The Number or Time to be observed in Sounds

Time, in Sounds, should consist of equal Parts because such are the most easily of all others perceived by the sence, (according to the fourth Præconsiderable:) or of Parts which are in a double or triple proportion, nor is there any further progression allowable; because such are of all others the most easily distinguished by the ear, (according to the fifth and sixth Præconsiderables.) For, if the measures were more unequall, the Hearing could not apprehend their differences without labour and trouble, as experience witnesseth: For, if against one note we should place (for instance) five equall ones; it could not be sung without extream difficulty.

You object, that four Notes may be placed against one, or eight; and therefore a farther progression may be made to these Numbers. We answer, that these Numbers are not the first among themselves, and therefore doe not generate new proportions; but only multiply a double: which is constant from hence, that they cannot be set unlesse combinated, nor can we set such Notes [7] alone, [musical notation showing a large note followed by smaller ones] where the second is the fourth part of the first: But thus, [musical notation showing notes grouped by beams] where the last seconds are the half part of the first, and so there is only a double proportion multiplyed.

From these two kinds of proportions in Time, there arise 2 kinds of Measures in Music:

1. A Division into 3 in time

2. A Division innto 2

But, this Division is noted by a percussion, or stroke.

This assists our Imagination, that so we may the more easily perceive all the members of the Tune, and be delighted with the proportion, which ought to be in them.

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 Divisions may proceed from a double proportion.

For then, when we have heard the Two first members, we apprehend them as one, while yet wee 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. And 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 diminute and of many voyces. This we say is effected only by a certain intension of the Spirit or breath, in Vocall 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 in Tunes, at whose numbers we are wont to dance and leap: for, this Rule is there kept, that we may distinguish every stroke of the Musick, with a single motion of our bodies; to the doing of which we are also naturally impelled by Music.

A sound shakes 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, insomuch as the Hoti is confest 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 smartly and violently concusse 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 naturall Impetus, or pleasant violence.

Concerning those various Affections, or Passions, which Musick, by its various Measures can excite in us; we say, in the Generall, that a slow measure doth excite in us gentle, and sluggish motions, such as a kind of Languor, Sadnesse, 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, &c. The same may be also sayd of the double kind of percussion, viz. that a Quadrate, or such as is perpetually resolved into equals, is slower and duller, then a Tertiate, or such as doth consist of Three equal parts. The reason whereof is, because this doth more possesse and imploy the sence, insomuch 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 Minde; of which this place is uncapable.

However, we shall not omit, that so great is the force of Time in Musick, as that it alone can of it selfe adfer a certain Delectation; as is experimented in that Military Instrument, the Drum, wherein nothing else is required then meerly 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 sence 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 imploy the sence.