Selected quad for the lemma: father_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
father_n	divine_a	holy_a	son_n	23,517	5	6.0454	4	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 leaps but very seldom when the upper part riseth by degrees and the lower part falls by a leap Fourthly the lesser third passeth into other Concords as when it is continued as in degrees it may be but not in leaps Also it may pass into the greater third both by degrees and leaps as also in the lesser sixth if one of the parts stand still into the great sixth it sometimes passeth but very rarely 1 2 3 4 Lastly add unto the rest this passage of the lesser third into the lesser sixt as when the lower part riseth by degrees and the upper part by leaps Of the greater or perfect Third The greater or perfect third being to pass into perfect Concords first take the unison when the parts ascend together the higher by degree the lower by leap or when they meet together in a contrary motion or when one of the parts stand still Secondly it passeth into a fift when one of the parts rests as hath been declared before or else when the parts ascend or descend together one by degrees the other by leaps and so the greater tenth may pass into a fift seldom when both parts leap together or when they separate themselves by degrees and this in regard of the relation not harmonical which falls in between the parts Thirdly the greater third passeth into the eight by contrary motions the upper part ascending by degrees The Vnison The Fifth The Eighth The greater third may also pass into other Concords and first into a lesser third when the parts ascend or descend by degrees or by the lesser leaps Secondly it is continued but rarely because it falls into relation not harmonical thereby making the harmony less pleasing Thirdly into a lesser sixt when the parts part asunder the one by degree the other by leap Fourthly into a great sixt one of the parts standing or else the upper part falling by degree and the lower by leap 1 2 3 4 Of the lesser Sixth The lesser sixt regularly goes into the fift one of the parts holding his place rarely into an eight and first when the parts ascend or descend together and one of them proceeds by the half Note the other by leap 1 2 Howsoever the ways of rising and falling from the lesser sixth into the eight in the for●mer example may pass I am sure that if the Bass be sharp in F fa vt it is not tolerable to rise from a sixt to an eight Lastly the lesser sixth may pass into an eight in Crotchets for they are easily tolerated It passeth likewise into other Concords as into a greater sixt the parts rising or falling by degrees as also in a greater or lesser third the one part proceeding by degree the other by leap or when one of the parts stands It self cannot follow by reason of the falling in of the Relation not harmonical 1 2 3 Of the greater Sixth The greater sixt in proceeding affects the eight but it will hardly pass into the fift unless it be in binding-wise or when way is prepared for a Close Finally the greater sixt may in degrees be continued or pass into a lesser sixt as also into a greater third or a lesser third 1 2 3 These are the principal observations belonging to the passages of Concords Perfect and Imperfect in few parts and yet in those few for fuge and formality sake some dispensation may be granted But in many parts necessity enforcing if any thing be committed contrary to rule it may the more easily be excused because the multitude of Parts will drown any small inconvenience FINIS THE ORDER of PERFORMING THE DIVINE SERVICE IN Cathedrals and Collegiate Chappels THe Confession and Absolution being read by the Priest in one continued and solemn Tone the Priest and the whole Quire repeat the Lords Prayer Thus Our Father which art in Heav●n c. for ever and ever Amen Priest Quire O Lord open thou our lips And our mouth shall shew forth c. Priest Quire O God make speed to save us O Lord make hast to help us Glory be to the Father and to the Son and to the Holy Ghost As it was in the beginning is now c. world without end Amen The Venite is begun by one of the Quire then sung by Sides abs●rving to make the like break or Close in the middle of ev●ry Verse according as it is shorter or longer Sunday O 〈◊〉 ●et us sing c. ●et us heartily rejoyce in the strength c. Monday O come 〈◊〉 us sing c. Let us heartily rejoyce in the strength c. Tuesday O come let us sing c. Let us heartily rejoyce in the strength c. Wednesday O come let us sing c. Let us heartily rejoyce in the strength c. Thursday O come let us sing c. Let us heartily rejoyce in the strength c. Friday O come let us sing● c. Let us heartily rejoyce in the strength c. Saturday O come let us sing c. Let us heartily rejoyce in the strength● c. A●ter the Psalms a short Voluntary is performed ●n the Organ After ●he first ●●sson Te Deum is sung the Priest beginning alone We ●●aise thee O God Then ●he whole Quire Answer We knowledge thee ● c. which is Composed usually in 4 Parts for sides by sev●ral Autho●s Sometimes it is su●g to one of th●se following Tunes of 4 parts with the Organ or without it Te Deum being ended and the Second Lesson Iubilate or Benedictus is Sung by the Quire as they are variously Composed or else to one of the following Tunes of 4 parts These several Tunes of 4 Parts are proper for Quires to Sing the Psalms Te Deum Benedictus or Jubilate to the Organ or sometime without it A. 4. Voc. Cante●bury Tune 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. Imperial Tune O come let us sing c. Let us heartily rejoyce in the strength c. O come ●et us sing c. Let us heartily rejoyce in the strength● c. O come let us sing c. Let us hea●t●●y rejo●ce in the s●reng●h c. O come le● u● sing c. L●t us heartily rejoyce in the s●●ength c. These six Tunes are sung in His Majesties Chappel with the Organ to the Psalms Te Deum c. Com●osed by Mr. John B●ow and Mr. William Turner Gentlemen of His Majesties Chappel 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 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

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