‘< ) 2 Gateen QO 3 ; ENGI LiIsSH SonGS, 66 Cah Sore S7 SL O* for’ THREE and SU BOUR VO OICE s CC (pti a loud the Your S500 Taken from (RSS: of the fame AGE Wrote TEe YET dy ) ~~ ( Rarasax 7 Vole ° Viiyffern O Suits price E17 Shistiacoe-Parcus ¥ of » Adtent ‘Sek Ge ae) Roval/Penwisstox) , ieee ‘ tt mas hianbe Ly « rae e Ce ie (an acvote Aabjich _fORM: STAFFORD i. SUBSCRIBERS NAMES. 'IS Royal Highnefs the Duke.of Cumber~ Jand, AL ‘The Anacrcontic Society, Leudow, 2 Books Sam. Arnold, Mut. D. B. The Earl of Berkley Right Flon. Lord Browalow Hon, Daines Barrington Jofeph Banks, Ek ‘Thomas Bever, Charles Butler, Ex Hen, T. Bridgeman, Efqy Leityfer Toho Bridges, Bas Milfs Burton Rev, Dr. Bailey Mr, Benj. Bates, The Earl of Chetterfield Hon. Mr. Cecil ‘The Rev. Dr. Percy, Dean of Carlile Alhecon Curzon, Efgs A. Champion, E: —— Cox, Es ‘The Gentlemen of the Cecilian Society, Tit tfeld Rev..Mr. Cr: Combridge Mr. Clarke ‘Mrs. Carters ik, Fellow of Trinity College, D. Right Hon. Lord Vifcoune Dudley ‘The Earl of Dunmore Sir John Dunter, Bart. ‘rhomas Dundas, Lis Henry Drummond, Elis R. Druamont, Eis Mrs. Driver ‘Mr. Didtbury Mr. Drew Mr. Daye. E. ‘The Earl of Exeter Sir Thomas Egerton, Bare. ‘Mrs. Earl Mr. Edwards. F. Right Hon, Lord Vitcount Ficawilliam Hon. Mr, Fortefeve Rey. Me. Foxley Firzyeral, Eis Mr, Fletcher Fuller, a G. Richard Goulburn, Efqs Rev, Mr. Goodinge, L.L..D. and Head Matter of Leeds School, Varlysire Mr. John Goodfon Mr. Green, Surgeon in Litelsfeld ‘Mr. Griffiths, HL . Tis Grace the Duke of Hamilton Varl Harcourt Lon. Mr. Hampden Jobn Hawkins, Kne. % Richard Hare, 1G Sam, Howard, Mut, D, Philip Hayes, Mut D. Me, Hudfon Mr. Harris —— Harvey, Rey. Mr. Jones Mr. W, Johniton B RobertSUBSCRIBERS : K Robert King, Efqs Jofeph Kelway, Efq; Harplichord-mafter to the Queen L. Right Hon, Lord Vicount Lewitham John Lemon, Eq; Mr. Lee M. ‘The Earl of Mornington Right Hon. Lori Malden Right Hon. H. Morice ‘Mr. Morgan N. —— Nicolay, EG; Mr. Neale Mrs. Nath Mr, Nelfon °. —— OBrien, Ets R. Owen, Es Mr. John Organ Pp, ‘The Earl of Plymouth Right Hon, Lord Vifcount Palmerfton ‘Henry Penton, Efq; ‘Tho. Page, Ets Mr, Paxton Mr. Price i NAMES. R John Royds, Elis P. Roffel, Bk Mr. John Watfon Reed, Gray's-Tau Mr. Reinhold Mifs Roberts s. ‘The Earl of Sandwich, Right Hon, Hans Scanley Sir J. Smith, Bart, C. Steele, Eqs —— St. Leger, Els Stephens, Eqs Berners. Street Melis. Sharp, Old Jewry, 2 Books. v. Beilby Thompfon, Elqs Richard Thomplon, Eqs v. Mr, Jolin Valentine, Leiayter ‘Mr. Sam. Vincent Earl of Winchelfea Sir W. W. Wynne, Bart. ‘Hon, Mr. Ward Mrs. Warburton E.T. Warren, Bf; ‘Mr. Charles Welley. PREFACE,uw P R E F A C -E HIE Intention of this Prefice isto give the Reader a ort View of Mufie in its different Stages towards Perfeétion, from the earlieit Time down to the Period about A. D. 1500, in which the following Pieces of Malic, fleéted chiefly rom fome of the deft Compolitions of lingiifh Matters, eft made their Appearance, and when Mulic was brought to a high Degree of Improvement in Melody, and more efpecially in Harmony. ‘iz will be necellury co carry the Reader to a very early Date, becaute each of the following Songs is more or lefs uile upon a Syitem then eftablitied. ‘Musie, like many other Arts, might take its Rife from various Caufes, even from Accidens, and has been the Growth of every Sot though iedid not Rowrih in all of chem with equal Larwiriancy of Fancy. “Tue rudet Nations have: had fornething, that delighted them under this Denomination, according. to_the Temper and Genius of the People, however barbareus fe might foun to our Kars and we are at full Liberty to fappofe, that the Mutic even of the Greeks, who mot cheried it asa Science, was, in ite Infaney, but & Confuton of Sounds. “Erte and Chance have conded he Sugyetions of Nase iv every Art. rom ‘erttin Gmple Sounde and Articulations, produced by the Organs of Speech, arofe Langvages from elevated Languge, Poetry; from Modulation Vora Mate: ands inclike Progreliion, aukwied Celticulations gave Way to gracefil Motions and well Fegalated Meafures in the Dance, “Arvin Nature had inate. the Difeovery of Vocal Mufic, Are improved i by the Invention of mufical Inftruments, producing Sounds telombling thofe of the Fluniza Voice Eirft, perhaps, fsch ae give Sounds by Inflation 5 forinftance, Eye Pipes the Syring, and Flutes feconily, fuch as produce ‘Tones by Strings of a certain Tenlion, Length and Size, the clue of which wis the Lyre or Harp. “rite Pipe was the moll Gimpie tndrument, and gave only one Sound, but the Fhute more and diferent Sounds, as did aft Syn eng fone by aa Andis oF Ret of anode Lente. ‘The Lyre we Mall have Ocction to fpeak of hereafter. Wena can fo frongly paint the Gyft State of Muffc in the Old World, a8 that which has lately been difeovered in the New? The Inhubivates of saferdam Ian, in the Sourh Secs, were found. vo be (inflindively as ie were) in Portiion of an Infiwumene seGmbling, the Syrinx and. among the Natives of Osabeits, an Wand at a confiderable Ditkance from that of “yfurdess, was one of the Flute Kia, wich they Ulow with the Nofe by fopping one Noftrils for they had not (at the Time oor Navigators vifted them) dileoyered that the Tnflation from the Mouth was flronzet Gian Gat fom the Nok “They prolce ove of it four Tones, the open one and deepett, and three other, by Preflure Gf the Eingers on three Perforadiéns,"Thefe four Tones appear co bz che fil Seate of Improvement of the Piute, and Sonfieuee 2 Sytem congenial with that of the ancient Gree:tuLyre, with this Dilerence only, that the moft acute Sound Of the four inthe Ovesay Series was a whole Tone, relative co our dharp Keys and that of the Ofabeitan half s Toney Emily co.0ur Ast Key. The Mode of playing upon the Syriny is by drawing i rapidly acrofs the Mouth, each Pipe Ctakings a Hele of the Breath is it pales, and theveby producing a wikd Fale, refembling the Sounds of an Odtave= Tune, this Didture, drawn from Nature, may ferve €0 give vs fome Idea of Mure in its prifline State of Txiftence, foon after the Commencement of Human Socicey. : Trill noc confit with the Treviey 1 proiels, nor afford the Reader much Information, to. enter into the vikonay and fabulous Aye of Mute. and it Artfts, fich as Merewy, the reputed Inventor of the Lyre, and ell Wiha excelled in performing upon ie: We will therciore procecd to the hiforieal Age, which may give us more Light, Though it will Ue found co dawn bue very gesdually; for itis feace ifcernible asa Sytem, tl tbens was in hee Merilian. Enon whence the Greets derived the Sees of the Art, i neither very el appen that the Frute hes been boler, andl more highly Miyouredy every Tiine it has been tranfplanced. Noor Winters fo faragece, that cur prefent Syitein of Mulig, in its infane State, was founcl in Zigype and other Follcen Countries, follerel in Gree ancient fey, brought forward towards Aduitnely in Pance ana Germayy, but tots prefene Depree of Maturity in Zngland andl morlens tly ; Gatien whe regan to Mute, wis to fede what dy has been t6 us, with this Diference, that it Aourithed in ancitne Greece long’ Tine, Httle Keown to the Avasvs fienticaliy, Urugilingg to terive at Perleeton s butts ftuly Fehon teuwelied nto Engions where at profene ic ie thought co he in gress Pertedtjon than among even the Teuliane theives at nor very material; but, however, it will c Tunii PREFACE Tne chief Infirument of the Greeks was the Lyre, (confilting in the. earlieft Times of three or four Strings at moft} with which the Voice was gather fapported to its proper Pitch, than accompanied with Harmony. In Procefs of Timey fhvee other Strings being“added ro the four, furnithed them with feven Sounds which were regulated by Intervals of Semi-tone and two Tones, and called the Syitem of Terpander, .or Diatonie Scale. This Scale of feven Sounds was divided into two Parts, named Tetrachords, the firtt beginning from E in the Bafs, and proceeding to A, the fourthy inclufives and the fecond beginning from A, and proceeding on to D, the feventh, alfo inclufives fo that the higheft Sound of the firft four became the lowett of ‘the fecond four. ‘Thele Diateffarons contained each of them a Series of Sounds at equal Diftences, namely, in the fir from E, to F, aSemi-tone, from F to Gy a Tone major, from G to A, a ‘Tone minors then again refuming A, as che Fundamental of the fecond Diatefaron, the Order i the fame, namely, fiom A to B fat a Semi-tone, ftom’B fat to C, a Tone major fiom € so Dy a Tone minor, Thefe Tetrachorda remain virtually to this Day, and are admirably applied by Are to favour the Nature of the Singer's Voice, by adaptin the fipenor Disteftron «0 the mice Voices, an the inferior co the extremes and thus, as we bearm, fom riforles they might fing in Antiphoni, o O&aves: and if the Mg’ or middle Note (A) in their Syftem, was of the fame Pitch as in ours, then the molt common Voices, ‘Tenors in unifon, and Trebles in the Oétave above, could command both Diacefarons. ‘Muste was now formed into a Syftem that could not fail of being received with univerfal Delight; but at the fame ‘Time ie varied, according to the Tafte and Genius of different Provinces, into the Phrygian, Lydian, and Doric Modes, each taking its Colour from the Subjeét and Meafure of Poetical Compofitions. The Phrygian was of a harfh and warlike Nature the Zy.tiany chearful but foft s and the Dorie contained in it a Mixture of both. ‘Thefe, with many others which were afterwards invented in imitation of them, took their Place or Pitch in the Syftem, according ay they were of a grave or fprightly Nature, and occafionally facceected each other in the fame Song. In like Manner, wich regard co Style, the Provence! and Venetian Mufic bad in after-cimes their feveral Charagtenttics ; and, ro come nearer Home, even that of the Britens, Sects, and Irj@, have had (if I may be allowed the Exprelfion) an Idiom of their own, Tr would be wide of my prefent Purpofe to fay more of the Chromatic and Enbarmenie Genera, than that they are ve ancient, diftinguithed front cach other by the Incervals which conficate them, that ig to fay, by a, Confecution of two Half and two Quarter Yones, and that they were foon negleéted by the Greeks for their difficult Execution, Tae Diatonie Genus, prevailed, with litte Variation, till the Time of Pysbagoras. This Philofopher, who upwards of sco Years before Giri, and vifited every Country bordering on the Medi/errancan in fearch of Knowledge and Science, difeovered that the Grecian Scale would admit of Very great lmprovement. Accordingly, to fome Additions which were before made, he introduced By into the dale of the Syftem, and, by extending it at the Top, compleated five Tetrachords, i ftood as in the Margin. ‘To thefe he added an A at the Bottom, below By, as a Bafis to. the Whol lay which Means the Grecks became Mafters of what we €all the double Diapafon, and 2, nominated in Italy by the feveral Titles of Syfema immutabile, Syftema Diatomco, Sytema Mofime, Syfema Pitazerico. ‘This opened an extenfive Field for the Fancy to expatiate bi in quett of new and more various Melodies, but a clofe Attachment to nice Ditquifitions. in the {eientific Part diverted them from all fuch Purfuits befides, the aa Magiftrate, in fome Places, was fo watchful over their Mulic, that every Innovation 4 was preciuded by Lavo. Pyruacoras is moreover confidered as the Father of Harmonics; for though the Confonances, the moit fimple Pare of Harmony, might poftibly be difcovered by the Ear very early, yey certainly we owe the Demonftration of their Ratias to him only + But without the Taterchange of Difcords, Concords muft very foon cloy ; and as the Gresks never afterwards became acquainted with the Art of mixing thef@ in Succeffion, the Contemplation of the Truth, Beauty, and Harmony atiling from the Proportion of Chords, afforded a Pleafure to che Judgment and Under= ftanding, diftinct from that of the Ear. ‘Aworinen very uleful Improvement in Mufic was that of Notation, the Art of expreffing Sounds by the Application of the Greet Letters, upright, oblique, inverted, mutilaced. By thefe Charaéters, which amounted to above twelve hhunclsed, were expretied the fifteen various Modes in each of the Genera, the Diatonic, Chromatic, and Linbarmonic, a8 we have ie eranimitced to us by Meidenins, in a Piece of Abpius, inticuled © Miyica Inroduttic.” However, it appears from the Writings of -tjdescuss, that a Method of Notation was known in his Time, above four hundred Years before that of Abypins, Faost what has been faid, and from other Ciseumflances which might be adduced, if neceffary, "ti Song was a Kind of Recitative, fimple, and confin’d in Compafs, but full of Force and Expreifion. Oux principal Lol, of rather Difsfe in ancient Mulic, is that Part of it called the Réythmus, which they Tid a greater Strefs ane Value upon than the Harmonical. To give a thort Definition of the Kdysbmus, 1 would fay, it is numerous Speaking and Singing. In a more gencral Senfe, it was often underilood co be a fweet Flow of Wonls and Sounds, which gained aftonithing Force, bya jult Dilpofition in Meafure, Accent, Emphafis and Paufe, heighten’d with coyefpondent Geilures, to excite, augment, or allay the Paffions, i row Vide Matcoln's Trestle on Muley po 47 —— e = Ff BOUMIOP Bone mn e ft and loweft Tetrachord, plain that their