The first Example.

Begin to tune your Voice at the lowest degree, which is at the first Note, and is under the lowest Line, and sing the numbers upwards, one, two, three, and so forth, up to eleven; and then sing them backwards down again, eleven, ten, nine, and so back down to one.

These are all Semibriefs or four Pulse-notes, called whole Times, [...] one, two, three, four, five, six, sev'n, eight, nine, ten, 'lev'n. Exercise the risings and fallings of your Voice up and down a while by these Notes of Time, pronouncing the numbers forwards up, raising your Voice, and back­wards down, falling your Voice, as before.

The second Example

Is to be sung as the first, only these are but Minims, or two Pulse-notes of Time, called Half-times; for two 톹텥 톹텥 Minims make but one 𝆹 Semibrief, as is taught be­fore.

[...] 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

When you have used your self a little to these two Examples, then proceed to the Changes, or breakings of your Voice, to the Tunes and Times in the next Ex­ample; whereby you will have knowledge and practice to sing any Psalm true, and with pleasure.

The third Example.

[...] 2, 1, 3, 4, 5, 7, 6, 8, 11, 9, 10.] 10, 9, 11, 8, 6, 7, 5, 4, 3, 1, 2.

You will do well to hold some pointed thing in each hand to guide your eye the more readily in the appli­cation of the Figures, and Notes to each other, when you sing this Example; for thereby the eye and mind will take both of them at once, without study or po­ring; but after a little practice, such pointing will be left off as needless; for you will know to apply them readily without any help. In this Example you must give Times to your Voice, longer or shorter, accord­ing to the Notes, which will be very easie; because there are but two Times used in singing of Psalms (as is said before) besides the Brief 𝆸, which is applied chiefly to the last Syllable of some Verses, and to most of the Staves or Stanza's.

Before you begin to sing any Psalm, observe the com­pass of the Tune; that is, what distance, or how many degrees of the Voice there are from the lowest to the highest degree in the Tune you are about to sing, that so you may form your Voice to sing the lowest Note without grumbling, and the highest Note without squeaking; and observe well upon what Line, or in what space the first Note stands, and also have an eye where the lowest and highest Notes do both stand, that so you may raise and fall your Voice betwixt them; for tho' some persons have strong breasts, yet there are others, whose Voices will not so well reach the compass of many Notes: As for instance, in the first Psalm, the first Note stands upon the first Line, which is the se­cond degree of the Voice answering to the Figure 2. in [Page] the former Example, and to the word [the] in the Psalm. The lowest Note stands in the first space, that is, under the first Line, signifying the first degree of the Voice, and is over the Figure 1. in the Example, and over the word [in] being the ninth Syllable in the third Line of the Psalm-Book, which the fourth Exam­ple doth not reach to; and the highest Note stands in the space between the fourth and fifth Line, which shews the ninth degree of the Voice, and is over the Figure 9. in the Example, and over [doth] the first Syl­lable in the fourth Line of the Psalm, so that the com­pass of this Tune is nine Notes, for that both the low­est and highest Notes are inclusive in the number of the compass, because both of them must be sung.

The second Psalm hath the same Tune with the first.

The third Psalm hath the first Note upon the second Line, which is the fourth degree of the Voice, and is over the Figure 4. in the Example, and belongs to the Letter [O] in the Psalm. The lowest Note is under the first Line, and is over the Figure 1. and over the word [my] in the first Line. The highest Note is upon the fourth Line, and is over the Figure 8. and over the word [kill] in the second Line, whereby the compass of this Tune is eight Notes.

The fourth Psalm hath the first Note upon the se­cond Line, and is over the Figure 4. in the Example, and belongs to the letter [O] in the Psalm, and also there is no Note lower than it in that Psalm, and the highest Note is in the space between the third and fourth Line, as is over the Figure 7. and over the word [call] which is the last Syllable in the first Line, whereby the compass of this Tune is but four Notes; and therefore the more fit for Beginners to sing: For those Tunes, which have the least compass, are the most easie, and also they may be sung with the more chearful high pitch of the Voice, because people will not be in danger of squeaking, as in Tunes of greater compass; [Page] [...]nd if they begin high, there can be no danger of [...]rumbling; but I recommend an indifferency of Voice [...]s best to be used.

You are now prepared to begin upon the Psalms; [...]ut that your entrance may be the more easie, here [...]ollows an Example of the first four Lines of the first Psalm, wherein I have set the Figures under the Notes, [...]hewing in what degree of the Voice each Note is pla­ [...]ed, and which Notes you may (at your pleasure) try your Voice by, pronouncing the words of the numbers before you sing the words of the Psalm, which you will afterwards do the more readily and perfectly; and when you can sing this Psalm by the Notes, you will be able to sing all the Psalms true by the help of these Notes which are set with them.

Here follow the words of the first long verse which contains four short verses of the first Psalm.

The man is blest that hath not bent, being eight Syllables: Pronounce the words of the numbers that do stand under those Notes, which do appertain to the said Syllables, and then instead of the said words, or eight Syllables, you will sing these eight numbers, viz.

Two, four, two, five, four, seven, seven, six, because the figures of these numbers do stand under those Notes, and over the same Syllables to which the said Notes do belong.

The second short verse is, To wicked read his ear.

There being but six Syllables, instead of them sing these six numbers, Five, six, two, four, three, two.

The third short verse is, Nor led his life as sinners do.

There being eight Syllables (as in the first verse) sing instead of them, these eight numbers, Six, six, six, five, four, seven, six, five.

[Page] [...] [Page] [...] [Page] The fourth short verse is, Nor sate in scorners chair.

This verse contains but six Syllables, as in the se­cond verse, and therefore instead of them sing but these six numbers, Five, eight, four, six, five, four.

And after a very little use of this, you will sing the words of the Psalms to the Notes with great facility and delight, not only in this little tryal, but even throughout all the Psalms.

Thus having fully explained it, I come now to give you the last, being

The fourth Example.

[...] 2 4 2 5 4 7 7 6. 5

The man is blest that hath not bent] to [...] 6 2 4 3 2. 6 6 6 5 4 wicked read his ear] nor lead his life as [...] 7 6 5. 5 8 4 6 5 4 sinners do] nor sate in scorners chair.]

In the Metre, four short verses which are four Lines in the common Psalm-books (that have not the Musick-Notes) are accounted to one long verse, and two long verses make one staff of eight short verses: The first of which short verses consists of eight Syllables, which makes four feet, the next consists of six Syllables, ma­king three feet in Poetry, through the most part of the Psalms, only these one and twenty Psalms following have [Page] [...]ther sorts of Metre, viz. the 25, 50, 51, 67, 70, 100, 104, 111, 112, 113, 120, 121, 122, 124, 125, 126, 127, 130, 134, 136, 148.

The short Metre verses are divided by this Character [...]etwixt them] and the Musick over them is divided by a cross Bar coming down thwart the Musick thus 𝄀 [...]ut this stroke is put by the Printer more oft than need­ful in some places.

Musicians, in teaching to Sing, did use to give unto the Notes of the degrees of the Voice these seven terms, Vt, re, mi, fa, sol, la, ci, as the French yet do; but now they teach by no more than these four terms, Sol, la, [...]ni, fa, and so double the repetition of either sort of terms, until they come up to the number of 11. as thus, Vt, re, mi, fa, sol, la, ci, ut re, mi, fa. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11. but now they change ut, re, into sol, la, and do teach thus, Sol, la, mi, fa, sol, la, fa, sol, la, mi, fa.

But these unaccustomed words, or Syllables, and the repeating of them, being difficult to be learned by such as have no acquaintance with Musick, I have made use of those numbers to distinguish the degrees of the Notes by, as more intelligible, and easie to ordinary Capacities, wherein the numbers, seven and eleven, are printed with Apostrophies thus, sev'n and 'lev'n, that each of them may be pronounced in Singing, as but one Syllable, because two Syllables cannot so con­veniently be expressed to one Note in Singing.

The long strokes of the Minims, 톹텥 or 톹텥 are carried upwards or downwards, as they will come in most commodiously among the five Lines, but do signifie no other thing than the same Time of two pulses.

The Characters at the right hand end of every System, or row of five Lines, whereon the Notes are placed [Page] thus (direct), or else in some of the spaces thus (direct), is on [...] to shew, that the Note ensuing on the left hand end i [...] the next row of Lines, stands in the same degree of th [...] Voice, which this mark (direct) is set at, on the right han [...] end of the System foregoing, that the Voice may take the Note readily before the eye can find it at the left hand end of the System. I come now to the letter ♭. and the mark sharp ♯, which I promised to speak of.

You find the Letter ♭. in the fourth space at the be­ginning of the Tune to the first Psalm, but you have no sharp ♯ until you come to the fourth Psalm, where it is put at the beginning of the Tune upon the second line: Their signification is only thus, that where the said letter ♭. stands in any space, or upon any line at the beginning of a Tune, all the Notes standing in that space, or upon that line, ought to be sung one half de­gree of the Voice lower than else they should have been; but if ♭. stand in any other part of the Tune, it must be applied to that Note only, which it stands before, and to no other Note: And on the contrary, when the mark sharp ♯ stands in any space, or upon any line, at the beginning of a Tune, all the Notes standing in that space, or upon that line, ought to be sung one half degree of the Voice higher than else they should have been; but if the mark sharp ♯ stands in any other part of the Tune, it must be applied only to the raising that Note which stands next after it, one half degree of the Voice, and to no other Note.

By this means the compass of the Tune of the first and second Psalms will be no more than eight Notes and half, and the compass of the Tune of the third Psalm [Page] will be but seven Notes and half, because the letter ♭ hath fallen both those Tunes half a Note; and also the compass of the Tune of the fourth Psalm will be found but three Notes and half, because the mark ♯ doth raise the lowest degree of the Voice in that Tune half a Note.

Most of the Psalms have this mark or letter 𝇍 with a stroke down it, at the beginnings of the Tunes, but there are thirty three Psalms, viz. the 14, 15, 17, 19, 24, 29, 31, 39, 40, 42, 44, 50, 52, 54, 63, 65, 72, 79, 80, 82, 92, 93, 94, 99, 100, 104, 107, 109, 117, 128, 145, 147, 149. which have the said letter 𝇊 with a prick in it before them: The meaning is thus, The said marks are two Moods which are explained as fol­loweth.

First, The imperfect of the more 𝇊 called Tripla or (less usual) swift time where one Semibrief 𝆹 contains three Minims 톹텥톹텥톹텥 which ought to be observed by the skilful, as an Exception from the general Rule at the beginning of these Directions, where one Semibrief 𝆹 is said to contain but two Minims 톹텥톹텥, as it is in the other next Mood.

Secondly, The imperfect of the less 𝇍 called dupla or more usual slow time, signifieth the Semibrief 𝆹 to contain but two Minims 톹텥톹텥 according to the afore­said general Rule.

This mark 𝄡 in Musick is called the letter C. for [Page] Cliff, from the French word Clef, which signifies in Eng­lish Key, whereby to set the height or lowness of the Tune according to what line the middle of the said Cliff stands upon, and so all the rest of the Tune must be sung in proportion of voice; so this Cliff. 𝄡 which is called the C. sol, fa, ut Cliff, being placed on the fourth line signifies a Tenor, on the third line a Contra-tenor on the second line a lower mean, on the first line a higher mean; whereby is understood that the lower the mid­dle of this Cliff 𝄡 stands in the System of lines, the higher it sets the tune; so in the Psalms this Cliff is placed upon the fourth or upon the third line, being a Tenor and Contra-tenor, each of which is applied three manner of ways, being demonstrated and figured thus, viz.

1 2 3

Tenor Cliffs [...] 1 2 3 Contra Tenor Cliffs [...]

But most part of the Psalms are sung by the first, called the Tenor, because the middle of the cliff 𝄡 stands on the fourth line; only these forty three, viz. the 14, 15, 17, 19, 24, 29, 31, 39, 40, 42, 44, 50, 52, 54, 63, 65, 72, 79, 80, 82, 92, 93, 94, 99, 100, 104, 107, 111, 113, 115, 118, 220, 122, 124, 125, 129, 130, 136, 137, 139, 140, 146, 149. Psalms are sung by the second, called the Contra-tenor, because at those the middle of the cliff 𝄡 stands upon the third line.

There are two other Cliffs in Musick, namely the F. fa, ut cliff, marked thus 𝄢 and the G. sol, re, ut cliff, [Page] marked thus 𝄞. but I have spoken only of the C. sol, fa, ut cliff 𝄡, because there is no other put to the Psalm-Musick, nor is it material to insist further upon any of these mysterious Terms and intrigues of Art, for that [...]t would give greater trouble to render those intelligi­ble to the plurality of people, than is needful in this concernment: But this little is not amiss, for that it may give satisfaction to some particular ingenious per­sons, who may peradventure desire it.

All the other former Directions are necessary for Clerks Masters of Families, or persons alone, to sing exactly, true; but any people may sing well enough in Congregations, or single, when they shall have in­formed themselves only of the three Notes of Time 𝆸, 𝆹 and 톹텥 or 톹텥 mentioned at the beginning of these Directions, and of the eleven degrees of the voice; and better perfection will come, by a little pra­ctice, insensibly, as will be found by Experience.

These Psalms are printed in a small Character, that the Books may be the cheaper, and of the less bulk, and by that means the more commodious for pockets, in being the fewer sheets; it having been one of my great­est aims, to make them as cheap, and portable as possi­ble: But the smallness of both Letter and Musick, hath made the printing of each sheet the more chargeable.

The Printer hath also been very careful in placing the Notes exactly over their respective Syllables, to prevent disorderly application of each to the other, the neglect whereof is a great fault in those Books I have seen, wherein the Notes are put to the first slaves, or verses of some of the Psalms.

These Directions are not long, and if they had been more brief, they must have been less plain, which would no have been so fit and proper for such Capacities, as this Work is partly intended: Wherefore here is [Page] every thing done that could be devised or advised, and (I hope) enough to render this Seraphick Devotion plain, easie, and pleasant to every unprejudiced Under­standing; perswading my self, that as many as shall be delighted in it, (how dissolute or wicked soever before­hand) will be led into the contemplation of the rich Divine things contained in these heavenly Songs, and (by degrees) to the knowledge of Him, who may be said to have sung his own Elegy or Funeral Song, the Pa­schal Psalm-Singer, even our Lord and Master Jesus Christ.

I commend all to the practice of the wise and of the unwise, with my most hearty prayers to the Author of all Blessings, for His peculiar Benediction on these frail endeavours of His most unworthy Servant,