Century- • 11 . 
j s. 
Conducing to Confent of Notes, is rathe: lo beeafcribed to the Ante- 
Number, than to the Entire Number \ As namely, that the Sound retur- 
neth after Six, or afcer Tvoelue ■ So that the Seuenth, or the Thirteenth, is 
not the Matter, but the Sixth, or the Twel/tk . And the Seventh and che 
Thirteenth are but the limits and Boundaries ot the returne. 
The Concords in CMuficitc which are PerfeU, or SemiperfeU, betweene 
the Vnifon, and the Diapafon, are the Fifth, which is the molt PerfeU . the 
Third next ; and the Sixth which is more harfh : And as the Ancients 
eftecnied, and fo doe my felfe and fome Other yet, the Fourth which 
theycall Diateflaron. As for the the Tenth,Twelfth,Thirteenth,and fo in infi¬ 
nitum • they be but Recurrences of the Former; viz. of the Third, the Fifth, 
and the Sixth -, being an Eight refpectiuelv from them. 
toy 
For Dijcords, the.Second, and the Seuenth, are of all others the moft 
odious, in Harmony, to the Sepfe * whereof the One is next aboue the 
Vnifon, the Other next vnderthe Diapafon : which may fhew, that Har¬ 
mony requireth a competent diftancc of Notes. 
108 
In Harmony, if there bee not a Di/cord to th cBafe, it doth not difturbe 
the Harmony, though there bee a Difcord to the Higher Parts , So the Difi 
cord bee not of the T wo that are Odious 5 And therefore the ordinary Con- 
fentof Fourc Parts confifteth of an Fight, a Fifth , and a Third to the Safe: 
But that F ifth is a Fourth to the Treble, and the Third is & Sixth. And the 
Caufe is, for that the Bafe (hiking more Aire, doth ouercome and drowne 
the Treble, (vnlefle the Difcord bee very Odious.) And fo hideth a fkiall 
Imperfe&ion. For we fee, that in one of the Lower firings of a Lute, there 
fbtindethnot the Sound of the Treble, nor any Mixt Sound, butonely the 
Sound of the Ba/e. 
top 
Wee hatie no Muficke of Quarter-Notes 5 And it may bee, thev are not 
capable of Harmony • For wee fee the Halfe-Notesthcmfclucs doe but in- 
terpofe fome times. Neuerthelelfe we haue feme Slides, or Relifhes , ofthe 
Voice, or Strings, as it were continued without Notes, from one Tone to 
another, rifmg or falling, which are delightfull. 
iio 
The Caufesof that which is Pleafing, ot Ingrate to the Hearing. * mav 
receiue light by that, which is Pleafing or Ingrate to the Sight. There bee 
two Things Pleafing to the Sight, (leauing Pictures, an d Shapes a fide, 
w,hich arc but Secondary Obie&s . Andpleafe ordifpleafe but in Me¬ 
mory ;) thefe two zxo,Colours,md Order * The Pleafing of Colour fymboli- 
zethwiththe Pleafwgot any Single Tone totho Ear e ; But the Pleafing of 
Order doth fvmbolize with Harmony. And therefore wee fee in Garden- 
knots, and the Frets of Houfes, and all equalland well anfwering Figures, 
(as Globes, Pyramides. Cones, Cylinders^ &c.) how they pleafe ; Whereas 
•vnequall Figures are but Deformities. And both thefe Plea fares, that of 
the Eye, and that of the Eare, are but the Effects of Equality: Good Propor¬ 
tion, or Correffondetsce : So that {outolQueflion,) Equality, and Correjpon- 
dence, are the Caufesof Harmony. But to finde the Proportion of that Cor- 
refpondence, is more abflrufe 9 whereofriotwithftanding wee (half fp'eake 
fomewhat, (vv hen we handle Tones, ) in the general! Enquiry of Sounds 
j . " Tones 
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