ys ’ oe NICOLA MATTEIS oO So o THE FALSE CONSONANCES OF MUSICK (1682) Complete facsimile edition with an introduction by James Tyler (Reproduced by permission of the Glasgow University Library Euing Music Collection B.e. 20. EDITIONS CHANTERELLE S.A. MONACO,All ight reserved. No part f this pblication may be reproduced, stored in a retrieval system, or transmited in any form or by any means, electronic, ‘mechanical, photocopying, recording or otherwise, without the prior permiion in wring othe publabers Copyright © 1980 by Editions Chanterelle S.A. International Copyright Secured Printed in Great Beitain by Galliard (Printers) Limited, Great Yarmouth ISBN 0-906700-07-8INTRODUCTION The False Consonances of Musick is one of the most important treatises of the seventeenth century. Invaluable to players ofall plucked instruments, it should be of especial interest to guitarists, for it contains Nicola Matteis’s realisations of figured basses for the baroque guitar, and thereby points the way toa fundamental, if totally neglected, aspect of the guitarist’s musica life, that of continuo- playing. Nicola Matteis was probably born in Naples, but his exact birth and death dates re not known, In the early 1670s, he came to London where he impressed audiences and fellow-musicians alike ‘with his virtuoso violin playing. Although he never acquired a position at court, he, nevertheless, became an important figure in London’s musical life, performing, teaching and publishing music for the violin. By 1695, he had been offered the post of violin teacher at the newly proposed Royal Academy, where his colleagues included Purcell, Keller and Finger. His contemporary, Roger North, regarded him as “a second to Corelli”, and this documented proof of Matteis’s musical stature makes his treatise on the guitar (his second instrument), all the more valuable to those involved in the revival of this unique instrument. twas originally published in about 1680, in Italian, with the ttle, Le False consonanse della musica ber poterapprendere a tccar dase medesimo la chitarra sopra la parte... ts publisher is unknown, but it was printed in London. The present English version is known, from publishing records, to have ' For further biographical information, see: Michael Tilmouth, “Nicola Mattes", Masicl Quarterly, XLVI, 1960.All guitar music of the time was notated in tablature, and Matteis uses the system known as French tablature, which was used in England as well. The five line stave represents the five courses ofthe guitar; the topmost line represents the first course, highest in pitch. The letterson those lines indicate which frtis o be stopped on any specific course: a =open string, b = first fret, ¢ = second fret, etc. Note that in the old alphabet system i and j were the same letter, hence the sequence ran: abedefghik.. ‘The time value of any single note or chord is indicated by ordinary notes (crotchets, minims, ctc,) above the staff; their value relationship is the same as tis today. A time value placed over a note or chord remains valid for all succeeding letters until it is replaced by another time value. Hence, it is not always necessary to print all four crotchets in a bar. Aside from the note values over the staff (which are individually plucked punteado fashion), you will also find some inthe staff. These valuesimmediately follow a chord and indicate that this chord should be strummed down or up, depending upon whether the tail of the note hangs down or points up. A down stroke means, of course, that the chord is strummed or brushed toward the floor ‘with the right hand, and the opposite for an up stroke. This can be done with the index or second finger alone, or with the third, second and index in rapid succession. Matteis uses the English and French term for a strum, “battery” Note that in this tablature system itis not always necessary to write out all the notes of a chord. ‘This means that although you will occasionally see a stroke/rhythm sign after only two or threeMatteis’s guitar is, in every way, the typical seventeenth century instrument, with five pairs (courses) of strings (although the first was often left single). Of vital importanceis the stringing and tuning used here, which was also used by the majority of composers of art music at this time: vy, ‘The upper octave string of the fourth course must be placed in the outer position, that is, where it is the first to be struck by the right-hand thumb. This is important, since it gives one the choice of playing either both octaves at the same time, or only the upper octave, depending upon the requirements of the music. Quite unlike the modern instrument, the baroque guitar has no real “basses”. The guitarist reads from the figured bass, but the resultant chords rarely contain those actual basses. In ‘ensemble, with another instrument such as the viola da gamba playing the true bass, this is of no importance. (See the tables on pages 10 and 58.) What is important, is that the guitar provides block chord units, mostly strummed, a function rather similar to that of therhythm guitar of today. ‘These strummed block chords, an idiom not used by any other plucked instruments of the time, are the guitar’s unique contribution to the sound of seventeenth-century continuo. In addition to the strummed style, Matteis also employs the “lute” style, often mixing the two techniques in his accompaniments.been printed in London by J. Carr in 1682. While only one copy of the earlier version survives (Paris, Thibault Library), there are four known copies of the English version: in Glasgow (from which the present facsimile has been made), Oxford, Bologna and New York City. Relevant to The False Consonances of Musick is a most interesting lute manuscript found in the University Library, Glasgow (Euing ms. R.D.43). This manuscript contains several folios of examples of figured basses realised in tablature for a ten-course lute with renaissance tuning; many of these examples, probably by Matteis himself, are also found in The False Consonances....On folio ag" of the latter, Matteis explains: ‘The Reader is desired to take notice that a certain Lutenist has had the confidence to call himselfe the Author of this Book when the truth of itis that I presented a copy of it to a Person of Condition which was ‘Transported by myself to the French Lute(.] how this Lutenist came by the copy oft I know not but he has got it and has the face toentitle himself to the composition. Whatever the origins of the Glasgow lute manuscript, its examples, which are not explained in the manuscript, can be used in conjunction with Matteis’s explanations found in The False Gonsonances of Musick.? + Forfurther information, see Sylvia Garneey, "The Use of Hand: Plucked Instruments in the Continuo Body: Nicola Mattes”, Music ond Letts, XLVI, 1966,letters on the staff, all five courses are to be strummed, the blank lines being implied open strings. ‘When less than five courses are to be strummed, small dots appear on the lines representing the courses which are not to be strummed. Other signs used in the tablature are given by Matteis on fol. ag. He does not, however, explain his use of slur marks, the curved lines over or below groups of notes, of which the first note is to be plucked by the right hand and the remaining ones played by the left hand only.* ‘The bright, luminous sound of this unique instrument can add an exciting, rhythmical base to chamber music ensembles, and Matteis’s invaluable treatise gives precise instructions in how this may be achieved. James Tyler London, January 1980 » For more comprehensive information concerning stringing, tuning, tablature and playing techniques, see; James Tyler, The Early Guitar—A History and Handbook, London, 1979,/THEFALSECONSONANCES, MVSICK | Srstructions for che playing a we cBale gon thelyuctarre, with| oie oO Goanple atl ier? Direc al : se to KOE thee woul lau exacttteupon tne (snp = By Val? fanny he. dE aacy acy of all eel ‘and “haw to ab eee ar 7 NICOLA MATTEIS. to enable-any man m a fo ort time to rgplay Ce sucort. Lute or:Le Flt Part lays down Rees « Directions forPlaying on Hive References roGxamples (he Second Part hath feverall Bases to work upon accommodated both to the making of the hand & enforming i undgrftanding |The Ghird Part treats of all fuck accords both Ordinary & Gxtraordinary as mere not exemplifyed before fein Fine fy fre BD Sealey offi and cay fas Yigg ae lead them to all marks in Mufick Dijtunctly ether(Flatt oF Sharp (LreReader is desired to take notice that a certain Quteri/t has had confidence to all hinfelfe t Author of this Book when § truth of itis thuTprefented a Copy of it abzjon of Condition which mas Tranfported by my Jelf to thew French Rute hor his Lutenift came by the pu of ie Know riot but he has gotit whasy face to encitle himfelf tor (ompofition ~D)(Go hi Reader The Guitare was never s0 much in use & credit as itisat this day finding it emproced 10 s0,9reat aFerfaction,it is my profene defjgn tomake it com= pony for sther Snforuments every body knows itto be an imperfect Infirument y upon experience how agreeable a pare it bears in a confore I hace conpojed foverall Pieces both fory practice & gnformation of thofé thatrould make ussofit with j Harpsecord.Cate. Theorbo. or BafsDiolsImighe undertake for Seurjofity. © ussfullncli off Pieces which Shave publifhed tof World inthis Book butS hall rather refer rey Jelfted Fagentons Feraer of itappen further confiderationSe will no be aif to advertise the Reader in this ome Fone further; (That ie was not pofsible to bring this Boos int a Narrower Compafs then now it is; s0 as to Anfwer ene of the Author in the Publicetion of it: By reason of fllecelcity of 22 many Sry Infeances upon every dificult; withoue which, it mould in many cafes have been very Obscure, O/O Vhicola [rotsChe fegnification of § Marks made ufe of in this Book Ghis Mark 9 fignifies a (Trill ov a fhake (This &% anArpeagio or Finching Sn this cafe FE se alittle battery touching only § forings that are Marke This Z for ahold § fiogp 1 be Sept to the end of the Jeroke Qhe this Mark % use a natural fixTHE TABLE fyres sei Giivarre either with Buje Grmithour = 2585. ile Me sty for aBeginver 6. e feverall Medes & how many - - 7 The-Firse <éJson that a Scholar is tla cates ae, Seies ep Extraordinary chat are feldom ae, fg acer en appeniguaversil i, Ordinary and Extraordinay © Hom ta make a Cadence Marked 43.11 iragne inary Cadence that feldom c How to make a Cadence either of a Whole Mes farsa aly or alQuarter 2 Chetest Page Acesfian Ru or youn: “he papers of The meaning ofa to be made ee ‘you are to do when you «fir “igure over a llote . Mere ta find § Accords for all Notes 19| Hom ofc to firike evety Tove to keep (rue Time~ re you misfi we the SEA 3 firid a maturall 6 upon any key 23 = 20) = 2THE TABLE he Difference betrixt, a a 0 (Sige Marked ide of we. 24, over % Mote or by § Bules for ei togst by Bean ax one a ob eco. fafes_ for a Beginner to learn Fart... . 272839. i Ba fe ws 19 move by Quavers. -303) ih sepia for a Spod manner of 5 Bs move Siow mary Not Secrallg i & Sow. 10 Hl Plain ese) one sasaki another 3779 jem ers 3940] Flow to give Life eSpint to aBal Bow to Hay aeery in Se How to Hay atiryple as ith Femamer of Begs 7 Pichon. Sn Geample-t arts kes where 3.49.F0.5§2 BC] Gounderfi a Eire teu, ore Trans panes ‘of anchyre jrom$ Oiblin to the 7 juittarie. 589 ne Seg fe (Shir ied - Aperfect Sc le of fecerall keys m Murch 6o6) To know whit Wher requis a Tifton “mason ora Tterce Minor. --ba The Ondonary 6 with either a Teerce Ma} tor or MitTHE TABLE. The rb S 6. ‘ay thay are commonly used. Antoiveril Scale ora beginner te find readitp any dis Fale x card in sick ether in Terce Bator orien Minor. She g Terce Major with ar... .66]) The Kerce Major &Tierce Minor. fc Gaiden Secon anyed witha 6‘ bal] Sn Lose re ut. an ‘econd & Fourth Major. 69l| Indla mire The Second & Fourth Natur fa £Final Cadence pee The 7 dv 9 Fale + : ee ite 2 Go how where properly to apply a Gpod advice ie ing Abies ebous Composing . Lae “ourth Pare Exar les of very / & ravagantikeyess2939605| Rules to find ary Marks quickly... .es|| Zow to play ary Sgewon Gaolreut key 96as,Pu ed } I a ] PpEP REL UF nape ee Ik, By LL AME "p Sues a 9h a a adagia.a Coaivom the meafur of all fuck noter in Malick as aren we Brige. Semibrisfe Minum, Crotchet. Quaver, Semiguaver. Doble fomigues The quantity of a breif &% common time is two meafures the Semibreife one meafire the Minn tr toa meafure the Crotchet ix forver toa rneafurea Quare ey eight lo ameafure the ee Sixteen to arieafure and a BoubleSemiguaver thirty too the Refts are these F==H===== and the quantity of them are equal mith catch note above only these you must hold out gy quantity ofem wutoul Play,Chere are two Sorts of Times or Mbasures in Musick i.e. Common and TriplD . aa OS Che Mark of ¥ (gmmon (Fime y Mark of the iple The ffi ¢ fignifies Slot ime phe Second ¢ mith a Stroke Crofs fgnifies Giige pees ie aj eae he ick o pecs re are 6 forts of Common Time & so there are o* Criple” CAere are Severall forts of Comm so there are o* eiple Onter Maris of Canon Cine. FEE eof Til FE The fret igure of 2 directs $ heating ofa Quick Measure afier.§ French Fashion, § Sessnd f ith carne jignfis DeryQQUich mith a Acver{e janifies much§ fare in Troplet farse mark fgnifies Slom Sime, that ts 5.Minims to eglire te tr used i Pfiiomce Means oligie Lris; TheSecond Mark Z ali i.e, three Crotehets to thea fure.The Third divides ¥ time equally; Crotchets down & three up The Fourth z iF time og i e Mark has 2 Quavers to 4 Mafre 6 down & 6 up y Fifth is out of we, &s0 are agreat many others thae mould be Superflucus in this place,The firfi Lesson which Schollars ought to learn by heart, vote goes Tayler Bfabemi. Crobfaut, Diasotre. E lami. Fjaut, ee ete iter aforemenond Gsolre ut, A lamire, a notes with athird Maror and thofe mith athird minor 5 ‘ ‘ Maj: min: Maj: min: Maj: min: Mai: min: Maj: min: May: min: May: min : Maj: minCo > a tr 3 ais 54min: 3. Maj: Sin: Maj Fin: ds ds r a Til min rs which are feldene used ane Oftentimes you will find notes that fhipes eight donm or eigh!np in this manner, in oS y pes cig ghey Such a cafe youmay makeuse of fame note with ous fkipping fortes refones, one being. for Sconvenioney of your hand & J other becagle the Guitare has jer eights heoctave : ——- an Gastron, Adanire. Bfabem, Cspifane.Dlasotre. Elomi. EjM plfcu ough to learn this Seale for quavers and femiquacers when the Base goes quick $F natural \ | | {I the ordinary fharps ordinars fates? ff flattScalePhere the Cadence is tobe made with a fourth a third this isa Marke 43 2 TheCadence 43 ) 49 1 FromDincole BE SH + ()\ From A la mire E ie to Gfolreut toDilaselre, = GF, ie i FrromE lami E || From B fa bem 7 toAle mire 20-8 oFfau. ——+ + Eaters z B 43 From faut 4 |From C.sol faut sue scans EF 43 From Saem Obferce tha Cadence muy end either mith a From Grolrew SAE Srey Ui es ‘third Major vee acconding tog rr “Rey youplay upon.J2 Cadences vstraondinagy thay feldom happen, Go, From Bia ut sharp OB oe? From Cool sical phar to Epa ue ja. om Bf oF flan. 2 ‘rom Flee3 In care you find acadenzofa whole meafure the way to hold your time out is by a ad giving three ¢ jtroakes upon the forth eof a fhake upon athird as in the efit ‘example you may see, And licks “ when you find a cadenesof half ameafure you fhall doe as focond a sorte Ihemeth and the rest as followes. pear Gfameafere — wholemeason a trple Talf meafure vale gfankale 34 Set Many times youril find feverall cadence that runs an Eight yas thas = Ee fuck a cafe you must play just as af it mas soe HE becau/e fe the Guitare has, “not such Lom eights apon any other fy you must doe 3E SE acc° THE First Part, Cecelia ruler to play thorough bafe upon Sitar or pon any other Fnftrument Where you find anote with a frarp above or underas thus eS you sna play the | full accord with achird Major 8 f youfind anote mith flat abooe sr under 1 ae you fi play the full acord with a third Minor, : When the note has neither fharp above or under looke in Fol: 62. where you will find arule to know any notes whether it has a third ajar ard Rive natural Of tentimes you will see the Cliffe marke mith tam or three fharps and {late as thus BE ‘and where the [harps are markt it mufi be playd fharp in tof E places all along and. licker the flat on the fi ¢ fame manner,The property of {lats and jharps being aRue, lor sown begindts pon aut (ly . She oer Pile ih Mote and hfe fi decreshaljaMote he afin when ef fare ts Marit a fide allote as thes EE it ncreafes halftone upon prneipall Tote hich if't mwas Markt above or under so. =$= or 50 Ett makes only a third Major, And lickroéa flat mhen itis Markt afide 2 Mloteas thus zeit decreafés toh torte tof principall Mote, and if it meareMarkt aboue or under 50 SE or so =d= it maces only a third Miner When you find alate rwitha fharp and a flac tgocthers0 "Ee or so Ht Jarp Jignifies Badihgeteg lat a third Minor: & therefore you mu(t pla a thud Mayor jor jhavp vafterathual Minera cou mast play: orjory harpist orf18 Where ye seca by J Side ofa Tote tis commonly Playd with a Sixth butpith this exceptions that ei ‘acadence or? Playing upondome ete ke ey ecaiutsie on ch laut Saf whole Lads to Bplay with a +408 ‘Nop dere 864 thus Jor exanple 76.5 there jets anote with ad: “ipon the Side yougre to make yee of as Fo Catotes witha Flat upon Side as thus a vou mufé play the whole accord mith them, ang afore Major as Fol.b2. When you see too Bi flatts $ Ope upon $Sidet: the other Love as for Instance take the witgle Accord with a Tterce Minor Ibi and the Other boos e Notes mith troo Sharps, the One on the St you see here, SEES tales hole cord with ere py Jud When ye see aSharp and a Flatt Placed thus REE play § whole accord nuth aTierce Minor_Yourmuferederftand hat ruhen the Bafie makes a Cadence you mft take aFourth anda” Third which is marked thus 43.5 youmay see Fol Seal that a Cadence when ¥ Bafse leaps a Fourth upward or a Fifth downmard; but this Ryle does not hold allwayer bul.you will cafily find by § trebble part whether tt beaCadence or no by a certain Harmony that Jhewes you are juft upony Clofe @Pheng Bafte makes fucka leap and that you find by the trebble that you are coming to that Clofeyou may take a Fourth and aFhird though it be not marqued, Jeficad of § faidFourthte Third you may take aFhird Major with a7 as in Fol.G6:0r other mie inthis case it willdo well enoygh to take aThird Major¥ aSeventh both tagather asFol66 When yousindy Figure.6Marqued over anote youmyfe take a.6.as Maonber.65"Fash nd fig swith «flat upon it bor therm soit fies ath Desfede? pon a note you murt touch a feauenth ar you may jind in the 66.2 nay se tine FL. iL. ¥#. yo Jind a foeond as this marke 2 you muft play it mith « fourth and i2ou fi finda salbne, you mut play it wath fend asyou may f find in the 65.70Fol. Ghe Cand the mt nf be plaid aloft albvayes with a third cxample 55.6 $66. fel. Ghe true fifth, and the falie fifth likemise must be plaid witha thin! Cs Ge 3 muff be plaid with a 76. henyou find this marke $44fs you may mate uieo"the Cadencelike the v2. Fol. b cypher rdsu and that si¥5e isbut atte diference, | erp ~ example aufe thshere you mut firthe the accords, When you find the quavers in common time [ett after this manner ie ruill be fuffcient to firckeg full accords to yf frfiof every two vid pag: 30. But ifthe movement be very quch after this Wor SB then fericks #f full acont only ty firfi of every fourth vid pag: ss Suid the fame to every foure of Jomiquavers vid pag:rs But if the movement be extraordinary fryift as thu so that your hand cannot perform it then firucke§ firjt rote of every foure arudbi he other three alone it being ‘only adivifion vid pags = 4 Gfiimovement in triple time be low you muft firtch § accord to eatch crotchett. Fol.s 4 2 ee be quick chen to the firfé of every three tid pag: 42, fit be all guavers after thes Per BEE tenn the fie of com Sep 4. bs.20 Son many Strokes you ought to,give to cvery note foxceep true time. Sn common time to afemibrisf whichis this note SE youmufl oive a ftroke downe of the time ofa minnie two firokes more ¥ one donne Fother up Crechet time so BBE which maces ittrero time Fol.36. example, | Joaminun that i this note 2 you may give two Strokes fone down $other up so SBE a te and other forts of nates you mult objarvc § examples in the firft part of the Booke, tniriple time the prickt minum so | FFE youmufi give one Stroke done worth two (Fochets ¥ an other up rorth one(rachet s0 9. example you may alzo playit inan other maner we! Folas. il fo soy mujt befture te that is one Stroake dorm, and to And take noticein triple tine fomtimes the movement goes so fast that this fort of noat gue § two Stroakesup very Sveet, you are to giue no more then one ftroas so firtkina it verw Quick, SOEa Shere wa might to eive the Six! Your mut Brow that i ever. gr thre isu place al fone motes hat vow are tpl “iviuch” the Compofer = iiturdces Tecan Ihe fie Sith is a natural < = and yf vou 1 flould aive a fn upan that note that has a Sia acl, thus. ieee ave goe Sul of your Jeu vio mane UL more eal. 10 oo ae mua turn to the Folge, go. 70. 99.52.0ct. s0 that upon any Rey sither” fiarp or fiat. wow mau plainly see m what place,$ Sisth natural eught to be giuen, You ought to tase notice there are tive forts § “artifickall the naturall are Mansi with rStat and the axeifichall with a Siz, a muff siniy other aja. this being done only. for example ath’ the ane natural, the other. nat he expected ta find the Stari _fibe as you may see Sbid Fol.geso.0ct22 To sirom where a naturall Sixth is upon any Sey rwhasfocoer You mufi take notice ofthe motion off Base whether it be in GsolreutLlamire or ir 4 Byabe mior any of f rest, example Ss you play upon Gisolre ut ether a third Major ora third Minwor § naturall Sixth is alrayes in trvo places that is one note below and three notes above § j afore aid Gk reut herefore dL f faid Siseth fales in Efe be miand in Ffaut. example and iti fame in all Keys three notes above ¥ and ane note below a Can "Suoth. Bug jomtimes youmufé take notics there isa change ingKey or els a cadens inthat Lace ro ould be giuen upo ae . 7 Straordinarie He e e Dopo ta terga Magorare dalle uolte vi costuma i toccar wa serima sola per piacere, chef. asai Buona Armor we Ey ae StraordinarieLracadoga acmpagnata cla fea fal cwonanga maltotkleteusle 6 < s" te . + é 45 a rm 4 £ Sow 45 i ee aon iumvsiel ) J) a < = 6 43% Me __ 438 art ponsptg miner! JS JP JI Jp sd 67ie, che rare wolte accorrans. 4 6 tes (= y goeegior| JD Sy g minoye if aL > Sceonda,e quarta Maggiore false consonanze asset armonuost 69 a 3 ee fe outed -Staordinarie bow Si puole usare det ta falsa nelle composition manterayche fa une. lia asia mest 5 a falsa nelle compositi in gueste alga ighe fo una melodia asia meesia 4 aStraordinarieLa Seconda.é quarta guista si usa quasi sempre in questa fonna 4 44 44 a 4h a $2} — Ere 4 8 taht chpg— te ce StreordinarieLe Cadenze Finale Maggiori & minor. : 65 65. 65 aay 73 &. 72 Stragedinarie, che rare uolte accorrane, ane ae “ant. J |) JMinoi. J |)74 firvordnars ¢ —- =4 Magy 2 = ee $- i, + ti Mio - J = i aL, = cot a quit eee franca afi cat pevilpia Sgpprpie st te cadena in gus fs a jax 33 as Wh) d)) 2LaNona tefoluta con U ottaua 76 : wom) [iti [anls [P17 2 @ wom) Lye) [as fas) [2 [der dans |e gp >Gar fone cafie Bafes it will be vers oreable to put o difeord now and then rohich will oo Grace your tune extraordinary, Ge Som in what place it will be maft needfill oappropriate fome difeords upon. any plain Baye beina Goriow and neceffary to make, fome Feviy upon plain notes (Gris Mark. Hyou mary use when the Bap. goes a note erer, ora half ane fo toa note, with a Siz in this manen SEH or soe sou ws sein Fol bo, Gc fame Mark.4.rvithout a fharp to the four" you may we when the Bafe goes se ARTEL and where Star is Marit, you may apply the fame difford feample Fol.7. And for Crmpofing you will find this Rute very nece)sary. ox.A Sn other figure > you may male use when the Bafé has a third Major wher it flips a fourth up ova fi. dorone 10 BEE or so FB as you may see Fol. 66 Chis other marke £5. you may use ordinarly upon the (adens becawe it maker a notable harmony example Fol6 >. GPhersfore you ought 1 take nots of fey you play ypon rohether it has a third Major ora tind Minor af it be with a third Major you nuft make use of the, firft too lines of the Fol.e2 and ifit bewith a third Minor you muft we the toofecond lines ofthe fame Fol.02. so that with your eare younay eafty deere The false_ fifth whichis this marke # you may wie upon any note that hath a _fharp upon the, fide of it example Fol G5.Good aduice to play well ] fou mufé not play allmayes alike, but _[Bmetumes fond and jometimes wf. “according to your J fancy, and sf you oe os by Melarel ole notes you muft touck them, fivect and delicately Seconly tb vers nece/fary to mace a Clever hake, Jroeet and quic? which w the Chis}? method, for thofé that play of the/e fort of inflrumenu Drirdly that you dont play your tune 12 foft. becaufe your quick playing. is api to Confesfe you, so that you ought too play clearly and ea (ily & fot your tune off” the better, you muft mae feverall forts of Graces of your one Genius it being dery troublefome Sor the Compofer 10 mark then Aege sidvice about Cempofine in jem Words. Shen rou wil mpafeans Tune as aneflmand Saraband & cet:upon § Karplecord. Theorb “iia oraother a fruments,vou mut bere to intermize a Bale nont and than beau your inaced playing has we farmonv.andnst Gratjedl atall. — ~ Secondly itis ny necefiary.to.give a difeord now and then rohich isas much as to Jay a false Strock ending plefanclu Thich rill [2 your Compofition Fetremly o yah Chirdly that your Tune “be not wee and tedious nor yet to Short but of'a Medium, her you will maze a cadens cut fier you nyt Steal out delicately witha pleasant fred and réturn handjomdeu that our hearers may not rest difcatisfied. gt not your movement be so ordinary & your Bale muff notyve un maturaly foeyour “Compgfition rill be very Agreable ~ fms ntg uh Remember toCompaseso as it may bee easy & commodius « fory handTHE FourtTuH Part = fruniveriall fcale where you may cafily find all the markes of accords’ dif-ords which in Maficé may be found : - Rules to firrd any Marker quic The accords witha third Major are markt upon the two fir ft lines and thofe off third Minor are markt on the two fecond lines i When you play upon a key that has a third Major you may weg firfé mo lines pertiuler fit be these cifers, 67:76: 44:65 :98:7443: and when you play upon a key that har third Minor youmfi ufe§ moSecond lines epecialyifitbe any ofS above faid cifers, The mark that are wfed upon both the Keyes are these 43: 3:8 The 4 3s acadenseand therefore mauji be play d mith athird Major & [alie foto playd witha third Major if lajt marke thus B having afharp by it igh ts frequent mith, aha four thSeald Varwersale 82 Per grovar qualsinoglia accordoe discordo della Musica % 6 606 ‘ x5 con facilta €xtraordinaria : Maggiore | ae Pe Le prime due linee sono le segnaturs Maggior, e le dus seconde linee son le MinoriIn Mane. % ¥ Maggiore | bd she bmolle 83G, x v4. JnB fa 6 6s ee ee. 4h Maggiore Jin Bin ‘Minor rt [iInC solfaut », 6 _ Sah bas Ss Shh cok ag} (6 ki gts § OF ‘Mag giori. 1 ay a! kt ts 4 6 6 S98 { aig s 1] 1) MNGn Dlasolré 4 "Maggiriz iegy In Clam bmolle a canto. Maagiorii |} | 1d Li) Ade |In Elami. , A tat fl > B® 86 6b gg 7 etre al § faMinor.E Fi faut desis a canto. Mag yiari.t atal hat 4h s%9.2 own tuon stasaanntisimiche poche persone armo wedydo,compostone in det tuoni,ct etiam che al Cimbard molto impeefeat non fnoevnn gic piacak per rth dl hb Cueso aon aif aconpn ong ae ser ‘2 v m Per sonar questituont pecfetimmente, cibisoona il imbaro con tasti spezzpti cie® con quarti,é mieaz quarti di woce.et all ora. quest tuont ps 0 ¥ 4 4 potete tocar quest curiosi toni con_pesfewioneQuefte alto tuonot v a Ie itato, ma non tanto qui gunna manent 76 76 =Si puol compore ancow in quai alo tuong fauacante 43 i bee 3443Questoté un siuaoaniiino twone,che sipossi mai trouare nella mafic, #come sé deta di sopra cheal cimbaro, 15 prfeto n't mnenopee rari ilwonoL?cuvosi smo che rowan wt cimbaro con tas spezzatiucdte chehagyn melodia? deliatezza * 5 43% ~~ 4 * = wy dSVolendo nar qualche ana in chane di Gsobreut biffona toccar soprano. ledue dita aoe mdice.e il medio,edar qual: 96 che halodi sua fantasia. con ui detoarofo secondo che all udito wa pare.'> pur secondola composttione ta mostra a fe Dieta ae ey