war «Yella =e), * a DT Teen ne _ a 
, - - ‘, a be 4 
aaa’ Century II. 
er rg 
_ For Difcords, the Second and the Seventh, are of all others,the moft odi- 
ous in Harmony to theSenfe; whereof, the one is nextabove the Ynifin, the 
other next under the Diapafon; which may fhew, that Harmony requireth a 
competent diltanceof Notes, ) 
Ia Harmony, if therebenota Difcord tothe Bafe, itdoth not diturb the 
Harmony, though there be a‘Difcord to the higher parts; fo the Difcord be 
‘not of the Two that are odious: And therefore the ordinary Concent of 
| that Fifth isa Fourth rothe Trebble, andthe Third isa Sixth, Andthecaufe 
| is, for that the Bafe ftriking more Air, doth overcome and drown'the Trebble 
( unlefs the Difcord be very odious ) and fo hideth a fmall imperfection 
not the foundof the Trebble, nor any mixt found, but onely the found of 
the Bafe. } 
| © Wehave no CUufick of Quarter-Notes, and it may be, they are notcap- 
able of Harmony; for wefee the Half-Notes themfelves do burinterpofe fome- 
times. Neverthelefs, we have fome Slides or Reli/hes of the Voice or Strings, 
as it were, continucd without Notes, from one Tone to another, rifing or 
falling,which are delightful. 5 od 
: The caufes of that which is Pleafing or ingrate to the Hearing, may 
receive light by that which is P/esfing or ingrate to the Sight. Phere 
| be two things pleafing to the fight (leaving Piltures and Sbapes afide, 
| which are but Secondary Objeéts, and pleafe or difpleafe bur in Me. 
|mory;) thefe two are Colours and Order. , The pleafing of Colour 
| fymbolizeth with the Pl-afing ot any Single Tone to the Ear 3 but ithe 
pleafing of Order doth fymbolize with Harmony. And therefore we fee 
in Garden-knots, and the Frets of Houfes, and all equal: and well anfwer- 
ing Figures, (as Globes, Pyramides, Cones, Cylinders,@c.) how they pleafe; 
| whereas unequal Figures are but Deformities. And both thcle plea- 
| dures, that of the Eye, and that of the Ear, are bur the effeds of equa- 
lity, good proportion, or correfpondence: - So that ( out of queftion ) 
_| Equality and Correfpondence are the caufes of Harmony. But to finde the 
_| Proportions of thatCorrefpondence, ismoreabftrufe ; whereof, notwith- 
ftanding we fhall {peak fomewhat (when we handic Tones, inthe general 
enquiry of Sounds. | | | paca 
one that readeth, &c. Thecaufe whereof is, for that Tones, becaufe they are 
| overmuch attention hindereth fleep. 
| Figures of Rhetorick., and with the Afedions of the Adinde, and other Senfes. 
| agreement with the Glittering of Light ; Asthe CVWoon-Beams playing upon 
a Wave. Again, the Falling from a Difcord to a Conéord, which makethgreat 
fweetnels in Mufick,, hath anagreement with the 4ffedions, ‘which are reinte- 
| graredtothe better, after fome diflikes; it apreeth alfo with the tafte, which 
is foon glutted withthat which is {weet alone. The, fliding from the Clofe 
| Prater Expectatum; for there is a pleafure, even inbeing deceived.. The Re- 
ports and Fuges have an agreement withthe Figuresin Rhbetorick.of Repetition 
{aad TraduGion, The Tripla’s and Changing of Times; have an.agrecment with 
Four parts confifteth of an Eighth, a Fifth, anda Third tothe Bafe; but. 
For we fee, that in one of the lower fttings-of a Lute, there foundeth. 
Tones axe not fo apt altogether to procure Sleep, .as fome other ‘founds : 
| Asthe Wind, the Purlingof Water, Humming of Bees, a {weet Voiceof 
_ There bein Mufick, certain Figures or Tropes, almoft agreeing with the. 
Firk, The Divifion and Quavering, which pleafé fo much intUMuficks have an. 
| or Cadence, hath an agreement with the Figure in Rhetorick, whichthey call 
the: 
| 
| 
109. 
T10o. 
Ifa. 
} equal and flide not, domiore ftrikeand ereétthe Senfe,, thanthe other, And | — 
ee 
