Selected quad for the lemma: mercy_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
mercy_n	hear_v	lord_n	trust_n	2,000	5	9.7447	5	false

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

the strength c. O come let us sing c. Let us heartily rejoyce in the strength c. A 4. Voc. O come let u● sing c. Let us heartily rejoyce in the strength c. O come let us sing● c. Let us heartily rejoyce in the strength c. O come let us sing c. Let us heartily rejoyce in the strength c. O come let us sing c. Let us heartily rejoyce in the strength c. A. 4. Voc. O come let us sing c. Let us heartily rejoyce in the strength c. O come let us sing c. Let us heartily rejoyce in the strength c. O come let us sing● c. Let us heartily rejoyce in the strength c. O come let us sing c. Let us heartily rejoyce in the strength c. A 4. Voc. O come let us sing c. Let us heartily rejoyce in the strength c. O come let us sing c. Let us heartily rejoyce in the strength c. O come let us sing c. Let us heartily rejoyce in the strength c. O come let us sing● c. Let us heartily rejoyce in the strength c● A 4. Voc. O come let us sing c. Let us heartily rejoyce in the strength c. O come let us sing c. Let us heartily rejoyce in the strength c. O come let us sing c. Let us heartily rejoyce in the strength c. O come let us sing c. Let us heartily rejoyce in the strength c. A 4. Voc. O come let us sing c. Let us heartily rejoyce in the strength c. O come let us sing c. Let us heartily rej●yce in the strength c. O come let us sing c. Let us heartily rejoyce in the strength c. O come let us sing c. Let us heartily rejoyce in the strength c● The followeth the Apostles Creed which is sung by the whole Quire in one continued solemn and grave Tone Upon Festivals Athanasius's Creed is sung in the same Tune by sides and sometimes it is sung to the Organ to one of the following Tunes of 4 Parts● Whosoever will be saved c. that he hold the Catholick Faith After which the Priest sings The Lord be with you And with thy Spirit Priest Quire Let us pray Lord have mercy upon us Christ have mercy upon us Priest The whole Quire in one Tone Lord have mercy upon us Our Father which art in Heaven c. Priest Quire O Lord shew thy mercy upon us And grant us thy salvation Priest Quire O Lord save the King And mercifully●hear us when we call c. Priest Quire Indue thy Ministers with c. And make thy chosen people ● c. P●iest Quire Priest O Lord save thy people And bless thine c. 〈…〉 c. Priest Quire Because there is no other that fighteth c. O God make clean c. Quire And take not thy holy Spirit from us After every Collect the Quire Answers Amen Upon the usual day that the Litany is appointed to be sung it is sung by two of the Quire in the middle of the Church near the Bible-desk The whole Quire answering in the same Tune O God the Father c. have mery upon us miserable c. The whole Quire answering the same O God the Son c. have mercy upon us miserable c. The Quire Answer the same O God the holy Ghost c. have mercy upon us c. The Quire Answer the same O holy blessed and c. have mercy upon us c. Priest Quire Quire Remember not Lord c. Spare us good Lord● Good Lord deliver us Quire Quire We beseech thee to hear us good Lord. Son of God we beseech thee c. Priest Quire O Lamb of God that takest away the sins c. Grant us thy peace Priest Quire O Lamb of God that takest away the c. Have me●cy upon us Priest Quire Priest O Christ hear us O Christ hear us Lord have mercy upon us Quire Priest Quire Lord have mercy c. Christ have mercy c. Christ have mercy c. Priest Quire Quire Lord have mercy upon us Lord have mercy c. Our Father c. Quire Priest But deliver us from evil Amen O Lord deal not with us after c. Quire Priest Quire Neither reward us after c. O God merciful F●ther that c. O Lo●d ar●se c. Priest for thy name sake O God we have heard● c. time before them Quire Priest O Lord arise help c. for thine honour ● Glory be to the Father c. Quire and to the Holy Ghost As it was c. world without end Amen Priest Quire From o●r enemies defend us O Christ. Graciously look up our c. Priest Quire Pitifu●ly behold the sorrows c. Mercifully forgive the Sins c. Priest Quire Priest Favourably with mercy c. O Son of David c. Both now and Quire Priest ever vouchsafe c. Graciously hear us c. O L. Christ. O Lord let thy Quire Priest Quire mercy be c. As we do put our trust c. We humbly beseech ●hee c. Amen FINIS Musick Books Sold by John Playford at his Shop near the Temple Church CAnticum Sacra the fi●st Set containing Latin Hymns for two and three Voyces to the Organ Composed by Mr. Richard Deering in four books in fol. price 3 s. 6. d. Canticum Sacra the second Set containing Hymns and Anthems for two Voyces to the Organ some in Latin and some in English Composed by Dr. Gibbons Dr. Rogers Mr. Ma●thew Lock and others in three books in fol. price 5 s. Hymns and Mottets for two Voyces to the Organ Composed by Mr. Walt. Porter in three books fol. price 2 s. 6 d. The Psalms of David Composed in four parts as they are sung in Parish Churches in one volume in fol. price 3 s. An Introduction to Musick both Vocal and Instrumental with A Compendium o● the Art of Descant or Composing Musick in parts newly printed and enlarged with an addition of The manner of performing Divine Service in Cathedral Churches and College Chappels published by Iohn Playford in octavo price bound 2 s. The Treasury of Musick containing three volumes of Ayres and Dialogues published by Mr. Henry Laws and other Eminent Composers of Musick for to Sing to the Theorbo or Bass-Viol price bound 10 s. Choice Ayres and Dialogues to Sing to the Theorbo or Bass-Viol being most of the newest Ayres and Songs su●g at Court and at the Publick Theaters Composed by several Gentlemen of His Majesties Musick to which in this new Edition are added many more new Songs and also those Songs sung in the famous Play call'd the Tempest in fol. price 3 s. The Musical Companion in two books the first containing a Collection of choice Catches for three Voyces the second containing a

eight In like sort if the Bass and Treble do fall two thirds the first Note of the Treble is irregular and is to be brought into rule by being put into the eighth but the second Note is of it self regular Yet whether those thirds be reduced into eights or no you shall by supposition thereof find out the other parts which never vary from the rule but in the sharp Bass. But let me explain my self by Example Example The first two Notes of the Treble are both thirds to the Bass but in the second stroke the first Note of the Treble is a third and the second which was before a third is made an eight only to shew how you may find out the right Parts which are to be used when you take two thirds between the Treble and the Bass For according to the former rule if the Bass descends the third then in the Treble is to pass into the eight and the Mean must first take an eight then a fift and the Tenor a fift then a third and these are also the right and proper parts if you return the eight of the Treble into a third again as may appear in the first example of the Bass falling and consequently in all the rest But let us proceed yet further and suppose that the Bass should use a sharp what is then to be done as if thus If you call to mind the Rule delivered concerning the sharp Bass you shall here by help thereof see the right parts though you cannot bring them under the Rule for if the first Note of the Bass had been flat the Mean Part should have taken that and so have descended to the fifth but being sharp you take for it according to the former observation the third to the Bass and so rise up into the fifth The Tenor that should take a fifth and so fall by degrees into a third is here forced by reason of the sharp Bass for a fifth to take a sixth and so leap downward into the thirds And so much for the thirds Lastly in favour of young beginners let me also add this that the Bass intends a close as often as it riseth a fifth third or second and then immediately either falls a fifth or riseth a fourth In like manner if the Bass falls a fourth or second and after falls a fi●th the Bass insinuates a close and in all these cases the part must hold that in holding can use the fourth or eleventh and so pass either in the third or tenth Thus or thus Thus or thus Thus or thus Thus or thus Thus or thus In the Examples before set down I left out the Closes of purpose that the Cords might the better appear in their proper places but this short admonition will direct any young beginner to help that want at his pleasure And thus I end my Treatise of Counterpoint both brief and certain such as will open an easie way to them that without help of a skilful Teacher endeavour to acquire the first grounds of this Art A short Hymn Composed after this form of Counterpoint to shew how well it will become any Divine or grave subject Lord have mercy upon me O hear my prayers both Lord have mercy u●on me O hear my prayers both Lord have me●cy u●on me O hear my prayers bo●h Lord have mercy upon me O hear my pra●ers both day and night with tears pour'd forth to thee day and night with tears pou●'d forth to thee day and night with tears pour'd forth to thee day and night wi●h tears pour'd forth to thee THE ART of DESCANT OR Composing Musick in Parts PART II. Of Tones of Musick OF all things that belong to the making up of a Musician the most necessary and useful one for him is the true knowledge of the Key or Mood or Tone for all signifie the same thing with the Closes belonging unto it for there is no Tune that can have any grace or sweetness unless it be bounden within a proper Key without running into strange Keys which have no affinity with the Ayr of the Song I have therefore thought good in an easie and brief discourse to endeavour to express that which many in large and obscure Volumes have made fearful to the idle Reader The first thing herein to be considered is the eighth which is equally divided into a fourth and a fifth as thus The8 The 4. The 5. Here you see the fourth in the upper place and the fifth in the lower place which is called Modus Authentus But contrary thus The 8 The 5. The 4. This is called Modus Plagalii but howsoever the fourth in the eighth is placed we must have our eye on the fifth for that only discovers the Key and all the Closes pertaining properly thereunto This fifth is also divided into two thirds sometimes the lesser third hath the upper place and the greater third supports it below sometimes the greater third is higher and the lesser third rests in the lowest place as for Example The lesser 3. The greater 3. The greater 3. The lesser 3. The lowest Note of this fifth bears the name of the Key as if the eighth be from G to G the fifth from G beneath to D above G being the lowest Note of the fifth shews that G is the Key and if one should demand in what Key your Song is set you must answer in Gam-vt or G sol re vt that is in G. If the compass of your Song should fall out thus Respect not the fourth below but look to your fift above and the lowest Note of that fift assume for you Key which is C then divide that fift into its two 3 ds and so you shall find out all the closes that belong to that Key The main and fundamental close is in the Key it self the second is in the upper Note of this fift the third is in the upper Note of the lowest third if it be the lesser third as for example if the Key be in G with B flat you may close in these three places The first close is that which maintains the Ayr of the Key and may be used often the second is next to be preferr'd and third last But if the Key should be in G with B sharp then the last close being to be made in the greater or sharp third is unproper and therefore for variety sometime the next Key above is joyned with it which is A and sometimes the fourth Key which is C. But these changes of Keys must be done with judgement yet I have aptly closed in the upper Note of the lowest third of the Key the Key being in F and the upper Note of the third standing in A as you may perceive in this Ayr. 1 2 3 4 In this Ayr the first Close is in the upper Note of the fifth which from F is C the second Close is in the upper Note of the great third which from F is A. But the last and

himself and appointed his Sons and other Princes what Psalms and Hymns should be sung But to come nearer home History tells us that the ancient Britains of this Island had Musicians before they had Books and the Romans that Invaded them who were not too forward to magnifie other Nation● confess what power the Druyds and Bards had over the Peoples Affections by recording in Songs the Deeds of Heroick Spirits their Laws and Religion being sung in Tunes● and so without Letters transmitted to Pos●erity wherein they were so dextrous that their Neighbours of Gaul came hither to learn it Alfred a Saxon King of this Land was well skill'd in all manner of Learning but in his Knowledge of Musick took most delight King Henry the Eighth did much advance Musick in the first part of his Reign when his Mind was more intent upon Arts and Sciences at which time he invited the best Masters out of Italy and other Countries whereby he grew to great Knowledge therein of which he gave Testimony by Composing with his own hand two entire Services of five and six Parts as is recorded by the Lord Herbert who writ his Life Edward the Sixth was a Lover and Encourager thereof if we may believe Dr. Tye one of His Chappel who put the Acts of the Apos●les into Metre and Composed the same to be sung in four Parts which he Printed and Dedicated to the King his Epistle began thus Considering well most Godly King The Zeal and perfect Love Your Grace doth bear to each good Thing That given is from above That such good Things your Grace might move Your Lute when you assay Instead of Songs of wanton Love These Stories then to Play Queen Elizabeth was not only a Lover of this Divine Science but a good Proficient herein and I have been informed by an ancient Musician and her Servant that she did often recreate her self on an Excellent Instrument called the Poliphant not much unlike a Lute but strung with Wire And that it was her care to promote the same in the Worship of God may appear by her 49th Injunction And King James granted his Letters Patents to the Musicians in London for a Corporation Nor was his late Sacred Majesty and Blessed Martyr King Charles the First behind any of his Predecessors in the promotion of this Science especially in the Service of Almighty God which with much Zeal he would hear reverently performed and often appointed the Service and Anthems himself being by his Knowledge in Musick a competent Iudge therein Of whose Virtues and Piety by the infinite mercy of Almighty God this Kingdom now enjoys a Living Example in his Son and our Gracious Soveraign Charles the Second whom God long preserve whose Love of this Divine Art appears by his Encouragement of it and the Professors thereof especially in his bountiful Augmentation of the Annual Allowances of the Gentlemen of His Chappel which Example if it were followed by the Superiours of our Cathedrals in this Kingdom it would much encourage Men of this Art who are there employed to Sing Praises to Almighty God to be more studious in that Duty and would take off that Contempt which is cast upon many of them for their mean performances and poverty but it is their and all true Christians sorrow to see how that Divine Worship is contemned by blind Zealots who do not nor will not understand the use and excellency thereof But Musick in this Age like other Arts and Sciences is in low esteem with the generality of people our late and Solemn Musick both Vocal and Instrumental is now just led out of esteem by the new Corants and Iigs of Foreigners to the grief of all sober and judici●●s V●derstanders of that formerly solid and good Musick Nor must we expect Harmony in Peoples Mi●ds so long as Pride Vanity Faction and Discords are so predominant in their Lives But I conclude with the Words of Mr. Owen Feltham in his Resolves● We find that in Heaven there is Musick and Hallelujah●s Sung I believe it is an helper both to Good and Evil and will therefore honour it when it moves to ●irtue and beware of it when it would flatter into Vice J. P. The TABLE FISRT BOOK Of the Scale of Musick called the Gam-ut pag. 1 Of the several Cleaves or Cliffs pag. 8 A Rule for the proving your Notes pag. 10 A Rule for Naming your Notes in any Cliff pag. 11 A Table of the Comparison of Cliffs pag. 18 Of the Tuning the Voyce pag. 19 Of Tones or Tunes of Notes pag. 22 The Notes their Names Number and Proportions pag. 24 Of the Rests and Pauses and Notes of Syncopation pag. 26 A Rule for Keeping Time pag. 29 Of the four Moods or Proportions of Time pag. 30 Of the Adjuncts and Characters used in Musick pag. 35 Directions for Singing after the Italian manner pag. 37 Of the five Moods used by the Grecians pag. 57 Short Ayres or Songs fit for Beginners pag. 62 Directions for Singing of Psalms with the several Tunes and the Bass under each Tune pag 73 SECOND BOOK A brief Introduction for Playing on the Bass-Viol pag. 91 Several Lessons for Beginners on the Bass-Viol pag. 105 Instructions for Playing on the Treble-Violin pag. 109 Several Lessons for Beginners on the Violin pag. 117 THIRD BOOK The Art of Descant or plain way for Composing of Musick in Two Three or Four Parts The Manner and Order of Singing the Divine Service in Cathedral-Churches An Introduction to the Skill of MUSICK CHAP. I. Of the Scale of Musick called the Gam-Ut THe Gam-ut is the Ground of all Musick both Vocal and Instrumental and as Ornithoparcus reporteth it was composed by Guido Aretinus about the year 960 who out of six Syllables in the Saphick of the Hymn of St. Iohan. Baptista framed his Musical Scale set down in those six Syllables as Names for the six Musical Notes VT queant laxis REsonare fibris MIra gestorum FAmuli tuorum SO Lve poluti LAbii reatum VT RElivet MIserum FAtum SOLitumque LAborem VT RE Mi Fa Sol La VT RE Sol La. These Six Notes were thus used for many years past in that order ascending and descending but in these latter times Four are only in use the which are Sol La Mi Fa so that Ut and Re are now changed into Sol and La four being found sufficient for expressing the several sounds and less burthensome for the memory of Practitioners Besides the Names of these Notes there is used in our Scale of Musick called the Gam-ut seven Letters of the Alphabet which are set in the first Column at the beginning of each Rule and Space as G. A. B. C. D. E. F. And of these there are Three Septenaries ascending one above the other G being put first which is according to the third Letter in the Greek Alphabet called Gamma and is made thus 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the first derivation thereof being from the