Cantors but few Musitians For very few excepting those which are or haue been in the Chappels of Princes doe truely know the Art of Singing For those Magistrates to whom this charge is giuen doe appoint for the gouernment of the Seruice youth Cantors whom they choose by the shrilnesse of their Voyce not for their cunning in the Art thinking that God is pleased with bellowing and braying of whom we read in the Scripture that he reioyceth more in sweetnes than in noyse more in the affection than in the Voice For whē Salomon in the Canticles writeth that the voice of the church doth sound in the eares of Christ hee doth presently adioyne the cause because it is sweet Therefore well did Baptista Mantuan that moderne Virgil inueigh euery puffed vp ignorant bellowing Cantor saying Cur tantis delubra Boum mugitibus imples Tu ne Deum tali credis placare tumultu Whom the Prophet ordained should be praised in Cymbals not simply but well sounding Of the Ten Precepts necessary for euery Singer BEing that diuers men doe diuersly abuse themselues in Gods praise some by mouing their body vndecently some by gaping vnseemely some by changing the vowels I thought good to teach all Cantors certaine Precepts by which they may erre lesse 1 When you desire to sing any thing aboue all things marke the Tone and his Repercussion For he that sings a Song without knowing the Tone doth like him that makes a syllogisme without Moode and Figure 2 Let him diligently marke the Scale vnder which the Song runneth least he make a Flat of a Sharpe or a Sharpe of a Flat 3 Let euery Singer conforme his voyce to the words that as much as he can he make the Concent sad when the words are sad merry when they are merry Wherein I cannot but wonder at the Saxons the most galiant people of all Germany by whose furtherance I was both brought vp and drawne to write of Musicke in that they vse in their funerals an high merry and ioconde Concent for no other cause I thinke than that either they hold death to be the greatest good that can befall a man as Valerius in his fift Booke writes of Cleabis and Biton two brothers or in that they beleeue that the soules as it is in Macrobius his second Booke De somnio Scip. after this body doe returne to the original sweetnes of Musicke that is to heauen Which if it be the cause we may iudge them to be valiant in contemning death and worthy desirers of the glory to come 4 Aboue all things keepe the equalitie of measure For to sing without law and measure is an offence to God himselfe who hath made all things well in number weight and measure Wherefore I would haue the Fasterly Franci my countrey-men to follow the best manner and not as before they haue done sometime long sometime to male short the Notes in Plain-song but take example of the noble Church of Herbipolis their head wherin they sing excellently Which would also much profit and honour the Church of Prage because in it also they make the Notes sometimes longer sometime shorter than they should Neither must this be omitted which that loue which we owe to the dead doth require Whose Vigils for so are they commonly called are performed with such confusion hast and mockery I know not what fury possesseth the mindes of those to whom this charge is put ouer that neither one Voyce can be distinguished from another nor one sillable from another nor one verse sometimes throughout a whole Psalme from another An impious fashion to be punished with the seuerest correction Think you that God is pleased with such howling such noise such mumbling in