Inglis Collection of printed music > Printed text > Introduction to the skill of musick, in three books
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104 An Introduction to
which is what was done before in the fcrft Bar,
and for that reafbn to be omitted.
To the Eighth Note an Eighth cannot be made,
becaufe the lame as before ; a Third not ib well,
becatile you do not obferve the Rule of contrary-
Motions ; a Sixth not (6 good, becaufe 'tis what
muft be ufed in the next Bar to make a Cadence,
therefore the Fifth i> belt.
The Ninth Noir cannot be a Sixth ib properly,
becaufe 'tis the jame with the former Note ; a
Third is not ib well, by reafbn the fall or rifing
to it is Inharmonical j the Fifth is bad, having
had a Fifth to the Note before, therefore the
htb is the belt Note.
The Tenth Note a Sixth muft not be made too,
it being the lame as before ; a Third not fo well,
• fe it muft be tod that is not gradual
e too , and if you (all to it, you contradict
the Rule of contrary Motions, though the Cord
d, yet I think not fb formal as the other,
Which is the Fifth.
The Eleventh Note requires a Third more pro-
perly than any other C ord, for the Sixth would
be the lame with the foregoing Note and fol-
lowing, which muft be to make a Clole; the
■h not lb we!:, becaufe lb many Perfect
Is are not well, (as 'tis before obferved;)
a F:f h\s Irregular, the Note before being a Fifth x
which fhews a 7 eft.
; two laic Notes is relating to the Cadence., •
1 Rule.
H*
which is what was done before in the fcrft Bar,
and for that reafbn to be omitted.
To the Eighth Note an Eighth cannot be made,
becaufe the lame as before ; a Third not ib well,
becatile you do not obferve the Rule of contrary-
Motions ; a Sixth not (6 good, becaufe 'tis what
muft be ufed in the next Bar to make a Cadence,
therefore the Fifth i> belt.
The Ninth Noir cannot be a Sixth ib properly,
becaufe 'tis the jame with the former Note ; a
Third is not ib well, by reafbn the fall or rifing
to it is Inharmonical j the Fifth is bad, having
had a Fifth to the Note before, therefore the
htb is the belt Note.
The Tenth Note a Sixth muft not be made too,
it being the lame as before ; a Third not fo well,
• fe it muft be tod that is not gradual
e too , and if you (all to it, you contradict
the Rule of contrary Motions, though the Cord
d, yet I think not fb formal as the other,
Which is the Fifth.
The Eleventh Note requires a Third more pro-
perly than any other C ord, for the Sixth would
be the lame with the foregoing Note and fol-
lowing, which muft be to make a Clole; the
■h not lb we!:, becaufe lb many Perfect
Is are not well, (as 'tis before obferved;)
a F:f h\s Irregular, the Note before being a Fifth x
which fhews a 7 eft.
; two laic Notes is relating to the Cadence., •
1 Rule.
H*
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| Special collections of printed music > Inglis Collection of printed music > Printed text > Introduction to the skill of musick, in three books > (128) Page 104 |
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| Permanent URL | https://digital.nls.uk/94574788 |
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| Description | The first contains the grounds and rules of musick, according to the gam-ut, and other principles thereof. The second, instructions and lessons both for the bass-viol and treble-violin. The third, the art of descant, or composing musick in parts: in a more plain and easie method than any heretofore published. By John Playford. |
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| Shelfmark | Ing.6 |
| Additional NLS resources: | |
| Attribution and copyright: |
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More information
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| Description | Scottish and English songs, military music and keyboard music of the 18th and 19th centuries. These items are from the collection of Alexander Wood Inglis of Glencorse (1854 to 1929). Also includes a few manuscripts, some treatises and other books on the subject. |
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| Description | The Glen Collection and the Inglis Collection represent mainly 18th and 19th century Scottish music, including Scottish songs. The collections of Berlioz and Verdi collected by bibliographer Cecil Hopkinson contain contemporary and later editions of the works of the two composers Berlioz and Verdi. |
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