Chapter 3, Item 62a
Base Viol
He beareth a Man sitting in a Chair with a Base Viol between his Knees playing upon the same.
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Chapter 3, Item 62b
Lute
He beareth a Woman in a Loose Garment Mantle flying: playing upon a Lute.
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Chapter 3, Item 62c
Pipe and Tabor
He beareth a Man in a side Coat of blew, laced in each Seam: on his left Arm hangs a Tabern and a Pipe in his Hand, with a beaking stick in the other. This in short is termed a Taberner, or a Man playing on the Tabern and Pipe; this is no other then a small Drum hung on his left Arm, on which he beats with his right hand with a Drum-stick, and a long Pipe or Whistle in his Mouth held by his said left Hand. The Jews call this the Tabret and Pipe; the Vulgar a Tabert and Whistle; and Tabern and Pipe.
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Chapter 3, Item 62d
Tamberbase
He beareth a Turke skipping or holding up one Leg, and his Arms playing or beating on a Tamberbase. This is a Turkish Musical Instrument, which they use in all their Dances, and Merry hopping, and leapings.
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Chapter 3, Item 62e
Recorder player
He beareth an Angel, playing on a Recorder.
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Chapter 3, Item 62f
Music
Musick Vocal or with Strings.
Whether it be Vocal or Instrumental, it is a Rejoycer of the Heart, and a lifter of Dead, Drowsie and Melancholly spirits; being an Art unsearchable, Divine, and Excellent: and is nothing else, but a true Concordance of sounds, which produceth a sweet and delightsome Harmony to the Ears of Men, with a pleasing of the Phantasie.
The Scale of Musick, is to shew the Degrees by which a voice Natural or Artificial may either ascend or descend.
Degrees in Musick, are seven which are marked by these Letters: A, B, C, D, E, F, G.
The Gam-ut, it is the naming of the Scale, or Notes, in Musick which are these six: Ut, Re, Mi, Fa, Sol, La, but now four are only in use, as Sol, La, Mi. Fa: so that Ut and Re, are changed into Sol, and La.
Cliffs, or Cleaves: are the terms of the seven foresaid Letters, and the Gam-ut or Syllables joyned to them are the names of the Notes or Keys.
Septenaries, are three degrees ascending one above another, and by them is distinguished the three several parts of Musick: as,
The Base, which is the lowest part of Musick.
The Mean, or middle part of Musick: The Tenor, or Counter-Tenor.
The Treble, or highest part in Musick. The Cantus.
The Notes or Keys, are the Syllables of the Gam-ut, which are 20 in Number: as
| E. la | } | |
| D. la. fol. | } | |
| C. fol. Fa | } | |
| B. fa. mi. | } | called the Alts, the Treble, or Highest Keys |
| A. la. mi. re. | } | |
| G. fol. re. ut. | }  | } |
| F. fa. ut. | } | } |
| E. la. mi | } | } |
| D. la. fol. Re. | } | |
| C. fol. fa. ut. | } | } 
called the Tenor Notes or |
| B. fa. mi. | } | } the Mean or Middle Keys. |
| A. la. mi. re. | } | } |
| G. fol. re. ut. | } | } |
| F. la. ut. | }  | } |
| E. la. mi | } | |
| D. fol. re. | } | called the Base Notes or Lowest Keys. |
| C. fa. ut. | } | |
| B. mi | } | |
| A. re. | } | |
| G. ut. | } |
The F Cliff or F fa ut Cliffe, marked thus
is the lowest, and is peculiar to the Base, and set on the fourth Line.
The C Cliffe, or C sol fa ut Cliffe, marked thus
which is a fift upon
the F Cliffe, and stands for all Tenor, or inner part of Musick.
The G Cliffe, or G sol re ut Cliffe, is marked thus
and is the Treble or Highest part, and is a fift above the C Cliffe.
The Lines or Spaces, are those Lines made in Song and Musical Books, for the pricking of Songs and Lessons on; which are only five Lines together, they being sufficient for all Notes: if any exceeds higher, it is usual to add a Line in that place.
The Staves of Lines, or Spaces; for Organs, Virginals, Harps, and such like; have two Staves of six Lines together, one for the left hand or lower Keys, the other for the right hand and upper Keys: they are called a Staff, or Stansa.
The flat in the Song is thus marked b which denotes that if it be in the beginning of a Song, it causes all the Notes in that line or space to be called fa throughout the Song: if in any other place, it serves for that particular Note before it is placed.
The Sharp in a Song is thus marked
this is contrary to the other,
for whereas the b take away a Semi-tone or part from the sound
of the Note to make it more grave and flat; this
doth add a Semi-tone to its Note before which it is set, to make it more
Acute and sharp.
The Notes with their Names and Characters are these as follow. The Large Note is thus marked
or thus 
which is a
Double or Treble long Note, which the Latins called Larga or Maxima Nota, which is our large or highest Note.
The Long Note, is thus marked
or thus I. Containing the space
between three Lines: this is in order to a Long Syllable.
The Breve Note is thus marked
. or I being the space between two Lines.
The Semi-breve Note is thus marked
or I. on the lower side of a Line.
The Minim Note is thus marked
or thus I fixed on the top of a Line.
The Crochet Note is thus marked
or thus
. on the top of a Line.
The Quaver Note is thus marked
or thus
on the middle of a Line.
The Semi-quaver is thus marked.
The Demisemiquaver is thus marked.
The Rests or Pauses, are the stroaks or marks which are set over cross the Lines from outside to outside of the Staff, whether it consists either of five or six Lines which are called Long Rests, Breve Rests, Semi-breve Rests, &c.
Modes or Moods, are the way of measuring of Notes and they are three; of some four, which are,
The Perfect of the More; it is the Measure or Mode in which (time and prolation being imployed) a Large contains three Longs; and a Long contains three Breves; a Breve three Semi-breves; and a Semi-breve three Minims: It is thus marked
.
The Perfect of the Less, it is the second Mode or Measure, and in it the Large contains two Longs: the Long two Breves, &c. the Time and Measure Note in this Mode is the Breve, and the Sign or Mark is thus,
.
The Imperfect of the More, is a Measure in which the Large contains 2 Longs; a Long 2 Breves; a Breve 2 Semi-breves; and a Semi-breve (which is the Time note of this Mood) contains 3 Minims: it Sign or Mark is thus,
.
The Imperfect of the Less, (now called the common Mood, the other three being laid aside as useless) it is a Mood wherein 2 Longs makes a Large; 2 Breves a Long; 2 Semi-breves a Breve, &c. so that a Large contains 2 Longs, 4 Breves, 8 Simi-breves, 16 Minims, 32 Crochets, 64 Quavers, &c. The Sign or Mark of this Mood is thus,
or thus
Time or Measure, is the motion of the Hand or Foot down and up, successively and equally divided.
The Measure or Time Note, it is the length of a Semi-breve in a Song, or Tune.
Bar or Bars, are the distance between the cross stroaks with the Lines, or Spaces between them in every Staff or Stanza, thus | or ||
A Director is thus marked
and it is set at the end of the five Lines, to
shew where the first Note of the next five Lines doth stand.
Some term it a Direct Character.
A Tye, or Arch-stroake thus
either over or under 2 3 or more Notes: it signifies
in vocal Musick, so many Notes to be sung to one
Syllable: and in Viols or Violins, it signifies so many Notes to be play'd with one motion of the Bow.
A Prick of Perfection or Addition, is ever marked with a point or prick of a Pen on the right side of all Notes thus
and is for the
prolonging the sound of that Note it follows, to half as much more as it is of itself.
Tying of Notes, that is when Notes of 2 4 or more Quavers or Semi-quavers are tied together by a long stroaks on the top of the Tails; which though they be so, yet they are the same with the others, being so tied only for benefit of sight, when many of them are altogether thus
those with one stroak through their Tails are Quavers, those with two stroaks are Semi-quavers, when have 3 or more stroaks, they are Demi-semiquavers.
Double Tying of Notes, or the second sort of Tye is thus
and it is set over
2. 3. 4. or more Notes to shew they must be all
played with once drawing the Bow on the Viol, or Violin.
Tablature, is the placing of Letters, or the Gam-ut Notes on the Lines or Spaces in Musical Books to play by.
A b. is to be observed, that where this Character b. is set before any Note of the Gam-ut, makes it stopt a Fret higher.
A
or X. being set before a Note, makes it a Fret lower.
A Sharp Note.
A Flat Note.
A Division in Musick.
A Strain in Musick.
The End of a Straine, is marked with 2 stroaks through the Lines thus,
which
signifies the end of the Song.
The Straine Repeated, is thus marked
which signifies that part to be Sung over again.
A Repeat is thus marked
and signifies a repetition of the Song from
that place only where it is set.
A Stay or Hold is thus marked
and is commonly set at one end of a Song or Lesson to signifie the close or conclusion thereof.
A Syncope or Driving a Note, is when after some short Note which begins the Measure, or half Measure, there immediately follows 2. 3. or more Notes of a greater quantity.
Odd Rests, are such as take up only some part or parcel of a Semi-breve, Time and Measure; and have always reference to some odd Notes, by which Measure is made even.
The Tripla Time, it is marked at the beginning of a a Song or Lesson thus
and
signifies that the Time and Measure must be compted by threes.
The Common Tripla, signifies the common Measure of time: as 3 Minims.
A Diminution, it is the lessening or abateing some thing of the full value or quantity of Notes: the Sign or Mark is thus
turning the
Sign of the Mood backwards: or else thus
which requires each Note to be playd on sung twice so quick as when it stands the usual way.
A Counterpoint, is the composing of Descant or Tunes for Songs or Lessons by setting point against point, from whence it still retains the name of Counterpoint.
Intervals in Musick, is that distance or difference which is between two sounds, where one is more grave, the other more Acute.
An Unison or Octave, is one and the same sound, or Tune, whether it be by one voice or diverse in the same Tune.
Semitone, the lesser Second, or half Note.
Tone, the greater second.
Semiditone, the lesser third.
Diton, the greater third.
Diatessaron, the perfect fourth.
Tritone, the greater fourth.
Semidiapente, the imperfect fifth.
Diapente, the perfect fifth.
Hexachordon mi, the lesser sixth.
Hexachordon ma, the greater sixth.
Sept Minor, the lesser seventh.
Sept Major, the greater seventh.
Semidiaphason, the defective eighth.
Diaphason, the octave, or eight.
Semi, is not to be taken for the half of such a Note or Interval in Musick, but only imports a dificiency, as wanting something of perfection.
Concords, is an agreement in Musick: called also Cords.
Discords, is a disagreement in Musick.
Composition, is the composing of Tunes.
Passage of the Concords, is when the parts of a Lesson pass into a contrary motion, as to pass from a 5th. to an 8th. or from an 8th. to a fifth.
The Key, or Mood, or Tone; of a Song or Lesson, is the sound or grace of a Song: which is said to be either flat or sharp, according to the flat or sharp 3d. that is joyned to it.
The Closes or Cadences of Musick, are falls or rising in Musick, which serves as Bounds and Limits to keep it in due Decorum: these Closes or Cadences in any Key or Tone is sometimes used in the Middle of a Tone, as well as at conclusions.
Composition of parts, as 2. 3. or 4. parts; is the orderly composing of Tunes, so as 2. 3. or 4. may joyn together in one and the some Song, or Lesson, to make a Concord.
Base and Treble, when two play together.
Base, Alt, and Treble; when three joyn in one consort.
Base, Tenor, Alt, and Treble; when the composition is in four parts.
Transition or the Breaking of a Note, that is to make smooth or sweeten the roughness of a Leap by a gradual passing to the Note next following.
Base, Tenor, Alt, Treble 2. Treble 1. when five are in a consort.
Base, Tenor 2. Tenor 1. Alt, Treble 2. Treble 1. when six are in a consort.
Base, Tenor 2. Tenor 1. Mean, Alt, Treble 2. Treble 1. when seven are in a composition of parts.
Base 1. base 2. Tenor 2. Tenor 1. Alt 2. Alt 1. Treble 2. Treble 1. when it is of eight parts: and so they are termed according to their parts.
Diminution, is a discord in Musick yet admitted; that is, when 2, 3, or more Notes of one part are set against one Note of a different part: and this is done by a gradual Transition from one Concord to another.
Syncopation, is another way of Discord in Musick; and that is, when a Note of one part ends and breaks off upon the middle of a Note of another part: it is called Syncops in Discord.
Bindings or Syncopations, are sevenths with sixths: sixths with fifths: fifths with fourths: and fourths with thirds.
Passage of Discords, is the winding or bringing a Discord off, and that is by changing from thence into some imperfect Concord, into which more sweetness seems to be added by the Discord sounding before it.
Note against Note, is another way in which Discords are used in Musick, which is by setting Note for Note of the same quantity one against the other.
Inharmonical Relation, is a harsh reflection of flat against sharp in a cross form: that is, when the present Note of one part compared with the foregoing Note of another part, doth produce some harsh and displeasing Discord.
Diatonic Scale, is the rising in Musick, or Voice; to a fifth and to an eight by two Tones and one Semi-tone.
Chromatick Scale, rises to a fifth by a Tone, and five Semi-tones.
Enharmonick Scale, it rises gradually by Deises or quarter Notes, of which 24 makes an Octave.
Octave sound, is the found of any Musical string stopt in the middle; if it be compared to the sound of the open string.
Greater and Lesser Semi-tones, are higher or lower sounds made on a Musical according to the distance of its stops from the Bridge of the Instrument.
Figurate Discant, is that wherein Discords are concerned as well as Concords: for in this are introduced all the varieties of Points, Fuges, Syncopes or Bindings, diversities of Measures, intermixtures of Discording sounds, or what else Art or Phancy can exhibit: some call if Florid Discant.
Counterpoint, is when each part doth orderly and ordinarily move within its own Sphear: they orderly pass through one another.
Disallowances, are when the higher parts in Musick skips to a fifth or eight, whilest the Bass removes but one degree, or when both parts together skip the same way.
Descant, is the Art of composing of Musick in parts.
A Double Descant, is when the parts are contrived, that the Treble may be made the Base, and the Base the Treble.
Consecution, is a consequent or orderly following of Musical Notes, as fourths following fifths, &c.
Fuge or Fuga, this is some point consisting in 4. 5. 6. or more Notes; begun by a single Person one part, and then seconded by a following part, repeating the same or such like Notes: The leading part still flying before those which follow.
Per Arsin and Thesin, the inverting of points; that is, where it rises in one part, it falls in another: and so the contrary.
Double Fuges, is when the Musick begins with 2 or more different points, which the parts do interchange by turns.
Theory, or Mathematick part of Musick; is the contemplating, affecting, proportioning of sounds, with all their nice concernments.
Practick part of Musick , is to design contrive, and dispose those sounds into so many strange varieties.
Active or Mechanick part of Musick; is the bringing forth of those sounds, either by the excellent Modulation of the Voice: or by the exquisite dexterity of the hand upon some Instrument.
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Chapter 3, Item 62g
Tunes, types
Several sorts of Tunes in Musick.
Vocal Musick, is the Harmony of the Voice, of which there are different kinds: as namely.
Madrigals, are grave and serious Songs.
Dramatick or Recitative Songs, as Trills and Grappo's used much in Italy, and now in England.
Cansonets, Vilanella's, Airs: or what else Poetry hath contrived to be set or sung to Musick.
Canons, Catches, and Rounds: Songs designed for Mirth and Recreation.
Ditty, a Song or Tune: a pleasant Ditty or Glee.
Fancy, it is a chief and most excellent part of Musick, being the Art and contrivance thereof: Fantasies.
A Pavan, is the height of composition made only to delight the Ear: be it of 2. 3. 4. 5. or 6. parts, doth commonly consist of three straines, each straine to be played twice over.
A Straine, is an airy touch of 3 or 4 parts.
Aires, or Ayrie Tunes.
A Galliard, it is a lofty and frolick movement, it consists of two, sometimes of three strains: the Measure of it, always a Tripla of 3 Minims to a time.
An Almaine, it is of a more quick and airy movement: it commonly hath but 2 straines, the first ending most in a Middle Key.
A Corant.
A Saraband,
A Country-Dance Tune,
A Jigg, all these are running Merry Tunes.
A Nonupla, is a quick time in Musick peculiar to Giggs and such like: having 9 Crochets between Bar and Bar.
The Dorick Mood, of singing consisted in sober slow tuned Notes counterpoint, where the composition of parts goes Note for Note together, be they of 2, 3, or 4 parts.
The Lydian Mood, was used to grave solemn Musick, the Descant or Composition being of slow time, and fitted to Sacred Hymns, Anthems, and spiritual Songs; either alone, or in 4 or 5 parts; also Psalms, Versicles, Responsaries, Motets, &c.
The Æolick Mood, is that which is of a more Airy and soft pleasing sound, as the Madrigals aforesaid, and Fa la's of 5 or 6 parts, composed for Viols and Voices.
The Phrygian Mood, is a Warlike and Cauragious kind of Musick, expressing the Musick of Trumpets and other Instruments of old exciting to Arms and Activity.
The Ionic Mood, is a far more light and effeminate Musick, as pleasant Amorous Songs, Corants, Sarabands, &c. used for honest Mirth and Delight at Feasts and other merriments.
The Graces or Flourishes in Musick, are of several sorts, the Shake is the principal, of which there are two, as
The Close shake, is when the first finger stops the first fret, and shake with the second finger as close to it as can be.
The Open shake, is when the first finger stops the first fret, and shake with the third finger on the third fret.
Double Relishes, is thus marked
.
A Backfall shake is thus marked
Backfalls have this mark before its notes
A double Backfall, thus marked
A Beat, is a grace or flourish this marked before its Note
.
An Elevation is a flourish thus marked
A Springer, is a grace or flourish marked thus
A Cadent or Fall is a flourish thus marked
.
A shaked Beat, is a grace in Musick thus marked
An Elevation shaked, is thus marked
A Cadent shaked is thus marked
A Figure thus
is often set at the beginning of a Song or Lesson, which
signifies that the time or measure must be compted by threes, and the end of the Song is thus marked
or thus 
The Musitian or Musitianer, is one that hath the Skil and Art of Musick.
The Principles of Composition, is the Learning of all the Keys, Moods, Notes, and Characters and terms of Musick.
A Consort, is many Musitians playing on several Instruments together.
A Doctor in Musick.
A Batchelor in Musick.
The Rudiments of Song or Musick.
The Contrivance of Canon.
They that desire farther Knowledge in the terms of Musick for the Voice or Viols, let them peruse these Authors.
The Introduction to the Skill of Musick by Jo. Playford.
The Compendium of Practical Musick by Christopher Sympson.
Musicks recreation for Viol Lyra way.
And Apollo's Banquet for the Treble Viol.
Musicks Hand-Maid for the Virginals, in quarto.
Musicks delight for the Cithern, in Octavo.
Treasury of Musick for Cithern, Theorbo-Lute and Viol.
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Chapter 3, Item 62h
Wind music
Wind Musick
By Wind Musick I mean all sorts of Piping Instruments, as the Flagellet, Flute, Hoboy, Psalter, Recorder, Tibia, Bag-pipes, and such like, which receive sound from the Wind of the mouth.
Now the Directions for young Beginners to attain to the Art of Playing on these said Instruments and several others (sounded by the Mouth, and having holes on the sides to be stopt with the Fingers) have all of them one and the same method and terms (in a manner) as to their Teaching, which said terms take in short, as followeth.
Dots, are the Pricks upon the Lines of the Musick Book, which answer to the Holes on the Instrument, thus, I
Lines for the Pricking of Tunes or Lessons are six in a Stave, which are the number of the Holes, each Line for a Hole.
Notes, are certain Characters placed over the Dots of the Lines for the expressing the measure of time, slow or swift.
A Cypher set upon the uppermost Line, signifieth that in that place or part of the Lesson all the holes are to be open.
Stopt, that is, the holes must be stopt by the Fingers answering the Dots or Pricks set on the six lines, as
The Thumb on the left hand stops the under hole of the Instrument according to the Dots on the first line.
The first Finger of the same hand, stops the hole on the top, as the Dots or Pricks are set on the second line.
The second Finger of the said hand stops the second hole on the top of the Instrument, according to the Dots set on the third line.
The first Finger of the right hand, is to stop the third hole on the top, according to the Dots on the fourth line.
The Thumb of the right hand, is to stop the second or lower hole under the Instrument, according to the dots set on the fifth line.
The second Finger of the same hand stops the fourth hole above, according to the Dots on the sixth line.
Tunes, or Notes, or Sounds descending, are the eight sounds played back again in order downwards as they were raised, beginning with all the holes open, then to stop one hole, then two, &c.
Rising and falling Notes, are those ascending and descending as aforesaid; where note, that the taking up of a Finger raiseth the Note, and the stopping down falls it.
Pinching Notes, or higher Notes, are sounds that ascend 8 Notes higher than the plain notes, and are marked or distinguished from them by a dash drawn through the first or highest Dot, making it a cross; thus
The Graces in a Tune or Lesson are several, which be thus termed and marked.
A Beat, whose mark or character is thus
which
if it be on the same line even with the dot, then you are
to lift up the finger, and shake or quaver it on the
said hole several times, and lay it down again, before
you Play any other Note.
A Shake is thus marked
which if it stand alone
upon any other line under a Dot, then with the Finger
belonging to that line on which it is set, you must shake
and quaver, taking it off again before you Play any
other Note.
A Slur or Slide, which is thus marked
beginning at a line and falling back, riseth again and dasheth
through it and the line above it; it is placed under the
line that hath the dot, and is a tye of that Note to the
next following, shewing thereby that those two Notes
must be expressed together or with one breadth.
The Mood for Common Time, or Proportion of the Notes, either by two times, as one Semibreve makes two Minims; so one Minim makes two Crotchets; and one Crotchet two Quavers; and 1 Quaver makes 2 Semiquavers. This common time is thus noted
The Mood for Triple Time is thus marked
and is multiplied by 3.
The Names of the Notes of time are these, Semi breve, which is thus noted
Minims thus 
Crotchets thus
Quavers thus 
Semi-quavers thus 
any of these Notes
have a prick added to it at the head on the right
side, makes it three of the following Notes as 
is
three Crotchets in time, and a 
three Quavers.
The Division or Parts of a Lesson is marked with a long perpendicular stroke through all the six lines thus | ; if the lesson consist of two parts, each is distinguished thus
For the better light to these terms, take and peruse this one Pricked Lesson, having all its Lines, Dots, Graces, and Notes of time.
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