Selected quad for the lemma: heaven_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
heaven_n	high_a	lord_n	praise_v	4,795	5	9.5976	5	true

Text snippets containing the quad

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

for his glory we may count above the Heavens high to be With God the Lord who may compare whose dwellings in the Heavens are Of such great pow'r and fo●ce is He. Psal. 148. GIve laud unto the Lord from heav'n that is so high Praise him in deed and word above the starry sky And also ye his Angels all Armies royal praise him with glee Psal. 119. BLessed are they that perfect are and pure in mind and heart Whose lives and conversations from Gods Laws never start Blessed are they that give themselves his S●atutes to observe Seeking the L. with all their hearts and never from him swerve A BRIEF INTRODUCTION To the Playing on the Bass-Viol The Second BOOK THe Viol usually called de Gambo or Consort Viol because the Musick thereon is play'd from the Rules of the Gam-vt and not as the Lyra-Viol which is by Letters or Tableture Of this Viol de Gambo there are three several sizes one larger than the other according to the three Parts of Musick set forth in the Gam-vt viz. Treble-Viol Tenor-Viol and Bass-Viol The Treble-Viol plays the highest Part and its Lessons are prick'd by the G sol re vt Cliff the Tenor-Viol or middle part its Lessons are by the C sol fa vt Cliff and the Bass-Viol which is the largest its Lessons are by the F fa vt Cliff These three Viols agree in one manner of Tuning where I shall give you the Directions for Tuning the Bass-Viol which is usually strung with six Strings as you may observe on the Figure expressed in the foregoing page which six strings are known by six several names the first which is the smallest is called the Treble the second the small Mean the third the great Mean the fourth the Counter-Tenor the fifth the Tenor or Gam-vt string the sixth the Bass. But if you will name them after they are Tuned according to the Rule of the Gam-vt the Treble string is D la sol re the smal Mean A la mi re the great Mean E la mi the Counter-Tenor C fa vt the Tenor or fifth string Gam-vt and the sixth or Bass double D sol re Belonging to these six strings there are seven Frets or Stops on the neck of your Viol which are for stopping the various Sounds according to the several Notes of the Gam-vt both Flats and Sharps For the more plain understanding of which I have drawn an exact Table in the following pag. 88. beginning with the lowest Note on your sixth string and so ascending to the highest on the first or Treble string Your perfect understanding of that Table will much further you in the knowledg of Tuning your Viol for which Tuning I will give you two Rules one by Tableture or Letters the other by the Gam-vt Rule the first being the easiest way to a Beginner whose Ear at first is not well acquainted with the several distances of Sounds that the Strings are Tuned in shall by this way use only one Sounding viz. an Unison which is to make two strings one of them being stopt the other not to agree in one and the same sound The Letters are Eight A B C D E F G H seven of these are assigned to the seven Frets on the Neck of the Viol A is for the string open so B is the first Fret C the second D the third E the fourth F the fifth G the sixth and H the seventh Six Strings When you begin to Tune raise your Treble or smallest string as high as conveniently it will bear without breaking then stop only your second or small Mean in F and tune it till it agree in sound with your Treble open that done stop your Third in F and make it agree with your Second open then stop your Fourth in F and make it agree with your Third open then stop your Fifth in F and make it agree with your Fourth open and lastly stop your Sixth in F and make it agree to your Fifth open This being exactly done you will find your Viol in Tune according to the Rule of the Gam-vt Example Tuning by Letters Example Tuning by Notes D la sol re A la mi re E la mi. C fa vt Gam-vt D D sol re The other way of Tuning is by the Rule of the Gam-vt by distances of Sounds as in the foregoing Example thus The Treble being raised as high as it will conveniently bear without breaking is called D la sol re then tune your second four Notes lower and it is A la mi re the third four Notes lower is E la mi the fourth three Notes or a f●at Third lower is C fa vt the fifth four Notes lower is Gam-vt and the sixth four Notes lower than the fifth is double D sol re This is the most usual way of Tuning it yet there are some Lessons do require it one Note lower which is double C fa vt but that is very seldom Example of the Notes ascending and descending Your Viol being Tuned practice to play this Example of the Notes ascending and descending and by it you shall know your Viol is right Tuned An exact Table directing the Places of the Notes Flat and Sharp to every Stop on the Bass-Viol according to the Gam-ut beginning at the lowest Note of the Bass on the Sixth String and ascending to the highest on the Treble 6 String Double D ●ol re Double E la mi. Flat D D E la mi. Proper D D Ffa ut D D F fa ut Sharp Sixth string open Sixth string first fret Sixth string second fret Sixth string third fret Sixth st●ing fourth fret 5. String Gamut Gamut sharp A re B mi flat B mi proper Fifth string open fifth string ●●●st fret fifth string second fret fifth string third fret fifth string fourth fret 4 String C fa ut C fa ut sharp D sol re E la mi flat Fourth string open fourth string first fret fourth string second fret fourth string fourth fret 2 String E la mi F fa ut F fa ut sharp G sol re ut G sol ●e ut sharp Third string open third string first f●et third string second fret third string third fret third string fourth f●et 2 String A la mi re B fa b mi flat B fa b mi. proper ● 〈◊〉 fa ut C sol fa ut sharp Second string open second string first fret second string second fret second string third fret second string fourth fret 1 String D la sol re E la mi flat E la mi F fa ut E la ut sharp G sol r● ut first string open first string first fret first string second fret first string third fret first string fourth fret first string fifth fret It is usual in Lessons for the Bass-Viol to change the Cliff where the Notes ascend above D la sol re which is very necessary to prevent the drawing of more lines above therefore the Practitioner ought

are easie and delightful Those who are principally concerned are Parish-Clerks as being the Leaders of those Tunes in their Congregations for whose use and benefit I have set down these following Directions First observe how many Notes Compass the Tune is secondly the place of the first Note and lastly how many Notes above and below that so that you may begin the first Note in such a Key as the rest may be sung in the compass of your own and the peoples Voices without squeaking above or grumbling below For the better understanding of which these following Instructions are necessary which serve also for all other Tunes that are not here but when you are perfected in these I refer you to my large Book lately published in Folio Entituled Psalms and Hymns in Solemn Musick of Four Parts in which is 47 several Tunes with the Bass under each Common-Tune as proper to sing to the Organ Theorbo or Bass-Viol also variety of excellent Translations of Psalms and Hymns never before published The Short Tunes to Four Lines whose Measure is Eight Syllables on the first Line and six on the next These Tunes in Tuning the first Note will bear a cheerful high pitch in regard their whole Compass is not above five or six Notes from the highest Note to the lowest To Psal. Consolatory Oxford Tune Cambridge Tune Litchfield Tune Low-Dutch Tune To Psalms of Prayer Confession and Funerals York Tune Windsor Tune Westminster Tune Ely Tune Worcester Tune Hartfordshire Tune To peculiar Psal. as 25,50,67,70,134 Southwell Tune New Tune These Tunes are eight Notes Compass above the first and therefore you must begin the first Note indifferent low To Psalms of Praise and Thanksgiving St. David's Tune Martyrs Tune Winchester Tune London Tune London new Tune Norwich Tune Hereford Tune Exceter Tune Long Tunes most of them usual to Psalms of Eight Lines which contain Eight Syllables in the first Line and six in the next These Tunes are eight Notes in Compass above the first Note and therefore you must begin the first Note low 1 Psal. Tune 81 Psal. Tune 113 Psal. Tune 119 Psal. Tune 148 Psal. Tune These Tunes fall four Notes lower than the first Note therefore begin that indifferent high 51 Psal. Tune 68 Psal. Tune 100 Psal. Tune 125 Psal. Tune The most usual Common Tunes Sung in Parish Churches with the Bass under each Tune Psal. 4. Oxford Tune O God that art my righteousness Lord hear me when I call Thou hast set me at liberty when I was bound and thrall Psal. 69. Litchfield Tune SIng ye with praise unto the Lord new songs with joy mirth Sing unto him with one accord all people on the earth Psal. 116. Windsor Tune I Love the Lord because my voice and prayer heard hath he When in my days I call`d on him he bow'd his ear to me Psal. 141. Westminster Tune O Lord upon thee do I call Lord hast thee unto me And hearken Lord unto my voice when I do cry to thee Psal. 26. Worcester Tune LOrd be my Judge and thou shalt see my paths be right plain I trust in God and hope that He will strength me to remain Psal. 133. Hereford Tune O How happy a thing it is and joyful for to see Brethren together fast to hold the band of amity Psal. 21. Cambridge Tune HElp Lord for good and godly men do perish and decay And faith and truth from worldly men is parted clean away Psal. 39. Martyrs Tune I Said I will look to my ways for fear I should go wrong I will take heed all times that I offend not with my tongue Psal. 25. or 50,67,70,134 Cambridge short Tune I Lift mine heart to thee my God and guide most just Now suffer me to take no shame for in thee do I trust Psal. 134. or 25. New Tune BEhold and have regard ye Servants of the Lord Which in his house by night do watch praise him with one accord Psal. 23. Low-Dutch Tune THe Lord is only my support and he that doth me feed How can I then lack any thing whereof I stand in need Psal. 84. Winchester Tune HOw pleasant is thy dwelling place O Lord of hosts to me The Tabernacles of thy grace how pleasant Lord they be Psal. 103. Hartfordshire Tune MY Soul give land unto the Lord my Sp'rit shall do the same And all the Secrets of my Heart praise ye His Holy Name Psal. 145. Exceter Tune THee will I laud my God and King and bless thy name for aye For ever will I praise thy name and bless thee day by day Psal. 73. York Tune THe L. is both my health and light shall man make me dismaid Sith God doth give me strength might why should I be afraid Psal. 95. St. David's Tune O Come let us lift up our voice and sing unto the Lord In him our rock of health ●ejoyce let us with one accord Psal. Hackney Tvne REgard O Lord for I complain and make my sute to thee let not my words return in vain but give an ear to mee Psal. 135. London New Tune O Praise the L. praise him praise him praise him with one accord O praise him still all ye that be that servants of the Lord. Psal. 100. ALl Pple that on earth do dwel sing to the L. w th cheerful voice Him serv with fear his praise forth tel cōe ye before him rejoyce Psal. 125. Ten Commandement Tune THose that do put their confidence upon the L. our God only And fly to him for their defence in all their need and misery First Psalm THe man is blest that hath not bent to wicked read his ear Nor led his life as sinners do nor sate in scorner● chair But in the Law of God the Lord doth set his whole delight And in that Law doth exercise himself both day and night Psal. 51. O Lord consider my distress and now with speed some pity take My sins deface my faults redress good L. for thy great mercy sake Wash me O L. and make me clean from this un●ust sinful act And purifie yet once again my hainous crime and bloody fact Psal. 68. LEt God arise and then his foes will turn themselves to flight His en'mies then will run abroad and scatter out of sight And as the fire doth melt the wax and wind blow smoak away So in the presence of the Lord the wicked shall decay Psal. 81. BE light and glad in God rejoyce which is our strength and stay Be joyful and lift up you voice to Iacob's God I say Prepare your Instruments most meet some joyful Psalm to sing Stri●e up with Harp and Lute so sweet on every pleasant string Psal. 113. YE childrē wch do serve the L. praise ye his nāe with one accord Who from the rising of the Sun till it return where it begun Ye blessed be alwa●s his name The L. all Pple doth surmoūt Is to be praised with great fame The L. all Pple doth surmoūt As