![A Compendium of Practical Musick in Five Parts, Together with Lessons for Viols. [Music - Facsimile of 1678 edition.]](https://bilder.buecher.de/produkte/25/25915/25915586z.jpg "A Compendium of Practical Musick in Five Parts, Together with Lessons for Viols. [Music - Facsimile of 1678 edition.]")
A Compendium of Practical Musick in Five Parts, Together with Lessons for Viols. [Music - Facsimile of 1678 edition.]
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1667 edition. Excerpt: ...thing more concerning two Bases is, "that though they may often meet in ds. yet "if if they move successively in simple %ds....they will produce a kind of buzzing, in loW'jNotes especially, (as I have sometimes observed) which is not to be approved unless the Humour of the Words should require it. Quire, the iame may be understood if either Quire consist of five' 'orJsix voices. ...
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1667 edition. Excerpt: ...thing more concerning two Bases is, "that though they may often meet in ds. yet "if if they move successively in simple %ds....they will produce a kind of buzzing, in loW'jNotes especially, (as I have sometimes observed) which is not to be approved unless the Humour of the Words should require it. Quire, the iame may be understood if either Quire consist of five' 'orJsix voices. Also, if the Musick be composed for three or four Qpiresieacfe $$re QPgfct/iqwqit3p Ci1iI aj) independent of the other; And the more Parts the Composition consists of when all are joned, togtther(in afull &for-f 5 the greater allowances may be granted' because, tlie multiplicity of voices doth drown or hide those little solecisines which L in fewer Parts would not be allowed. This is, uh;ais IirfeceirY to be shewed concerning Coknterpoint of plain DcJuwt, which is the Ground-work or (as I may lay ) the Grammar of Musical Composition. And'rhbugb. the'Examples. herein set down (fin which I have endevoured no, cu ripsity but plain instrucBonjbe ffior'tuiablfc to a' Comfenclijtwjyets'thcy./afaQjfayej sufficient to let yov- see how to carry oft your Compositions to what length you ihaji desire. ' '.'," A $ i. Concerning Discords. lscords, as we formerly (aid otlntervalls _y are Indefinite5 for all Intctvails, excepting those few which precisely terminate the ConcordSj are Discords. But our concernment in this place, is no more than with these that follow, viz. The LcJJer and and Greater Second. The Lejstr, Greater, and Terfett Fourth. The Lejser or Defe&ive Fifth. The leer and Greater Seventh, By these I also mean their O&aves. H a. fiW Discords are...
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