Selected quad for the lemma: fire_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
fire_n	air_n	earth_n	water_n	33,259	5	7.3420	4	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

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