|MELOTHESIA:| Certain General RU ULES for PLayine CONTINUED-BASS. A choice Colledtion of Le sso s for the Herpficord and Organ of all Sorts: Never before Publybed. ully reviewed by ©. LOCKE, Compoler in Ordinary to His Majelty and Organi of ‘Her Majefties Chappel. THE FIRST PART. | zonDoN, Printed for J. C27, and areto be Sold athis Shopin the Afiddle Temple Gate, 1673.SB he ols Soe ha he cba eo chs a We 0 a aos a ots ca oso sha co os To the ever Honour'd ROGER LEST RANGE Eh; Str, Atronage cannst cure the Itch in thofe who make it their bufinefto cenfure, whether they do or do not underftand, "Tis in vain therefore , to pretend t0't for this Dedication ; Tour Knowledge in Mulick , and Bounty 49 the Profefors thereof, ( particularly to my felf) B Challenging « right before others for a grateful acknowledgment ; which ts here hum- by Prefented, And though this attempt , by being defgn'd for » Publick Good» beth for she Delighters. in fuch divertifements, and the Advancement of ich young Students 4s a ae Profit, lies now under the Fudgment of all who wear common Sence: Tet % you, Sir, who by long Experience and firength of Realm, have defere'd a juft Precedency in fuch cafes, ‘tis ee Srength of Resp eer auf of in fuch cae sir, ‘Your moftfaithfull Servant; MATT. LOCKE. C4] Sveetaci cls ha achat asl coh chao dha ch oh wh & deh eh ea ADVERTISEMENTS to the READER. He Excellencies of atufct arenot here difputed of, Natureand Art fo admirably agreeing, that the whole Civilia’d Worldare atone, ‘The delign of this Culeétien, isonly to Advance the Practice of Atufick on the Harpicord and Organ, bothby Precept and Example; it bein fitted for All Capacities and Humours , from the Lover to the Scholar and Mafter, Ani though the Rules or Playing on a Continued B4js, are here particularly applyed to the Marpfierd and Orga, asbeing of motile, yee they equally fit the Theerbe, Arch-Lute, Harp, or any other Inftru- ment capable OF performing Duplicity of Parts, and confequently prove of general Advantage. ‘The A¢sfers who are not mentioned in this Firft Parr, are on purpole omitted, that they may have the Honour to bringup the Rear inthe Second, The Urs here inferted without Name, were Ingeniouly ap ved to che Harpfeord, by Me. William Thercher,a known and eteemed Mater in this ie “The Charaéeers for performing the whole, are thofe generally in ule, and for the Oxgen and Herpficord, are thus explained: 7 ature.fs] 7 4 boe-fall \ aBuc ful 2 4 Shake, a= 4Fore-fill and Shake. am 4 Beth For Playing on a Centinued Befr, Thus: ,AFlatorSharp elite above or before «ite, belongs othe Third which istobe Play’don that Note, ‘A Figure et on thefame manner, fignifieth, that fuch a Degree or kind of Defeant belongeth tothe laid Nore. A Flat or Sharp fet by any Figure over a Nore, belongeth to the Defcant fignified by the Figures which accordingly is tobe Flat or Sharp. A Third Minor includes Four helf-Notes. A Third Major Five. A Sisth Minor includes Nine half-Notes, A Sisth Maj Ten, General Rules for Playing on a Continued Ba. 1A Beet having peril cberedie Tine or Ke you arto Ply (whichis ever known by hela Nweef the as) with what Nieeae properly FlacandSharptheea, lay Thin, 3 ifts ts) : Fifts, Eights, or ther Compounds on all Notes where the following Rules direét not otherwife, or theeontrary be not Figured beginning the account on the Noe you Play on,and reckoning upward and making the Third either Major or Minor , according tothe Nature of the Tome, and Flats or Sharps fet by your cliff: But (for prevention of glutting or offending the Ear) never afcend or defeend with two Fifts, ortwe Eights together beween the Treble and B4/s, nor Play your Thirds , Fitts or Eights, one Flat and another Sharp at the fame time. 2. Onthe helf-Note below the Tone you Play in, onthe Third and Sixt 4ajer above the Tone , on Bibarp (when E isnot the Toe) and on all (harp Nores out of the Tene, Playa Sixth Minor, except the Rule of Cadences take place, For Example ue Gbethe Tone, Fiharp, 3, andE, are proper Netes to PlaySixeson, If 4 bethe Tone, then Gihurp, C harp, and F {harp, are proper for Sixes, &e. A Cadence is a Fall or Binding, wherein, after the taking of aDi{cord or Diftords, there is amecting ‘or Clofuure of Concords, as isto be feen in the two laf? Notes of all Strains of Pevans or any other Grave AMsfick, Vocal or Inftrumental , the laft of which two Notes generally rifeth four, or falleth five Notes from the former, by whichitisknown (for the moft part) to be a Cadence, Upon the firlt ore therefore of all {uch Cadences, Play either a Fourth and Third with a Fi ora Third, Fourth, and Third, with a Seventh, Sixth and Fifth (or a Sixth and making the Fourth as long as both the Thirds, and the Fifthas long asthe Seventh and Sixth, the Examples of the Third Rule, Where you mutt obferve that the ‘Thirds are Thirds aajors , and fo arcto be Play'd on all Bindings, and generally onall {uch Notes as the following vores rifech four, or falleth five Notes, 4. WhenC73 4. When a Seventhand Sixth are figur'd, Play the Sixth a Sixth Major, and if the Note following defcend half a Nore, let the Third be a Third Major againit it, if a whole Note, a Third Minar, which is generally to be obferved in all paffing Clofes, and all long Notes fodelcending , though not fgurd, SectheExanpl ofthe Prt tle 5. Omit a Third whena Fourthisfigurd,, a Fifth, when Sixthisfigured , and a Sixth when aSeventh is fgur'd. 6. If many Aoterof the fame length immediately afeend one after another, the common Defeant isa Fifth and Sixth uponevery one, or moftof them: And if many defcend in the like manner the Defeant isto bea Sixth and Fifth, or a Seventhand Sixth, on eachof them, See she Examples of the Sixth Rule, But whichof chefetwo laftare tobe uled, cannot be fetdown by any Rule, but mut be left to your own Ear, as alfo the inclination or changeof the yr, or Defcant from one Key toanother, which you muft be careful toliften after, and follow, applying the Sixesin every Introduction , 2s it you were really in the X27, youare going to, ~ 7, When a Bfsmovesby Thirds, che common Deen isaSixthon every other Note. Se the Exanples of the Seventh Rule. 8. When a Befshath many fwift Notes running one after another, ‘tis fuffcient, either to fet the Right hand trueto the ir Note of the Meafire,and there eft ill you come to the middle thereof, and then place it erueto the firft Note of that Pare, and fo keep it till the next Meafure y or elle to Play Thirds or Tenths only, during fiich motions. "See the Examples of the Eighth Rule, Bur for the Theorbe,cee, it is {ufficient co Play fingle Notes. 9. Whea cs] i i vethe Bef 9. When the Bsfsis below ¢ fant ics better to make your account from the O&ave above tl saiomeiie, forthe Playing of Thirds and Fifts {0 low will produce rather a confuled than Harmonious ound, ae . To, For prevention of fucceffive Fifts and Eightsin the Extream Parts (prohibited in the Firft Rule) thecertainelt way for the Beginner, is, to move his Hands by contraries: Thatis, when one Hand acends,lecthe otherdefcend. see he Examples of the Tenth Rule, Conclafon, By thele Directions, che Lagenius Pradicl Smdent, who has a through knowledge of the Seale of Mufick, and Hands hely prepar’d for the Inftrument he aims at, may in a thort time attain to his delired end of accompanying either Voyces or Inftruments, and may with much cale arrive to the wleof the firft Rudiments of Mufick, Wherein , that he may be fortunate, Thave here annexed (see he Exenples of the Conclyfn) an Example or two by way of Tran- ficion, or patfing from one Key to another; which being traly underftood and applyed , willl (ia my Opinion) acquaint him with all shat’s Teachable as to matter of UAyrs the relt intirely depending on his own Ingenuity , Obfervation, and’ Study, what-e’re our New Air-Mongers pretend. " For to teach Number and Diftance only, which is all that hitherto hasbeen produced , (and the laft, God wor, fo weak, that’tis a fhame to mentionit) is adown-right Cheat , and mayC9] with as much reafon be applyed to a Carryers Trotting-Horfe, ora Foly’s Hand-Golloper, as to any that has been only fo inftruéted ,and indeed, in fome fence with more : For thefe Laborious Animals nom shen they come otheit Jn or Pf and with Jo ey, Clink in she clef (as a Learned Ellyer would once have had it for the Viel.) | Butthole Deluded Mortals, afterall their Labour and Ex- pence, remain as Compleatly Ignorant of whatthey’vedone, that when they come to hear any of their own Conceptions, they cunningly whifper their dear Pedagogue, afer, is this tine? After ,—r—C—=“ Gt Ibelieve’tis not hard to gue, they being thereby allured , they were as wife the firkt day they began, as at that inftant. " But leaving them and their Way. If this Publication proveacceptable, (it being the frit of its kind yet produc'd) ‘ewill be an encouragement for prelenting a SECOND PART, wherein 1 intend to Colleét fomething of every kind of Muck, both Vocal and Inftrumental, now inufeof the bet Authors and with all,a brief Difewwrfe with Examples onthe fubjest of Aufick in Parts, by Fuge and Canon, ML. | Ge Soap ef Bp in che Reales for Laying on a Continued, By | The Examples a Excamplee tthe # RexExamples nsf 8* Raule samples of Tra ition Mention i Gnelusion 6. 26s 285 166 26s 65 6s 6p le ib 65 ote foe at 6 shea i ages sh 34. sesh 9545 SU: Sa aa ada ol ch isk ohh Sh oo Sh dca eh aah ceha shah Advertifement. A fortsof Books,and Ruled Paper for S¢ufick, Songs and Airs Vocaland Inftrumental ready Prick’e Lutes, Viels, Violins, Gittars, Flagelets, Caftiness, Strings, and all forts of Aafia! ‘Deframents, ae Sold by Jobn Cerr,ac his Shop inthe Mdale-Temple, London PSLSS RPG PG TLS SRP SPG PPP Peea i | - | | | Probede Oy) | Saraband.i a | Prelude.| Corant.Country Dance . (7)Prelude. ~ ¢_ Pete 4 B TT 4 eS 3 lat = Tt He a [at Att =H as 3 7 if Ses | _| ane F = Pry esey oe | Saraband. 4Preludes (25) ,EES Sh GatPrelude.La double, (36) i |Saraband7 MT wall. Gregone.Horse Pipe.zwo LL Mwai Bal. |- | i s = fe Fe | Fa MtSRob. Smith.MP Jol Baniferig -Alyain.Forthe Organ, For the Orgas. cenForthe Organ. (76)For the Oxyan.For the Ozgen. For a Doufle Organ. .(8 2) és 4 4 ae Cheive| Orgon. a ae = Chair. Organ. 7 Gregt Oz ar.(33) Ite Ae Great Owan. J Great Organ, 8 4) Gham Onj.| Gr Oxf Cham Gea Ge Chain Org. Gr. Org Chain Org: