from Another Example upon the first sort of Cadence Ground broken Descant Mixt Mixt Here note that in Playing to a Ground we sometime for Humour or Variety hold out one Note of Descant to Two or Three Notes of the Ground such as will bear it as you see in the first Variation of Descant in this Example where you may also behold a 7 th brought off with a 6 th which passeth immediately into its * Vide Page 16. desired 8 th In the other Variations of Descant you have This Figure 6 set under Those Notes which Lead the Division answering to That Note of the Ground which requires a 6 th Lastly you may observe that sometimes part of the Last or concluding Note is also divided which is left to the Liberty of the Player or Composer Your Next Example is the same Cadence in sharp Notes Example upon the first sort of Cadence Sharp Ground broken Descant Mixt Mixt Though the Ground of these two Examples be the same Notes and consequently the same Descant or Division which serves for One might also serve for the Other yet I was willing to set them Both that you might perceive how great a difference of Aire there is betwixt the same Notes Flatt and Sharp as upon hearing will better appear unto you We will now proceed to the other sort of Cadence which is a 4 th brought off with a 3d. And First upon a Minim thus Example of the Second Sort of Cadence upon a Minim Ground Broken Descant Mixt Mixt Where you see that if the Notes be Played twice so Long as they are here set down the Example is then a Cadence upon a Semibreve Notwithstanding I will set you it upon a Semibreve and that I may comprise something more under the same Example I will place Four Minims before it by which you may see how to divide upon Notes descending by degrees Example of the Second Sort of Cadence upon a Semibreve Ground broken Descant Mixt Mixt In This and also in Other Examples there is One thing which may Scandalize a Young Musitian and perhaps give Offence to some Old Critick in prevention whereof I think it not amiss to speak a little Every Composer knows that the Consecution of 5 ths or 8 ths is not allowed in Musick that is Consecution of 5 ths and 8 ths how allowed or not allowed in Division to a Ground betwixt two Different Parts or Voyces Now when we Play Division to a Ground it is to be considered whether or no we Play a Different Part from the said Ground I answer in Descant-Division we do But in Dividing the Ground we Play but the same Part with it in which doing if we hit upon the 8 th Above or Below the Ground-Note which will produce sometimes two or more 8 ths together as you see in the first Variation of the Precedent Example yet This is still to be accounted as but One and the same Sound with the Basse and therefore if any man except against such a Consecution of 8 ths he may as well except against the Lute Harpsecord and other Instruments which have Octaves joyned to their Basses which being struck one after another produce the Consecution of so many 8 ths together As for 5 ths they cannot occurre in Breaking the Ground because there we meet every Succeeding Note in the Unison or Octave If they happen in Descant there is no Apologie for them except that One of them be a False or Defective 5 th which though not allowed by Morley and some other Precise Musitians of Former Times yet Kirker Mersennus and most Moderne Authours as well Writers Two 5 ths allowed if one of them be defective as Composers do both Use and Approve it For my Own Part I do not only allow the Consecution of Two 5 ths when One of them is Defective but being rightly taken esteem it among the Elegancies of Figurate Musick Your Next Example is a Cadence upon a Breve with Four Minims ascending by Degrees unto it An Example of the Second Sort of Cadence upon a Breve Ground broken Descant Mixt Mixt In the Mixt-Division of these Examples you have in some Places many 6 ths taken One after another Concerning Rising or Falling in 3 ds or 6 ths and in what Cases This or That is better in other Places many 3 ds Concerning which observe that in Notes where we hit two Strings at once with the Bow 3 ds are more easie for the Hand and also more pleasing to the Eare then many 6 ths together But in Mixed-Notes where we hit One String after Another 6 ths are better then 3 ds for the Leaps being greater a greater diversity of Sound is presented to the Eare. Thence it proceeds that in Skipping-Division we rather make use of 10 ths then Simple 3 ds when there follows many of them One after Another Having spoken of Cadences I must not omit a Close which is made without either of the before mentioned Cadences and used for a Conclusion to some Fancies Motets or other Grave Musick in which the Basse Falleth a 4 th or riseth a 5 th and part of the finall Note is commonly taken in to the Descant in this manner Example I will give you One Example of dividing upon it because if at any time you Play or Compose Division to a Through-Basse or continued Ground you may happily meet with it I will also set down a Long or Four Semibreves before the concluding Note because I have known some Beginners apprehend great difficulty in Playing upon Notes standing long in the same place When you see any Note with a Taile both upward and downward as in the Seventh Line of the next following Example it signifies the Sound of two Strings in Unison one being stopped the other open An Example of a Close without a Cadence I have not applied This Example into the severall Sorts of Division because the Gronnd-Notes standing so long in the same place doe not admit a distinction betwixt Breaking the Ground and Descanting upon it But this which I have done may suffice to shew you the way of Dividing upon such Notes albeit their Continuance were longer in the same place And whereas in all the other Examples I have Set the severall Wayes by themselves that you might better perceive how they differ One from Another yet in Playing or Composing Division to a Ground we may either Continue any One way perhaps a whole Strain together or Change from This to That sort of Division as best pleases our Fancy in so much that sometimes Part of the same Note is Broken in One Sort of Division and Part of it in Another as you see in this Instance Example In which the First Part of the Semibreve in D is Divided according to the way of Breaking the Ground and the Latter Part of it in the way of Descant Hitherto we have treated concerning the dividing of Minims Semibreves or Longer-Notes
a Graduall Transition into some of the Concords which is effected by making 3 4. or more of them ascend to the said Concord by degrees returning from thence either to end in the Sound of the * Holding-Note Standing-Note Ground-Note and Note divided are the same Holding-Note or else passing on to meet the Note following And though this moving into the Concords be the very same with Descant-Division so long as it is in that Motion yet in regard of its returning either to its Own Note or to meet the Next Note in Nature of a Basse we must here rank it under the Name and Notion of Breaking the Ground The manner of it you may see in these Instances These pass up to the 3. d These to the 5.th These to the 8.th These to a 3. d higher These to a 5.th higher These to a 3. d These to a 5.th These to an 8.th These to a 3. d higher These pass to the 4.th below These to a 6.th below These to the 8.th below These into Concords both above and below In this Fifth and Last way of Breaking a Note consisteth the chief Mystery of Playing or Making Division to a Ground which may be referred to these two Heads 1 That it be Harmonious to the Holding Note 2 And that it come off so as to Meet the beginning of the Next Note in a smooth and naturall Passage How it is made Harmonious to the Holding Note How Division is made harmonious to the Holding-Note of the Ground was shewed in the precedent Example to wit by Passing into its Concords True it is that Division doth sometime pass into a Discord as the proper place designed as you see in these two Instances This passes into a 4.th This into a 7.th But this is done upon the same accompt that the very same Discords are used in other Composition As for bringing the Division off How Division is brought off to Meet the next Note of the Ground to Meet the beginning of the Next Note it is done much after the same Manner as passing into Concords that is to say by making the last Three Minute Notes at least two of them ascend or descend by degrees unto the said Next Note as you see here following where the Semibreve in G is broken to every distance in an Octave As thus or thus Thus or thus Thus or thus Thus or thus c. This holds good be the Division Quicker or Slower only that in quick Division more of the Minute-Notes will offer themselves in making this Graduall Transition unto the succeeding Note as you may observe in the Semiquavers of the precedent Instances Now suppose this Transition which is made by Two Three or more Notes should in stead of the Unison meet the Next Note of the Ground in a Third or Fifth above by which means it is changed into Descant-Division it is still but the same thing quatenus Division to a Ground and therefore left to your liberty to use This or That as there shall be occasion By this which hath been shewed I suppose you see what belongs to Breaking a Note but this requires not only a Notion but Habit also which must be got by Practise VVherefore I would have you prick down some easie Ground and break each Note to other according to what hath been delivered To the better effecting whereof I will set you an Example with which take these Advertisements First that your Division be naturall to the Key of your Ground in relation to Flatts and Sharps Secondly you are to consider that a Seventh or Sixth Falling is but the same with a Second or Third Rising and so all other Distances the same with their Opposite Octaves thus exemplified 2d 3 d. 4 th 5 th 6 th 7 th 8 th 7 th 6 th 5 th 4 th 3 d. 2 d. 8 th Whence it followes that you may choose whether you will meet any succeeding Note of the Ground in the Unison or in the Octave either above or below it for de octavis eadem est ratio Thirdly in such places as the Ground doth intimate a Cadence by * Vide Page 13. Falling a 5 th or Rising a 4 th all the Notes that hitt upon the 3 d. above or 6 th below must be Played sharp Lastly as your Division passes into the 3d. and 5 th whilst it moveth above How Division is to move below the Ground-Note by which means it is made Consonant to the Ground-Note so in moving beneath it must pass into the under Octaves of the said Concords viz. into the 4 th and 6 th below the standing Note Example 5 3 5 5 3 5 5 3 5 4 6 4 4 6 4 46 4 These things being known you may Break your Ground in such manner as follows where you have the Division placed over the Ground that you may better observe the Breaking of each Note An Example of Breaking the Ground Here you see every Note of the Ground Broken still according to some One or Other of those five wayes before mentioned as indeed no Note can be broken but must relate to some of them onely in one place I have made the Division meet the Ground-Note in the 3 d. in another place in the 5 th both which are marked out unto you for your imitation when the Point or any other convenience shall invite you thereunto Some other things there are which offer themselves to observation in this Example One is concerning the Second below and Seventh above the Divided-Note An Observation for Playing Flatt or Sharp in the Seventh above or Second below the Standing-Note which you see sometimes Flatt and sometimes Sharp Although it be hard to determine what a Composer may Approve or Disapprove in divers Cases concerning Flatts and Sharps in which doubts the Eare must be chief Umpire yet in This Particular something I think may be delivered by way of Rule which is that if we descend a Second and immediately ascend to the place of the former Note the second must be sharp The same is understood of the 7 th above in reference to the 8 th as you see in Breaking this Semibreve in D. Example Here if you consult your Eare you will find that C Naturally requires a Sharp when the next Note immediately ascends again to D. But in the Second Instance where the Next Note doth not so ascend no Sharp is required This Rule of Sharp in case of ascending admits yet some Exceptions First if the Ground do suddainly Rise or Fall to a flatt second Secondly if it fall a 3 d. Lastly if it rise a 4 th or fall a 5 th in nature of a Cadence in These Cases though the Division rise again to the place of the former Note no Sharp is to be added as thus Example Another thing to be noted is concerning a Cadence which as I have said is intimated when the Bass falls a 5 th or rises a 4 th But
we must put a difference betwixt a Cadence at a Close and in Other places of the Ground How to break a Cadent-Note at a finall Close and how elsewhere It the Basse falls a 5 th at or near the beginning of your Ground or in any Other place where a Close is not signified you may Break the antecedent-Note either in Transition by degrees or in what manner pou please But at a Close I would alwayes have the Division of the said Note to end in its own Sound and from thence Break off into the Close-Note retaining still the distance of rising a 4 th or falling a 5 th as you did see in the Conclusion of each Strain of the Precedent Example And here I cannot but take notice of an Error which I have observed in some reputed excellent Violists who in Playing a Consort-Basse would sometimes at the very Close run down by degrees to the concluding Note which is very improper for if any Upper Part do Fall from a 5 th to an 8 th a thing most frequent the Basse by such a descent in degrees doth make two 8 ths to the said Part as in this Instance Example 5 8 5 88 5 88 5 88 Although this running down by degrees seem worse in Playing a Consort Basse then in a Division to a Ground yet in This also it doth not want its bad Consequence the Organist commonly joyning such Parts unto his Ground as the Composer doth unto his Basse Of Descant-Division and how it differs from Breaking the Ground Descant-Diminution or Division is That which maketh another distinct and concording Part unto the Ground It differs from the Former in These Particulars That breaks the Notes of the Ground This descants upon them That takes the liberty to wander sometimes beneath the Ground This as in its proper Sphere moves still above it That meets every succeeding Note of the Ground in the Unison or Octave This in any of the Concords But in the main business of Division they are much the same for All Division whether Descant or Breaking the Basse is but a Transition from Note to Note or from Concord to Concord either by Degrees or Leaps with an intermixture of such Discords as are allowed in other Composition The Lawes or Rules to be observed in Descant-Division are the same with Singing or making Descant to a Basse Plain-song or those I gave you in joyning another Part to a Basse or Ground That is to say you may begin with a 3 d. 5 th or 8 th to the Ground-Note Passing On to meet the Next Note also in a 3 d. 5 th or 8 th and so from Note to Note alwayes provided that you avoid the Consecution of Two 5 t s or Two 8 t s One after Another Now for the Manner of this Passage from Note to Note we must have recourse again to the five wayes of Breaking a Note mentioned Page 21. which are of the same use in Descant as in Breaking the Basse For Here as in the Other a Note is sometimes Broken without Variation of Sound according to the first way Sometimes Varying the Sound and retaining the Aire as in the Second way Sometimes again by making a Transition unto that Concord in which you intend to Meet the Next Note of the Ground in such 〈◊〉 â—â—â—ner as you made it to the Note it self according to the Third way viz. by making 2 3. or more of the Minutes ascend or descend unto it by degrees Lastly your Division may pass into the Ground-Note's Concords either by Leaps according to the Fourth way or by Degrees like the Fifth way which as I said Page 23. is Descant so long as it continues in That Motion and from thence Return to the place where it begun or else Pass On to Meet the Next Note of the Ground in some of the Concords according to the Nature of Descant These severall wayes of Breaking a Note are lest to your Liberty to use This or That as there shall be occasion A Discord viz. a Second Fourth Seventh or their Octaves is never to be used to the beginning of the Ground-Note unlesse in the way of Syncope or Binding as hath been shewed A Sixth is seldome used as the Leading-Note of the Division to any Note of the Ground Concerning a Sixth unless in binding or to such Notes of the Ground as require a Sixth to be joyned to them in place of the 5 th What Notes those are was partly shewed Page 13. to wit such under which we suppose the Sound of a 3 d. to make up the full Latitude or Compass of the Basse not only sharp Notes as there mentioned which require the Lesser 6 th but sometimes also flatt Notes requiring the Greater 6 th as you see in the Middle Barre of this Example in which the black Notes express the full Compass of the Basse Example 6 6 6 6 6 6 Now if you do but break this Ground according to the black Notes you will find that your Division doth of it self produce 6 ths to those Notes which stand a 3 d. higher as thus Example 6 6 6 And here you may perceive a reason why such Notes affect a 6 th more then a 5 th because a 5 th would be a Discord to the 3 d. below which as I have shewed is the Naturall Compass of the Basse Of Mixt Division Mixt-Division I call That which mixeth Descant and Breaking the Ground What Mixt-Division is One with the Other under which Terme I comprehend all Division which presents unto our Eares the Sounds of two or more Parts moving together which is expressed either in Single-Notes by hitting first upon one Part and then upon Another or in Double-Notes by touching Two or More Strings at once with the Bow This as it is more excellent then the single wayes of Breaking the Ground or Descanting upon it so it is more intricate and requires something more of Skill and Judgement in Composition by reason of certain Bindings and Intermixtures of Discords which are as frequent in This as in Other Figurate Musick I will now give you Examples of This and Descant-Division not insisting upon the severall distances in an Octave now less needfull but upon such Passages as offer themselves most remarkable in Grounds such are Cadences And these how numerous soever they seem to be are in effect but Two that is to say Cadances of two sorts either a 7 th brought off with a 6 th after which the Basse falls a Tone or Semitone or else a 4 th brought off with a 3 d. after which the Basse commonly falls a 5 th Example 7 6 7 6 4 3 4 3 4 3 Your first Example shall be upon the First Cadence and Notes Leading to it in which you shall have First the Ground broken Then Descant and Lastly Mixt Division both in Single and in Double Notes by which means you may better discern how they differ One
which duly considered might also serve for Notes that are Shorter but that I may as near as I can omit nothing which may ease or assist the Young Practitioner I will give some Examples upon Shorter Notes as Crochets and Quavers with such Observations as I think requisite and First of Crochets Rising and Falling by Degrees An Example upon Crochets ascending by Degrees The Ground broken Descant Mixt Mixt An Example upon Crochets descending by Degrees The Ground broken Descant Mixt Mixt In these Two Examples you have had Crochets Rising and Falling by Degrees I will now shew you them moving by Leaps or Intervalls in a Ground of two Strains An Example of Crochets rising and falling by leaps The Ground The Ground broken Descant Mixt Mixt In This Ground you have all the Intervalls or Distances which are in an Octave for in the First Strain you have 3 ds Falling and 4 ths Rising which include as the same thing 6 ths Rising and 5 ths Falling In the Second Strain you have on the contrary 3 ds Rising and 4 ths Falling which is the same with 6 ths Falling and 5 ths Rising And lastly for 7 ths you have Them included by their Opposite Octaves in Those Notes which Rise or Fall by Degrees Of Quavers If Quavers occurre Quavers to be considered whether they be not the Minute Parts of some longer Note in a Ground proposed unto you to Play or Make Division upon you are First to consider whether or no they be not the Minute Parts of some Longer Note as for Example when they move by Degrees in such Instances as These Example Here they signifie no more then the Plain-Notes you see in the Next Barres after them and therefore if you Play upon Such Quavers as though they were the said Plain-Notes making your Division proceed in a contrary Motion it may pass for current especially in Playing to a Ground Ex tempore But in case you desire to divide the Quavers Themselves or to Play Descant or Mixt Division Upon them I will shew you them according to the Method of our former Examples both Rising and Falling by Degrees An Example upon Quavers Rising and Falling by Degrees The ground The Ground broken The Ground Descant The Ground Mixt Mixt The First Variation of this Example where the Quavers are broken into Semiquavers is a little irregular as to what we have delivered concerning Meeting each following Note in the Unison or Octave for Here each other Quaver is met in a Second But necessity and the shortness of the Dissonance render That excusable in Short Notes which would not be Allowed in Longer For as Crochets so broken into Quavers are not very commendable so Minims broken into Crochets after the same Manner would be much worse But if That Ascending or Descending by Degrees consisted of Pricked-Notes Succeeded by Notes of the Next less quantity Then that way of Breaking would be both Regular and Commendable as thus Example Ground Broken Ground Broken If you ask me why I have put a b Flat to that Quaver in B I answer because the Division Descends from it to F which is Flat Again in the Other Part which Ascends Of Notes being made Flat or Sharp in relation to the 4 th Above or Below there is a Quaver in F made Sharp because the Division Ascends from it to B which is Sharp Both which are grounded upon the same Reason which is that in foure Notes Asccending or Descending by Degrees we seldome exceed the distance of a Full or Perfect 4 th lest we produce unto the Eare that harshness which is called Relation not Harmonicall For though the Less 4 th that is when the Lower terme is Sharp and the Higher Flat be most Frequent and very Agreable in Musicall Progression yet when Both termes are extended the Higher being Sharp and the Lower Flat the distance is a Trione which is more by half a Note then a Perfect 4 th and therefore when this happens we commonly alter That which comes first in compliance To and preparing the Eare For that which is to follow As for Quavers moving by Leaps I have little to say more then that Grounds ought not to consist of Notes so Short as Quavers in such a movement But if such Notes should be proposed unto you to Divide upon you may serve your self by that Example you had of Crochets in making Them Quavers and the Quavers upon them Semiquavers or as you see in this following Example Quavers moving by Leaps The Ground broken Descant Mixt Mixt By these Examples and what hath been delivered you see in what Manner Notes are divided either according to the Way of Breaking the Ground of Descanting upon it or of Mixt Division which severall VVayes have been set down seperately to give you a more Full and Perfect Knowledge of each VVay but you are now left to your liberty to use This or That or Mingle One with Another as shall best please your Fancy And now there remains no more to be said of Dividing Notes as I conceive but that I give you some assistance by taking you as it were by the Hand and Leading you into the easiest VVay of Playing Ex tempore to a Ground How to Play Ex tempore to a Ground First you are to make choice of some Ground consisting of Semibreves or Minims or of Semibreves and Minims for such ought Grounds to be that are proposed to be Played upon at Sight Next you ought to be provided of Ten or a Dozen Points of Division the more the better each consisting of a Semibreve or Minim which must be accomodated to the First Note or Notes of your Ground Being thus prepared take the Easiest of the said Points and by applying it First to One Note and Then to Another endevour to carry it on through the whole Ground VVhen by practice you can do This take Another Point and do the like with It and so from One to Another I will here for your ease and encouragement furnish you with a Ground and also with some Points to which you may adde infinite more at your pleasure The Ground points Let us now take some of these Points and apply them to the precedent Ground that you may by Example see how they are to be carried on An Example for carrying on a point upon a Ground This driving or carrying On a Point doth much ease the Invention which hath no further trouble so long as the Point is continued but to place and apply it to the severall Notes of the Ground Besides it renders the Division more Uniforme and also more Delightfull provided you do not cloy the Eare with too much repetition of the same thing which may be avoyded by some little Variation as you see I have done in carrying on some of the before-going Points Also you have liberty to Change your Point though in the Midst of your Ground or Mingle One Point with another as best
shall please your Fancy Thus much for carrying on Points and now let me advertise you Concerning the ordering and disposing of Division VVhen you are to Play Division to a Ground I would have you First Play over the Ground it self for these Reasons 1 That Others may heare what Notes you divide upon 2 That your self may be better possessed of the Ayre of the Ground in case you know it not before 3 That he who Playes the Ground unto you may better perceive your Time or Measure The Ground Played over you may Break it into Crochets and Quavers or Play Slow Descant to it which you please If your Ground be of Two or Three Strains you may do by the Second or Third as by the First This done and your Ground beginning over again you may then Break it into Division of a Quicker Motion driving on some Point or Points as hath been shewed When you have prosecuted that Manner of Play so long as you please and shewed some Command of Hand you may fall off to Slower Descant or Binding Notes as you see cause Playing also Sometimes Lowd or Soft to express Humour and draw on Attention After this you may begin to Play some Skipping Division or Points or Tripla's or what your present Fancy or Invension shall prompt you to changing still from one Variety to another for Variety it is which chiefly pleaseth Without which the best Division in the World still continued would become Tedious to the Hearer and therefore you must so place and dispose your Division that the Change of it from One kind to Another may still beget a new attention And this is generally to be observed whether your Ground consist of One or more Strains or be a Continued Ground of which I must also speak a little A Continued Ground used for Playing or Making Division upon is for the most part the Through-Basse of some Motett or Madrigall proposed or selected for That purpose This after you have Played Two or Three Semibreves of it Plain to let the Organist know your Measure you may begin to divide according to your Fancy or the former Instructions untill you come near some Cadence or Close where I would have you shew some Agility of Hand Here if you please you may rest a Minim two or three letting the Ground go on and then come in with some Point after which you may fall to Descant Mixt-Division Tripla's or what you please In this manner Playing sometimes Swift Notes sometimes Slow changing from This to That Sort of Division as may best produce Variety you may carry on the rest of the Ground and if you have any thing more excellent then other reserve it for the Conclusion Of Composing Division for One Viol to a Ground When you compose Division to a Ground endevour to make it easie for the Hand for of things equally excellent in their Composition That is alwayes to be preferred which is more easie to be performed Hence we may conclude that no man is fit to compose Division to a Ground how great a Musitian soever he be unless he understand the Neck of the Instrument and the Method of Fingering belonging to it This is all I have to say concerning Division for One Viol more then that I would have you peruse the Divisions which other men have made opon Grounds as those of Mr. Henry Butler Mr. Daniel Norcome and divers other Excellent Men of this our Nation who hitherto have had the preheminence for this particular Instrument observing and Noting in their Divisions what you find best worthy to be imitated Of two Viols Playing together to a Ground After this discourse of Division for One Viol I suppose it will not be unseasonable if I speak something of Two Viols Playing together to a Ground in which kind of Musick I have had a little experimentall knowledge and therefore will deliver it in such order as I have known the Practice of it referring the Improvement thereof to further Experience Let the Ground be Pricked down in three Severall Papers One for him who Playes on the Organ or Harpsecord and the Other Two for them that Play on the Viols which for Order and Brevity I will distinguish by three Letters Viz. A. for Organist B. for First Basse and C. for the Second Each of these having the Same Ground before him they may all begin together A. and B Playing the Ground and C. Descanting to it in Slow Notes or such as may sute a Beginning This done let C. Play the Ground and B. Descant to it as the Other had done before but with some little Variation If the Ground consist of Two Strains the like may be done by the Second One still Playing the Ground whilst the Other Descants or Divides upon it The Ground thus Played over C. may begin again and Play a Strain of Quicker Division which ended let B. answer the Same with Another Something Like it but of a little more Lofty Ayre for the better performance whereof if there be any difference in the Hands or Inventions I would have the better Invention Lead but the more able Hand still Follow that the Musick may not seem to go less in performance When the Viols have thus as it were Vied and revied to one another A. if he have Ability of Hand may upon a Signe given him put in his Strain of Division the Two Viols Playing One of them the Ground and the Other slow Descant to it A. having ended his Strain of Division the same may be answered First by One Viol and then by Another Having answered One Another in this Manner so long as they think fit the Two Viols may divide a Strain Both together consisting of Crochets Quavers or Semiquavers as they please in which doing let B. Break the Ground according to the Wayes mentioned Pag. 22 23. and if Necessity or his own Fancy move him to fetch a Compass let it be done in moving to the Octave upward or downward returning back either to end upon the Note it Self or make a Transition to the Note following By this C. knowing B's Motion he knows how to avoyd running into the same and therefore will move into the 3 d. or 5 th according to the Way of Descant Thus much in relation to the present Note or Note Divided Now for meeting the Next Note let C. take these Observations 1 That whereas B. in Breaking the Ground doth meet every Next Note in the Unison or Octave his securest Way is to meet the said Next Note in a 3 d. or in a 5 th if their Motions be contrary 2 That such Notes of the Ground as require a 6 th to be joyned to them may be met either in the 6 th or in the 3 d. 3 That at a Close or upon such Notes as signifie a Cadence he may after he hath divided the supposed Binding Note meet the Cadent Note of the Ground in an Unison or Octave These Directions observed