Next Note of the Ground Ib. How Division is to move below the Ground-Note p. 25 An Example of Breaking the Ground p. 26 An Observation for Playing Flatt or Sharp in the Seventh above or Second below the Standing-Note p. 27 How to Break a Cadent-Note at a finall Close and How Elsewhere Ib. Of Descant-Division and how it differs from Breaking the Ground p. 28 Concerning a Sixth Ib. Of Mixt-Division p. 29 Cadences of two Sorts Ib. Examples upon the first Sort of Cadence p. 30 31 Examples upon the second Sort of Cadence p. 32 33 Consecution of Fifths or Eighths How allowed or not allowed in Division to a Ground p. 34 An Example of a Cadence upon a Breve p. 35 Concerning Rising or Falling in Thirds or Sixths and in what Cases This or That is better p. 36 Of a Close without a Cadence and an Example thereupon p. 37 Examples of Dividing upon Crochets Rising and Falling by Degrees p. 39 40 An Example of Dividing upon Crochets moving by Leaps or Intervals p. 41 Quavers to be Considered whether they be not the Minute Parts of some Longer Note p. 42 An Example of Dividing upon Quavers Rising and Falling by Degrees p. 43 Of Notes being made Flatt or Sharp in relation to the Fourth above or below p. 44 An Example of Quavers Moving by Leaps Ib. How to Play Ex-tempore to a Gronnd p. 45 Concerning the Ordering and Disposing of Division p. 47 Of Composing Division for One Viol to a Ground Ib. Of Two Viols Playing together to a Ground p. 48 Some Observations in Composing Division-Musick of Two and Three Parts p. 49 Part. I. THE DIVISION VIOLIST OR An Introduction to the Playing upon a Ground BEfore I treat of Playing Division to a Ground I suppose it convenient to speak of some things which must be known and prepared in order to that Designe As first a Viol fitted for that purpose Next Hands enabled to Play upon it and then some Knowledge in the Concords of Musick With these therefore I will begin in assistance to such as are not already sufficiently inform'd therein And first concerning the Viol. What kind of Viol is fittest for Division and how to be accomodated I would have a Division-Viol to be of something a shorter sice than a Consort-Basse that so the Hand may better command it more or less short according to the reach of his Fingers who is to use it but the ordinary size such as may carry a String of thirty Inches from the Bridge duely placed to the Nutt The Sound quick and sprightly like a Violin and Viols of that shape the Bellyes being digged out of the Planck do commonly render such a Sound It must be accomodated with six Strings and seven Frets like those of a Lute but somthing thicker The Strings a little bigger than those of a Lyra-Viol which must be laid at the like nearness to the Finger-board for ease and convenience of Stopping The Bridge as round as that of a Consort-Basse that so each several String may be hit with a bolder touch of the Bow The Plate or Finger-board exactly smooth and even It s Length full two parts of three from the Nutt to the Bridge It must also be of a proportionate roundness to the Bridge so that each String may lie at an equal nearness to it As for Example If the roundness of the Bridge be as the Arch A. B. then I would have the low end of the Finger-board Let Viol-makers take notice hereof to be as C. D. and the top of it as E. F. The Bow A Viol-Bow for Division should be stiff but not heavy It s Length betwixt the two places where the Haires are fastned at each end about 27 Inches The Nutt short The Height of it about a Fingers bredth or little more The Viol and Bow thus prepared I must now teach you how to use them and in order thereto first How to Hold the Viol. Being seated place your Viol decently betwixt your Knees so that the lower end of it may rest upon the Calves of your Legs Set the Soles of your Feet flat on the Floor your Toes turned a little outward Let the Top of the Viol be erected towards your left Sholder so as it may rest in that posture though you touch it not with your Hand How to Hold the Bow Hold the Bow betwixt the ends of your Thumb and two foremost Fingers near to the Nutt the Thumb and first Finger fastning upon the Stalk and the second Fingers end turned in shorter against the Haires thereof by which you may poize and keep up the point of the Bow If the second Finger have not strength enough you may joyn the third Finger in assistance to it but in Playing Swift Division two Fingers and the Thumb is best in my opinion Holding the Bow in this posture you may stretch out your Arm and draw it first over one String and then another crossing them in right-angle at the distance of two or three Inches from the Bridge Make each several String yield a full and cleer sound and order your Knees so that they be no impediment to the Motion of your Bow The posture of the left Hand When you are to set your Fingers upon the Strings you must not grasp the Neck of your Viol like a Violin but rather as those that Play on the Lute keep your Thumb on the back of the Neck opposite to your Fore-finger so as your Hand may have liberty to remove up and down as occasion shall require How the Viol is Tuned and Applyed to the Scale of Musick It is supposed you understand Song and consequently the Scale of Mufick which known the Tuning of your Viol appears in such order as you see the Six Semibreves which stand one over another in the first part of the following Scale Where note that all the degrees of rising above the highest of those Semibreves are exprest on the Treble or highest String by Stopping it still lower and lower upon the Neck of the Viol. When you have Tuned your Viol according to the Six Semibreves your next business is to Play those other Notes which you see ascend and descend by degrees over which I have set Figures to direct you with what Fingers to stop them 1 2 3 4 is set for first second third and fourth Finger Those which have no Figures are Play'd on the open Strings Observation for playing Notes upon another String You must know that sometimes Notes are not Play'd on Those Strings to which they seem properly to belong but for ease or better order of Fingering are Play'd upon some Other String an instance whereof you have in those two Notes marked with little Stars over their Figures which Notes are Play'd upon the second String though a little before Notes standing in the same places were Play'd upon the Treble and therefore when any difficulty shall occurre in Fingering you must try which way the same Notes may be
exprest with most ease and convenience to the Hand The Example before-going was set in the whole Scale that you might better perceive where every Rule and Space take their places upon the Viol but those that follow must be set down in the common way of 5 Lines and when Notes exceed that compass they are still reduced into 5 Lines by setting another Cliffe This which follows I would have you practise first in a slow measure increasing the quickness by degrees as your Hand advanceth in readiness but be sure to make all your Notes sound cleer and full stopping the Strings firm and hard with the very ends of your Fingers Also give as much Bow to every Quaver as the length of it will permit But before you set upon it read the two Rules which follow Here you must observe two general Rules one is for Stopping the Strings the other for the Motion of the Bow A Rule for Stopping Which is that when you set any Finger down you are to let it rest there Playing the following Notes with other Fingers until some occasion require the removing it This is done both for better order of fingering and that the Fingers may pass more smoothly from Note to Note without lifting them too far from the Strings as also to continue the sound of a Note when the Bow hath left it Instances of these Holdings you have where you see such a Stroke as this ✓ marked for a Hold and drawn from one to some other distant Note As for Example The first four Quavers of the second Bar have such a Mark under them which signifies that the third Finger which stops the first of them must be kept on untill you have also play'd the fourth Quaver because in playing the two middle Quavers there is no necessity of taking it off The like is to be observed in the rest A Rule for the Motion of the Bow Concerning the Bow observe that when you see an Even number of Quavers Semiquavers c. as 2 4 6 8. You must begin with your Bow Forward Yea though the Bow were imployed Forward in the next Note before them But if the Number be Odd as 3 5 7. which alwayes happens by reason of some Prick-Note or odd Rest the first of that odd Number must be play'd Backward And this is most properly the Motion of the Bow although not absolutely without exception When you can Play the last Example you may practise This following It is now requisite your Hand be accustomed to Play Notes which ascend above the Fretts above I call it in relation to Sound being lower as to the Neck of the Viol to which purpose I propose unto you the following Example with which I must also give you An Observation for Fingering Here you may observe that in any Point of Division which reaches to the lower Fretts or beyond them the Highest Note thereof is alwayes Stopt either with the Third or with the Fourth Finger If with the Third the First and Second Fingers take their orderly places in Stopping the two Notes gradually ascending to it or descending from it If the Highest Note imploy the Fourth Finger then the next Note under it is Stopt either with the Third or with the Second Finger according as the said Under-Note is either Flat or Sharp If Sharp with the Third If Flat with the Second Finger But whether the highest Note imploy the Third or Fourth Finger you may be assured that the 3 d. below it must be Stopt with the First Finger which alwayes serves as a Guide unto those two Notes which are above it And whereas you will see sometimes two Successive Notes Stopt one after the other with the same Finger it is alwayes done either to prepare the Fingers to this Posture or to remove the said Posture to some other Place This Order of Fingering holds good throughout the whole Finger-board in Stopping three Successive Notes upon any one String with this only difference that where the Stopps are Wide as amongst the Fretts the Fourth or Little Finger is of more use then Lower down where the Stopps are more Contract As for the Posture of the Fingers in moving from one String to another which for diversity of Circumstances cannot so well be reduced to Rule I must referre you to your Own Observation in making use of those Fingers which offer themselves the readiest and aptest for stopping any succeeding Note If you find any difficulty in this Example Play it the slower untill your Hand shall have overcome it I must now apply your Hand to the Playing of quicker Notes yet not till I have said something concerning The Motion of the Right Arme and Wrist I have already told you that you must stretch out your Arme so that your Bow may cross the Strings near to the Bridg In which Posture it is more then probable you will move your Shoulder-Joint for in Playing long Notes necessity will enforce you so to do But if you stir that Joint in Quick-Notes it will cause your whole Body to shake which by all means must be avoided as also any other indecent Gesture Quick Notes therefore must be exprest by moving some Joint nearer the Hand which is generally agreed upon to be the Wrist The Question then arising is about the Menage of the Elbow-Joint concerning which there are two different Opinions Some will have it to be kept streight and stiff Insomuch that I have heard a very Eminent and Judicious Violist positively affirm That if a Scholar can but attain to the Playing of Quavers with his Wrist keeping his Arme streight and stiff in the Elbow he hath got the Mastery of the Bow-Hand Others contend that the Motion of the Wrist must be strengthned and assisted by a Compliance or Yielding of the Elbow-Joint unto it and they to back their Argument produce for Instance a * Mr. Daniel â—orcome Person Famous for the Excellency of the Bow-Hand using a Free and Loose Arme. To deliver my own Opinion I do much approve the streightness of the Arme especially in Beginners because it is a means to keep the Body upright which is a commendable Posture I can also admit the stiffness of the Elbow in Smooth Division for which it is most properly apt But Cross and Skipping Division cannot I think be Well exprest without some Consent or Yielding of the Elbow-Joint unto the Motion of the Wrist How to gain the Motion of the Wrist The best way I can advise you is upon moving the Bow Forward and Backward to carry the Hand To and Fro a little beyond the Motion of the Arm in such manner that the Arme Returning shall as it were Draw the Hand after it When you can do this in Longer Notes you may Practice it in shorter by degrees a little Exercise will effect it I will set your next Example in C-fa-ut with the Lowest String put down a Note to make it a Sub-Octave thereunto as we commonly do
Christophori Simpson Effigies The Division-Violist OR AN INTRODUCTION To the PLAYING upon a GROVND Divided into Two PARTS The First Directing the HAND with Other Preparative Instructions The Second Laying open the Manner and Method of Playing Ex-tempore or Composing Division to a GROVND To which are Added some Divisions made upon Grounds for the Practice of Learners By CHR. SIMPSON LONDON Printed by William Godbid 1659. THE PREFACE IT is not unknown that He who exposes a Book to Publick View doth also expose it to Publick Censure Nor can I expect a Priviledge denied to better Authors Some will dislike the Matter Others the Method Some again will except against This Others against That particular Part or Passage every one censuring according to his Judgement or Fancy As for the Matter or Subject though in it Self it might deserve acceptance from all that pretend to Division upon what Instrument soever yet I offer it only to Those that affect the Viol. The Method is such as I thought might render the Matter most easie as well to the Hand as to the Vnderstanding If in This or That particular Part or Passage I differ from the Judgement of any Master in Musick I am ready to submit to better Reasons when I shall hear them pretending to no more then the delivering my Own Opinion True it is the first Essay of this Treatise was not intended for the Presse but for a private Friend who desired some Instructions for Playing Division to a Ground After I had considered what might be said upon That Subject and committed the Heads to Paper I found as powerfull Motives to take also into consideration what was necessary to be known in order to those Instructions even from the first handling of the Viol and thereupon drew all up into a Compendium to the end that what was chiefly intended for One might also be usefull to Others How far I have acquitted my Self herein must be referred to the Book it self which encouraged by the approbation of Competent Judges hath now put on the confidence to appear in Publick And now I must tell my Reader if he know it not already that This Playing Division to a Ground of which we treat is the Highest Degree of Excellency that can be aimed at upon the Viol and includes what else is to be done upon That Instrument All I have to say more is that if This which I now expose prove usefull be it in the least degree as either by improving the Knowledge of this kind of Musick in laying the Way more open then it was Or by serving and assisting such as be Lovers or Learners of it Or if my failings herein may prove an Incitement to some more able Genius to make a better Discourse upon this Subject I have then attained my desires Chr. Simpson To Mr. Christopher Simpson upon his Excellent Treatise of Playing Division upon a Ground I Stand not here your Merits to proclaim Which will be done by both your Book and Fame But as concern'd for our great Art I may To you my Thanks though not my Praises pay To Praise is to bestow but what can we Give him who has oblig'd all Harmonie For you have drawn her from her gloomy Pit Wherein so many Ages she did sit Obscured either by Design or Chance By too much Wit or too much Ignorance You have her inward Beauties now reveal'd Thinking them Injur'd while they were Conceal'd For things that are thus rationally good Are more Admir'd the more th' are Vnderstood Her roughest Descants you have made so clear 'T is as much Pleasure now to Learn as Hear For you enlighten all by your own Beam And in a Stile as Charming as your Theme What then to you brave Friend do's Musick owe Who in untroden Paths hath ventur'd so To bring to Light that her Illustrious Birth Derives from all that 's great in Heaven and Earth And by such certain Scales her Rules to try As shews both how she conquer's Souls and why From whence men may Judiciously invent And bring even Discord into Ornament Your great Desert hath all requital barr'd We may acknowledge it but not reward Musick her self with all her Concords fraught Adorn'd with every Grace which you have taught And help'd by all whom Numbers do enflame To Sing a Panegyrick to your Name Would only tell the World That Consort met Not to Repay but to Confess her Debt For all th' eternity she can confer Is short of that which you have given her Be this your Glory to make Musick Live 'T is much to merit Fame but more to Give CHARLES COLMAN Dr. in Musick To his Excellent Friend Mr. Christopher Simpson upon his most acurate Treatise of Division to a Ground GReat Soul of Musick who shall Sing thy Praise Give thee loud Plaudits circle thee with Bayes Crown thy soft Numbers who at least incline To treat or descant on this Treat of Thine For he that speaks thee home 't is fit he be Familiar with thy Soul thy Worke and Thee Some happy few that know some that know not Thy Worth promiscuously throw in their Vote And why not I who by Inspection see My Optick's clear by a Reflex from Thee Mix me i' th Chorus then since to thy Praise I bring no Flattery Truth 's my only Baise Thou art no God and yet thou seem'st to be A near Resemblance of some Deitie Witness that Excellent Scheme thy Musick Sphere And those thy well composed Months o' th' Yeere Which Months thy pregnant Muse hath richly drest And to each Month hath made a Musick-Feast Wherein the Graces do so subt'ly Play As they conclude twelve Months within one Day And having rais'd this handsome Frame of thine Thou also givest Method and Designe To work by Rules so perfect that t wil be Stil'd Simpson's Grammar unto Harmony By which the Ingenious Scholar is both taught To Play and imitate what thou hast wrought Pack hence ye Pedants then such as do bragg Of Knowledge Hand or Notes yet not one Ragg Of Musick have more then what got by Theft Nor know true Posture of Right Hand or Left False finger'd Crew who seem to understand Pretend to make when you but marre a Hand You may desist you 'l find your Trade decay Simpsons great Work will teach the World to Play John Jenkins To Mr. CHRISTOPHER SIMPSON on his Excellent INTRODUCTION c. NOr can I silent be Dear Friend but must Offer my Sacrifice of Praise as Just And due to your Great Merit though it be Clad too too meanly in bad Poetrie How have the Learned Theoricks of their Ages Burd'ned the World with Volumes When Three Pages Form'd by your Nobler Muse have given Vs more Then They or Knew or Saw or Heard before How humbly have you stoop'd to th' Fingers Hands And Genius of the Weake what sweet Commands How facile your Examples Full and Plain Your Rules for Composition and your Vein Of Breaking Descant on The Instrument
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
the Two Viols may move a whole Strain together in Extemporary Division without any remarkable clashing in 5 ths or 8 ths When they have proceeded thus far C. may begin some Point of Division of the lenghth of a Breve or Semibreve naming the Word Breve or Semibreve by which B. may know his Intention which ended let B. answer the same upon the succeeding Note or Notes to the like quantity of Time taking it in that Manner One after Another so long as they please which done they may betake take themselves to Another Point of a different Length which will produce a New Variety This contest in Breves Semibreves or Minims being ended they may give the Signe to A. if as I said he have Ability of Hand that he may begin His Point as they had done One to Another which Point may be answered by the Viols either Severally or Joyntly if Joyntly it must be done according to the former Instructions of dividing Together Playing still Slow Notes whilst A. Divides When this is done Both Viols may Play another Strain together either in Quick or Slow Notes which they please and if the Musick be not yet spun out to a sufficient Length they may then begin to Play Tripla's and Proportions answering One Another either in Whole Strains or in Parcels and after That joyn together in a Thundering Strain of Quick Division with which they may conclude or else with a Strain of Slow and Sweet Notes according as may best suit the circumstance of Time and Place I have known this kind of Extemporary Musick sometimes when it was performed by Hands accustomed to Play together pass off with greater Applause then those Divisions which had been the most Studiously Composed Some Observations in Composing Divisions of Two and Three Parts Now in Composing Division for Two Basse Viols you may follow this Method Two Basses more or less as you please moulding it into what form you like best as making sometimes This sometimes That Part move Above or Below sometimes answering One Another and sometimes joyning them in Division Both together sometimes in Slow fometimes in Quick Motions such as may best produce Variety But after their answering One Another by Turns I would alwayes have them joyn Together in some Strain of Division with which or with some Slow and pleasing Descant you may conclude your Composition If you make Division for Two Trebles Both must be in the way of Descant to the Ground and when they move in Quick Notes Both Together Two Trebles their most usuall passage will be in 3 ds or 6 ths to One Another sometimes an intermixture with other Concords but such as must still have relation to the Ground As for their answering One Another their severall Motions and Changes in order to Variety the same is understood as of the Former In Composing for a Treble and Basse you are to consider the Nature Treble and Basse and Compasse of either Part framing your Division according thereunto which in the Higher Part will be Descant in the Lower a more frequent Breaking of the Ground The same regard to the Nature of the Parts must be had in Composing for Two Trebles and a Basse or for Two Basses and One Treble Two Trebles and Basse In Divisions made for Three Basses every Viol acts the Treble Easse Two Basses and a Treble Three Basses or Inward Part by Turns But here you are to Note that Divisions of Three Parts are not usually made upon Grounds but rather Composed in the way of Fancy beginning with some Fuge then falling into Points of Division answering One Another sometimes Two answering One and sometimes All joyning Together in Division But commonly Ending in Grave and Harmonious Musick Howbeit if after each Fancy there follow an Aire which will produce a pleasing Variety the Basses of These consisting of Two short Strains differ very little from the Nature of Grounds as may be seen in the Basse designed for the Organ or Harpsecord These Aires or Allmains Begin like Other Consort-Aires after which they Repeat the Strains in divers Variations of Division One Part answering Another as formerly mentioned In these severall Sorts of Division both for Two and Three Parts my Self amongst Others more Excellent have made divers Compositions which perhaps might be serviceable to Young Musitians either for their Practice or Imitation but the Charge of Printing Divisions which cannot be well expressed unlesse by Cutts in Copper doth make That kind of Musick less communicable But if you desire Written Coppies of Divisions made for Two or Three Parts a thing most necessary to those who intend to Compose such like themselves none hath done More in That kind then the ever Famous and most Excellent Composer in all Sorts of Modern Musick Mr. John Jenkins And here might I mention were it not out of the Rode of my Designe diverse Others most Eminent Men of this our Nation who for their Excellent and Various Compositions especially for Instruments have in my Opinion far out-done those Nations so much cryed up for their Excellency in Musick but my naming them would signifie little as to any Addition to their Reputations they being sufficiently known and honored by their own Works neither had I taken upon me to nominate any Person had it not been upon the necessary accompt of Division-Musick the peculiar Subject of my now ended Discourse ADVERTISEMENT Having this opportunity I cannot but advertise my Reader that in the yeer 1655. a little Book of Doctor Campians was Printed with some short Annotations which I had formerly added thereunto at the Request of a Worthy Friend to solve such doubts as occurred to him in reading the said Book These I should scarce have thought worth owning though they had been set out to their best advantage but in that manner they are Printed the Letters and Marks being left out which pointed to what words of the Text they had relation I was much troubled and ashamed at the sight of them Besides there are some words misprinted others quite left out which destroyes the Sense of what I intended As for Instance In my short Exposition of the Gamut or Scale of Musick which follows the Doctors Preface in the tenth Line after the Title where speaking of the Cliffs I said they open the meaning of the Song unto us it is Printed Longs unto us Again In the same Page Line fourteenth and fifteenth where I said when you look upon any Song or Piece of Musick you commonly see five Rules c. the words you commonly see are quite left out Moreover at the end of the said Exposition of the Gam-ut there is set an Example of Notes and their value different from that which my words do there explicate This I thought fit to Publish as well for my own Vindication as Correction of the said Faults As for the Faults of this Present Book whether relating to the Text or to the Figures I hope they are not remarkable Only that the Examples being cut and ingraven by those not accustomed to that kind of Work nor acquainted with Musick-Notes are in some places though true not so fair and formall to the Eye as I could wish What failings may appear in the Discourse it self which perhaps by a longer consideration might have been avoided Importuned Hast must plead a pardon for them Divisions for the practice of Learners