The reason of composing

It follows that the composition of Music has 3 axioms.

1. All sounds which are emitted together, may be distant each from other, in any Consonance, except a Fourth, which lowest ought not to be heard, i.e. against a Basse.

2. The same voice be moved successively, only by Degrees, or Consonances.

3. We admit not a Tritone, or Fifth false, no not so much as in relation.

But, for the greater Elegancy and Concinnity, we are to note these following Rules.

That we begin from some one of the most perfect Consonances; for, so is raised a greater attention, than if some jejune and frigid Consonance led up the Van: or else, most gratefully, from a pause or silence of one voyce; for when, immediately upon the silence of one voyce, which began the Tune, another unexpected one First invades the ears, the novelty thereof doth by a kind of potent charm, conjure us to attention.

Concerning a Pause we have been hitherto silent, because of it selfe a Pause is nothing, but onely induceth a certain novity and variety, while the voyce, which was silent, doth againe begin to sing.

Two Eights, or two Fifths never immediately succeed each other.

The reason why that is prohibited more expressly in these Consonances than in others, is because these are the most perfect, and therefore when one of them is heard, then is the Hearing therewith fully satisfied, and unlesse the attention bee presently removed from that to another Consonance, it is wholly occupied by the pleasantnesse thereof, so that it can little regard the variety, and the (in some sort) frigid Symphony of the Tune; which happens not in Thirds and other Consonances, no though they be reiterated, for in all others the attention is still kept up, and a desire encreased of expecting a more perfect Consonance.

That so much as possible, the parts goe on in contrary motions, in order to the greater variety: for then both the motion of every voice is distinguished from the adverse voice, and Consonances are distinguished from other Consonances near them. Also that all the voyces be moved oftner by Degrees, than by leaps.

That, when we would advance from any lesse perfect to a more perfect Consonance, wee alwayes deflect to one that is near, rather than to one that is remote; for example, from a Sixth major to an Eighth, from a Sixth minor to a Fifth, &c. understanding the same also of an Unison and the most perfect Consonances. Now, the reason why this method is to be observed in progression from imperfect to perfect Consonances, rather than e contra, from perfect to imperfect; is, because, when we heare an imperfect Consonance, the eares are induced to expect a more perfect one, wherein they may receive more satisfaction, and to this expectation are they carryed by a certain naturall violence.

Therefore should a more vicine, than a remote Consonance rather to be set, that being what the Hearing desires. But, on the contrary, when a perfect Consonance is heard, we expect no imperfect one. Yet this Rule is subject to frequent variation, nor can we now call to mind, from what to what Consonances in particular, and by what motions wee ought to pervene: all these depend on experience, and the practice of Musicians; which being known, we conceive it no difficulty to deduce the reasons and proportions of all from this our Theory of Musick: and I have formerly deduced many of them, but my peregrinations have worn them out of both my Papers and Memory.

That, in the end or close of each Tune, the cares be so fully satisfied, as they expect no more, but perceive the Tune to be perfect: which is most conveniently effected by some Orders of Tones alwayes ending in a most perfect Consonance, which Orders Musicians call Cadences, all the Species of which Cadences have been copiously enumerated by Zarlinus. Who hath Generall Tables or Schems also, wherein are described what Consonances in particular ought to succeed each other through a whole Tune; of all which hee hath given some reasons, but we believe that more and more plausible ones, may be deduced from our Fundaments.

The whole Tune together, and every voyce seperately be included within certain limits, which are called Modes, of which anon.

All these Rules are to bee exactly observed in the Counter-poynt of only two, or more voices; but not in a Diminute, nor any way varied: for in Tunes very Diminute, and (as they call them) Figurate, many of them are remitted. Which that we briefly explicate, wee are concerned first to treat of the foure Parts, or Voices used in Tunes; for though in some are found more, in some fewer Symphonies: yet that seems to bee the most perfect and most usuall Symphony, which is composed of four Voices.

The First and most Grave of all these Voices, is that which Musicians call Bassus. This is the chiefe, and ought principally to fill the ears, because all other Voices carry the chiefest respect to the Basse, the reason whereof we have formerly declared. Now, this Voice is wont to move on not onely by Degrees, but also per Saltum; the reason is, because they were invented to ease that trouble, which would arise from the inequality of the Terms of one Consonance, if one should immediately bee expressed upon the neck of another; since the more Acute doth strike the eare much more forcibly than the Grave.

For this trouble is lesse in a Basse, than in other parts; in respect that it is the most Grave, and therefore requires lesse strength of the spirit or breath to its effusion, than any other.

Besides, since all other Voices hold a respect to the Basse, as the principall; it ought to strike the ears more sensibly, that it may bee heard more distinctly: which is effected, when it moves on per Saltum, i.e. by the Terms of lesser Consonances immediately, rather than when it moves on by Degrees.

The Second, being the next to the Basse, they call Tenor; this being also, in its kind, the chiefest, because it containes the Subject of the whole Modulation, and is comparatively the Nerve, which extended through the body of the Tune, doth sustain and conjoyn all the rest of its Members. And therefore it is wont, so much as possible…

A syncopa is, when the end of one Note in one voice is heard at the same time with the beginning of one other Note of an advers part; as may bee seene in the Example set, where the last time of the Note B, is dissonant with the beginning of the Note C, which is therefore brought in, because there is yet remaining in the eares the recordation of the Note A, with which it made a Consonance; and so B bears it selfe to C, only as a Relative voyce, in which the Dissonances are carryed through: yea, the Variety of these doth cause, that the Consonances, among which they are set, are heard more distinctly, and also excite the more constant attention. For, when the Dissonance B C is heard, the expectation of the eare is encreased, and the judgement of the sweetnesse of the Symphony somewhat suspended, untill the Tune shall arrive at the Note D, in which it more satisfies the Hearing; and yet more perfectly in the Note E, with which, after the end of the Note D, hath kept up the attention, the Note F, instantly supervenient doth make an exquisite Consonance, for it is an Eighth [71].

Therefore, these Consonances are used in Cadences because what hath been the longer expected, doth the more please when it comes: and therefore the sound, after a Dissonance heard, doth better acquiesce in a most perfect Consonance, or Unison. But heere Degrees are to be set betwixt Dissonances: for whatever is not a Consonance, ought to be accounted a Dissonance.

Moreover, wee are to observe, that the Hearing is more satisfied in the end by an Eighth, than by a Fifth, and best of all by an Unison; not because a Fifth is not gratefull to the eare, as to the reason of Consonance: but because in the end we are to regard Quiet, which is found greater in those sounds, betwixt which is lesse difference, or none at all, as in a Unison. Now this Quiet, or Cadence is delectable not only in the end: but also in the midle the avoidance of this Cadence introduceth no small delight; namely, when one part seems willing to quiesce, and another proceeds on. And this is a kinde of Figure in Musick, such as are Rhetoricall Figures in Oration, of which sort are Consequence, Imitation, &c. which are effected, when either two parts successively, i. e. at divers times, sing wholly the same, or a quite Contrary, which at last they are wont to doe. And truely this, in certain parts of a Tune, doth sometimes much advantage Musick; but as for those artificiall Counter-poynts, as they call them; in such Composure where that Artifice is observed perpetually from the beginning to the end: we conceive, they may belong not more to Musick, than Acrosticks, or retrograde Verses to Poesie, which was invented to charm the mind into respective passions, as well as Musick.