6430Natural Hiſtory;
create Tones;
Percuſſion of Metals (comprehending Glaß, and the like)
Percuſſions of Air, and Percuſſions of Water.
Percuſſions of Air, and Percuſſions of Water.
The Diapaſon or Eight in Muſick, is the ſweeteſt Concord;
in ſomuch,
11103. as it is in effect an Vniſon; as we ſee in Lutes that are ſtrung in the baſe ſtrings
with two ſtrings, one an Eighth above another, which make but as one ſound;
and every Eighth Note in Aſcent, (as from Eight to Fifteen, from Fifteen
to Twenty two, and ſo in inſinitum) are but Scales of Diapaſon. The cauſe
is dark, and hath not been rendred by any, and therefore would be better
contemplated. It ſeemeth that Air (which is the ſubject of Sounds) in
Sounds that are not Tones (which are all unequal as hath been ſaid) ad-
mitteth much variety; as we ſee in the Voices of Living Creatures, and
likewiſe in the Voices of ſeveral Men; for we are capable to diſcern ſeve-
ral Men by their Voices) and in the Conjugation of Letters, whence Ar-
ticulate Sounds proceed; which of all others, are moſt various. But in the
Sounds which we call Tones (that are ever equal) the Air is not able to
caſt it ſelf into any ſuch variety; but is forced to recur into one and the
ſame Poſture or Figure, onely differing in greatneſs and ſmallneſs. So
we ſee Figures may be made of Lines, crooked and ſtraight, in inſinite
variety, where there is inequality; but Circles or Squares, or Triangles
Equilateral, (which are all Figures of equal Lines) can differ but in greater
or leſſer.
11103. as it is in effect an Vniſon; as we ſee in Lutes that are ſtrung in the baſe ſtrings
with two ſtrings, one an Eighth above another, which make but as one ſound;
and every Eighth Note in Aſcent, (as from Eight to Fifteen, from Fifteen
to Twenty two, and ſo in inſinitum) are but Scales of Diapaſon. The cauſe
is dark, and hath not been rendred by any, and therefore would be better
contemplated. It ſeemeth that Air (which is the ſubject of Sounds) in
Sounds that are not Tones (which are all unequal as hath been ſaid) ad-
mitteth much variety; as we ſee in the Voices of Living Creatures, and
likewiſe in the Voices of ſeveral Men; for we are capable to diſcern ſeve-
ral Men by their Voices) and in the Conjugation of Letters, whence Ar-
ticulate Sounds proceed; which of all others, are moſt various. But in the
Sounds which we call Tones (that are ever equal) the Air is not able to
caſt it ſelf into any ſuch variety; but is forced to recur into one and the
ſame Poſture or Figure, onely differing in greatneſs and ſmallneſs. So
we ſee Figures may be made of Lines, crooked and ſtraight, in inſinite
variety, where there is inequality; but Circles or Squares, or Triangles
Equilateral, (which are all Figures of equal Lines) can differ but in greater
or leſſer.
It is to be noted (the rather, leſt any Man ſhould think that there is any
22104. thing in this number of Eight, to create the Diapaſon) that this computa-
tion of Eight, is a thing rather received than any true computation. For
a true computation ought ever to be, by diſtribution into equal Por-
tions. Now there be intervenient in the riſe of Eight (in Tones) two
Beemols or Half-Notes; ſo as iſ you divide the Tones equally, the
Eighth is but Seven whole and equal Notes: And if you ſubdivide that
into Half-Notes, (as it is in the ſtops of a Lute) it maketh the number of
Thirteen.
22104. thing in this number of Eight, to create the Diapaſon) that this computa-
tion of Eight, is a thing rather received than any true computation. For
a true computation ought ever to be, by diſtribution into equal Por-
tions. Now there be intervenient in the riſe of Eight (in Tones) two
Beemols or Half-Notes; ſo as iſ you divide the Tones equally, the
Eighth is but Seven whole and equal Notes: And if you ſubdivide that
into Half-Notes, (as it is in the ſtops of a Lute) it maketh the number of
Thirteen.
Yet this is true, That in the ordinary Riſes and Falls of the Voice of
33105. Man (not meaſuring the Tone by whole Notes and Half Notes, which is
the equal Meaſure) there fall out to be two Beemols (as hath been ſaid) be-
tween the Vniſon and the Diapaſon; and this varying is natural. For if a
Man would endeavor to raiſe or fall his Voice ſtill by Half-Notes, like the
ſtops of a Lute, or by whole Notes alone, without Halfs as far as an Eighth;
he will not be able to frame his Voice unto it, which ſheweth that aſter e-
very three whole Notes, Nature re quireth, for all Harmonical uſe, one Half-
Note to be interpoſed.
33105. Man (not meaſuring the Tone by whole Notes and Half Notes, which is
the equal Meaſure) there fall out to be two Beemols (as hath been ſaid) be-
tween the Vniſon and the Diapaſon; and this varying is natural. For if a
Man would endeavor to raiſe or fall his Voice ſtill by Half-Notes, like the
ſtops of a Lute, or by whole Notes alone, without Halfs as far as an Eighth;
he will not be able to frame his Voice unto it, which ſheweth that aſter e-
very three whole Notes, Nature re quireth, for all Harmonical uſe, one Half-
Note to be interpoſed.
It is to be conſidered, That whatſoever vertue is in Numbers, for con-
44106. ducing to concent of Notes, is rather to be aſcribed to the Ante-number, than
to the Entire-number; as namely, that the Sound returneth after Six, or after
Twelve: So that the Seventh or the Thirteenth is not the Matter, but the
Sixth, or the Twelfth; and the Seventh and the Thirteenth, are but the
Limits and Boundaries of the Return.
44106. ducing to concent of Notes, is rather to be aſcribed to the Ante-number, than
to the Entire-number; as namely, that the Sound returneth after Six, or after
Twelve: So that the Seventh or the Thirteenth is not the Matter, but the
Sixth, or the Twelfth; and the Seventh and the Thirteenth, are but the
Limits and Boundaries of the Return.
The Concords in Muſick which are Perfect, or Semiperfect, between the
55107. Vniſon and the Diapaſon, are the Fifth, which is the moſt Perfect; the Third
next, and the Sixth which is more harſh: And as the Ancients eſteemed, and
ſo do my ſelf, and ſome other yet, the Fourth which they call Diateßeron; as
for the Tenth, Twelfth, Thirteenth, and ſo in infinitum, they be but Recurrences
of the former; viz. of the Third, the Fifth, and the Sixth, being an Eighth
reſpectively from them.
55107. Vniſon and the Diapaſon, are the Fifth, which is the moſt Perfect; the Third
next, and the Sixth which is more harſh: And as the Ancients eſteemed, and
ſo do my ſelf, and ſome other yet, the Fourth which they call Diateßeron; as
for the Tenth, Twelfth, Thirteenth, and ſo in infinitum, they be but Recurrences
of the former; viz. of the Third, the Fifth, and the Sixth, being an Eighth
reſpectively from them.