6531Century II.
For Diſcords, the Second and the Seventh, are of all others, the moſt odi-
11108. ous in Harmony to the Senſe; whereof, the one is next above the Vniſon, the
other next under the Diapaſon; which may ſhew, that Harmony requireth a
competent diſtance of Notes.
11108. ous in Harmony to the Senſe; whereof, the one is next above the Vniſon, the
other next under the Diapaſon; which may ſhew, that Harmony requireth a
competent diſtance of Notes.
In Harmony, if there be not a Diſcord to the Baſe, it doth not diſturb the
22109. Harmony, though there be a Diſcord to the higher parts; ſo the Diſcord be
not of the Two that are odious: And therefore the ordinary Concent of
Four parts conſiſteth of an Eighth, a Fifth, and a Third to the Baſe; but
that Fifth is a Fourth to the Trebble, and the Third is a Sixth. And the cauſe
is, for that the Baſe ſtriking more Air, doth overcome and drown the Trebble
(unleſs the Diſcord be very odious) and ſo hideth a ſmall imperfection
For we ſee, that in one of the lower ſtrings of a Lute, there ſoundeth
not the ſound of the Trebble, nor any mixt ſound, but onely the ſound of
the Baſe.
22109. Harmony, though there be a Diſcord to the higher parts; ſo the Diſcord be
not of the Two that are odious: And therefore the ordinary Concent of
Four parts conſiſteth of an Eighth, a Fifth, and a Third to the Baſe; but
that Fifth is a Fourth to the Trebble, and the Third is a Sixth. And the cauſe
is, for that the Baſe ſtriking more Air, doth overcome and drown the Trebble
(unleſs the Diſcord be very odious) and ſo hideth a ſmall imperfection
For we ſee, that in one of the lower ſtrings of a Lute, there ſoundeth
not the ſound of the Trebble, nor any mixt ſound, but onely the ſound of
the Baſe.
We have no Muſick of Quarter-Notes, and it may be, they are not cap-
33110. able of Harmony; for we ſee the Half-Notes them ſelves do but interpoſ ſome-
times. Nevertheleſs, we have ſome Slides or Reliſhes of the Voice or Strings,
as it were, continued without Notes, from one Tone to another, riſing or
falling, which are delightful.
33110. able of Harmony; for we ſee the Half-Notes them ſelves do but interpoſ ſome-
times. Nevertheleſs, we have ſome Slides or Reliſhes of the Voice or Strings,
as it were, continued without Notes, from one Tone to another, riſing or
falling, which are delightful.
The cauſes of that which is Pleaſing or ingtate to the Hearing, may
44111. receive light by that which is Pleaſing or ingrate to the Sight. There
be two things pleaſing to the ſight (leaving Pictures and Shapes aſide,
which are but Secondary Objects, and pleaſe or diſpleaſe but in Me.
mory;) theſe two are Colours and Order. The pleaſing of Colour
ſymbolizeth with the Pl@aſing of any Single Tone to the Ear; but the
pleaſing of Order doth ſymbolize with Harmony. And therefore we ſee
in Garden-knots, and the Frets of Houſes, and all equal and well anſwer-
ing Figures, (as Globes, Pyramides, Cones, Cylinders, & c.) how they pleaſe;
whereas unequal Figures are but Deformities. And both theſe plea-
ſures, that of the Eye, and that of the Ear, are but the effects of equa-
lity, good proportion, or correſpondence: So that (out of queſtion)
Equality and Correſpondence are the cauſes of Harmony. But to finde the
Proportions of that Correſpondence, is more abſtruſe; whereof, not with-
ſtanding we ſhall ſpeak ſome what (when we handle Tones, in the general
enquiry of Sounds.
44111. receive light by that which is Pleaſing or ingrate to the Sight. There
be two things pleaſing to the ſight (leaving Pictures and Shapes aſide,
which are but Secondary Objects, and pleaſe or diſpleaſe but in Me.
mory;) theſe two are Colours and Order. The pleaſing of Colour
ſymbolizeth with the Pl@aſing of any Single Tone to the Ear; but the
pleaſing of Order doth ſymbolize with Harmony. And therefore we ſee
in Garden-knots, and the Frets of Houſes, and all equal and well anſwer-
ing Figures, (as Globes, Pyramides, Cones, Cylinders, & c.) how they pleaſe;
whereas unequal Figures are but Deformities. And both theſe plea-
ſures, that of the Eye, and that of the Ear, are but the effects of equa-
lity, good proportion, or correſpondence: So that (out of queſtion)
Equality and Correſpondence are the cauſes of Harmony. But to finde the
Proportions of that Correſpondence, is more abſtruſe; whereof, not with-
ſtanding we ſhall ſpeak ſome what (when we handle Tones, in the general
enquiry of Sounds.
Tones are not ſo apt altogether to procure Sleep, as ſome other ſounds:
55112. As the Wind, the Purling of Water, Humming of Bees, a ſweet Voice of
one that readeth, & c. The cauſe where of is, for that Tones, becauſe they are
equal and ſlide not, do more ſtrike and erect the Senſe, than the other. And
overmuch attention hind ereth ſleep.
55112. As the Wind, the Purling of Water, Humming of Bees, a ſweet Voice of
one that readeth, & c. The cauſe where of is, for that Tones, becauſe they are
equal and ſlide not, do more ſtrike and erect the Senſe, than the other. And
overmuch attention hind ereth ſleep.
There be in Muſick certain Figures or Tropes, almoſt agreeing with the
66113. Figures of Rhetorick, and with the Afſections of the Minde, and other Senſes.
Firſt, The Diviſion and Quavering, which pleaſe ſo much in Muſick, have an
agreement with the Glittering of Light; As the Moon-Beams playing upon
a Wave. Again, the Falling from a Diſcord to a Concord, which maketh great
ſweetneſs in Muſick hath an agreement with the Affections, which are reinte-
grated to the better, after ſome diſlikes; it agreeth alſo with the taſte, which
is ſoon glutted with that which is ſweet alone. The ſliding from the Cloſe
or Cadence, hath an agreement with the Figure in Rhetorick, which they call
Prater Expectatum; for there is a pleaſure, even in being deceived. The Re-
ports and Fuges have an agreement with the Figures in Rhetorick of Repetition
and Traduction. The Tripla’s and Changing of Times, have an agreement
66113. Figures of Rhetorick, and with the Afſections of the Minde, and other Senſes.
Firſt, The Diviſion and Quavering, which pleaſe ſo much in Muſick, have an
agreement with the Glittering of Light; As the Moon-Beams playing upon
a Wave. Again, the Falling from a Diſcord to a Concord, which maketh great
ſweetneſs in Muſick hath an agreement with the Affections, which are reinte-
grated to the better, after ſome diſlikes; it agreeth alſo with the taſte, which
is ſoon glutted with that which is ſweet alone. The ſliding from the Cloſe
or Cadence, hath an agreement with the Figure in Rhetorick, which they call
Prater Expectatum; for there is a pleaſure, even in being deceived. The Re-
ports and Fuges have an agreement with the Figures in Rhetorick of Repetition
and Traduction. The Tripla’s and Changing of Times, have an agreement