A Plaine and Easie Introduction to Practicall Musicke

Ma. How then must you sing it when there is no sign?

Phi. I cry you mercy, it must be sharp: but I had forgotten the rule you gave me, and therefore I pray you set me another example, to see if I have forgotten any more.

Ma. Here is one: sing it.

Musical notation on a five-line stave using a C-clef on the third line, showing a series of diamond-shaped notes ascending and descending.

Phi.
Musical notation on a five-line stave with a C-clef on the third line. Beneath the notes are the solmization syllables: Ut re mi fa sol la fa sol la mi fa.

Ma. This is well sung: Now sing this other.

Musical notation on a five-line stave with a C-clef on the third line, showing a scale exercise.

Phi.
Musical notation on a five-line stave with a C-clef on the third line. Beneath the notes are the solmization syllables: ut re mi fa sol la mi fa sol la.

Ma. This is right: but could you sing it no otherwise?

Phi. No otherwise in tune, though I might alter the names of the notes.

Ma. Of which, and how?

The three first notes may be altered in name though not in tune.

Phi. Of the three first, thus and so forth of their eighths.

A fragment of musical notation shows three notes followed by the abbreviation etc.

Ma. You do well. Now for the last trial of your singing in continual deduction, sing this perfectly, and I will say you understand plainsong well enough.

Musical notation on a five-line stave using an F-clef (bass clef) on the fourth line, showing a series of notes descending below the staff.

Phi. I know not how to begin.

Ma. Why?

Phi. Because beneath Gam ut there is nothing: and the first note standeth beneath Gam ut.

Music is included in no certain bounds.

Ma. Whereas you say there is nothing beneath Gam ut, you deceive yourself: for music is included in no certain bounds (though the musicians do include their songs within a certain compass). And as you philosophers say that no number can be given so great, but that you may give a greater, and no point so small, but that you may give a smaller, so there can be no note given so high, but you may give a higher, and none so low, but that you may give a lower. And therefore call to mind that which I told you concerning the keys and their eighths: for if mathematically you consider it, it is true as well without the compass of the scale as within, and so may be continued infinitely.