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Pl. III

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Pl. IV

Chap. 3d.

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[Ill.u.s.tration: Flat Key]

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Chap 4th

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Chap. 5th

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Chap 8th

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La Sol Fa

Inferior Cadence

Fa me Fa]

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N. 4. N. 5.

nel fondo]

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[Ill.u.s.tration: -- 9 Page 134 N. 8 Confond[ve]-ro am[ve]-r]

FOOTNOTES:

[1] When Arts and Sciences were retrieving from the Barbarism in which they were buried, Musick chiefly took its Rise in _Flanders_, and the Composers of Musick of that Nation were dispersed all over _Europe_, to the Improvement of others. In _Italy_ there arose from that School, among several others, _P. Alis. Palestrina_, a Genius so extraordinary, that he is looked upon as the _Raphael_ among the Musicians. He lived in Pope _Leo_ the Tenth's Time; and no Musick, that we know of, is performed at the Pope's Chapel, to this Day, but of his Composition, except the famous _Miserere_ of _Allegri_, who liv'd a little time after _Palestrina_.

[2] Our Author seems to be a little too partial in Favour of the Singer, all momentary Productions being the same; though it must be allowed, that by reason of the Expression of the Words, any Error in Singing will be more capital, than if the same were committed on an Instrument.

[3] The Author directs this for the Instruction of a _Soprano_, or a treble Voice, because Youth possesses that Voice mostly, and that is the Age when they should begin to study Musick. It may not be amiss to mention, that the _Soprano_ is most apt to perform the Things required by your Author, and that every different Scale of Voice has something peculiarly relative to its Kind as its own Property; for a _Soprano_ has generally most Volubility, and becomes it best; and also equally the Pathetick. The _Contr'Alto_ more of the Pathetick than the Volubility; the _Tenor_ less of the Pathetick, but more of the Volubility than the _Contr'Alto_, though not so much as the _Soprano_. The _Ba.s.s_, in general more pompous than any, but should not be so boisterous as now too often practised.

[4] By this section, and mostly throughout the Work, one sees, the Author calculated this Treatise chiefly for the Advantage of Professors of Musick; but, notwithstanding, it appears in several Places, that his Intention is, that all Lovers of Musick should also be the better for it.

[5] _The Explanation of_ Sic vos non vobis, _&c._, _for the Satisfaction of those who do not perfectly remember it_.

_Virgil_ having composed a Distich, containing the Praise of _Augustus_, and a Compliment on his good Fortune, fix'd it on the Palace Gate, without any Name subscrib'd. _Augustus_, making strict Enquiry after the Author, and _Virgil's_ Modesty not suffering him to own the Verses, one _Bathillus_, a Poet of a mean Reputation, owned himself the Author, and received Honour and Reward from the Emperor. _Virgil_, somewhat scandalized at this Accident, fixed an Hemistich in these Words (_Sic vos non vobis_) four times repeated under the other, where he had placed the former Verses. The Emperor was as diligent to have these Hemistichs filled up, but no-body appearing to do it, at length _Virgil_ supplied them thus:

_Hos ego Versiculos feci, tulit alter Honores; Sic vos non vobis nidificatis aves.