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Author: Ornithoparchus, Andreas, 16th cent.
Title: Andreas Ornithoparcus his Micrologus, or Introduction: containing the art of singing Digested into foure bookes. Not onely profitable, but also necessary for all that are studious of musicke. Also the dimension and perfect vse of the monochord, according to Guido Aretinus. By Iohn Douland lutenist, lute-player, and Bachelor of Musicke in both the Vniuersities. 1609.
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Print source: Andreas Ornithoparcus his Micrologus, or Introduction: containing the art of singing Digested into foure bookes. Not onely profitable, but also necessary for all that are studious of musicke. Also the dimension and perfect vse of the monochord, according to Guido Aretinus. By Iohn Douland lutenist, lute-player, and Bachelor of Musicke in both the Vniuersities. 1609.
Ornithoparchus, Andreas, 16th cent., Dowland, John, 1563?-1626., Guido, d'Arezzo.
London: Printed [by Thomas Snodham] for Thomas Adams, dwelling in Paules Church-yard, at the signe of the white Lion, [1609]
Alternate titles: Musice actiue micrologus. English
Subject terms:
Music theory -- History -- 17th century -- Early works to 1800.
URL: https://name.umdl.umich.edu/A08534.0001.001
How to cite: For suggestions on citing this text, please see Citing the TCP on the Text Creation Partnership website.

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title page
TO THE RIGHT HONO∣RABLE ROBERT EARLE OF Salisbury, Viscount Cranborne, Baron of Essingdon, Lord High Treasurer of England, Principall Secretarie to the Kings most excellent Maiestie, Maister of the Courts of Wards and Liueries, Chancellor of the most famous Vniuersitie of Cambridge, Knight of the most Noble Order of the Garter, and one of his Maiesties most honourable Priuic Counsell.
To the Reader.
TO THE RIGHT HONO∣RABLE, WORTHY, AND WISE GOVERNOVRS OF THE STATE OF LVNENBVRG, ANDREAS ORNITHOP ARCHVS OF MEYNING, MAISTER OF THE LIBERALL SCIENCES.
The Preface vpon the Diuision of the Worke.
THE FIRST BOOKE OF ORNITHOPARCHUS HIS Musicke, declaring the Principals of plaine Song.
THE FIRST CHAPTER.
Of the Definition, Diuision, Profit, and Inuentors of Musicke.
The generall Description of Musicke.
The Diuision of Musicke.
Of the Musicke of the World.
Of Humane Musicke.
Of Instrumentall Musicke.
Of Organicall Musicke.
Of Harmonicall Musicke.
Of Inspectiue Musicke.
Of Actiue Musicke.
Of Mensurall Musicke.
Of Plaine Musicke.
Of the Profitablenesse of this Art.
Of the difference betwixt a Musitian, and a Singer.
Who is truely to be called a Musitian.
Who be called Singers.
Of the Inuentors of Musicke.
THE SECOND CHAPTER.
Of Voyces.
Who first found out the Musicall Voyces.
Of the Diuision of Voyces.
Rules for the Voyces.
THE THIRD CHAPTER.
Of the Keyes.
Of the Number and Difference of Keyes.
Of the Keyes which are to be marked.
To the Readers.
Rules for the Keyes.
THE FOVRTH CHAPTER.
Of Tones in Generall.
Of the number of Tones.
Of the Finals belonging to the Tones.
Of the Compasses of the Tones.
Of the Repercussions of Tones.
Rules for the Tones.
By how many wayes we may know the Tones.
THE FIFT CHAPTER.
Of Solfaing.
Of three manners of Singing.
Of Scales.
The generall description of the Scale.
What the Scale ♮ Durall is.
What the Scale b Moll is.
Rules of Solfaing.
THE SIXT CHAPTER.
Of Mutations.
Rules for Mutations.
THE SEVENTH CHAPTER.
Of Moodes, or Interuals.
Of the number of the Moodes.
A Semiditone.
A Ditone.
Diatessaron.
Diapente.
Semitone Diapente.
Tonus Diapente.
Diapason.
Here followeth a Direction for the Moodes.
Of the forbidden Interuals.
Tritonus.
Semidiapente.
Semiditonus Diapente.
Ditonus Diapente.
Semidiapason.
Semitonium Diapason.
Semiditonus Diapason.
Diapason Diapente.
Disdiapason.
THE EIGHT CHAPTER.
Of the Dimension of the Monochord.
THE NINTH CHAPTER.
Of the Definition, Profit, and vse of the Monochord.
Of the profit of the Monochord.
Of the vse of the Monochord.
THE TENTH CHAPTER.
Of Musica Ficta.
Of Coniunctions.
Of the Diuision and number of Coniuncts.
Here followes the fayned Scale.
Rules for Fict a Musicke.
An Exercise of Ficta Musicke.
THE ELEVENTH CHAPTER.
Of Song and Transposition.
Of the number of Deductions.
Rules for Deductions.
Of Transposition.
Of Transposition of a Song.
Of the Affinall Keyes of Tones.
Of the Transposition of a Rule.
Of the Transposition of Keyes.
THE TVVELFTH CHAPTER.
Of the Tones in speciall.
Of the first Tone.
Of the differences of Tones.
Of the Diuisions of the Psalmes.
Of the true manner of Singing Psalmes.
Rules for the tuning of Psalmes.
Of the second Tone.
Of the third Tone.
Of the Fourth Tone.
Of the fift Tone.
Of the Sixt Tone.
Of the Seuenth Tone.
Of the Eight Tone.
Of the strange Tone.
THE THIRTEENTH CHAPTER.
That diuers men are delighted with diuers Moodes.
TO THE VVORTHY HIS kinde friend George Brachius, a most skilfull Mu∣sitian, and chiefe Doctor of the Duke of Wittenberg his Chappell: Andraeas Ornithoparchus of Meyning, wisheth health.
THE SECOND BOOKE of Ornithoparchus his Musicke: wherein are contained the Rudiments of Mensurall Song.
THE FIRST CHAPTER.
Of the Profit and Praise of this Art.
THE SECOND CHAPTER.
Of the Figures.
Of the number of the Figures.
THE THIRD CHAPTER.
Of Ligatures.
Generall Rules for the Ligatures.
Rules for the beginning Notes.
Rules for the middle Ligatures.
Rules for the finall Ligatures.
THE FOVRTH CHAPTER.
Of Moode, Time, and Prolation.
Of the Diuision of Moode.
Of the greater Moode.
Of the lesser Moode.
Of Time.
Of Prolation.
THE FIFT CHAPTER.
Of the Signes.
Of the Diuisions of Signes.
Rules for the Extrinsecall Signes.
A Resolutorie Table, shewing the value of the Signes, by the beholding of euery figure.
Of the Intrinsecall Signes.
Of the lesse principall Signes.
THE SIXT CHAPTER.
Of Tact.
Of the Diuision of Tact.
A Rule for Tact.
THE SEVENTH CHAPTER.
Of Augmentation.
By what signes you shall know Augmentation.
Rules of the Augmention.
What a Canon is.
THE EIGHT CHAPTER.
Of Diminution.
Of the kindes of Syncopations.
Of Diminution.
By what signes Diminution is marked.
Rules of Syncopation.
THE NINTH CHAPTER.
Of Rests.
Rules for the Rests.
THE TENTH CHAPTER.
Of Prickes.
Of the Diuision of a Pricke.
Of the Pricke of Diuision.
Of the Pricke of Alteration.
THE ELEVENTH CHAPTER.
Of Imperfection.
Of two-fold Imperfection.
By what Signes Imperfection is knowne.
Rules of Imperfection.
Of Colour.
THE TVVELFTH CHAPTER.
Of Alteration.
Rules of Alteration.
THE THIRTEENTH CHAPTER.
Of Proportion.
Of the Diuision of Proportion.
What Proportions is fit for Musitians.
Of the 5. kindes of Proportions.
Of the Multiplex kinde.
Of the Superparticular Kinde.
By what meanes Proportion is made of aequalitie, and consequently one Proportion out of another.
Out of what Proportions Musicall Concords are made.
Of the Duple Proportion.
Rules of Proportions.
Of the Triple.
Of the Quadrupla.
Of the Sesquialtera.
Of the Sesquitertia.
Of the sesquioctaua.
TO PHILIP SVRVS OF MIL∣TENBVRGH A SHARP-WITTED MAN, MASTER OF Art, and a most cunning Musitian, Chappel-Master to the Count Palatine the Duke of Bauaria: Andraeas Ornithoparchus of Meyning, sends greeting.
THE THIRD BOOKE OF ORNI∣TOPARCHVS HIS MVSICKE, TOVCHING THE ECCLESIASTICALL ACCENT.
THE FIRST CHAPTER.
In Praise of Accent.
THE SECOND CHAPTER.
Of the Definition, and Diuision of Accent.
Of the Diuision of accent.
THE THIRD CHAPTER.
Of the generall Rules of Accent.
THE FOVRTH CHAPTER.
Of the speciall Rules of Accent.
THE FIFT CHAPTER.
Of the Points.
THE SIXT CHAPTER.
Of Accent in the Epistles.
THE SEVENTH CHAPTER.
Of the Accent of Gospels.
Of the Accents of Prophecies.
TO THE WORTHY AND INDVSTRIOVS, MASTER Arnold Schlick, a most exquisit Musitian, Organist to the Count Palatine, Andraeas Ornithoparchus of Meyning, sends health.
THE FOVRTH BOOKE OF ORNITHO PARCHUS HIS Musicke, declaring the Principles of the Counter-point.
THE FIRST CHAPTER.
Of the Definition, Diuision, and difference of the names of the Counterpoint.
Of the Diuision of the Counter-point.
THE SECOND CHAPTER.
Of Concords and Discords.
Of Voyces.
What Concord is.
Of Discords.
THE THIRD CHAPTER.
Of the Diuision of Concords.
Rules of Concords.
THE FOVRTH CHAPTER.
Of the generall Rules of the Counter-point.
THE FIFT CHAPTFR.
Of the Parts and Closes of a Song.
Of the Discantus.
Of the Tenor.
Of the Baritone.
Of the higher Tenor.
Of the formall Closes.
Rules for Closes.
Here followeth the Exercise and forme of Closes.
THE SIXT CHAPTER.
Of the speciall precepts of the Counter-point.
THE SEVENTH CHAPTER.
Wherefore Rests are put in the Counter-point.
THE EIGHT CHAPTER.
Of the diuers fashions of singing, and of the Ten Precepts for Singing.
Of the Ten Precepts necessary for euery Singer.
The Epilogue and Conclusion of the Booke.
table of contents