the participant means between is two

that bind> so unify the difordine, that it does not seem offefo, the

to lemererBa2SA | 'Ortdinato Cin [example) between the conformities for the variety of the sense of
smell, the

practical does not allow that in compofitione the ear is evcitatopatifca any diffonanza.

'Chora two perfect, affecting and defending confonances; as two d> ° plus fifths

dell'ottauc, and because in each cofac they provide some remedy. The Compofitore will authorize that og

that he will be comfortable, to place a seventh so that the compofitione will show,

Seventh will have an effect of two octaues, t3 * nori will do: queftoinodo s'ufera more than cine

because a few times too much will break the seventh; & ilmedefimo will make dell'Vnifono c

tano, two Vniphons <> will not do; € 7 ° when fararino with the femitone, offenderann

the phenomenon that with the tone, like the ephemipio here I fuck, demonstrates it in both ways,

mitono and f with the phono, for vniphone cf for octave. ©: uti

For example of composing the seventh which seems to be two octaucs, et non fono et cosi

the "Vnifoni, et non fono, with two phenos, one after the other.
eg for femitone 0 for phono for. “Fo no for femi

'Conl'ynifono - ,, .. conl'ynifono conlaSettima conl'Ottau

* Ways to compose the fciolte piffnances; ci0èfenza fincopa, ct fenza points, with the effe

amatori no Gapitolo © »RI.

3a] Ell'ottaua firitroua fre confonanze, ie Terzaset Quinta, etsefta ;,

LAI phonances Second, and Fourth; tt Seventh: ct to follow the order of

Lil natural jmomuolafciare d behind the say of the diffonances fenza

(IENE It is that is fcialte, which in the practice we used, and s'ufanoinuarij mi

SSICRALEZS! tore fappi that in the mufica fi makes some water, of bad weather

de, chemelle: copofitioni that are not modern; the Conipofitori have composed the difona
te, of feombreue tn unalonga; è they did the first good in the batuta: & 7: lafecc

flow in the upbeat; & >> of then foruntempo the offers. banno fentito; that was too longa que

za, such a wayofuabandonafoe for not even sphere agl'orecchiuforno the minimezla pri

in beating it fertile badly in leuare: this order has lasted a long time. Hora

noftri times we have the order to compose the minimums, one good 7 the other cai

He confided that the least part is that at these times we are fierce too much, and not

you that, but still the femiminima firm when it is not well pofta; fi that ufiamo in the hearts

fer folamete le fentiminimie, ctcrome cattiue, (though doing) the. good; ela: 2.catti

good, éla4p. cattua, beating at the rate of four femiminime per beat, which is good:

-
du so OF THE MVISLIGAL PRACTICE. 33

: niel beating, to in reading four femiminimer one doubled the other; and when they are two,

Sometimes I appreciate a femibreue fincopata I want a minimum, dr that difcendino .; the fruitful deue
effer

good germ is "not the first; &> on the contrary when they make the first Good blush, &

tremble, the fertile captive: 11 medefimo feguìrà of dus crome, as in the wicked dimophthro, 0 '

term CARRI

Mufico An example of the faint diffrences, with the ancient, ctmodern paffaggi and two moti

une ans I nici _ctoemt de e} et n SI0O tf

; eficosì i pa ci = _IY94149 ct FEEDS i

ni uolta FL n separi [wolves

and the ancient one to the ant. modern not too modern not modern i

uocì, state oi SYRIA

and ERE

o miss ty Si ic on | pure me

onil fes

Of the all good syncope, as in many ways fî can compose. Cap. ST

lué Ome fi deue ufare the Sincopa, the half Duona, Cla half cattiua in the dimos'

Stration of differences; he has caught the way he composes; hora.

"aa 1 ènbceffario to say of the Sincopa all uona, which in afceridere in the dis

anti A | cendere no offerbatione whatsoever, as has the syncope. that half is good,

o CL lameta cattiua; This one we are dealing with which is always good, fi afcenden

fono you as defender, it is neceffario Only in queffa bauer care of the motion 05 brother What all.

q arts do not fi muduano infieme, so de breui, as de (emibweui 23 of minimum + dO ° s'auertivà the

P {))) [gta Li

in proceeding more than one or two nights together fincopando, do not make us with all hyper; why '

It is not pdrerd Sincopa, it is imperative that the Sincopa fi can differ at least for the reason of a part that

sttredif you sing in the bar; € the other parts sing in the leuare, so as to know the differences of the

in motion, & - which notes fi moueno in beating, which in leuare; as in the c [example fi Meg gono i,

fincopa, * (T..:. ’7 x \ ì sen Sod:

Dia. An example of the all good syncopa, as in many ways fi can 'ufare, à two uocistoà more

i ue Meo, i i; "Approx

Diets for two Lioci for two hours 4 for two

nze fciol n

nda: cats Ta -——

"i - LO

the hardness 0 pes

good goes

n Alto Tenor Alto

n quefhi Pe

Luo & w -Declaration of the many modes, which fi can accompany the confonance called terzaminore ,.

folamen is of fuanatura. Chapter XIII: -.

npafitioni> 51;

It is 1 == Now that we have said about the two ways of finic