} THE REASONED MUSIC

l - FAMILY EXPRESS

\; IW TWELVE WALKS IN DIALOGUE

\OPERADI

| CARLO GIOVANNI

> TESTORS

\ MUSIC TEACHER,

VIOLIN PROFESSOR

XiV * ITMUCJKJLJCZ

true counterpoint "

VERCELLI MDCCLXVIT. 1

At Gius Erre Pania lis> ^ *

Licensed by * Superiors »jj Jf

Digitized by the Internet Archive

in 2012 with funding from

University of North Carolina at Chapel Hil

http://archive.org/details/lamusicaragionatOOtest
ALLA

STUDENT YOUTH

tT * ^, Iovìnotti, which you defide to understand the Mufica, and which you yearn for

jM "some reason, which satisfies you, merit, so the.

mufica among the fcienze has taken place, here is a small treat-

to efpoilo in dialogue for greater ease voftra, in which

brings the objections, which I have been able to invent, and all that

the, that from my fcolarl I fono (tate - made, here I declare-

installments, and fciolte with all the prunable simplicity, so that those V.

Insane work within everyone's reach .. That book already fuppone you

initiated at least mediocrely or in the fuono of some ilromen-

to, (it doesn't matter, fé is not Cimbalo) or in song. He is di-

vifo in. twelve dribbles; and what matters most to me, fi

is to warn you, that you must not read any further than the first ones

two, as long as you understand them well, and wood digger, that

be ready to know which ones, and how many accidents

que tone, that fappia you come in. mind: why was that ap-

I point all the Jbilanza of the most perfect, and foave

modulation, at least in the way, that fenza maeilro V I have from

found me hay; (as you will see inside the opera) Cola, che

gave me an unspeakable happiness when, in the last few years,

the work of

Monfieur Rameau entitled Tratte de l 'harmonie, which I have

the first reading does not complete well, but I still understand-

the spirit, for having already beaten the medefima llrada before;.

What it will also do of a great help to understand that well

excellent Author, from whom I confirm that I have adopted the

of the four licenses, and of the Enharmonic genre; which cofe

by me they were conceived, and unfolded in another way, not

so

so clear, and glue, like that of quefV Author: MI

perfuadg 9 die reading that book some learned Mufico di-

he will be forfeited to you, he doesn't have the order held by so many valen-

you Scrìrton of mufica; But please tell them on my behalf,

that in thirty years of school, which I have held, I have finally im-

parato, what a puffy difference from the fcriver for hey already makes,: to the

ver for those who need to learn from the fcriver to make pomp of the

just let us know, while keeping silent about what would put us more, to the fcri-

ver, and publish at his own expense what he does, folly for joy

vare others, I know, that my rifpofta could forfeit me to silence-

ciare 4 'impofitore pr elf who still has the prejudice of the auto-

rity about a feienza.,, of which now he demonstrates the principle

to the villa? hearing from reason; But to take this from me

lla be silent, and convince those biased scholars, I think, will dance

that you announce the package, which Zarli.no already made

mirror, and norm in the two palTati fecoli di quafi all lifcritto-.

ri di mufica, commonly referred to as the Prince de 'mufici,

which flaw was the end of the third part of that great fire

tome in sheet on page 2572. line 7. neh "edition of Vene-

aunt the year 1 558. * so „I hope to see one day from *

re works to this feience in this way, and to see it in such a way

do perfect, which he will not be able to defy in ejfa cofa any, besides

that, which will fi put in ufo; "Et queflo I say, because I don't see it

still in that perfection, which can come, which fi rifervp

in my mind, and it really can't be said, which will do when

will do embraced by some kind spirit., which does not aura for

ulvmo fine the gain. And that then penfino, he made the order of the

Effective authors of that Prince de 'Mufici adorned with so much

loyalty, and liberal charity verfo of perfume poffi benefare, o nò.

He should write each one as he wants, that I have penfata

cosj. If ever, at last, such one tells you, that he would have, that

to say against some infec- tion in this book, vi

I pray
I pray to tell him, that he has the goodness to address straight to

my objection was accompanied by mufic reasons, and not

by authority, which fé will I want to flicker, and convince him,

I have the pleasure of having smashed some cofa also to efTo j

If I am convinced by him, I will take the glory of publishing with-

together with the name of the Author that truth, which was still naf-

cofta, having no other purpose in these labors of mine, that

the truth, and the yofìro advantage. Read it carefully, and

keep me happy "

r M reader ^

'JtJL XiMTT'QMM

and of the Dialogue he had to foster, a young man, DJ "

, * //., i ^ #i learn Mujìca elsewhere, £ cZ? e pacando di

here [ente to say, that I infegno la mujìca: For which cofa

he comes to see me, and after I say compliments,

that chubby with my fcolarì all the fairs talking about Mujì-

ca, he begs me to accept him in company in that paleg-

Thu, I agree, and he starts coming to me the next day

find in the fifth hour of the pajfeggio, and Jì stops twelve days, such as

fono the twelve pages, which in that book fi contain:

promising to the young fludiofa, fé God will give me life, a

another treatise of the mifura, and of writing the words with the

adaptation to the fenfo d 'effe, and queers I will be told not to

to have efpoflo efpoflo in that book. has letter majufcola

A. pofla in the margin of Jìniflra Jtgnìfìca Amico, the T. Jìgnifica

Teftori. Do not Jì face then cafo <of the phile, because I wounded,

as I speak, The names of the phono notes in the flile francefe, adopted

£ er brevity, and for clarity. See the correlation here.

Cfolfaut DIafore ,, Elami ,, Ffaut ,, Gfolreut Alamire Bmi

ut re makes me mad the fi

IS

RRORI

COREZl. ONI

Page

Iin.

44 fol
! fi 1

Page

quarrels.

19 without doing it

without flaw

Page

*3
Iin.

31 of the tone ago

of the tone ago

Page

17

Iin.

4 fé al ut A.
? We

fé al ut To us

Page

39

Iin.

35 from the guftar

from guaflar

Page
40

quarrels.

6 the third note

the note, third.

Page

5?

Iin.

43: between the three ovens

gliants

I among the first three ,, and fomigliantì

Page

59

Iin.

x8 first tone

first fuona

Page
64

Iin.

5 perfect '

prefferroi

Iin.

14 appearance;
since

appearance, fé makes an imperfect one.

Fag.

70

Iin.

3 with B.C. Iin. 4

with B.C.

with a continuous mustache

[do not copy

Iin.

31 will not understand

Page

77

Iin.

43 fol fenfa
fol fervent

Page

88

Iin.

i tone ut

tone / «

Page
IXI

Iin,

39 to F,

i * d I,

TABLES OF SUBJECTS, WHICH ARE CONTAINED

IN THIS BOOK.

In the first two figures, he deals with the distance from the other note r.elH

[cala de * tones so greater -, than minor;

Order of accidents, and cognitions of tones.

ON THE THIRD WALK.

Discovering my principle;

Inclination of the major third, ojjìa diefts of the tone,

Inclination of the slice, d "1 whereby the production is born;

La fettima [eight different name of prepared diphonance ■, and refolded 5

Fundamental mustache.

ON THE FOURTH WALK.

Yes it gives the name to toni, which surround the main one -, capital ojjìa;

With the agreement,

Mustache fundamental to a certain pitch of the song;

Modular I was tone fenzied;

Similarity;

Common note concatenation between chords.

Union of my principle he experiments of the body / honor in the fne div / toni •> trat ^

practically played with the flute fugli ftronienti from bow,

Feeling full 1 invention of the fettima.

ON THE FIFTH WALK.

Fundamental progrefloni extracted in accordance with the intervals produced by the fonort body 5

better air downwards, than upwards, water that of the fettima;

Of the two main cadences with fua dijfonanza j

Way to avoid the cadences',

Deceptions;

Seventh jufla, and fuperfìua,

Major and minor producers;

Ccfa Jìa prepare spreads;

Decreased seventh, and apparent fettima with their fundamental whisker 3 «cagion dei

their ufo.
ON THE SIXTH WALK.

From modulation to another tone with capital flabilize;

r; '■■ •> that - you would produce greater fii pn yielded by the lesser fl ow, that

which he calls the toium coitution;

Ladder

? i \ ?! a continuous mustache with the fundamental focus;

Ofervation ago the, fourth and was the fefia for not including the root note of the

agreement was quefla igniting folly;

Double use of the back with fefia -, of the minor producer ",

When good hay the progvefions aW downward and aW inherent

Double ladder of the Continuous Whisker;

Ufo della fettima in the progrejfione of similarity \

Continuous whisker scale in the t * no minor;

■ Origin of the Chromatic genus.

ON THE SEVENTH WALK.

Delie four licenses;

Jumps of modulation, and fraintefa modulation;

Seventh, refolded in octave;

IN THE EIGHTH WALK.

'Acciacature-, and fofpenjìonì;

Quinte fuperftue, eba in mio fenfo non lo fono, Genre Enarmonie »;

Ufo, and white spirit of the diminished slice, and of the apparent%.

ON THE NINTH WALK.

Of the chords, and license I was pedal J

Ufo of the fefia fuperflua;

Reason for obtaining the licenses, fofpenjtoni et \

Of the mìfura, and movement •

IN THE TENTH WALK.

The way of finding the fundamental mustache to the continuous mustache was tone;

Pefo from '' periods ne? divsrfi plus or minus tones relative to the main *

IN THE ELEVENTH WALK.

Bell

high tone modulation for different firade;

Shapeless modulation;

Norm in general to begin with, and profegulre a "ratified patch"

The example of a variety of continuous mustaches was the fundamental mean;

Way of dividing the long pieces j

General example for pa {making from one tone to several others with the way of supplying t prime t

IN THE DUODECIMA WALK,

Three star fcriver does it in three categories;

Of the dna fcriver divided into two categories;

Essay of cofa fii fogetto, canon, fugue, and imitation;

Relate the action of my terms to Monfieur Rameatt's qatlls.

© (I.) 0

•'

4JKL4

.
W-how are you for the first time? To bother you.

On the contrary, you make me happy and your company makes me happy.

he will give my patch sweeter while he speaks to you

of mufica gradually.

Thank you ; and where will we start?

Already I fuppongo Tapped those first rules of Mu-

fica, that is, names of notes, keys, accidents, tenses and so on.

Oh this I know "

So we will start with that word Tor.o; But beware "

but of any other cofa it would be neceffano, than to have a little favor of you

of paper of Mufica, and a Calamajo, in order to poteffi, it was necessary, to write

what an example.

A. Oh I already have it here. What does that word tone mean?

T. Tono primarily means a strong, steady and continuous voice

Senfibìle, who in some way occupies the orrccchio with a sudden principle

as a blow would do on some hollow body, as on one

bell, or a drum, unlike the fixepito, which hears from the fcorrer d "

a river, or from the agitation of the air in an open place, which flrepito does not have

sudden principle. Firm means not wavering, that is, it fìfla so, that
with some flroment poffa immitarfi, or make the 'iftefla voice; and that combined with some-

that other friendly voice poffa from the two offices confonanza, unlike the firepito

or a voice, that fi f from speaking of a man,. from the garrir of some August-

which voice, as fiudiaffe as it is, cannot immitar-

monico or adapt another voice, from which union poffa- make them feel confused-

za. It is true, that sometimes even the voice, of hey speak, could be imitated

with some ftrument, or adapt another voice, and make the confonance; But al-

lora, who speaks, sings-, and that is a strong, steady voice. C ^ tinvata means to-

re voice, that I was both beginning and ending, in two terms, ed

even in, I mean, it corresponds to an unchanging tale, which is an iftrument

could do. ^ .. unlike the bellowing of a: Bull, of a Wolf, of which the

Voice is well ella fenfib ^ e 3 but not steady, not continued; because it starts ap-

Under penalty-

c [II. ] or

punishment, which Cubit is erecting, and then decreasing; think that it was gradarió-

is capable of it or of immitation ^ or of confonance by means of another voice a-

dated; But fi di'de: He diftona, when he makes a fenfibiìe voice yes, but not

stop, not continued.

the. Tone means interval of a whole voice unlike the Semitone

which means half voice.

3. These are the tones of the still song v that I will explain later on, f and k will do bifogno.

4. Tone lastly means a multifarious distribution of the known slices of the

la Mufica ut, re, mi, fa, fol, la, si, o fia a rule to distribute one after

the other these notes with an interval of one or a half voice from the next fia, or

every time, that fi will begin, and end iraffi a chant over one of these no-

you ; having to change the distribution, when fi will begin, and will end fopra by a *

other. Do not perish change of mifura, as it did when beginning and ending one

chant for one note, and then let the ifteffo for another note, where

fe this diftribuzione, which we call Tono, cangiar di mifura; but can-

interval from a "d" m another note, to make -, that a tone fìa of the middle

defima mifura, and distribution of the other; However, he sees a phenomenal composition.

and by accident in the key, another with the diefis, another with flats, who two, who

three ec. damn affolutely neceffarj to give a 'iftefla mifura to the tone, that

can begin, and end be different note.

A Please give me the mifura.

T. Before giving this mifura, or fia diftribuzione <T a. tone T or d * a Se-

from one note to another, it is as necessary to be as scared as one from the other.

fte distant notes, that is, of a voice, or middle in the natural fuo flato,

and it is that all these notes are one tone away from each other, or are

a voice, except the mi, e fa, which are close to each other d * a half
voice; As well as yes, and ut have V iftefla proximity «Therefore the Semitone

it is folly from the yes air ut, and from the mi to the fa. And I will tell you in due time, indeed you

I will show from which caufa it comes, that a note must cffer dictating from the

fuceffiva of degree of one tone, or femitone,

A. I fento you with the major

Translation types

Text translation

ITALIAN - DETECTED

LATIN

ENGLISH

SPANISH

FRENCH

SPANISH

ENGLISH

Source text

piacere del mondo „

T. Quefta mifurata diftribuzione di note, o fia tono è di due nature f e fi di-

ce tono di ter2a maggiore, e tono di terza minore : ed è una la mifura', a

fia la diftribuzione degl'intervalli fra le note del tono di terza maggiore , ed

è altra quella del tono di terza minore Dunque due fon le mifure , o fia diverfa è là

diftribuzione degl' intervalli ; Onde , fé nella quarta fpiegazione della parola Tono

ho detto , che fempre il tono ha un' iftefla 'niifura , vuol; dire , che tutti i toni

avranno una medefima mifura quando faranno della medefima natura .

A. Vi prego di darmi, la mifura , o fia diftribuzione degl'intervalli di cìaf-

cunà nota nel tono di lerza maggiore.

T. Ogni tono di terza maggiore ha una , medefima fcala , fia diftribuzione

d' intervalli tra una , e 1' altra nota fua propria ; e benché fi dica : Quello è

il tono di ut ; un' altro fi dica tono di re ec. e fi prefenfino a noi con diver-

fa quantità * o Ila diverfità d' accidenti ; nulla di meno però non hamtì altra

diverfa

o[ III. ]o
divcrfa diflribuzione negl'intervalli d'una, o mc~2i voce tua eli loro le note

proprie di ciafeheduno ; perchè il tono potendo cominciare fu qualunque delle

fette note , e le note avendo Affati tra di loro nel fuo flato naturale gì' in-

tervalli d* una o mezza voce , è uccellano , che gì* intervalli cangino di nota

per non cangiar la mifura del tono , che in qualunque fempre deve effer la

fteffa , quando il tono e della medefima natura , come fi è detto fopra : ed ec

co come fi diflribuifcono gì' intervalli alle note ne r toni di terza maggiore »

Si fondi adunque il tono fu qual nota fi vuole , Affata la prima ,

La feconda deve afeender coli' intervallo di una voce intiera ,

La terza dalla feconda, una voce,

La quarta dalla terza , mezza voce ,

La quinta dalla quarta , una voce ,

La fella dalla quinta , una voce ,

La fettima dalla fe:ìa , una voce,

La ottava da"a fertiir.a , mezza voce: e per maggior facilità balla fiffarfi , che

r inrerva'lo di mezza voce , o fia il femitono ha luogo folamente tra la ter-

za , e la qua.ta , e tra la fèttimà , ed ottava; e tra l'altre note fempre vi è

l'intervallo di una voce. Ecco addeffó come la quantità, o diverfità d'acci-

denti non cangi la mifura alle note del tono ; anzi ella fia neceffaria per darla ,

dove non è .

A. Datemene di grazia un' efempio .

T. Se fi cominciaffe il toro fui mi , noi vediamo , che la nota fa , effendo

feconda del tono , nel fuo luogo naturale non può fiare avendo per regola 7

che la feconda del tono deve afeender una voce dalla prima : e ficcome fa.

afeende folamente mea^a voce dal mi , bifogna , che con un diefis s' alzi il fa ,

per dar 1* intervallo di una voce al fuo effer di feconda nel tono di mi : così

degli altri diefis , che porta feco . E per maggior chiarezza ne darò qui la mi-

fura in note , che fopra ho dato in numeri , dalla quale voi potrete vedere la

quantità , e qualità d' accidenti , che porta ciafehedun tono , e perchè ragione

gli efigga .

A. Quella cognizione è poi neceffaria , ed utile ?

T. Se è neceffaria , ed utile la cognizione di quelli intervalli , il faper rimo-

yer una nota dal fuo luogo naturale , e confinarla in altro accidentale , e Sa-

perne la ragione ? Son lumi così neceffarj e fondamentali , fenza de' quali è ira

poffibile non che di feioglier , ma conofeer le minime difficoltà muficali .

A. Ma ditemi di grazia : Non fono fempre fcritti in chiave gli accidenti , che

ogni tono porta ?

T. Non fempre , perchè alcuni compofirori anche Gallici ne* toni , dove en-

trano più diefis hanno ufato di lafciar quali fempre il diefis della fettima : e

cosi ne' toni , che portano bemolli , quando fono di terza maggiore , Iafcian

moltevolte quello della quarta , e ne' toni di terza minore quello della fefta .

Per efempio ferveranno il tono di la terza maggiore con due foli diefis , cioè
al fa , ed all' ut , quando il tono la efigge immancabilmente il diefis anche al

fol unico foltegno , indicante , e nunciativo del tono di la ; indiftintameiue nel-

la

o( IV. )o

la medefìma maniera fi trova fcritto il tono di fi bemolle tersa maggiore Wfl

un fol bemolle ; quando troverete nella mifura in note che vi darò , che ne

porta due, uno per effer il cominciamento del tono, l'altro al mi per la. vi-

cinanza r che deve panare dalla terza maggiore , eh' è il re , alla quarta , eh' e

il mi , di fola me22a voce , o fia femitono , come fi deve in tutti i toni di

terza maggiore .

A, Dunque chi, Tuonerà quefte eompofizioni , femitonerà ogni volta , che pane-

rà fu quella fettima de' toni di terza maggiore o fulla quarta per i bemolli ì

T. Nò , perchè ogni volta , che elle arrivano fono fegnate col fuo neceffario

accidente .

A. Dunque non è neceffario faperle ; balla farle , quando ci fono .

T. Perdonatemi mio cariffimo dilettante ; Io comincio penfar male di vpi coni

quelle voflre confeguenze , che non tendono ad altro , che a f

5000 / 5000

Translation results

pleasure of the world "

T. This mifurata diftribution of notes, or fia tone is of two natures f and fi di-

c tone of third major, and tone of minor third: and it is a la mifura ', a

is the distribution of the intervals between the notes of the tone of the major third, and

the tone of the minor third is another. So two fon le mifure, or fia diverfa is there

distribution of the intervals; Hence, in the fourth explanation of the word Tone

I said, that always the tone has an 'iftefla' niifura, it means; say, that all tones

they will have a same mifura when they make of the same nature.

A. Please give me, the mifura, or fia diftribuzione of the intervals of

each note in the lerza major tone.

T. Each tone of the major third has one, same tone, of distribution

d 'intervals between one and the other note were proper; and although she says: That is it

the tone of ut; another fi dica tone of d and c. and fi pre-fina to us with diver-

makes quantity * or the diversity of accidents; nothing less, however, there is no other

diverts

or [III. ]or
divcrfa diflribuzione in the intervals of one, or mc ~ 2i your voice and their notes

proper to ciafeheduno; because the tone being able to begin was any of the

known slices, and the notes having Affati between them in the natural fire already in

intervals of one or a half voice, it is bird, which gì * intervals change of note

so as not to change the mifura of the tone, which in any fempre must perform

fteffa, when the tone is of the same nature, as fi is said fopra: and ec

how the intervals to the notes and tones of the major third are distinguished "

So the tone was founded was whatever note you want, Affata the first,

The fruitful must afeender with the interval of a whole voice,

The third from the fruitful, a voice,

The fourth from the third, half voice,

The fifth from the fourth, a voice,

The fella from the fifth, a voice,

He slices it from the fe: ìa, a voice,

The octave gives "a fertiir.a, half voice: and for greater ease dances fiffarfi, which

inrerva'lo in a low voice, or fia the femitone takes place thickly between the ter-

za, and the qua.ta, and between the fèttimà, and the octave; and among the other notes there is always

the range of an item. Here is how the quantity, or diversity of heat,

teeth do not change the mifura to the notes of the tone; on the contrary she was necessary to give it,

where it is not.
A. Give me an example of grace.

T. If fi begins the bull was mi, we see, what the note makes, effendo

fruitful of tone, in the natural place it cannot fiare having as a rule 7

that the fecundity of the tone must afeender a voice from the first: and as it does.

afeende madly mea ^ a voice from the mi, double-sided, that with a diefis the fa is raised,

to give the interval of a voice to the fuo effer of fruitful in the tone of mi: thus

of the other diefis, which carries feco. And for the sake of clarity I will give here the mi-

fura in notes, which I have given in numbers, from which you will be able to see the

quantity and quality of damn, which brings about a tone, and why reason

efigga.

A. Is that knowledge then necessary, and useful?

T. If it is necessary, and useful to know those intervals, the form to remove

yer a note from its natural place, and confining it to another accidental, and Sa-

for the reason? They are so necessary and fundamental lights, without which there is anger

poffibile not that of feioglier, but conofeer the minimum mufical difficulties.

A. But tell me of grace: I am not always written in key the accidents, that

each tone carries?

T. Not always, because some composers also Gallici ne * tones, where en-

trano more diefis have used lafciar which always the diefis of the fettima: and
so in the tones, which carry flats, when phono of the major third, Iafcian

many times that of the fourth, and in the tones of the minor third that of the fefta.

For example, they will strike the tone of the major third with two foli diefis, that is

to the fa, and to the ut, when the tone invariably performs the diefis also al

fol single foltegno, indicating, and nunciative of the tone of A; indiftintameiue in the-

there

o (IV.) o

the medium manner fi finds the tone of f flat flat major Wfl written

a fol flat; when you find in the mifura in notes that I will give you, what about

brings two, one to effer the beginning of the tone, the other to the e for the. you-

cinanza r which must pan from the major third, eh 'is the king, to the fourth, eh' e

the mi, of fola me22a voce, or fia femitone, as fi must in all the tones of

major third.

A, So who, will Thunder these eompofitions, will stop every time, what bread-

rà was that fettima of the tones of the major third or fulla fourth for flats ì

T. No, because every time that they arrive, they are blown away by the fire neceffario

damn.

A. Therefore it is not necessary to faper them; dance to do them, when I fono.

T. Forgive me my dear amateur; I start pain of vpi cones

those voflre confluences, which tend to nothing but f

More about and

and

and

Definitions of and

Conjunction

used to connect words of the same part of speech, clauses, or sentences, that are to be taken jointly.

bread and butter

Synonyms:

together withalong withwithas well asin addition

toincludingalsotoobesidesfurthermoremoreoverinformal:pluswhat's more

Noun

ELECTRONICS

a Boolean operator which gives the value one if and only if all the operands are one, and otherwise has a
value of zero.

Suffix

(forming nouns) denoting a person or thing to be treated in a specified way.

analysand

Examples of and

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all human conduct is determined or caused—but there are causes and causes
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chivar la fati-

ca, and the flow of the cofe neceffarie to understand a thousand other difficulties:

the dimeno, however, I reflect back to that voftro hafba furisi quanio there fono: Se un co ~

pilla little mufico lafciaffe at the first key a 'damn neceffario, when

the compofitorc foffe of those, who put in key all the accidents necef-

farj to the tone; (as fi must always do) then you make them in femito-

nar fempre panando was that note, where it was necessary, that the foffe added

to the fuo own accident, do not fapenào, that that tòno does it. Moreover,

made her want to make the prelude to that cofa, which would make her to blast, how to dofte

you in adding 1 * accident, what is missing from the key? Which damn it doesn't

as you do, you begin one tone, and end another with the me-

desimo brìo, with which a preacher would make, who made

tonio, and the refto dèlia preaches full 'Souls in Purgatory; and say more for others

reasons, which I will explain further on, I do not allow you to understand them

without the premonition of many other general rules, which, by doing, v 1 in-

I will fend.

A. From the way you told me about that last question

mi, that you are offefo of that word Bafla farlk. when I am there; But you give ~

vete fapere, which I have heard them utter many times; So tell her

in order to fend you the necessity of making these cofe, and not so that I am
that fent: maffime with disillusionment, which you courteously made me-

to, in the rifpofta. In the meantime, please do not be offended, I will go from time to time

when asking you some treacherous questioning; that all this will do for the

day to clarify the coffe mufiche.

T. When this is the case, you can also say how much that center comes to mind, which

do you pull? and all that, which you have intefo say from others.

A. So here's another one. I tried to say, that dance practice, and

good ear to do well every cofa in the mufica, and that the practice is more

ca., that the stench.

T. That is P ordinary to speak of those who do not do what he does, and want with this

fie words authorize your inability, or negligence to the fapcr of the cofe mu-

chips. Therefore I tell you; "* $? * '* Nrar ica •> would she really dance, when

do

o [V.] o

'I, Ci C & iuaffc, o fuonaffe la mufica fempre fu' n tone, fulla same nature

of tone, without change of tone in the component

of Accidental Agure: But the greatest merit of the mufica is the va-

riation of the tone, the paflage of one tone to another, the way to pan well,
and the paflare more with one accident than with another accident, all parts of the

the fetus of mufical, and not of practice, which does not end up here, Del-

which, with the ear, is folly probative, and not infinuator; He, fi

elice y made a falfa voice, that is femitonarìté, when it is already done, (tarda

prerogative of the ear); that on the contrary the feienza predicts the bad effect

to, which could do that voice -out of Aio place. What then the practice goes-

more, than the stench, imprimetivi well that maiTima, that in every coffin

sees; that a hundred-year-old practitioner per part of the practice never comes away

I acknowledge that a feientifico in fei mefi is practical and efficient; because he is ferocious to

fé fteffo di maeftro.

A. So the practical ones are subjected to a thousand errors?

T. Do it even those who really do; penfate 7 as those sent will be

bowed.

A. Yet I have seen many, who do not do all those cofe, and sing-

no, and they play, in short, they go by the name of virtuofo.

T. And you want to deduce from that a thick confluence. Tell me to

grace: What difference do you find between two men, who go for the ftra-

from, one, who is lame, and the other straight? You see, they both go j

But one is bad, and the other is good: And then you will say that you do not fembran zop-

more, but that they go, as the others do, I tell you what it seems to you, that

let the others go as they do, and that they do not feign the femitonatures, to which
I distrust you, that you fon fottopofti easily: because in the fcrupoli {God volefle,

che follerò) to make a diefis, flat, or natural note for the most fearful

they have that laudable malice of firing it or so softly that it does not fi fenta, <*

for greater safety, leave it, and thus draw it from the good of others, fans "

to merit the figure of virtuofo.

A. Why are you afraid of them?

T. I said the most fearful; because I am sure of it, that I am indeed

te prefects, who will make four, or five notes of the ifteflb name diefij 5

instead of natural ones, which they will have to make, fenza roffore; without the danger of pain

colic and c. Of those, for not efler acts neither to the feienza, nor to the practice, not ne

we'll talk .

A. Why did you say laudable malice?

T. Because of the two evils

the lesser and more foffabile, eflendo il rimorfo or fia ti- "

more than those he always makes a foreword of their conversion.

A. So far, every cofa has been capifeo; But when I tell you I have tried to

those will play at the end of concerts, and really well, what will you tell me?
T. This is how I tell you. So why do you see a practical blind of one

Grada walk boldly without breaking the tigne to guide the wall, you will say that

nqn is neceffnria h. villa for walking? Remove the blind one from that river,

that

or [vi. ] *

who has learned by the force of a thousand falls, and then you will see 9 quàiitò would do them

JiecelTaria la vifta.

A. Give me therefore another mifura in notes,. that you have promeffo.

T. Gladly. Here is 1 * other general fcala for all the tones of the terga mag-

giore. Already from one to the other of the points will be meant an interval of half a vo-

ce f that is to say the twelve femitons, which make up an octave> and the numbers

will they make the place of the notes of the fcala? taking the tone ut as the norm, like this

as it goes.
X

.%

J4

~i
w~w

III

1. " L

i1

Il

Ut

king

it makes me
fol

there

YES

Ut

king

me

# -fe fol

there
Yup

4fut

king

% mi

does

fol Jk la

Jk yes

ut
king

me

me

^ ago

• # fol la

Yes

<# ut

<# re

me
does

fol

the * yes

ut

king

me

does

fol
there

yes ut

king

me

<#fa

fol

there

Yup
% c ut re

me

jk ago

j # £ <A

there

Yes yes

ut

re jkmi

does
fol

there

Yup

YES

^ ut

#re mi

*. &>
% fol

^? la

Yup

And in the medefìma manner to the tones, which will fuse fopra li diefis, or others

flat, will give you the medefìma of distribution of the intervals, which has this fcala,

when they will have to do more, as we treat adelTo.

Ai> How? Do flats also enter in third major tones?

T »And what difficulty do you have? And you don't see why they have to

fegnare da quefta fcala, what have I shown you? For one reason you will see

the diefis in the mifura, which I will give you some minor third tones. But why do you do me

you such a lot of questioning?

A. Know, that I have intended to say, that there are three strong tones, that is to say,

no major, minor tone, and natural tone.

T. For the love of God I beg you to forget at all about a propofi-
to t because never in the mufica fcuola, where you walk adeffo pronounce-

a similar awkwardness, the boys who would stone you in there, and i

more adults by nature, the owners would throw you to the ends.

A. I am greatly obliged to you to help you; why don't you

I still go in rank, I would hurt it badly in that last faltO j Nulladi-

xneno please give their explanation,

T. Just say, "A"

v"

or [VII. ]or

TO. So those who have diefis say meggmì, damn crefcenù;

minor are those, which have flat waning accidents, natural ones, which fono

fenza diefis, and fenza flat; because the notes go back to their natural place.

T. Bad, bad for every garment, and I fpiego. If a tone, which has a dicfig

The major caller, the other, who has two, should say: V

the one then, who has three, or four, and then five and c. how fi should you call it-
sea ? in the ifteflb manner of flats with the name of minor, minimal and c. The name

then naturally, like him, he can compete against the many majors, who fi poflbno do-

re, C fertile them) and many minor ones, fé there is the folo tone of ut major third,

who does not have slow acci? It is true that even the tone of the minor third,

seeing me, has no accidents in key; But always bring the diefis to / o /,

when the chant stops in effect, as I will explain later.

A. Did these names become unhealthy, and that explanation?

T. No: But that happens, that one questioned some of that, that he doesn't do, and

to make a difference, having to answer, he says, as he physically seems to

za to distinguish the medium, which contributes to the perfection of a cofa with an identity

of the cofa iftefla: in the way, which would simply differ, who, having seen a "

use fire to extract a coolant from herbs, saysfle, which eftrat-

from those he must fenza make it warm, burn, incinerate, because to do it there is

in the fire of nature he was burning. You see those cofe as non cold hair dryers

• ftante the example of fire, which we have adduced here adeflo.

A. I have intefo adeflo how these names were found, and I thank you for the

way, with which you fold me the cofe, and maflìme: with these voftre phimifitudes,

that I was very successful in this, which with great difficulty I would understand in other words. From-

themes that please you la mi fura, with which I must distribute the notes in the tones of

sa minor.

T. Gladly: maflìme that you will most corfbfcerete, that neither the diefis, nor j
flats are those, which make the major tones

or minors; But the distribution

diverges some intervals, or fia femitons placed between different numbers.

A. I don't mean what you mean by these femitons placed between Siverj}

numbers.

T. Quefio you say, that in both natures of 'tones', that is, of the third mag-

more and less are two femitons, with the difference that, as ne * tones

of the major third, as you have seen, the two femitons are placed one of the

third note of the tone, to the fourth, the other from the fettima, to the octave; ne 'tones of

minor third you will find them placed one between the fruitful, and the third, 1 * al-

between the fifth, and the fefta. And here is the fcaia of the tones of the minor third.

A. Forgive me, I am not going to sit down like this: to you, who do all of you

this cofe seems clear every little iftruction But to me, that little O

I do nothing of everything, that does not bafta: Give it to me in numbers, and in notes again

the one, which you will do to me as a grace.

"T. Here it is. So begin the tone in whatever note you want; breathe them out."

before .

There it must afce * uf «re fruitful a voice from the first

U
■ © [vili, y "

A third must be heard from the fruitful voice

The fourth must focus a voice from the third:;

The fifth must focus a voice from the fourth

The fella must start a half voice from the fifth

The fettima must afcendere a voice from the fefta

The octave must focus a voice from the edge and c "

Note, however, that the fettima of those tones of the minor third from this die fi ve *

de in key she is, and she must effer dictating a voice from the octave; But in the out-

narfi, however, «must bring them closer to the octave with the folo interval of the femitone every

time, which focuses on the same.

A. I do not mean: while you give me as a rule, that the fettima debbs

fempre effer dictating a voice from the octave * and then you tell me, that in the fuonarfì

she should effer close in a low voice. Forgive me, this seems to me an opium,

and I reason like this: fé she must effer close to the octave in the fuonarfi, because

don't you give her close to me in the rule?

T. He is true, he looks like an opposite; But so he is not. II bring her close to you

■ then in the rule, it would cause many other difficulties, and inconveniences, to eh

icrive.

A. Please take me away from cheating.

T. Gladly; but you hate careful; because it is necessary first, that fappia-

"te-, why she should be made greater in the fuonarfi, why she should not be hurt h

key, as the rule tells you; and therefore I must premise to you various

terroga2Ìoni to enlighten you at all. Tell me ; what a puffy difference between the tones

■ gif, and the fol tone of the major third 2

A. The difference is the diefis al fa, which has the fol tone.

T. Why does the fol tone want this diefis al fa?

A. Because the fa, naturally making a voice far from the fot, al. it was

> «Ffer di fettima in the tone fol y dee approach them in a low voice with diefis ali;

■ octave, which is fol; because she makes the figure, which makes the note fi d to the ut tone

Close seventh, or fettima major as you say.

T. Well: what a puffy difference between the fol tone and the ambient re tone

A. The difference is the diefis all 'ut ■> which has more the tone re.

T. Why does the tone re want that of diefis all 'ut?

j A .. Because 1 'ut diefis makes the figure of fettima greater than the ve, as, does, does the

r ago to fol, and fi to ut ec,

T. Optane. Duerni: They give you two diefis to the key: what a tone

read you, eh 'he is he?

. A .. I would say king.

T. Well. Of those two diefis, who indicates to you the tone of king?

A, I would not do it; and meanwhile I said to you, that with two diefis I would do <

the tone re, because I have seen in the mifura in notes of the tones of the third of May-

king, which you have given me, that the king brings two diefis.

: T. But you didn't tell me that you knew the king tone from diefis aìl'i / f.

fexche ferviva di fettima maggiore, as did the fa al fol, and the fi all 'ut ì

TO.

or [IX. ]or
A. Benifómo: and indeed I understand, that the tone you fi conofcV from diefis all 'ut

so fol dal fa diefis.

T. Let us therefore make it a rule that the last diefis indicates the tone, and that

011 tone, yes of the major third, that of the minor third, can fufliflere without this

ffa fettima major; so that by abandoning, or making them less, that affected

but, the tone, which was indicated by this (and Bendo major), is no longer;

But the fuo rear ordered diefis fubintra to declare the fuo folito ad

indicate .

A. Give me an example of grace ”.

T. Here it is. If we foflìmo in the tone ut, (Tempre of the major third discor-

we riamo) which has no diefis to the key, and we want to spoil the tone of

fol how do you?

A. I would like to key the diefis al fa.

T. No, because the d4efis, who play at the key 'look at you in the first tone, hee

whose fi began; Therefore, starting with us this example from the utmost tone, that

it has no accidents, it is not lawful to place the accidental "he must indicate at the key

an accidental tone.
A. How to gather

I y ^ O ^ ^^ ordin

what he should do;

T. This is how it is done. When 1 we begin a fuonata, or prelude in the tona

ut, and I want to enter the fol tone, then the first does, which occurs in the can-

tilèna, that we do, fi fa ', o fi fegna diefis, confervandólo fempre, fin-

that we want to re'lar in the fol tone; so that wanting to return to the no-

Aro primaèro ut we must abandon that diefis, and thus remofla the cause.

ia is rimoflb the effect. From what you can conceive, that every diefis, that you find

you will come for the lines not carried by the first tone but will always point out the tone of the-

the note Aia fupetiore, fervent the fettima 'major indicating. Inten-

you aderto why the fettime de 'toni must always be more effer yes

tones of the major third, as in those of the minor third, because

mind indicating?

A. I know it, and I no longer doubt it, to the extent that my first

renza returns to 1 tempt me 'against the rule of tones of the minor third, which m * * -

vete given ,, touching the fettima.

T. Saldo Pàdron my j that fé v 'I tried, how should fempre effer mag-

already, I will show you, because in the tones of the minor third there should be Written ùv-

chiàve, as you already say.

A. Before you get ready for this fruitful trial, give me the pleasure of a fpie "-

banished a doubt.

T. Which one?

A. You tell me, that you pretend to me by a rule, that the last diefis indicates the

tone, and that tógliendoff that last "diefis the fuo rear ordered diefis indicated

the fuo tone; How will I do when they do four, or five diefis, a faper

which is the last one, for conofeer 1 * ihdicaeion Aia, and on occasion to remove it%

what; fia then that rear ordered, what do you indicate?

T. Here: The first diefis, which enters the key gì fempie and the f »% the f« c «W

&'I

o [X.] o

do 1 'ut, the third the fol, so from fifth to fifth come the others'; as well as

of the flats ordered the first and at y ?, and in fourth all the others, and in two

caboli somewhat barbaric, but easier to remember, you will have the orderly diefis "and i

flats

(I. 2. 3. 4. 5. 6. 7.)
For the diefis ^ (fa ut fol re la mi fi)

(1. 2. 3. 4. 5. 6. 7.)

For flats 4 (fi mi la re fol ut fa)

so, what do you want to make any diefis „what number it holds in the?

order, you just have to count, what number of filiaba you keep in that vocabul-

to make it, make it first, or fruitful.

A. Give me an example of that too.

T. There you are. For example, you find five diefis, and you don't know what it is

V last of the five; do you believe that the fifth ì will make the last one

A. Without a doubt.

T. Count therefore was the word of the diefis up to the fifth phyllabba.

A 'Fa i. ut a. fol 3. re 4. the 5. is the last of the five diefis.

T. Bravo. Do you know what tone the five diefis give to the key,

it is as the back ordered diephis in occafione, which had to raise the fifth,

what do you mean another tone?

A. Five diefis indicate the tone /?, And fé le le diefis del la reiterates the king,

and will indicate the tone mi. But tell me: And he made the five diefis, which

go into the key, I'll do the last five; as fol re la mi would say

//, then what tone will they indicate?

T. That will never come; because he can never write, a folo diefis

to the key, which does not make the fa, as first so two fé does not, and ut, as

first, and fruitful, Neil 'ifteflo modo de' cinque fé does not make us crazy the how

first ^ fruitful, terse. fourth fifth .

A. Where does that order come from in accidents?

T. From modulation.

A. What does modulation mean?

T. It means to carry it with a way, or a way to deal, with sweetness from a

tone at the other with the lesser trepidation, which can, fenza offefa of the ear, e

that is to draw from one tone to the other with a little accident.

A. Therefore the modulation does not contribute to the diefis •

T. Why do you say that l

A. Because from one tone I will be able to deal with whichever one I want (effendo the disfi *

of the single fettima indicating) placing a diefis on a whim.

T. You are greatly mistaken, and I will flex to you the example. Tell me »from

ut tone I could sweetly deal with the fi tone (we are already talking about ter-

-aa major) by placing the diefis. al lai

TO.

or [XI. ]or

A. Sure. And that would not do paflar with a mad accident, as you say>

T. Adaggio. The ut cofa tone leads to the key;

A. Nothing,

T. And the fi?

A. Five diefis.

T. And that is to sweat with a sudden accident, with sweetness, with lesser Cre-

pito? tell me: the other four diefis, which carries the tone fi, beyond the fua fetii-
but, where am I? you see aderto ■> that you will not be able to put any diefis a

whim to go from one tone to another one you will like; because by placing a

diefis ordered in the tone from that indicated you will not find any lack.

A. Give me an * example.

T. Fiffiamci therefore in the utmost tone, you see, that by adding I * or-

of born ago diefis, we foavemente palliamo to the fol tone, unless that fubintrate

need more than anything else, because there it is alive with all the other notes of the ut tone,

as it was your own, and if you want more clarity, review the fcala de 'toni,

where you will find, that the fei natural notes, which fono in the fubintrato fot,

also natural damage in the tone ut. Because you see that some slices are known

of the tone ne reity an altered tale, that which the foavity does in the panare with a

fol accidente: not so from the ut tone you can enter with the folo la diefis in the tona

fi, because the other four diefis, which elf makes (for the rule in numbers "

and in notes already given to you in the preceding fuo ut, from where you claim to do so

fortire, does not find them.

A. How then should I do, from tone ut want to pan them to tone j? - will do 1

taxable flat rate?

T. No, but it is a good thing that from ut palliate to fol col fuo fa diefis, from fol ria-

bilito palliate al re col fuo ut diefis, from re fiabilito al la col fuo fol diefis "

from the "qualification to mi with fuo re diefis, and from mi rehabilitated with the diefis, to arrive-

happily at the end, always conferving, however, all the diefis, which ordinarily
you have added yourself in the puffy pe 'tones, which have made you float to arrive

re at the fi.

A. And to return to ut tone?

T. You have to remove the diefis foftegno of the fi: and you will reflect in the tone mi -,

pofeia remove the crazy king diefis of the mi: and you will reel in the tone la, then raise-

le il fol diefis follegno del la, and Tederete in the king tone; from the tone r remove 1 * ut

diefis; and come in the fol tone, pofeia raise the fa diefis; that you will find yourself comfortable-

mind in the ut tone, of partly waves.

A. I really like this clear explanation. But tell me; there is nothing else

half ?

T. Tell me you, did anyone at the foot of a tower ask you; how could

well do to go fuila top d 'effa: cofa the rifponderelle?

A. Nice. I would tell him: mount the fcala floor by floor ■> as long as there

you arrive,

T. Bravo; he then asked you; how should he go to land i

A. I would reply to him: lower the fcala floor by floor, until you return to the ground.

T*
or [XII. ]or

T. Beniflìmo, And do that you ask, do there is another means for tròyaiiS

fopra there, and then from there to find them abbaffo ì

A. I would tell him, done, friend, was pulling with a rope by the neck, and over there, he did

abbaffo you want to return fenza fatigue, then throw yourself pe 'feneftroni.

T. Bravo. And that is the only means, which you can fervent about in the future.

from, what you do to me from ut tone to fi, and from ifleffo fi to ut; why will Uef-

fo effect.

A. I understand well what you mean; but there is a difference in effect.

T. There is no difference, because one is the element of the eye that

compaphìone moves the heart of those who see, the noftro is fraflono to 'ear,

that infaftidifce cruelly the soul of one who cares.

A. He is true, and I thank you. Let me, if you like it, see why he doesn't go-

to be written in key the fettima of the tones of the minor third.

T. The first reason is that he always repeats an accident of order: The fecon-

from è, that it would be confusing in the beginning of the line to see foventi diefìs, and be-
molli: The third is that the greater fettima is valid only for one's own

tone; I effle my profiles, and fomenting tones that are quite enemies of that effect.

ma diefis: The fourth fi is that sometimes fi fa minor, as we see in

Gorelli, who in an ifteffo period will make it greater in afcendere, and less

in defending.

A. I find it more cheating. But first, let me make it clearer

the fopradetto, grant me the grace to unfold those profound tones, and provide

glìanti.

T. Toni profsimi fi they call those tones, to which from the capital tone, in which

• * begins, poffa with sweetness, that is, with an accidentally ordered folo, panar-

there . Similar means that tone, which has the ileffa quantity, and quality of access.

cidents, which is always of a different nature, that is, that the familiar gives a tone

of the major third will do the minor third; so vice versa,

A. Good. Make me clearer, if you like the aforementioned touching reasons

the slices.

T. We will talk about that later tomorrow. Goodbye .

A. I rehearse you ",

.

PAS-

© '(xm.)

WALK XX.

A. "CTI rfverifco, well how do you do?

T. V Beniflimo, and how did you like yesterday's bargaining?

A. I assure you, that I have already learned some cofa, and what I like best,

I li is the way, with which you make me understand easily also that, which is true-

difficult mind.
T. Qpcir is my doing; because mechanical effect is necessary, that you speak mechanically

canically, and I already warn you not to be surprised, you will make jokes, or cold

hard, because I fervor of whatever pariti I can think of * as long as

ìftruifca.

A. And that's the real way for those who really want to benefit others •

T. Beniflimo. Entr

we are in the mufica.

A. Yes, Yesterday we left, then, when I begged you to make me more

clear, because the fettima, or fia the diefis indicating the tone of the minor third is not

you have to write to the key.

T. Already you are defending yourself for an accident of order, and that would make you eonfufioné

at the beginning of a row, or let the key see the first and fourth for effect

diefis or sometimes two flats, and a diefis: di più fi è, which would put in ifcompi-

all the general rules, which from the order of diefis, or from the order of be-

soft fi poffono smoothly form; and great eonfufioné would nafe it; maflime

when they fi trevaffero contrarj accidents, such as diefis, and flats, so as not to fàpere

which of the two contrarj accidents to take for indicating.

A. That satisfies me, but that third reason, which does not consider this

but diefis, who, by his own tone, make profound fuoi, and foster enemies at all
of eff ~ fettima. Pity me, I don't mean a zero for that.

T. Do not enjoy it, I will make it clear to you; but first it will do better,

that I give you the rule in notes of the tones of the minor third; more preilo chicken-

you have the knowledge of the profilimi, and fomiglianti; without having to every moment

remember? there is the rule, which I have already given you in numbers.

A. I will make you very fond; because at least I will form a feuza image of it

every time, when he speaks of a tone, he must take it out of the rule in numbers; is

please give it to me in writing, as you did in the al «a.

T.

of XIV] o

T. From one to the other 'de': \ V will mean the interval of me22a vofe, and ì nu-

the notes of the tone of ter2a minor will play,

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A. Oh- so I like it; But tell me: why - do you have - rinoyat-o. in the end of queffia

fcala la fettima, and why have you added them now. il-, diefis, now a natural?
T. Because the fcala tells you which accidents you have to put at the key of everybody

tone, and that diefis, or bequadro, which has the faint strength, you removed the doubt, that

they have about a few major third tones, which have the amount of d "

damn the key; So when you want to write in some third tone

minor, you will put the accidents brought by that date to the key

mifura, and then, writing an idea every time, that you will cheat on the fettima note of the

tone, you have to fegnarla with the diefis, or natural, fecundate the tone; as long as though,

«He stops you in eflb, maffime afeendendo.

A. But I will want to know someone else's idea, as I will do to faperinche tone ila.

T. Here it is. For example, you see a blast, and you find it a flat at the

the key, tell me what tone can effere?

A. It may be in the tone of R minor, as you have written in the last one

fcala: i -

T. E. nothing else?

A. I wouldn't do it.

T. Review a little the fcala of the tones of tersa major, fé vi and no tone

the put a flat on the key. .

A. True, there is the tòno fa, which carries a flat.

T. And so you must always repay, that each key adorned with one, two and c. well-

soft 9 diefis fempre ferve to a tone of the major third, and to a tone, of

minor third.

A. Bello, therefore, will indeed be more cheated than ever to find the true tone.

fé an ide the key figure announces a major third tone, "d u"

ten of the minor third. *

T.

or [XV. ] q.

T. No: on the contrary, you will more clearly know it, and I have just given you the example I

poftovi; Tell me: did you not know that a flat in the key announces

cia the tone of F major third, and the tone D minor third? #

A. Benifiìmo: but I don't know when I should believe the tone F major, ♦

the D minor tone; I already mean third.

T. Here you are: fé you find a flat in the key. already fapete, which can effei:
tone of F major third, or D minor. Tell me; The tone makes of. third May-

re, does it affect any cofa more than the flat, which is there at the key?

A. No.

ftere the diefis to the

ut that so does the figure of fettima foftentatrice of the king tone; and not being able to

this fcriver in key, for the reasons mentioned above, specifies when

it arrives, however, when you find a flat in the key, already knowing, that it can

effer tone of F major third, and tone of D minor third, you must have

do, which fé you find the first ut diefis, will make a tone of D minor; and made the first

ut they will do all natural, will do the tone of F major third.

A. As a general rule, I will be able to excite myself for the other key figures in the example

of the tone F of the major third, and of the tone of D minor, what did you do to me here?

T. Sure. ... ■

A. How?

T. You must hear well to hear any third tone at any time

major, which ones, and how many accidents does it lead to the key, how I have them ferin you

in the fcale, or fia, there are distributions of the notes of the major third tones; and perva-

give you what kind of what you think of, the fomigliante, that is to say, that

minor third tone, which has the ifteffa quantity, and quality of damn the chi ^ -

ye; and to trust what the fua fettima was, which always will have to be near
in the chant. If you find, it is close to the octave of that of the minor third

that you can build; the tone of the third L minor will play. : fé you find it far away; allo-

ra will make the tone of the major third.

A. Thank you. I would like to understand well how the fettima diefis, or penfata die-

fis de 'tones of the minor third does not evaluate, except for its own tone; and also for-

because, the fuoi prolfimi, and resembling tones fiano of these enemies at all, one of the-

the reasons, which you have attached to me, why it should not be written in key, of which the

the first two have already won, and satisfied. |

T. I will not make you understand it folly; but you fteilb I will say.

A. Please, you will do me a great favor. t, ■ '

T.

0Ì AVI. ) 0,

T. Tell me: what does proffimo tone mean, and fomiguahte?

A. Tono froflìmo means that tone, which can be heard from the capital tonti

* coli * acciefcer an accident ordered, or by removing it •

* T. Beniffimo. And familiar with it?

A. Samìgliante It means that tone, which has the inept amount of damn it

key "which has 1 capital,

T. Optime. Let us examine the example of some particle !: tone dr

minor third, to see, made that noftra fettima diefis, or penfata diefis, which

that is to say close, ferva for the proffimi, or fomiglianti r and I will make it queft '' efem-

pious. In fact, neither you hay, imagine some minor third tones.

A. Since you want me to choose, let's make an example was tone fól tetza

frninore. %

T. Good. Còfa brings this tone 7 to the key

A. Two flats; that is to the fi, and to the mi, - and the diefis: to the fà r that however fi sees

perfectly written in the chant, and not in the key.

T. Bravo. Taking up one of those flats, that is the mi r that: & l'ordii

jiato; what tone can you fuse?

A. But ... I would say the tone F major third, or the tone D minor third,

* which have only the first flat.

T. Tell me can Ilare still in those the fa diefis, that the primaèro or fìa no-

fter capital tone efigge? certainly that not; because about the tone does r you

you see, which would directly offend the capital note of the tone as it is intended

natural, when it brings a flat: about then to the tone rè, you see, what a re

would do major, having the fa diefis which joined to ut diefis (fettima vo * -

Iante; that so we will call it in to come) that this king carries, not fof-

would frire more this flat than the fi, that is, he would no longer do after proffimo del

fol tone already mentioned in the minor third.

A. Oh yes yes, that I clearly understand why it is not written hee

key quefto diefis, or natural of the 'fettima de' tones of the minor third, But di-

themes: he will do the same as the other teacher, - to whom he can pay,. adding the I

third ordered flat, - and so of the fomigliante?

T. Without a doubt; because you know, that I have efclufa this fettima close by

jutti the profiles, and family me; because pe'medefimiv is not ferocious Meanwhile,

ciamo gives% tone fomigliante of this noftro tone fol third 'minor, prefo for

primary object of this last nofra ^ test, - which will do - the tone f flat

rerza major, which as you have seen, has two flats also tell me: it can

to fofFre that does diefis fettima del noftro fol?

A. I would say no; but I could not give the reason.

T. The reason is, that in the tone of fi the note is buzzing with; fifth: and is
ta having to dictate richly of three tones, and a half y or fiano voices from the first

note of each tone: this fa 'diefis would make a femitone more dictan-

t from the first fundamental note of the sonorous tone to the fol third mi-

nore.

A-, And of the perfume j which has u is flat?

T.

61 XVII. ]or

T. You understand that the tone ut minor third, as having seen in the last

fcala, carries three flats. In

T. The D tone of the minor third, which has a flat in the key ■, has a bifo-

Anything else?

A. But I don't know. *

T. Do you remember, that I have proved you, that every tone wanted the best

diefis, or penfata diefis, that is to say, Tempre close to the octave in a half voice.

o efprefla in key for the tones of the major third, or fegnata for lines p and *
minors?

A. Benifl ^ mo •

T. So you see that the king tone cannot fade