The 2 Affections of Sound

Time in sounds is calculated through:

• equal parts, which are most easily perceived by the senses according to previous article 4 or
• parts that are in duple (2:1) or triple (3:1) ratio are the most easily sensed and distinguished by hearing and practice (accrodng to article 5 and 6).

Suppose someone tries to sing evenly spaced notes, placing a note every fifth unit (e.g., 5, 10, 15…), they will find it difficult.

If, instead, they place four notes between 5 and 9, then continue with 8, etc., they create easier patterns for singing.

From these 2 kinds of proportions of time, there arises 2 kinds of measures in music:

1. Ternary division (into 3s)
2. Binary division (into 2s)

This Division is noted by a percussion, or stroke that assists our Imagination. In this way, we may the more easily perceive all the members of the Tune, and be delighted with their inherent proportion.

This proportion is most frequently kept in the members of the Tune, in order to the helping of our Imagination; so that while we yet heare the last of the time, we may remember what was in the first, and what was in the rest of the Tune.

Which is effected, if the whole Tune be composed of 8, or 16, or 32, or 64, &c. members: so that all Division may proceed from a double proportion.

For then, when we have heard the Two first members, we apprehend them as one, while yet we conjoyne the Third member with the

First, so that the proportion becomes triple: afterward, when we have heard the Fourth, we conjoyn it with the Third, and so apprehend it as one and the same. Then we again conjoyn the Two First with the Two Last, and so apprehend those Four together as One.

Thus doth our Imagination proceed even to the end: where at length it conceives the whole Tune, as one intire thing composed of many equall members.

Few have understood, how this Measure can be exhibited to the ears without a percussion, or stroke in Musick, very diminuite and of many voyces.

This we say is effected only by a certain intention of the Spirit or breath, in Vocal Musick; or of the Touch, in Instrumental; so as from the beginning of each stroke, the sound is emitted more distinctly.

Which all Singers naturally observe, and those who play on Instruments; principally

A COMPENDIUM

Primarily in tunes, at whole numbers we are wont to dance and leap: for, this Rule is there kept, that we may distinguish every stroke of the Music, with a single motion of our bodies; to the doing of which we are all naturally impelled by Music.

For certain it is, that a sound doth concuss, or make all circumjacent bodies, as is exemplified in Thunder, and the ringing of Bells; the reason whereof is to be referred to the disquisition of Physiology. But, inasmuch as the Hwi is confessed by all men, and that the sound is emitted more strongly, and distinctly in the beginning of each Measure, as we have formerly hinted: we may well affirm, that that sound doth more instantly and violently concuss or agitate our Spirits, by which we are excited to motion; as also by consequence, that Beasts may dance to number, or keep time with their Feet, if they be taught and accustomed thereto; because to this nothing more is required, then only a mere natural Impetus, or pleasant violence.

Now concerning those various Affections, or Passions, which Music by its various Measures can excite in us; we lay, in the General, that a slow measure doth excite in us gentle, and sluggish motions, such as a kind of Languor, Sadness, Fear, Pride, and other heavy, and dull Passions: and a more nimble and swift measure doth, proportionately, excite more nimble and sprightly Passions, such as Joy, Anger, Courage, etc. The same may be also said of the double kind of percussion, viz., that a Quadrate, or such as is perpetually resolved into equals, is slower and duller, then a Tetriate, or such as doth consist of Three equal parts. The reason whereof is, because this doth more possess and employ the sense, inasmuch as therein are more (namely 3) members to be adverted, while in the other are only 2, but a more exact & ample disquisition of this rare secret, doth depend upon the exquisite cognition of the Motions of the Mind; of which this place is incapable.

However, we shall not omit, that so great is the force of Time in Music, as that it alone can of itself offer a certain Delectation; as is experimented in that Military Instrument, the Drum, wherein nothing else is required then merely measure of Time; which therefore (I conceive) cannot there be composed of only 2, or 3 Parts, but also of 5, or perhaps 7 others. For since in such an Instrument the sense hath nothing else to take notice of, but bare Time: therefore in Time may be the greater Diversity, that so it may the more exercise and employ the sense.