Selected quad for the lemma: end_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
end_n	draw_v	let_v	line_n	2,686	5	9.4422	5	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

A Tritone doth exceed the Consonance of a Diatessaron And this Moode is vsed in the answere Isti sunt dies Dominica Iudica and in the answere Vox Tonitrui in the saying Euangelista as thus Io an nes est Euange li sta Semidiapente IS an Interuall by an imperfect fift comprehending two Tones with two semitones which though it be not found in plaine-song yet doth the knowledge thereof much profit composers who are held to auoide it Semiditonus Diapente IS an Interuall by an imperfect seuenth This according to Placentinus lib. 3. cap. 24. comprehends foure Tones and two semitones the example of this is in an Antiphone called Dum inducerent puerum Ihesum in the speech Accepit Parentes e ius ac ce pit Ditonus Diapente IS the distance of one Voyce from another by a perfect seuenth consisting of fiue Tones and one semitone according to Georg. Valla lib. 3. cap. 26. It is found in the Responsorie sancta legio de sancto Mauritio in the word Aganensium sancta le gio Aganensium Semidiapason IS an imperfect eight consisting of foure Tones and three Semitones not to be vsed in any plaine Song yet worthy to be knowne by componists Semitonium Diapason IS a leaping by an imperfect Ninth consisting of fiue Tones and three semitones Now a Tone with a Diapason is a perfect Ninth consisting of sixe Tones and two semitones Semiditonus Diapason IS an Interuall by an imperfect Tenth as witnesseth Valla the 31. Chapter consisting of sixe Tones and three semitones A Ditone with a true Diapason is a perfect Tenth consisting of seuen Tones and two semitones Diapason Diapente IS a consonance of twelue sounds and eleuen Interuals consisting of eight Tones and three semitones The examples of these Moodes are verie rarely seene in plaine Song in mensurall often Disdiapason IS an Interuall by a Fifteenth occasioned as saith Macrobius by a quadruple proportion Wherein antiquitie sayd we should rest and goe no further as Ambrosius Nolanus doth proue in the prouerb Disdiapason which is in Erasmus that other light of Germany Both because this is the naturall compasse of mans voice which going aboue this is rather a squeaking and going vnder is rather a humming than a Voyce And also because Aristotle doth deny Musick to be meerely Mathematicall For Musick must be so tempered that neither sence be against reason nor reason against sence THE EIGHT CHAPTER Of the Dimension of the Monochord A Monochord that is an Instrument of one string is thus truely made Take a peece of wood of a yard long or what length you please of two fingers bredth and so thicke make it hollow in the middle leauing the ends of it vnhollowed Let it be couered with a belly peece well smoothed that hath holes in it like the belly of a Lute through the middle of this let there be secretly drawne one line and in the beginning of it let one pricke be marked with the letter F. for that shal be the first Magade of the Instrument then diuide the whole line from the pricke F. into nine equall parts and in the first pricke of the diuisions place vt in the second nothing in the third Cfaut in the fourth nothing in the fift Gsolreut in the sixt Csolfaut in the seuenth Gsolreut small in the eight nothing in the last o Cifer which shall possesse the place of the second Magade This done againe diuide the space which is from vt to the second Magade into nine parts In the first part set A Base in the third Dsolre in the fift Alamire in the sixt D lasolre in the seuenth aalamire Then from Are to the second Magade againe make nine parts in the first set â™® mi Base in the third Elami in the fift â™® mi in the small letters in the sixt Elami in the seuenth â™® â™® mi double THE NINTH CHAPTER Of the Definition Profit and vse of the Monochord A Monochord as Guido proues in the beginning of his Doctrinall is a long square peece of wood hollow within with a string drawne ouer it by the sound whereof we apprehend the varieties of sounds Or it is a rude and vnskilfull Maister which makes learned Schollers For it shewes to others that which it selfe conceiues not it tels truth it cannot tell how to lye it instructeth diligently and reprehendeth no mans slow conceit Now it is called a Monochord because it hath but one string as a Tetrachord is called that which hath foure And a Decachord which hath tenne saith Ioan. Pont. 22. cap. 7. of his Musicke Of the profit of the Monochord THe Monochord was chiefly inuented for this purpose to be iudge of Musical voices and interuals as also to try whether the song be true or false furthermore to shew haire-braind false Musitians their errors and the way of attaining the truth Lastly that children which desire to learne Musicke may haue an easie meanes to it that it may intice beginners direct those that be forward and so make of vnlearned learned Of the vse of the Monochord THe vse of the Monochord saith Berno Cluniacensis lib. 2. of his Musicke is that we may know how much each voyce is higher or lower than other When therefore thou wilt learne a Song euen the deepest of thy selfe by the helpe of thy Monochord set thy Monochord before thee on the table and marke in what Key the first Note of that Song is which thou desirest to know This being found touch the same in the Monochord with a quill and the sound it giues is that thou desirest Thus runne ouer each Note of the Song and so mayest thou by thy selfe learne any Song though neuer so weighty THE TENTH CHAPTER Of Musica Ficta FAined Musicke is that which the Greekes call Synemenon a Song made beyond the regular compasse of the Scales Or it is a Song which is full of Coniunctions Of Coniunctions THe Coniunct sounds were called by the ancients Dijuncts because it is added to songs besides their nature either to make them more sweet or to make the Moodes more perfect for thus saith Saint Bernard In euery kinde where it is meet a flatter sound should be let there be put a flat in stead of a sharpe yet couertly least the Song seeme to take vpon it the likenesse of another Tone Now a Coniunct is this to sing a Voyce in a Key which is not in it Or it is the sodaine changing of a Tone into a Semitone or a semitone into a Tone Of the Diuision and number of Coniuncts COniuncts are two-fold that is Tolerable ones when a Voyce is sung in a Key wherein it is not yet is found in his eight as to sing Mi in A re La in Dsolre Intolerable ones when a Voyce is sung in a Key which is not in it nor in his eight as to sing Fa in Elami Mi in Ffaut Of these Coniuncts there be two signes viz. b round and â™® The first sheweth that the Coniunct is