Selected quad for the lemma: nature_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
nature_n	air_n	earth_n	element_n	2,483	5	9.5484	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

by the next fingers Fourthly in the moving your Bow up and down observe this Rule when you see an even number of Quavers and Semiquavers as 2 4 6 or 8 tyed together your Bow must move up or forwards though it was up at the Note immediately before but if you have an odd number as 3 5 or 7 which happens very often by reason of a prickt Note or an odd Quaver Rest there your Bow must draw back at the first Note Lastly in your practice of any Lesson play it slow at first and by often practice you will bring your hand to a more swift motion As for the several Graces and Flourishes that are used as Shakes Backfalls and double Relishes this following Table will be some help to your practice for there is first the Note plain and after the Grace expressed by Notes at length A Table of Graces proper to the Viol or Violin Smooth Graces A Beat Explan A Backfall Expla A Double Backfall Explan Elavation Explan A Springer Expla A Cadent Explan Shaked Graces A Backfall shaked Explan A Close shake Explan A shaked Beat Explan Elevation Explan Cadent Explan Double Relish Explan or thus Explan Short Tunes for the Treble-Violin by Letters and Notes Maiden Fair. Note That in these Lessons by Letters the Time is not put over every Letter but if a Crotchet be over any Letter the following Letters are to be Crotchets also till you see the Note changed and so in ●ther Notes likewise Maiden Fair. The Kings Delight The Kings Delight Parthenia Parthenia Iohn come kiss with Division to each Strain The Lark with Division Ingenious Practitioner HAving thus after the plainest method I could set down several Rules and Directions for thy practice on the Treble Violin by way of Fretting which way I have known used by some of the most eminent Teachers on this Instrument as the most facile and easie to initiate their Scholars And also by the way of Pricking down Lessons in Letters yet do I not approve of this way of Playing by Letters save only as a Guide to young Practitioners to bring them the more readily to know all the Stops and Places of the Notes both Flat and Sharp as is set down in the Table pag. 96 97. And having by this practice come to the perfect knowledge thereof to lay the use of Letters aside and keep to their practice by Notes only And therefore in the Introduction to the Skill of this Musick I have added some few Lessons both ways that after thou canst play them by Letters thou maist play the same again by Notes Those who desire to be furnished with more Lessons I refer to a Book lately published Entituled Apollo's Banquet containing above two hundred new Tunes for the Treble Violin with the most usual French Dances added to them By the practice of these Rules and a little help of a Master I doubt not but thou mayst in a short time become a good Proficient on this Instrument which is the hearty desire of thy Well-wisher J. P. FINIS The ART of DESCANT OR Composing of Musick in Parts By a most familiar and easie Rule In Three several TREATISES I. Of making Four Parts in Counterpoint II. A necessary Discourse of the several Keyes and their proper Closes III. The Allowed Passages of all Concords Perfect and Imperfect By Dr. THO. CAMPION With Annotations thereon by Mr. Chr. Simpson London Printed for Iohn Playford and are to be sold at his Shop in the Temple 1674. THere are Nine Concords of Musick as followeth A Unison Third Fifth Sixth Eighth Tenth Twelfth Thirteenth and Fifteenth whereof five are called perfect and four imperfect The five perfect are Unison Fifth Eighth Twelfth and Fifteenth Of these you may not take two of one sort together neither rising or falling as two Fifths or two Eighths Of the other four called imperfect you may take two or three together of one sort rising or falling which are a Third Sixth Tenth and Thirteenth These Nine Concords are comprehended in four viz. Unison Eighth Fifteenth are accounted as one for every Eighth is the same Third Tenth likewise Fifth Twelfth likewise Sixth Thirteenth in like sort So that in effect there are but four Concords The Discords are a Second Fourth and Seventh with their Eighths which being sometime mixt with Concords make the best Musick being orderly taken THE ART of DESCANT OR Composing Musick in Parts I. Of Counterpoint THe Parts of Musick are in all but four howsoever some skilful Musicians have Composed Songs of twenty thirty and forty parts for be the parts never so many they are but one of these four in nature The names of those four parts are these The Bass which is the lowest part and foundation of the whole Song the Tenor placed next above the Bass next above the Tenor the Mean or Counter-Tenor and in the highest place the Treble These four Parts by the Learned are said to resemble the four Elements the Bass expresseth the true nature of the Earth who being the gravest and lowest of all the Elements is as a foundation to the rest the Tenor is likened to the Water the Mean to the Air and the Treble to the Fire Moreover by how much the Water is more light than the Earth by so much the Air is lighter than the Water and Fire than Air. They have also in their native property every one place above the other the lighter uppermost the weightiest in the bottom Having now demonstrated that there are in all but four Parts and that the Bass is the foundation of the other three I assume that the true sight and judgment of the upper three must proceed from the lowest which is the Bass and also I conclude that every part in nature doth affect his proper and natural place as the Elements do True it is that the ancient Musicians who intended their Musick only for the Church took their sight from the Tenor which was rather done out of necessity than any respect to the true nature of Musick for it was usual with them to have a Tenor as a Theam to which they were compelled to adapt their other Parts But I will plainly convince by demonstration that contrary to some opinions the Bass contains in it both the Ayr and true judgment of the Key expressing how any man at first sight may view in it all the other Parts in their original essence In respect of the variety in Musick which is attained to by farther proceeding in the Art as when Notes are shifted out of their native places the Bass above the Tenor or the Tenor above the Mean and the Mean above the Treble this kind of Counterpoint which I promise may appear simple and only fit for young Beginners as indeed chiefly it is yet the right speculation may give much satisfaction even to the most skilful laying open unto them how manifest and certain are the first grounds of Counterpoint First it is in this case

Iohannis Playford Effigies AN INTRODUCTION TO THE SKILL OF MUSICK IN TWO BOOKS THE FIRST The Grounds and Rules of MVSICK according to the Gam-vt and other Principles thereof THE SECOND Instructions Lessons for the Bass-Viol AND Instruments Lessons for the Treble-Violin By IOHN 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 The Seventh Edition Corrected and Enlarged London Printed by W. Godbid for I. Playford at his Shop in the Temple near the Church 1674. PREFACE To all Lovers of MVSICK MUSICK in ancient Times was held in as great Estimation Reverence and Honour by the most Noble and Virtuous Persons as any of the Liberal Sciences whatsoever for the manifold Uses thereof conducing to the Life of Man Philosophers accounted it an Invention of the Gods bestowing it on Men to make them better conditioned than bare Nature afforded and concludes a special necessity thereof in the Education of Children partly from its natural delight and partly from the efficacy it hath in moving the Affections to Virtue commending chiefly these three Arts in the ●ducation of Youth Grammar Musick and Gymnastick this last is for the Exercise of their Limbs Quintil. reports in his time the same Men taught both Grammar and Musick Those then who intend the Practice thereof must allow Musick to be the Gift of God yet like other his Graces and Benefits it is not given to the Idle but they must reach it with the hand of Industry by putting in practice the Works and Inventions of skilful Artists for meerly to Speak and Sing are of Nature and this double use of the Articulate Voice the rudest Swains of all Nations do make but to Speak well and Sing well are of Art Therefore when I had considered ●h● great want of Books setting forth the Rules and Grounds of this Divine Science of Musick in our own Language it was a great motive with me to undertake this Work though I must confess our Nation is at this time plentifully stored with skilful Men in this Science better able than my self to have undertaken this Work but their slowness and modesty being as I conceive unwilling to appear in print about so small a matter has made me adventure on it though with the danger of not being so well done as they might have performed it And I was the rather induced thereunto for that the Prescription of Rules of all Arts and Sciences ought to be delivered in plain and brief language and not in flowers of Eloquence which Maxim I have followed For after the most brief plain and easie method I could invent I have here set down the Grounds of Musick omitting nothing in this Art which I did conceive was necessary for the Practice of young Beginners both for Vocal and Instrumental Musick The Work as it is I must confess is not all my own some part thereof being collected out of other Authors which have written on this Subject the which I hope will make it more approved And if in the whole I gain your ingenious Acceptance it will further encourage me to do you more Service in this Nature Iohn Playford Of MUSICK in General And of its Divine and Civil Uses MVSICK is an Art unsearchable Divine and Excellent by which a true Concordance of Sounds or Harmony is produced that rejoyceth and cheereth the Hearts of Men and hath in all Ages and in all Countries been highly reverenced and esteemed by the Jews for Religion and Divine Worship in the Service of God as appears by Scripture By the Graecians and Romans to induce Virtue and Gravity and to incite to Co●rage and Valour Great Disputes were among Ethnick Authors about the first Inventor some for Orpheus some Lynus both famous Poets and Mu●icians others for Amphion whose Musick drew Stones to the building of the Walls of Thebes as Orpheus had by the harmonious touch of his Harp moved the Wild Beasts and Trees to Dance But the true meaning thereof is that by virtue of their Musick and their wise and pleasing Musical Poems the one brought the Savage and Beast-like Thracians to Humanity and Gentleness the other perswaded the rude and careless Thebans to the fortifying of their City and to a civil Conversation The Egyptians to Apollo attributing the first Invention of the Harp to him and certainly they had an high esteem of the Excellency of Musick to make Apollo who was the God of Wisdom to be the God of Musick But the People of God do truly a●knowledge a far more ancient Inventor of this Divine Art Jubal the sixth from Adam who as it is recorded Gen. 4. 27. was the Father of all that handle the Harp and Organ St. Augustine goeth yet farther shewing that it is the gift of God himself and a Representation or Admonition of the sweet Consent and Harmony which his Wisdom hath made in the Creation and Administration of the World And well it may be termed a Divine and Mysterious Art for among all those rare Arts and Sciences with which God hath endued Men this of Musick is the most sublime and excellent for its wonderfull Effects and Inventions It hath been the study of Millions of Men for many thousand years yet none ever attained the full scope and perfection thereof but after all their deep Search and laborious Studies there still appeared new matter for their Inventions and which is most wonderful the whole Mystery of this Art is comprised in the compass of three Notes or Sounds which is most ingeniously observed by Mr. Christopher Simpson in his Division Violist pag. 18. in these words All Sounds that can possibly be joyned at once together in Musical Concordance are still but the reiterated Harmony in Three a significant Emblem of that Supreme and Incomprehensible Trinity Three in One Governing and Disposing the whole Machine of the World with all it s included Parts in a perfect Harmony for in the Harmony of Sounds there is some great and hidden Mystery above what hath been yet discovered And Mrs. Katherine Phillips in her Encomium on Mr. Henry Laws his second Book of Ayres hath these words Nature which is the vast Creation's Soul That steady curious Agent in the whole The Art of Heaven the Order of this Frame Is only Musick in another Name And as some King Conquer'ing what was his own Hath choice of several Titles to his Crown So Harmony on this score now that then Yet still is all that takes and Governs Men. Beauty is but Composure and we find Content is but the Concord of the Mind Friendship the Vnison of well tun'd Hearts Honour 's the Chorus of the Noblest Parts And all the World on which we can reflect Musick to the Ear or to the Intellect Nor hath there yet been any Reason given of that sympathy in Sounds that the Strings of a Viol being struck and another Viol laid at a distance and tuned

expressed such excellent sounds and varieties of Musick that the Kings passions were immediately stirred to War and ran presently and took up Arms. But the Story of Ericus the Musician passes all who had given forth that by his Musick he could drive men into what Affections he listed and being required by Bonus King of Denmark to put his Skill in practice he with his Harp or Polycord Lyra expressed such effectual melody and harmony in the variety of changes in several Keyes and in such excellent Fug's and spritely Ayres that his Auditors began first to be moved with some strange passions but ending his excellent Voluntary with some choice Fancy upon this Phrygian Mood the Kings passions were altered and excited to that height that he fell upon his most trusty friends which were near him and flew some of them with his fist for lack of another weapon which the Musician perceiving ended with the sober and solemn Dorick which brought the King to himself who much lamented what he had done This is recorded at large by Crantzius lib. 5. Daniae cap. 3. and by Saxo Grammaticus lib. 12. Hist. Daniae and others 5. The Ionick Mood was for more light and effeminate Musick as pleasant amorous Songs Corants Sarabands and Iigs used for honest mirth and delight at Feasts and other merriments This Mood had its derivation from the Ionians of Ionia which lies between AEolia and Caria a situation full of all pleasure whose plenty and idleness turned their honest mirth into lasciviousness By this Mood was the Pythagorean Huntsup or Morning Musick which wakened and roused their dull Spirits to study and action The abuse of this Mood is soon reformed by the sober Dorick for what this excites above moderation the other draws into a true Decorum Let thus much suffice to have been spoken of the Grecian Moods I shall now set down some short Songs and Ayres for two Voices very useful for Beginners Short Ayres or Songs of Two Voices Treble and Bass for Beginners A. 2. Voc. TREBLE W. L. GAther your Rose-buds while you may old Time is still a flying and that same Flow'r that smiles to day to morrow will be dying A. 2. Voc. BASSE W. L. GAther your Rose-buds while you may old Time is still a flying and that same Flow'r that smiles to day to morrow will be dying A. 2. Voc. TREBLE I. P. COmely Swain why sitt'st thou so Fa la la la la c. la. Folded arms are signs of woe Fa la la la la la la la la la. If thy Nymph no favour show Fa la la la la la la la. Chuse another let her go Fa la la la la la la la la la. A. 2. Voc. BASSE I. P. COmely Swain why fitt'st thou so Fa la la la la c. la. Folded Arms are signs of woe Fa la la la la la la la la la la. If thy Nymph no favour show Fa la la la la la la la. Chuse another let her go Fa la la c. A. 2. Voc. TREBLE T. M. NOw is the Month of Maying when merry Lads are playing Fa la la la la c. Each wi●h his bonny Lass upon the greeny grass Fa la la la la c. A. 2. Voc. BASSE T. M. NOw is the Month of Maying when merry Lads are playing Fa la la la la c. Each with his bonny Lass upon the greeny grass Fa la la la la c. A. 2. Voc. TREBLE B. R. IN the merry month of May in a morn by break of day forth I walkt the wood so wide when as May was in her pride there I spyed all alone Philida and Coridon A. 2. Voc. BASSE B. R. IN the merry month of May in a morn by break of day Sorth I walkt the wood so wide when as May was in her pride there I spyed all alone Philida and Coridon A. 2. V●c TREBLE H. L. COme Cloris hye we to the Bow'r to sport us e're the day be done such is thy pow'r that ev'ry Flow'r will ope to thee as to the Sun The wanton Suckling and the Vine Will strive for th' Honour who first may With their green Arms incircle thine To keep the burning Sun away A. 2. Voc. BASSE H. L. COme Cloris hye we to the Bow'r to spo●t us e're the day be done such is thy pow'r that ev'ry Flow'r will ope to thee as to the Sun A. 2. Voc. TREBLE I. G. VVIll Cloris cast her Sun-bright Eye upon so mean a Swain as I Can she affect my oaten reed or stoop to wear my Shepherds weed What rural sport can I devise To please her Ears to please her Eyes Fair Cloris sees fair Cloris hears● With Angels Eyes and Angels Ears A. 2. Voc. BASSE I. G. VVIll Cloris cast her Sun-bright Eye upon so mean a Swain as I Can she affect my oaten reed or stoop ●o wear my Shepherds weed A. 2. Voc. TREBLE T. B. TUrn Amarillis to thy Swain turn Amarillis to thy Swain turn Amarillis to thy Swain thy Damon calls thee back again thy Damon calls thee back again Here is a pretty pretty pretty pretty pretty Arbour by where Apollo where Apollo where Apollo where Apollo cannot cannot spy where Apollo cannot spy Here let 's fit and whilst I play sing to my Pipe sing to my Pipe sing to my Pipe sing to my Pipe sing to my Pipe a Roundelay sing to my Pipe sing to my Pipe sing to my Pipe a Roundelay A. 2● Voc. BASSE T. B. TUrn Amarillis to thy Swain turn Amarillis turn Amarillis turn Amarillis to thy Swain thy Damon calls thee back again thy Damon calls thee back again Here is a pretty Arbour by where Apollo where Apollo where Apollo where Apollo cannot spy where Apollo cannot spy There let 's sit and whilst I play sing to my Pipe sing to my Pipe sing to my Pipe sing to my Pipe sing to my Pipe a Roundelay sing to my Pipe sing to my Pipe sing ro my Pipe a Roundelay A. 2. Voc. TREBLE W. L. LOve is lost and gone astray being blind hath lost his way Ve╌nus cryeth for her son out alass she is undone Cupid sor his mother wept weepin● thus sate down and slept A. 2. Voc. BASSE W. L. LOve is lost and gone astray being blind hath lost his way Venus cryeth for her son out a╌lass she is undone Cupid for his mother wept weeping thus sate down and slept For more Songs and Ayres of this nature for Beginners I refer you to two Books lately published one entituled Select Ayres and Dialogue ●or One Two and Three Voices the other The Musical Commpanion containing Ayres for Two Three and Four Voices RULES and DIRECTIONS For SINGING the PSALMS THe Tunes of Psalms are of general use all who are true Lovers of Divine Musick will have them in estimation they may be called Holy David's Musick they