Selected quad for the lemma: england_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
england_n	world_n	write_v	year_n	249	4	4.2508	3	false

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ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A55066	An introduction to the skill of musick in two books : the first, the grounds and rules of musick, according to the gam-ut, and other principles thereof, the second, instructions & lessons for the bass-viol, and instruments & lessons for the treble-violin / by John Playford ; to which is added, The art of descant, or composing musick in parts, by Dr. Tho. Campion ; with annotations thereon, by Mr. Chr. Simpson.	Playford, John, 1623-1686?; Simpson, Christopher, d. 1669.; Lowe, Edward, d. 1682.; Campion, Thomas, 1567-1620. Art of descant.	1674 (1674)	Wing P2480; ESTC R11472	60,656	189

sometimes prick'd in Black Notes which Black Note is of the same Measure with the Minim in the foregoing Example but is seldom used because the Minims are the same and serve as well For Example 4. The fourth or last Mood which is called the Imperfect of the Less is when all go by two as two Longs to a Large two Breves to a Long two Semibreves to a Breve two Minims to a Semibreve two Crotchets to a Minim c. and this is called the Dupla or Semibreve Time but many call it the Common Time because most used its Mood is thus marked and is usual in Anthems Fantasies Pavans Almans and the like whose Measure is set down in this following Example The Imperfect of the Less Note That when this Common Mood is reversed thus it is to signifie that the Time of that Lesson or Song before which it is so set is to be Play'd or Sung as swift again as the usual Measure CHAP. XI Of the several Adjuncts and Characters used in Musick 1. A Direct is usually at the end of a Line and serves to direct to the place of the first Note on the next Line and are thus made 2. Bars are of two sorts single and double The single Bars serve to divide the Time according to the Measure of the Semibreve The double Bars are set to divide the several Strains or Stanzaes of the Songs and Lessons and are thus made 3. A Repeat is thus marked and is used to signifie that such a part of a Song or Lesson must be Played or Sung over again from that Note over which it is placed 4. A Tye is of two uses first when the Time is broken or struck in the middle of the Note it is usual to Tye two Minims or a Minim and a Crotchet together as thus The second sort of Tye is when two or more Notes are to be Sung to one Syllable or two Notes or more to be plaid with once drawing the Bow on the Viol or Violin as thus Thou art not Kind but Cruel 5. A Hold is thus made and is placed over the Note which the Author intends should be held to a longer Measure than the Note contains and over the last Note of a Lesson 6. The Figures usually placed over Notes in the Thorough-Bass of Songs or Ayres for the Organ or Theorbo is to direct the Performer to strike in other Parts to those Notes as Thirds Sixths and the like to the Ground as thus I shall here conclude the First Part wherein I have set down what is needful to be understood of the Theorick Part of Musick in the plainest and easiest Method that I could not doubting but by it and a little assistance of some already skill'd in Musick to guide you to the Practick A Brief Discourse of the Italian manner of Singing wherein is set down the Vse of those Graces in Singing as the Trill and Gruppo used in Italy and now in England Written some years since by an English Gentleman who had lived long in Italy and being returned Taught the same here The Proem to the said Discourse is to this effect HItherto I have not put forth to the view of the World those Fruits of my Musick Studies employed about that Noble manner of Singing which I learnt of my Master the famous Scipione del Palla in Italy nor my Compositions of Ayres Composed by me which I saw frequently practised by the most famous Singers in Italy both Men and Women But seeing many of them go about maimed and spoil'd and that those long winding Points were ill performed I therefore devis'd to avoid that old manner of running Division which has been hitherto used being indeed more proper for Wind and Stringed Instruments than for the Voice And seeing that there is made now a days an indifferent and confused use of those excellent Graces and Ornaments to the good manner of Singing which we call Trills Grupps Exclamations of Increasing and Abating of the Voice of which I do intend in this my Discourse to leave some foot-prints that others may attain to this excellent manner of Singing To which manner I have framed my last Ayres for one Voice to the Theorbo not following that old way of Composition whose Musick not suffering the Words to be understood by the Hearers for the multitude of Divisions made upon short and long Syllables though by the Vulgar such Singers are cryed up for famous But I have endeavoured in those my late Compositions to bring in a kind of Musick by which men might as it were Talk in Harmony using in that kind of Singing a certain noble neglect of the Song as I have often heard at Florence by the Actors in their Singing Opera's in which I endeavoured the Imitation of the Conceit of the Words seeking out the Cords more or less passionate according to the meaning of them having concealed in them so much as I could the Art of Descant and paused or stayed the Consonances or Cords upon long Syllables avoiding the short and observing the same Rule in making the passages of Division by some few Quavers to Notes and to Cadences not exceeding the value of a quarter or half a Semibreve at most But as I said before those long windings and turnings of the Voice are ill used for I have observed that Divisions have been invented not because they are necessary unto a good fashion of Singing but rather for a certain tickling of the Ears of those who do not well understand what it is to sing Passionately for if they did undoubtedly Divisions would have been abhorr'd there being nothing more contrary to Passion than they are yet in some kind of Musick less Passionate or Affectuous and upon long Syllables not short and in final Cadences some short Points of Division may be used but not at all adventures but upon the practice of the Descant but to think of them first in those things that a man will sing by himself and to fashion out the manner of them and not to promise a mans self that his Descant will bear it for to the good manner of Composing and Singing in this way the understanding of the conceit and the humour of the words as well in passionate Cords as passionate Expressions in Singing doth more avail than Descant I having made use of it only to accord two Parts together and to avoid certain notable Errours and bind certain Discords for the accompanying of the Passion more than to use the Art And certain it is that an Ayre composed in this manner upon the conceit of the words by one that hath a good fashion of Singing will work a better effect and delight more than another made with all the Art of Descant where the Humour or Conceit of the words is not minded The original of which defect if I deceive not my self is hence occasioned because the Musician doth not well possess and make himself Master of that which he is to Sing