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"Secondly, observe the Form, and Shape of the whole lesson, which consists of two uniform, and equal strains; both strains having the same number of Bars.

"Thirdly, observe the humour of it; which you may perceive (by the marks and directions) is not common.

"These three terms, or things, ought to be considered in all compositions, and performances of this nature, viz. Ayres, or the like.

"The Fugue is lively, ayrey, neat, curious, and sweet, like my Mistress.

"The Form is uniform, comely, substantial, grave, and lovely, like my Mistress.

"The Humour is singularly spruce, amiable, pleasant, obliging, and innocent, like my Mistress.

"This relation to some may seem odd, strange, humorous, and impertinent; but to others (I presume) it may be intelligible and useful; in that I know, by good experience, that in Music, all these significations, (and vastly many more,) may, by an experienced and un

derstanding Artist, be clearly, and most significantly expressed; yea, even as by language itself, if not much more effectually. And also, in that I know, that as a person is affected or disposed in his temper, or humour, by reason of what object of his mind soever, he shall at that time produce matter, (if he be put to it,) answerable to that temper, disposition, or humour, in which he is.

"Therefore I would give this as a caveat, or caution, to any, who do attempt to exercise their fancies in such matters of Invention, that they observe times, and seasons, and never force themselves to anything, when they perceive an indisposition; but wait for a fitter, and more hopeful season, for what comes most compleatly, comes most familiarly, naturally, and easily, without pumping for, as we use to say.

"Strive therefore to be in a good, cheerful, and pleasant humour always when you would compose or invent, and then, such will your productions be; or, to say better, chuse for your time of Study, and Invention, if you may, that time wherein you are so disposed, as I

have declared. And doubtless, as it is in the study and productions of Music, so must it needs be in all other studies, where the use and exercise of fancy is requirable.

"I will therefore, take a little more pains than ordinary, to give such directions, as you shall no ways wrong, or injure my Mistress, but do her all the right you can, according to her true deserts.

"First, therefore, observe to play soft, and loud, as you see it marked quite through the Lesson.

"Secondly, use that Grace, which I call the Sting, where you see it set, and the Spinger after it.

"And then, in the last four strains, observe the Slides, and Slurs, and you cannot fail to know my Mistress's Humour, provided you keep true time, which you must be extremely careful to do in all lessons: FOR TIME IS


"And now, I hope I shall not be very hard put to it, to obtain my pardon for all this trouble I have thus put you to, in the exercise of your patience; especially from those, who

are so ingenious and good-natured, as to prize, and value, such singular and choice endowments, as I have here made mention of in so absolute and compleat a subject."



There is no prettier story in the history of Music than this; and what a loving, loveable, happy creature must he have been who could thus in his old age have related it!

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Οὐδεὶς ἐρεῖ ποθ', ὡς ὑπόβλητον λόγον,
ἔλεξας, ἀλλὰ τῆς σαυτό φρενός.



MASTER Mace has another lesson which he calls Hab-Nab; it "has neither fugue, nor very good form," he says, yet a humour, although none of the best ;" and his "story of the manner and occasion of Hab-Nab's production," affords a remarkable counterpart to that of his favourite lesson.

"View every bar in it," he says, "and you will find not any one Bar like another, nor

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