Book V On Music Practice About The Instrument Called The Archicembalo

Book V on Music Practice About the Instrument Called
the Archicembalo
Chapter 1 Proem
[99r] I have labored for the benefit of rare and exceptional talents in
order to give greater encouragement to students of music practice to study
not only how to play but also how to learn composing for and singing
with the archicembalo—the foremost and perfect instrument, in that
none of the keys lacks any consonances. And I have adapted the new
practice of chromatic and enharmonic music, facilitated with many ex-
amples, some presented in the preceding books and some in this one.
Moreover, the examples are written so as to be easy for everyone, with
explanations chapter by chapter and with intelligible notational signs as
well as documentation of the structure of the archicembalo that provides
measurements of its length, height, and width. I also provide drawings
of the length and width of all the keys fitted together in the six ranks,1 as
well as the measurement of the board in which to put the holes for the
jacks that hit the strings with their quills, and also the measurement of
the latter. Also I describe the arrangement of the holes for the iron pegs
around which are wound the strings, and of the bridge above which they
lie, as well as the measurement of the rose to be carved and how far it
should be from the keyboard, as viewed from the outside of the instru-
ment.
Once the above-mentioned measurements and information have been
absorbed, the six ranks on the keyboard and how to tune or temper them
will be understood. With reference to the tuning, you will understand
where many kinds of thirds are found on this instrument and discover
certain unusual locations of fifths. The number of systems contained in
this instrument will be discussed, as well as the number of steps of the
enharmonic diesis, major semitone, and minor semitone, and also how
many kinds of whole tones the archicembalo contains—all of these given
with examples and ratios. There follows an explanation of the movable
strings or steps; those that are neither completely movable nor completely
1. See figures 1-3. In the facsimile edition by Edward E. Lewinsky (Kassel and Basel,
1959), the unnumbered pages found at the end of the original print are put together in fold-
out format. There are eight pages in all: pp. 1-2 show the holes for the jacks (figure 1), pp.
3-5 show the lower keyboard divided into three segments (figure 2), and pp. 6-8 show the
upper keyboard, also divided into three segments (figure 3).
315
316 Book V on Music Practice
stationary; and those that are completely movable; together with the dem-
onstration of the seven series that teach you how to read any type of clef
written with any sort of notational sign that could occur on the
archicembalo. This is easily done by means of many examples of the first
series, followed by seven other examples written a major semitone higher
than the natural series and by yet another seven series written a minor
semitone higher. Seven other series are written with dots that denote a
raising by one enharmonic diesis, an amount equivalent to one-half of
the minor semitone of the naturally sung series. I also give examples of
the seven series of notes written one major semitone higher than the
natural enharmonic as well as the seven series written one minor semitone
higher.
In addition, I explain twelve different kinds of steps or leaps of a third,
illustrated by examples of both the major and minor third. I also explain
the seven ways of representing fourths, as well as the different ways of
writing the ten leaps of the fifth, the ten leaps of the minor and major
sixth, and the seven leaps of the octave.
There follow the system and formation of the seven octave-species,
which can be formed on the lowest A re or A la mi re2 [99v] without ever
leaving the initial note. Likewise, on the lowest B fa B mi, or B mi in the
hard and then in the soft hexachord, and also on the lowest C sol fa ut,
and directly after, on the lowest D la sol re, then the low E la mi, the low
F fa ut, and G sol re ut. On the archicembalo, all these form the seven
octave-species without changing the first initial note on which the first
octave began. All the remaining octave-species are made from the same
initial note but by proceeding quite differently in their formation, as
seen in the examples. Subsequently, seven other octave-species are writ-
ten on each of the above-mentioned locations.
Thus every location reveals its seven octave-species; for instance, a
minor semitone lower3 when the first initial note is on the lowest A la mi
re in the third rank of the keyboard [SA^j/The system explained above is
followed in a subsequent example with the seven octave-species one ma-
jor semitone lower than the initial natural system shown at the outset;
[these are on A la mi re in the second rank (2G*)]. The formation of the
seven octave-species is also seen in the fourth rank on the lowest
enharmonic A re or A la mi re [4A], and these are one enharmonic diesis
higher than the octave-species in the initial natural system. Thus, as-
2. For A la mi re in the lowest octave, see Bk. I, ex. 5.1.

3. Error: text has alzate. The same mistake occurs in the next sentence.
4. Vicentino explains his terminology in chaps. 4 and 5, below. See App. V.
Book Von Music Practice 317
cending through seven pitches we form seven octave-species on each pitch.

Leaving the lowest A la mi re [4 A] and going up a minor semitone, we
begin on B fa B mi or B mi in the soft hexachord in the system explained
above, but now on the initial note of the second rank [2B1*]. This system
has no duplicate. But if we ascend from the fourth A la mi re [4 A] by a
major semitone, we then enter the fifth rank—which is the lowest
enharmonic B fa B mi on the fifth B [5w]—and form seven octave-
species. The same formation occurs in the seven octave-species starting
on the subsequent fifth F fa ut [5G^] 5 and [fourth] G sol re ut [4G].
To minimize the novelty of using the archicembalo, I have collected
the consonances that could occur above and below in these octave-spe-
cies. Thus a choir in church may take full pleasure in this perfect prac-
tice, so suitable to every choral voice. As for facility in locating major
and minor thirds, I refer to the locations, which are handy and conve-
nient to the player as well as to how he should move from one rank to
another. Moreover, I explain the defects in the division of the lute, the
bowed viol, and other similar instruments. Nor do I omit the names of
all the keys with their ranks, which withstand many defects.
A student should spare himself no labor to acquire so rare and marvel-
ous a music practice in playing, composing, and singing. For students of
such a practice will always be more honored and acquire more profit and
fame than those who do not wish to study further and to progress to a
higher level of knowledge. Indeed, the playing practiced in these days is
common to everyone, in that all players go through the same routines
and the same keys. What is played by one student is likewise played by
another, except for a difference in velocity. The same goes for the differ-
ent, sweeter manner of playing diverse fugues. But no one has discovered
how to play on a keyboard that is different from all the rest. My key-
board, therefore, being perfect and without defect, will bring fame to the
student who exercises in singing with the archicembalo, composing mu-
sic on it, and playing it. For he will be celebrated by everybody as a
perfect and most exceptional musician.
5. See note 29, below and my introduction.

Figure 1. Board with strings and jacks for the archicembalo. From L'antica musica ridotta alia moderna prattica
(Rome: Antonio Barre, 1555). By permission of the British Library (Hirsch I, 591 and 785, m.33).
Figure 2. Lower keyboard of the archicembalo with the first, second, and third ranks. From L'antica musica ridotta alia moderna
prattica (Rome: Antonio Barre, 1555). By permission of the British Library (Hirsch I, 591 and 785, m.33).
Figure 3. Upper keyboard of the archicembalo with the fourth, fifth, and sixth ranks. From L'antica musica ridotta alia moderna
prattica (Rome: Antonio Barre, 1555). By permission of the British Library (Hirsch I, 591 and 785, m.33).
Book V on Music Practice 321
Chapter 2 Demonstration and Documentation of the Length,

Width, and Height of All Measurements Necessary to Make
the Archicembalo
[lOOr] As a permanent record and to leave a firm model in the world
for my contemporaries and posterity, I have decided to print drawings of
the shape of the archicembalo,6 including the lines seen here below. These
comprise the measurements that teach every practicing instrument-maker
to build the archicembalo with ease.
Beside the measurements of the lines, I present the drawings of the two
keyboards made with accurate measurements [figures 2-3]. All the builder
needs to do is incise them on the wood with a little care in measuring,
for in joining together the sheets [of the drawing] of the first keyboard,
he will form the first frame, which can be removed in one piece. The
second frame is movable, for it, like the first one, can be taken out and
put back without moving the keys. The second keyboard is pierced, on
account of some long jacks that pass from top to bottom, as shown in
that keyboard. The drawing of this second keyboard is on other sheets
that, joined together, make the keyboards fit together properly. Nearby,
other sheets are printed, and these contain the pierced division of the
jacks on the board, which has been measured carefully and accurately be-
cause the division of the register is all-important for accommodating the
strings and the jacks of the instrument. The first keyboard should have 69
jacks and the second 63 for all the keys, making a total of 132 jacks.7
When a student or builder plans to begin making the archicembalo,
he must first select appropriate wood, good and dry, which has been cut
a long time ago. If he can figure out and obtain the part of the tree that
faced the sun, that part would be better. He then prepares the wood, in
order to be able to make the instrument. Next he takes the measurement
of the length [9.75 cm.]8 represented by the line given below, which goes
twenty times into the length of the archicembalo [195 cm.]. The same
line, furthermore, goes eight times into its width [78 cm.].
6. See figures 1-3.

7. See figure 1. There seem to be 132 jacks, though the drawing of the holes on the board
is not too accurate. The instrument has 130 keys in all, 68 on the first keyboard and 62 on
the second. See figures 2-3. The two keys missing on the instrument but found in some of
the music examples are C and F in the sixth rank. See notes 32 and 91, below, and my
introduction.
8. One cannot be sure that the lines in the text are exactly to scale. Nonetheless, they do
give a sense of the dimensions in general and some proportioned sizes in particular.
I likewise show all the measurements with lines and explanations.

The line [10.7 cm.] that enters twice into the depth or height of the
instrument [21.4 cm.].
The line for the height between the surface [of the keys] and the board,
where the keys or the iron pegs that hold the strings rest. This same line
serves as the height between the first keyboard or frame and the top of
the instrument.
[Missing
The line [6.8 cm.] for the height of the upper works of the instrument,
or that part beginning with the edges of the keys.
The line [5.2 cm.] for the height of the two keyboards, placed one above
the other.
The line [13.55 cm.], taken twice [27.1 cm.], that shows the distance
between the incision of the rose and the jacks. The same length, taken
once, is almost the upright height of the instrument.
[lOOv] The line [9 cm.] for the width of the rose.
The line [10.7 cm.] for the width where the strings lie near the curved
length of the instrument. This width should be maintained up to the
middle of the instrument, after which it gradually increases toward the
end of the instrument.
Line [6.9 cm.] for the length of the white keys of the first rank visible
outside the instrument.
Line [3.9 cm.] for the length of the black keys of the second rank visible
Line [2.1 cm.] for the black keys of the third rank visible outside the
instrument. These three ranks belong to the first frame.
Line [6.15 cm.] for the length of the white keys of the fourth rank visible
Line [3.8 cm.] for the black keys of the fifth rank visible outside the
instrument.
Line [2.1 cm.] for the length of the black keys of the sixth rank visible
outside the instrument. These three ranks—the fourth, fifth, and sixth—
are placed on the second frame, which can be conveniently removed and
replaced because it is fastened with two iron keys from the edges of the
instrument.
Line [3.4 cm.] for the height between the first frame and the first black
key in the second rank.
Line [4.1 cm.] for the height between the first frame and the first black
key of the third rank. When they are adjacent, these two ranks of
semitones [the second and third] are placed one above the other in order
to facilitate the accommodation of the two keys.
The width and length of the surfaces of the white and black keys are to
be arranged according to the judgment of a good master. A player should
be able to run over all the keys nimbly with his hands and easily reach
the bottom and top keys. The keys should not be so narrow that a player
can touch two of them at one stroke. Thus, by means of all these mea-
surements, a master should strive to make a good instrument that is con-
venient to play.
It is not necessary to give lines for the length of the wood of the keys
as far as the jacks, because this length is accurate in the drawing of the
keyboard. You are advised to put a little lead at the end of the long jacks
so that they are quick to come up, for they tend to be slow because of
their length. Wherever the jacks lie on the wood, put a bit of chamois on
the wood so that the jacks are quiet going down. There are four holes
around the middle of the first frame, in which you place four iron pegs
to support the second frame. Every key has its hole for the iron peg that
supports it.
Line [15.8 cm.], taken twice, for the length of the first soprano string
[31.6cm.].
[lOlr] Line [6.1 cm.] for the length from the resting point of the string
to the first jack.
Line [11.2 cm.] for the length of the long jacks.
Line [7.2 cm.] for the length of the short jacks.

There are some holes in which the iron pegs that fasten the strings
seen in the drawing [figure 1] fit, and they are at a distance from the lid
that lies over the keys. This lid is closed so that the entire length of the
wooden keys, as it enters into the body of the instrument, is not visible.
The distance between the pegs and the lid is represented by this little
line [1.9 cm.].
The first series of jacks contains both long and short ones, whereas in
the second series they are all the equally long. The frame is pierced un-
derneath according to the piercing of the keys. All the iron pegs have
some chamois or white female chamois, except those near the end of the
keyboard; these have some cloth to dampen the noise. On the wood be-
neath all the jacks there should be some chamois.
A master who makes the archicembalo should be careful to make the
keys agile, quick, and noiseless. The quills put on the jacks should be
soft and short to match the strings. Above all, you should put in good
and perfect strings, because bad strings make even a good instrument
seem bad. The strings for the first frame should be as thick or as thin as
those for the second frame, for the difference in pitch between them is
small, no more than one-half of a minor semitone. If a master is diligent
in his use of the above measurements and remarks, he will make a good
and perfect archicembalo. If it is made a little smaller, you can then sing
with it, for in the dimensions given here the instrument is a whole tone
too low. The archicembalo will be good and perfect if the strings are well
stretched over the instrument. Finally, whether any of the above mea-
surements should be bigger or smaller is left to the judgment of the good
instrument-maker.
Chapter 3 On the Six Ranks of the Archicembalo

Now that we have constructed the instrument, we must understand its
six ranks.9 So as not to confuse tuners, I shall make it a firm rule that
every time I say the first natural rank I refer to the rank of white keys
(without the black ones) on the keyboards of organs, monochords, harp-
sichords, and other similar instruments. As to the black keys, my second
rank refers to the black keys commonly used on all organs and keyboard
instruments. Continuing in sequence to name the ranks of my
archicembalo, I call the rank added by the builder of the common key-
board the third rank; all its keys are shorter than the other white and
9. For a diagram of the six ranks within the F-F octave, see App. II.
black keys. The above are all the keys in the first frame. Next in sequence
is the fourth rank, and it refers to the white keys in the second frame
above the third rank. The [lOlv] black keys placed between those of the
fourth rank are called the fifth rank, and the black keys superimposed on
the black ones of the fifth rank are called the sixth rank. It is now clear
that the archicembalo has six ranks of keys.
To be better understood, I shall have to refer many times during the
discussion to the first rank as the diatonic order and sometimes as the
natural order. Thus, the first white keyboard is referred to in three ways:
as the first rank, as the diatonic order, and as the natural order. In this
keyboard, none of the pitches has been split or cut in any way. But when
the natural or diatonic order is split and cut by the placement of many
divisions, I then refer to it as the second rank, which is commonly called
chromatic order, because artificial pitches have been placed accidentally10
in the locations of natural pitches. Yet it is possible to speak of proceed-
ing naturally in this rank if you begin in this chromatic nature—that is
to say, in this rank of semitones—and go on with semitones right up to
the end. This way of proceeding is called natural chromatic. Further-
more, if you proceed in this uninterrupted way, you can call it diatonic
in the natural chromatic, depending on the conjunct or disjunct melodic
contour. Whole tones placed in this natural chromatic are referred to as
chromatic whole tones, since they are transformed from the first natural
diatonic order. With this procedure, you locate the steps of the minor
third, major third, and whole tone. The latter two are called chromatic
steps of the enharmonic genus and the former, chromatic steps of the
diatonic genus.11 Finally, with regard to the third rank, it is not necessary
to discuss it as other than the third rank, because its steps cannot encom-
pass any imperfect consonances—to be precise, no major thirds and only
one minor third,12 as will become clear in the order of thirds on the
archicembalo [chapter 62].
The fourth rank I call enharmonic order, fourth rank, and natural
enharmonic. This fourth rank is explained in various ways, for depend-
ing on how the steps progress, you apply a name to the melodic contour.
For instance, if you proceed by diesis in the fourth rank, the procedure is
called proceeding naturally in the enharmonic. But if steps of a semitone
are played in this rank, the enharmonic order is then transformed, and
10. For Vicentino's definition of accident and his use of accidentally see Bk. I, chaps. 23
and 25.
11. See Bk. Ill, chap. 15.
12. 3B»-3D». SeeApp.VII.
326^ Book V on Music Practice
these steps are now steps or species of the chromatic genus in the nature
of the enharmonic order. If steps of a whole tone are sung, they are called
chromatic diatonic steps in the enharmonic order. The same goes for
steps of the minor and major third, for they are named according to their
divisions. Minor thirds are called steps or species of the chromatic genus
in the enharmonic order, and major thirds are called steps or species of
the chromatic enharmonic genus in the enharmonic order.
To explain the fifth rank we need a division of whole tones similar to
the one between the first and second rank. There is one progression that
is different in certain locations: when the player ascends from the fourth
to the fifth rank while continuously alternating white and black keys,
the semitones become major, whereas between the first and second ranks,
that is, when the player ascends between white and black keys, he meets
now minor and now major semitones. It is therefore clear that the fifth
rank produces major semitones. It is moreover possible to proceed with
whole tones that are called chromatic tones in the chromatic enharmonic
order. As to the sixth rank, it is called simply the sixth rank or the order
of the just fifths.13 This rank is similar to the first diatonic order.
I shall deal with the differences among all the steps and all these ranks,
along with their ratios, in the explanations of each. The present chapter
suffices for an understanding of the six ranks of the archicembalo.
Chapter 4 Explanation of the Names of All the Keys Within

the Octave of the Six Ranks of the Archicembalo
[102r] Philosophers have given names to all things so that they may be
known and distinguished from one another.14 It is therefore necessary to
give names to each key of the archicembalo so that the great number of
keys does not confuse students, who can then easily study this profes-
sion.
I begin with the lowest A re or A la mi re, and I call it the first A la mi
re or the first A re because it belongs to the first rank and also because it
is like the goal, point, or sign that endows this key with its name.15 Its
note is written on a line or a space. Students will observe that the point
or sounding of A la mi re or A re is not a whole tone but rather the
beginning of a whole tone. It becomes a whole tone when the sounding
of two points, or rather two sounds, occurs, beginning from the same A
13. See note 47 and chaps. 13, 14, 17, 21, 22, 24, 26, 29, 31, and 37, below.
14. See, for instance, Genesis 3:20 and Isidore, Etymologiarum, 1.7.
15. See the discussion of the unison and the geometric point in Bk. II, chap. 2.
la mi re or A re and ending on G sol re ut, or from A re to Gamma ut.

The latter note is the beginning of the whole tone that finishes on F fa
ut. Thus, the end of one whole tone is the beginning of the next whole
tone or semitone, depending on the required divisions of the steps.
When a composer is splitting this whole tone to make two semitones,
one of them major and the other minor,16 he begins with the sound on A
la mi re. If he is making a descending major semitone, he writes on the
space where G sol re ut is written [2G*]; in the case of a descending
minor semitone, he writes it on the line [3Ak]. Many call the sign or the
division of this major semitone the semitone of G sol re ut. But it is the
semitone of A la mi re, as can be seen example 4.1.
Example 4.1 [The Descending Major and Minor Semitone

from A La Mi Re]
This example shows that the minor semitone is placed in the location of
the first sound, for it is shorter than the major semitone. The length of
the major semitone tells the singer to enlarge the semitone, for the repre-
sentation of the note, written in the location of G sol re ut, is farther
away from the first sound. This semitone is lower than the minor
semitone, which is written in the location of A la mi re and is therefore
closer to its starting point.
The next semitone, which finds its ending on the same tone of A la mi
re, is also the semitone of A la mi re, being either major or minor, as is
shown in example 4.2. For the end of the major semitone [2G<] is the
beginning of the minor semitone that concludes the whole tone of A la
mire [1A-1G].
Example 4.2 [Descending Semitones That Conclude the Whole Tone

of A La Mi Re]
Thus the natural diatonic division, or the first rank of the white key-
board, is made up entirely of whole tones and natural semitones from
fourth to fourth without the impediment of accidental semitones. This
keyboard also shows that from one end to the other the whole tones are
integral.17
16. See Bk. I, chap. 7.
17. See figure 2 and App. II.
328 Book Von Music Practice
For the convenience of having the fifth between B mi and low F fa ut,
as well as the just octave above B mi on the other high B mi and also the
just fourth from the high B mi to the low F fa ut, musicians make two
semitones, one major and the other minor, starting on the high B mi and
ending on A la mi re, even though the whole tone of B mi has its begin-
ning in A la mi re. This division of the whole tone [102v] is written in
music practice as shown in example 4.3.
Example 4.3 [Ascending Semitones Between A La Mi Re and B mi]
According to philosophers, habit becomes second nature.18 Therefore,

no student should be amazed if I put many flats on all the lines and
spaces. Experience tells us that everything that is not in use will appear
difficult, whereas after a thing is practiced and continually used for a
time, it will become familiar and easy. So in examples 4.1, 4.2, and 4.3 I
show the divisions of the whole tone of the high and very high B mi, one
division on a space and the other on a line. These divisions have been
used in the past, and in performance they do not seem strange to singers,
for habit and practice have made the flat sign familiar. The sign gives
singers clear notice that when it is marked on a line or a space, it indi-
cates that the singer or player ascends the step of a major or minor
semitone from the antecedent note, depending on the antecedent and
subsequent notes, which are either in ascent or descent. You pronounce
the syllable "fa" on the note to which this flat has been added, whether
on a line or a space. Because of the potency of the flat sign, the syllable^
was added to B mi on the hand. And even though the syllable fa was
added to B mi, you do not say "B mi fa" because the syllable^: was added
later. But because the whole tone rising from A la mi re to B mi is first
split by the flat, you say "B fa B mi.". Indeed, mi comes after fa for the
same reason. You must utter the names of the signs in the chromatic
hand first, rather than in the initial natural one. In this case, the ante-
cedent division of the flat precedes that of the natural step.19
I therefore notate the sign of the flat on any line or space, above or
below, to accommodate every sort of major, minor, and perfect conso-
nance. With each key of my archicembalo between the first and second
or the first and third ranks, you always find two semitones, one major
and one minor, within each whole tone. When you select the major as-
18. Aristotle, "Art" of Rhetoric, 1.11.3-4 (1370a), and Isidore, Etymologiarum, 19.22.
19. SeeBk. I, exx. 5.1 and 5.3.
cending semitone, the remainder needed to complete the whole tone

will be a minor semitone.
The method for finding major and minor semitones is as follows. If a
player is on A re and wishes to ascend by a major semitone, he chooses
the B fa semitone [26^] on the second rank; and the \ mi will be the
minor semitone [from 2B1*] that completes the whole tone in the first
rank. If you want the minor semitone first when going down and then
the major semitone below it, you do the opposite of the ascending se-
quence. Then, if you plan to ascend from the same A re first with the
minor semitone, you strike the same B fa key in the third rank [3A*],
which is the minor semitone. The remainder [3AMB] is the major
semitone. The contrary will occur when descending from B mi to A re:
the major semitone will come on the third rank [1B-3A*] and the minor
semitone on A re [3AMA]. And so it goes on every location as the player
divides each white key. If he observes this method, a player will find the
major semitone on the second rank and the minor semitone on the third
rank, both ascending and descending.20
To shorten this discussion, I shall keep to the following method, de-
scribed here so that students may understand me. I shall choose names
for all the keys derived by ascending in the first and second ranks accord-
ing to the designations given to the white keys of the first rank and the
black keys of the second rank. For instance, just as I always say for A re
the "first A re" [1A], [103r] I do the same for the others: the "first B mi"
[IB], the "first C fa ut" [1C], and the "first D sol re" [ID]. I shall give
the names from the first rank to the others and add them to the proper
ranks, be they the third, fourth, fifth, or sixth. Thus all the keys will be
recognized by their ranks.
I begin with A la mi re and, descending, I say the "first A la mi re"
[1A]. Because this A la mi re has its ending on G sol re ut, its jurisdiction
extends over the entire body of its whole tone [1A-1G], including all
possible divisions occurring therein. Therefore, you cannot deny to this
A la mi re, as the head, that its parts ought to bear its name. For this
reason and so as not to clash with the six ranks of the archicembalo, I say
"A la mi re of the first rank" [1A]. Then, descending to the second rank
I refer to that key as the second A la mi re [2G#]. And I call the key above
the second A la mi re [2G*] the third A la mi re [3Ak]. Next comes the key
20. Vicentinos loose syntax obscures the meaning here. In chap. 3 he pointed out that
whereas the upper semitones between the fourth and fifth ranks are always major, those
between the first and second ranks can be either major or minor. This is corroborated by
exx. 18—20 in Bk. I. See also chap. 40, below. Cents values of major and minor semitones in
the tempered system are shown in App. VII.
placed in the fourth rank directly above A la mi re [1A], which I call the
fourth A la mi re [4A]. Then, descending to its first semitone, which is
in the fifth rank, I write it as the fifth A la mi re [5A1*]. And I refer to the
semitone above the fifth rank, which is in the sixth rank, as the sixth A la
mi re [6A].21
Now come the divisions of G sol re ut. In descending order, G sol re ut
[1G] has its second G sol re ut [2F*] in the second rank and above is its
third G sol re ut [3G1*] in the third rank. Next, in the fourth rank directly
above G sol re ut [1G] is the fourth G sol re ut [4G]. Then, descending
from the latter as in the case of the first G sol re ut [1G], you find the
first semitone in the fifth rank, which is called the fifth G sol re ut [5G^].
Then, above the G sol re ut in the fifth rank [5 &] there is the sixth G sol
reut [66].
Having finished with G sol re ut, we proceed to the names of the parts
of F fa ut [IF], which possesses a semitone whose ending comes on E la
mi [IE]. Its jurisdiction permits it to refer to the semitone below it in
the third rank as the second F fa ut [3E*]. Next, in the fourth rank di-
rectly above it, it has its third F fa ut [4F]. This happens because F fa ut
has below it a semitone that is slightly larger than half a whole tone, and
therefore F has only three ranks in comparison with the six within the
whole tone.
Going on to E la mi [IE], its second E la mi [2E^] is the semitone
below in the second rank; its third E la mi [3D*] is above the semitone of
the second rank. The fourth E la mi [4E] in the fourth rank follows
upon the first E la mi [IE] and then, descending from the fourth E la mi
[4E], you find the fifth E la mi [5E17] in the fifth rank, and above the
latter is the sixth E la mi [6E].
Now comes D sol re [ID] and its jurisdiction. Descending to the first
step of the black semitone in the second rank, you call it the second D
sol re [2O]. The third D sol re [3D17] is the key in the third rank above
the second D sol re [2Q]. The fourth D sol re [4D] is in the fourth rank
directly aligned above the first D sol re [ID]. The fifth D sol re [5D1*]
descends from the fourth rank to the first black key of the fifth rank.
And above the latter in the sixth rank is the sixth D sol re [6D].
We now arrive at C fa ut [1C], which is the master of the natural
semitone ending on B mi [IB]. Because it controls the step of a semitone,
there occur only two other C fa uts.22 Of these, the second one [SB1'] is in
the third rank in direct descent from the first C fa ut [1C]. The third C
21. See chap. 13, below.

22. Misprint: text has "D sol re."
fa ut23 [4C] is in the fourth rank directly above the first C fa ut [1C].
Having finished the semitone, we begin with B mi [IB], which has
five parts deriving from it. The first name so derived is the first semitone
in direct descent from B mi [IB], and since it occurs in the second rank
it is called the second B mi [26^]. In practice it is known as B fa in the
soft hexachord. The third B mi [3A*] is above the semitone just men-
tioned, in [103v] the third rank. The fourth B mi [4B] is in the fourth
rank directly above the key of the first B mi [IB]. The fifth B mi[5B k ] is
in the fifth rank in direct descent from the fourth rank.
> And the black
key of the fifth rank shows above it the sixth B mi [6B]. We need not go
lower to A re, because this is the octave of A la mi re. It is not necessary
to say anything about it, for the things said about A la mi re would be
repeated.
This documentation for A la mi re descending to A re applies to the
entire keyboard. In ascent, everything is the reverse, and the same goes
for the octaves of the keys listed above. The method given here suffices
for the easy recognition of the designations of all the keys on the
archicembalo.24
Chapter 5 How to Tune the Archicembalo

The first musicians to discover the tuning of monochords and other
similar keyboard instruments expended much labor and industry so that
their followers and we today could easily carry on the study of this pro-
fession. It is now necessary that I publish to the world my new inven-
tion, the archicembalo, as well as an easy method for tuning it. Lest anyone
believe that the tuning of the archicembalo is impossible because of the
great number of keys it contains, I here describe how to tune or temper
this instrument. 25
The method is as follows. A tuner of such ordinary instruments as
organs, monochords, clavichords, harpsichords, and the like should first
tune or temper the keyboards of the first and second ranks so diligently
that they are as well and as perfectly tuned as his knowledge and ability
allows. The first and second ranks are to be tuned as is customary with
23. Misprint: text has "D sol re."

24. For a table of these names, see App. V.
25. Vicentinos temperament is close but not identical to that of Pietro Aaron, Toscanello
in musica, Bk. II, chap. 41. The difference is evident in terms of the string lengths calculated
by Lemme Rossi in his Sistema musico overo musica speculativa (Perugia, 1666), pp. 83-86.
See App. VI and my introduction.
other instruments, with the fifths and fourths somewhat blunted, as is

done by good masters.26 Having tuned these ranks well, the tuner then
strikes the key of the second A la mi re [2G#], which key is called in
practice the sharpened G sol re ut, although this is not an appropriate
name because the key is a major semitone lower than A la mi re.
He then tunes the fifth above the second A la mi re [2G#]—that is to
say, the high E la mi in the third rank—as well as the octave below, the
low E la mi [3D*]. He then takes the fifth above the latter, which is the
third B fa B mi, and the octave below it [3A#]. Over this B mi [3A*] he
tunes the fifth above, the second F fa ut in the third rank [3E#].27 Then
comes the fifth above, the high third C fa ut, as well as the octave below
corresponding to the low third C fa ut [3B#].
At this point, the tuner stops going further down for the moment and
returns to where he started. He strikes the key of the high E la mi in the
soft hexachord in the second rank [2E1*], and then tempers its fifth, the
third A la mi re [3A1*]. From the latter he takes the fifth below, the third
D sol re, and the octave above, the high third D sol re [3D1*]. Then comes
the fifth below, the third G sol re ut [3G1*]. After it comes another fifth
below, B mi in the fourth rank, with the octave above, the high fourth B
mi [4 B]. The third rank has now been furnished with a tuning.28
Before a player or practitioner of instrumental temperament [104r]
can tune the fourth rank, he must first tune the fifth rank to make the
tuning easier and more stable. To begin this tuning of the fifth rank, he
should strike the key of the second C fa ut, that is, the one in the third
rank placed between the semitone from C fa ut to B mi on the white
keyboard [3B*]. The fifth above this key is the low fifth G sol re ut29 in
the fifth rank, which at the octave becomes the high fifth G sol re ut
[5G1*]. The fifth above is the [high] fifth D la sol re,30 which at the octave
below becomes the low fifth D sol re [5D1*]. After it come the fifth above,
26. Aaron's method (Toscanello in musica, Bk. II, chap. 41) can be taken as a model.
Starting, like Vicentino, with 1 F, Aaron tuned the diatonic keys in an upward cycle of tem-
pered fifths from IF to IB. Then he tuned the two flat keys in a downward cycle from IF to
2E. Finally, he tuned the sharp keys in an upward cycle from 1B to 2G". Vicentino's refer-
ence to blunted fourths is a careless mistake, since he knew that fourths were slightly en-
larged in tempering a keyboard. See Bk. I, chap. 6.
27. Error: text has "E la mi terzo."
28. The last key to be tuned in this set of instructions, 4B, is equivalent to C1', and it
makes a tempered fifth with 3G17. See note 58, below.
29. Errors: text has "F fa ut grave quinto, in quinto ordine" and at the end of this sen-
tence, "F fa ut acuto quinto." See note 5, above, App. V, and my introduction.
30. Errors: text has "C sol fa quinto" and at the end of this sentence, "C sol fa ut acuto
quinto." See App. V and my introduction.
the high fifth A la mi re, and the octave below, the low fifth A la mi re
[5A1*]. Then comes the fifth above, the high fifth E la mi, to which is
provided the octave below, the low fifth E la mi [5 E1']. Above it comes its
fifth, which is the fifth B fa B mi [5#].
There now follows the tuning or tempering of the fourth rank. It should
begin in the fifth rank, where we left off with the fifth B fa B mi [5B1*].
After it comes the fifth above, the high fourth F fa ut, which at the oc-
tave below [becomes the low fourth F fa ut (4F)]. [After it comes the
fifth above], the high fourth C sol fa ut [4C]. From this point on, the
fourth rank is tuned or tempered in the same way as the first.31 Now the
entire archicembalo is tuned.32
Chapter 6 How to Tune My Archicembalo with Just Fifths on

Every Key
The tuning of my entire instrument was presented in the preceding
chapter. It is now necessary to produce another tuning, one that consis-
tently provides just fifths from the fourth, fifth, and sixth ranks to the first,
second, and third ranks. In other words, the first, second, and third ranks
will make just fifths with the fourth, fifth, and sixth ranks, respectively.
A player first tunes the first and second ranks accurately, using the
temperament of blunted fifths according to the custom of ordinary tun-
ing for all keyboard instruments—that is, organs, spinets, monochords,
and the like. He then tunes the third rank, and this rank can be well
tuned by following the method given in the preceding chapter.33
A player should strike the key of the first C fa ut (or another key in the
first rank that seems more suitable to him), and above the C fa ut he
tunes G sol re ut in the fourth rank at the just fifth. He proceeds thus
from key to key throughout the keyboard, making the white keys of the
fourth rank a just fifth above the white keys of the first rank.34 He then
31. Vicentino does not bother to spell out the remaining fifths after 4C; they are 4G,
4D, 4 A, 4 E, and 4B. See figure 3.
32. Vicentino omits the "comma-keys" of the sixth rank. This curious gap may explain
why there are five fewer holes than jacks. See note 7, above. It may also explain why Rossi
did not include them in his calculations (see App. VI). Vicentino prints pitches raised by
comma in chaps. 13, 14, 17, 19, 21-31, and 33-38, below. These examples include not
only the five keys listed as belonging to the sixth rank but also two others that have no keys:
6 C and 6 F. See note 91, below.
33. The first three ranks of the lower manual retain the same temperament as before.
34. The only way this method will work is if 4 F is tuned a true fifth above 26^. One then
goes on to 4 G above 1C, 4G above ID, 4B above IE, and so on. See App. VIII.
continues the tuning by just fifths by striking the black keys of the fifth
rank and tuning them a just fifth [above the second rank].35 Likewise,
the sixth rank is tuned a just fifth above the third rank.36 Now the fourth,
fifth, and sixth ranks will sound like the first, second, and third ranks.
As was indicated in the title, all six ranks have their just fifths with
this tuning because the just fifths for the first, second, and third ranks
are tuned above them. The fourth rank provides just fifths above the first
rank, the fifth provides just fifths above the second, and the sixth pro-
vides just fifths above the third. When a player has come to the third
rank and seeks the just fifth of the fourth G sol re ut, he should choose
the lower just fifth on the first C fa ut. When he is on the fifth rank, he
finds the just fifths below on the second rank. Likewise, he finds just
fifths below the sixth rank on the third rank.
If a player considers these just fifths carefully, he will see that they are
circular and return to the [104v] same ranks above and below. There is
also another important advantage afforded by this tuning. A player can
sound a key on the first rank, and without moving his hand when playing
its octave he can move his middle fingers so that they strike on thirds and
fifths [within the octave]. When he does this, on the same ranks that
produce just fifths, he will also find major thirds more justly tuned than
the ones we use.37 In this way, he will possess the just fifths as well as the
major and minor thirds used by the ancients.38This is an admirable system.
It is also possible to construct a wonderful organ tuned in the first
method without just fifths but with another rank [of pipes] with just
fifths tuned in the way described above for the system of just fifths. But
the tuning of the organ cannot be changed, as is the case of the
archicembalo. I made this digression for the information of masters of
the arciorgano.39
35. There is one exception: 5 G must be tuned a true fifth above IB. The rest of the
tuning is: 5 Ak above 2O, 5 & above 2E\ 5^ above 2F», and 5# above 2G«. See App. VIII.
36. To create seven keys in the sixth rank, one must include two hypothetical keys. See
note 32, above. The tuning is: 6 D above 3G1*, 6 E above 3At, [6 F] above 3A*, 6 G above 3B",
6 A above 3I>, 6B above 3D«, and [6C] above 3E«. See App. VIII.
37. For a tabulation of the triads produced by this tuning, see App. IX.
38. When discussing natural number, Vicentino gives the ratios of 5:4 and 6:5 for the
true major and minor third. See Bk. II, chap. 7. He also suggests that the goal of tempering
a keyboard is to produce some true major thirds. See Bk. I, chap. 6. In the second tuning
system, Vicentino tries to approximate the diatonic syntonon tuning of Ptolemy. It is likely
that his information came from the Musica theorica of Lodovico Fogliano. See Bk. I, note
47, and Bk. II, note 31.
39. In Venice in 1561, Vicentino published an advertisement for a two-manual arciorgano
with 126 pipes and 126 keys [Descrizione deWarciorgano, section 5]. See Introduction, notes
land 41.
Chapter 7 How to Find Seven Fifths That Do Not Stay Within

the Steps of Their Rank as Do the Natural Fifths
There are seven fifths on my archicembalo that do not stay within the
rank of their steps, as do the natural fifths. To begin with, we have on the
ordinary keyboard two such fifths that cross over from white to black
keys and vice versa. In the case of B mi in the hard hexachord [IB], its
fifth should keep to the system of going from one white key to another
white key, as do the other fifths—but it does not. I speak here to the
experts who do not understand the logic of going from black to white
keys. The fifth in question crosses over the white rank and goes to the
first system of black keys [the second rank]. And likewise, the other fifth
crosses over from a black key to a white key. These two fifths are: first,
the upper fifth from B mi [IB] tuned with the second G sol re ut [2F*],
which in practice is called the sharpened F fa ut; and second, the lower
fifth from the first F fa ut [IF] to B mi in the soft hexachord [26^]. Both
these fifths cross over the natural system of the first rank to the second
rank.
Next come two other fifths, one between the second and third ranks
and one between the third and second ranks. To temper the fifth from
the second A la mi re [2G&], a player ascends and finds its fifth on the
high third E la mi [3D*]. To tune the fifth of the high second E la mi
[2E1*], which in practice is called E la mi in the soft hexachord, he de-
scends to tune its fifth on the third A la mi re [3A1*]. Both of these fifths
also cross over the ranks, that is, from the second to the third and vice
versa, just as the fifths listed above move from the first to the second and
vice versa. If a player plans to proceed by going from the second to the
third or from the third to the second rank, he must follow the system
outlined above.
But there is no key that allows him to carry on with this system from
the third to the fourth rank. The obstacle is the tuning of the fourth
rank with respect to the first rank, for there is a difference of one-half of
a minor semitone between these two ranks. Consequently, to carry on
with aligning fifths, we must start with the third rank and show the fifths
that cross over to the fourth. We begin with the second C fa ut in the
third rank [3B«] because its fifth is the fifth G sol re ut [5 G^].40 This fifth
goes from a black to a black key. The fifth from the third F fa ut [4F] is
tuned with the fifth B mi41 [56^], which fifth goes from a black to a
40. Error: text has "F fa ut quinto." See note 29, above.
41. Error: text has "B mi quarto."
white key. The low fourth F fa ut42 [4F] is tempered by the fifth from the
low B mi in the soft hexachord, that is, on the fifth B mi [SB1']. The latter
two fifths have the same tuning at the [105r] octave above and below.
I wished to gather these fifths together and discuss each one separately
in order to make the tuning of the archicembalo easier. For tuners will
have less work to do if they are apprised of the location of these fifths,
even though I listed them in the preceding description of the tuning
system. But because these fifths were jumbled in the course of outlining
this tuning, I decided to explain them separately for the benefit of who-
ever tunes this archicembalo.
Chapter 8 Rule for Finding All the Perfect and Imperfect Con-
sonances Above and Below on All the Ranks
So that students may find it easy to learn, I shall not shirk the labor
involved in devising rules for finding all sorts of consonances above and
below every key in every rank.43 Therefore, I begin with the low first A la
mi re [1A] and the minor third below, which is the second G sol re ut
[2F*]. The major third is the natural diatonic F fa ut on the first rank
[IF]. The fifth below the same A la mi re [1A] is D sol re [ID]. Its minor
sixth is the second D sol re [20], its major sixth the first C fa ut [1C],
and its octave A re [1A]. All these consonances are applied downward.
There are also two other kinds of thirds that can be used, even though
they do not have the just measurement of the others. Nonetheless, they
can be employed more readily in playing than in singing, because the
minute difference between the third we normally use and those we shall
now adopt is not audible if players do not linger on them. It may be
argued, moreover, that if totally dissonant seconds and sevenths are used,
the proximates of the minor and major third are much more service-
able, 44 since they seem consonant when newly composed on the
archicembalo.
If a player fails to pay attention to the proximate and most proximate
consonances, he will be deceived by them, for they are so proximate to
imperfect consonances that they seem identical to them. Thus, when
playing the archicembalo, you may use the third larger than the minor
42. Here Vicentino means the low third F fa ut in the fourth rank [4F].
43. To verify the consonances, see App. IX.
44. On proximates and most proximates, see Bk. I, chap. 41. The former are one minor
diesis larger and the latter one comma larger than the regular intervals.
third, that is, the proximate third that is one minor diesis larger than the
minor third.45 This step resembles the major third without being a major
third, and the minor third without being a minor third. The minor third
we use below the low A la mi re [1A] is the second G sol re ut [2P]. Its
proximate is on the third F fa ut on the fourth rank46 [4F], and it seems
better than the minor third because it is not as weak as the minor third
in comparison to the major third. Still, the proximate is somewhat weaker
than the major third because it is smaller by one enharmonic diesis. Thus,
the proximate or most proximate to the minor third sounds acceptable
and can be played.471 believe that some people sing proximate and most
proximate thirds as they sharpen these minor and major consonances
when performing compositions, and they do not create discords despite
the fact that the former are not the same size as the latter.
Moreover, the same thing happens with the proximate to the major
third, which seems to be both a major third and a fourth without being
either.48 This proximate third is less tolerable to the ear than the proxi-
mate of the minor third. The reason is that the minor third itself moves
toward the major third so that its proximate tends toward this good third,
whereas the proximate of the major third moves toward the fourth as if
tending toward a dissonance.49 Thus, the proximate of the minor third
below A la mi re [1A] is the third F fa ut in the fourth rank [4F], and the
proximate of its major third is the second F fa ut in the third rank [3E*].
Its fifth is D sol re [ID].
In addition, there are two other new consonances that occur in the
same way: the proximate and most proximate of the major [105v] and
minor sixth. Just as the minor sixth below A la mi re [1A] is located on
the second D sol re [20] and its proximate on the third C fa ut in the

46. Error: text has "G sol re ut terzo." In the next paragraph, the proximate minor third
is correctly identified as 4F, as shown in ex. 8.1.
47. Because of Vicentino's loose syntax, it is impossible to ascertain whether proximate
and most proximate are synonyms or merely appositions. The latter reading may seem more
likely in view of the random references to mostproximates in this chapter. Vicentino neither
identifies nor illustrates them. But near the end he alludes to this omission, describing "most
proximate thirds" as being justly tuned. In Bk. I, chap. 41, these intervals are one comma
larger than normal, whereas here they are equated with true thirds. This equation explains
the final reference to the second tuning system, in which the tuning of the sixth rank is
crucial to producing what Vicentino requires: true fifths and almost true thirds. See note 38,
above, and App. VIII and IX.
49. Vicentino has some trouble with the status of the fourth. See, for example, Bk. II,
chaps. 5-7.
fourth rank [4C], so the major sixth below A la mi re [1A] is the first C
fa ut [1C], and the third C fa ut in the fourth rank [4C] has its proxi-
mate below A la mi re [1A], which is the second C fa ut in the third rank
[3B*]. The latter proximate is harsh, for it tends toward the seventh. But
it is salvaged by its sixth.
Players are advised that the arrangement of the white semitones dis-
rupts the proper sequential disposition, because when these semitones
are split a black semitone is placed in the third rank. For instance, when
C fa ut [1C] descends by semitone toward B mi [IB], it first encounters
a black semitone that turns out to be the second C fa ut in the third rank
[3B*]. After that comes the third C fa ut in the fourth rank [4C]. You
may call the second C fa ut in the third rank [3B&] the third C fa ut
because it is in the third rank; however, since there is no other division
after the first C fa ut [1C], you must refer to this semitone as the second
C fa ut because it follows directly upon the first C fa ut, even though it is
located in the third rank. The same line of reasoning explains the third C
fa ut in the fourth rank [4C]. This rule for the natural semitone applies
to all other natural semitones on both the first and fourth ranks.
I shall now conclude the explanation of the locations of all perfect and
imperfect consonances above A la mi re, along with their proximates. I
advise players that whenever I descend below A re with all the conso-
nances, I should begin again with A re and ascend to A la mi re, always
locating its consonances. But I do not wish to do this because the minor
and major third seem discordant when sounded in the bass, even though
they are consonant steps. In order to avoid confusing students, I have
begun the ascending sequence with A la mi re, G sol re ut, and F fa ut.
To follow this order, I indicate first that the minor third above A la mi
re [1A] is the first C sol fa ut [1C], and that its proximate is the third C
sol fa ut on the fourth rank [4C]. I also show that the major third is the
second D la sol re [20], and its proximate is the third D la sol re [3D1*].
Having described four kinds of thirds—minor thirds and their proximates
as well as major thirds and their proximates—I shall set aside the most
proximate, which could be called justly tuned thirds.50 As for fifths, I
should first list the fifth above A la mi re [1A] located on the high E la mi
[IE]. Then, ascending a major semitone, you form the minor sixth on
the high first F fa ut [IF]. The addition of one enharmonic diesis to the
latter generates its proximate, which is the third F fa ut in the fourth
rank [4F]. The major sixth above A la mi re [1A] is the high second G sol
re ut [2F*], and its proximate is the third G sol re ut [3G^]. This proxi-
50. See note 47, above.

mate produces less harshness than the fifth G sol re ut [5 &], since it is
smaller by one diesis.51 Although either could be used, the more proxi-
mate of the two is always sweeter. The octave above A la mi re is the very
high A la mi re.
This discussion of which consonances occur below and above the first
A la mi re [1A] has covered both the perfect and imperfect consonances
as well as their proximates. They are illustrated in example 8. As it hap-
pens, the most proximate consonances occur when the archicembalo is
tuned entirely by just fifths, as I indicated earlier.52
Example 8.1 [All the Consonances, with Proximates,

Below the First A La Mi Re (1A)]

Above the First A La Mi Re (1A)]
Chapter 9 All the Consonances Below and Above the Second A

La Mi Re [2G«], with Examples*
[106r] I need no longer repeat and explain how many kinds of thirds
and sixths can be found, for this information was given in the preceding
chapter. However, there is another third smaller than the minor third.54
But because the minor third is so weak, it becomes too discordant when
even a particle is taken away from it, and it resembles a second. I there-
51. Error: text has un comma.
53. Having given the reader a sample of Vicentino's prolix method in chap. 8,1 present
the description of the consonances in chaps. 9-39 in tables with a modern letter-name for
each pitch, preceded by a number to indicate the rank of the key. This reduction is both
clear and brief. Discursive material is rendered in prose in the relevant chapters.
54. For the minimal third, see Bk. I, chap. 25.
fore set it aside, just as the proximate of the major sixth with the added
minor enharmonic diesis should be set aside.55
Readers who look closely at my archicembalo will find that I have
marked all the semitones with the signs by which they ought to be no-
tated.56 My archicembalo serves as a model for any player who has never
had another guide for learning to mark the semitones, whole tones, dieses,
and commas for instrumental compositions. For I have marked it com-
pletely in sequence, except for the fourth and sixth ranks. The fourth
rank is easy to mark by putting a dot over those notes to be composed in
that rank according to the rules [Book I, chapters 15-17 and passim].
Nor did I mark the sixth rank with the comma, because it has been so
designated in the rules of the comma [Book I, chapter 14]. Its keys pro-
vide just fifths for the first rank.57
If a player wishes to find just fourths and fifths, he should stick to
moving step by step, climbing the semitones by the dieses notated near
them. By moving from one diesis to another, he will discover which are
the chromatic instead of the natural semitones. If you strike a key in the
first rank that happens to be the boundary for the descent to the natural
semitone, a sequence of notated flats in the soft hexachord will ensue,
except for the occasional crossing over to the fourth rank.58 The flats and
the sharps in the second and third ranks are easily followed in their steps.
Thus every experienced player quickly masters performing on my
archicembalo. To make things easy, you may do what the first teachers of
organ playing did: they notated the letters of the hand on the keys. These
letters are useful for inexperienced players.59
55. See chap. 8, above.

56. See Figures 1-3.
57. Only the second tuning system provides true fifths. Moreover, the sixth rank pro-
vides true fifths for the third, not the first rank. See chap. 6, above, and App. VIII. The
chapters following make it clear that Vicentino alludes to fifths enlarged by a comma, which
can be used in the first tuning system. Although larger than true fifths, these "true" fifths
(716 cents) sound brighter and richer than tempered fifths. See exx. 13.1, 13.2, 14.2, 21.2,
24.1, 26.7, 29.1, 31.2, 33.1 and 37.1, below. See also notes 89, 90, 92, and 96, below.
58. In a descending sequence of semitones on the flat side, one crosses over to strike 4B
and 4E between 1C-IB and IF-IE, respectively. The key of 4B, the same pitch as <?, pro-
duces a tempered fifth with 3G17. See note 28, above. Likewise, 4E, which produces a tem-
pered fifth with 4B/C1', is the same pitch as F1*. The (? and F1* spellings appear in exx. 16.1,
59.2, and 59.4, below. See notes 88, 173, 180, and 183, below.
59. The usefulness of Vicentino s solmization system can be gauged by consulting Bk. I,
chap. 5.
All the Consonances Below and Above 2G*
Below Above
minor 3rd 3B IB
proximate 4E 4B
most proximate
major 3rd IE 3B»
proximate 5 ft 1C
most proximate
5th (true) 2O 3D*60
minor 6th 3B» IE
proximate 4B 4E
most proximate
major 6th IB 3E»
proximate 5^ IF
most proximate
8ve 2G« 2G»
[106v] To help students more easily learn the consonances above and
below the second A la mi re [2G*], I show them in example 9.
Example 9.1 All the Consonances, with Proximates,

Below the Second A La Mi Re [2G»]

Above the Second A La Mi Re [2O]
60. Error: text [106v] has "F fa ut secondo in terzo ordine."

Chapter 10 All the Consonances Below and Above the Third A

La Mi Re [3A^], with Examples
All the Consonances Below and Above 3A^
Below Above
minor 3rd IF 4B
proximate 3E* 3B«
most proximate
major 3rd 4E 1C
proximate IE 4C
most proximate
5th (common) 3I> 2Et61
5th (true)
minor 6th 1C 4E62
proximate 3B» 3EI
most proximate
major 6th 4B IF
proximate IB 4F
most proximate
8ve 3A 3A^
[107r] You should note that whenever a major or minor consonance

requires its proximate below and is sought through the division of the
major semitone, it is always better to take as the proximate the division
of the minor semitone, rather than to cross over to the fourth rank and
take the major diesis, even though it is the same size as the minor semitone.
The major diesis is more distant than proximate.63
Example 10.1 All the Consonances, with Proximates, Below the Third A La
Mi Re [3A>]
61. Vicentino adds, "in practice called 'E la mi' in the soft hexachord."
62. Misprint: text has sesta maggiore.

Above the Third A La Mi Re [3Ak]
Chapter 11 All the Consonances Below and Above the Fourth

A La Mi Re [4A], with Examples
I now explain all the consonances below and above the fourth A la mi
re [4A]. You should notice that notes below the fourth A la mi re [4A]
belong to the enharmonic order. All its consonances are easily located,
for they follow the first rank except for the upper semitones, which are
all major.64
All the Consonances Below and Above 4A
Below Above
minor 3rd 3& 4C
proximate 2F» 2O
most proximate
major 3rd 4F 3I>
proximate IF 5I>
most proximate
5th (common) 4D 4E
5th (true)
minor 6th 3D1 4F
proximate 2C» 2F»
most proximate
major 6th 4C 3Qt65
proximate 1C 4G
most proximate
8ve 4A 4A

65. Misprint: text has terza maggiore.

Below the Fourth A La Mi Re [4 A]

Above the Fourth A La Mi Re [4A]
Chapter 12 All the Consonances Below and Above the Fifth A

La Mi Re [5A1*], with Examples
All the Consonances Below and Above 5A^
Below Above
minor 3rd 4F 3B»
proximate IF 1C
most proximate
major 3rd 3FJ 4C
proximate 4E 2C»6S
most proximate
5th (common) 5Dfc 5E^
5th (true)
minor 6th 4C 30
proximate 1C IF
most proximate
major 6th 3B» 4F
proximate 4B 2F'67
most proximate
8ve 5A^ 5A^
66. Error: text has "C fa ut secondo."
67. Error: text has "F fa ut primo."
[107v] These consonances can be seen in example 12.

Below the Fifth A La Mi Re [5 A^l

Above the Fifth A La Mi Re [5 A]
Chapter 13 All the Consonances, Larger Than the Minor and

the Major, Below and Above the Sixth A La Mi Re [6A],
with Examples6*
All the Consonances Below and Above 6A
Below Above
smaller minor 3rd 1C
larger minor 3rd 4C
69
smaller major 3rd 4F
larger major 3rd IF 5^70
5th (common) 6D 6E
5th (true) ID 4E
smaller minor 6th IF
larger minor 6th 4F
68. The text and music examples in this chapter are a shambles. Misprints and errors
aside, they do not correlate accurately. Many consonances inflected by a comma are missing
either in the text or in the examples or in both. A complete set of music examples is pro-
vided.
69. Error: text and music label this note as the larger minor third.
70. Misprint: text has "D sol re secondo.
smaller major 6th 4C71 2F»
larger major 6th 3Gk
8ve 6A
[108r] The minor third below A la mi re in the sixth rank [6A] is
rather more vigorous than the [regular] minor, since I use the comma.
The same happens to the major third, which is a comma larger than the
regular one. Both the major and minor thirds are different from the ones
produced on [keyboard] instruments. They sound very good indeed. The
notes of the sixth rank are marked by a somewhat bent comma, like a
backward o, only smaller.
All the third and sixths have the same ratio, in that they contain one
more comma than the ones used in the ordinary tuning. Inasmuch as
they do not appear consecutively in the sixth rank—as they do in the
first—they may be mixed with other consonances. But the minor third
that is smaller by one comma than the ordinary minor third is very weak.
All the regulated upper [major] thirds and sixths are smaller than minor
consonances when they [reverse direction and] leave the sixth72 rank to
go to the first rank. Since the consonances with a comma more than the
minor or major consonances are more acceptable, it is better to use them—
that is, the ones with a comma more, not the ones with a comma less.
Example 13.1 All the Consonances, Larger or Smaller by a Comma, Below

the Sixth A La Mi Re [6A]
71. Error: text and music label this note as the larger minor sixth.
72. Misprint: text has quarto ordine.
The lower [minor] third and sixths have the opposite effect when they
leave the sixth73 rank and move to the first rank, for they are then en-
larged by one comma.
Example 13.2 All the Consonances, Larger or Smaller by a Comma, Above

the Sixth A La Mi Re [6 A]
Chapter 14 All the Consonances Below and Above the First G

Sol Re Ut[\G\, with Examples
All the Consonances Below and Above 1G
Below Above
minor 3rd IE 2Bl
proximate 4E 5^
most proximate
major 3rd 2E> IB
proximate 3D«74 4B75
most proximate
5th (common) 1C ID
7S
5th (true) 3B» 6D
73. Misprint: text has quarto ordine.
74. Error: text has "E la mi quinto."
75. Misprint: text has "B fa B mi sesto."
76. 3B* is not a "true" fifth below 1G; Vicentino does not include it in ex. 14.1. The
alternative is to place 4G above 1C. See ex. 31.2, segment 3, below.
minor 6th IB 2Efc

proximate 5Bt 5£^7
most proximate
major 6th 2B1- IE
proximate 3A» 4E78
most proximate
8ve 1G 1G
[108v] Example 14 shows all the consonances.

Below the First G Sol Re Ut [1G]

Above the First G Sol Re Ut [1G]
77. Misprint: text has "E la mi sesto."

78. Misprint: text has "E la mi sesto" [6E], which forms the most proximate major sixth
above 1G.
Chapter 15 All the Consonances Below and Above the Second

G Sol Re Ut [2F«], with Examples
All the Consonances Below and Above 2F*
Below Above
minor 3rd 3D» 1A79
proximate 4D80 4A81
most proximate
major 3rd ID 3A»82
proximate 5Dk 2Bt83
most proximate
5th (common) IB 2C»84
5th (true)
minor 6th 3A« ID
proximate 4A
most proximate 6D
major 6th 1A 3D»
proximate 5At85 2&
most proximate
8ve 2F» 2F»
[109r] The lower and upper consonances may be seen in example 15.

Below the Second G Sol Re Ut [2F«]
79. Error: text has "B fa B mi terzo."

80. Error: text has "E la mi quinto."
81. Error: text has "B fa B mi secondo."
82. Error: text has "B fa % primo."
83. Error: text has "B fa B mi sesto."
84. Misprint: text has "C sol fa ut acuto primo."
85. Misprint: text has "A re sesto."
Example 15.2 All the Consonances, with Proximates, Above the Second G
Sol Re Ut [2F«]
Chapter 16 All the Consonances Below and Above the Third G

Sol Re Ut [3G^L with Examples
All the Consonances Below and Above 3G^
Below Above
minor 3rd 2tf 4A

proximate 3D» 3A»
most proximate
major 3rd 4D86 23^
proximate ID87 5^
most proximate
5th (common) 4B88 3D^
5th (true)
minor 6th 2Bfc 4D
proximate 3A» 3D»
most proximate
major 6th 4A 2Efc
proximate 1A 5E1-
most proximate
8ve 3Gfc 3G^
These consonances are written down in example 16.
86. Error: text has "E la mi quarto."

87. Error: text has "E la mi primo."

Below the Third G Sol Re Ut [3Gk]

Above the Third G Sol Re Ut [3G^]
Chapter 17 All the Consonances Below and Above the Fourth

G So I Re Ut [4G], with Examples
[109v] The minor third below the fourth G sol re ut [4G] enjoys full
possession of the proximate and most proximate minor third. The proxi-
mate adds the enharmonic diesis to the consonances, whereas the most
proximate adds the comma, which is one-half of the enharmonic diesis.
When added to major and minor consonances, the most proximate is a
benefit to them. All of these advantages are evident in the tuning of just
fifths in the sixth rank.89 Players should avail themselves of the most
proximates whenever they please. They should also pay close attention
to what I am about to say, for the just fifths constitute an admirable
system. Every time a player finds himself on the first rank, he will have
just fifths above on the sixth rank, as I said before. The identical sixth
rank serves the fourth rank for lower just fifths.90 These are always recip-
rocal: when they are just from the first down to the sixth rank, then the
fourth rank will have its just fifths up on the sixth rank.

90. These most proximate fifths are approximately true. See note 57, above.
All the Consonances Below and Above 4G
Below Above
minor 3rd 4E 5B^
proximate IE> IB
most proximate 6E
major 3rd 5& 4B
proximate 2Efc 3B»
most proximate
5th (common) 4C) 91 4D
5th (just) 6D92
minor 6th 4B 5^
proximate IB IE
most proximate
major 6th 53^ 4E
proximate 2& 3E»
most proximate
8ve 4G 4G
[11 Or] All these consonances may be seen in consecutive order in ex-
ample 17.

Below the Fourth G Sol Re Ut [4G]

Above the Fourth G Sol Re Ut [4G]
91. The text adds: "because there is no room to correct it." In other words, there is no
room for a 6C key. See note 32, above.
92. Misprint: text has "G sol re ut sesto." But even 6D is not a "true" fifth above 4 G, and
Vicentino did not include it in ex. 17.2. See note 57, above.
Chapter 18 All the Consonances Below and Above the Low
Fifth G Sol Re Ut [5G^], with Examples
All the Consonances Below and Above 5G^
Below Above
minor 3rd 5& 3A»
proximate 2Efc 2Bk
most proximate
major 3rd 3D» 5fr
proximate 4D IB
most proximate
5th (common) 3B»" 50^
5th (just)
minor 6th 5B> 3D»
proximate 2Bfc 2Efc
most proximate
major 6th 3A» 5^
proximate 4A IE
most proximate
8ve 5Gk 5^

Below the Fifth G Sol Re Ut (5G k )]

Above the Fifth G Sol Re Ut (5G k )]
93. Hence, 3B* is the same pitch as C1'. And as a corollary, F1' is the same pitch as 3E*. See
exx. 59.5 and 64.3 and notes 185 and 207, below.
[1 lOv] Example 18 provides all the consonances below and above the
fifth G sol re ut [5G1*]. It is not necessary to say more about the conso-
nances of the sixth rank, since they were discussed earlier. Henceforth, I
shall explain and demonstrate the consonances only up to those in the
fifth rank.

First F Fa Ut [IF], with Examples
All the Consonances Below and Above IF
Below Above
minor 3rd ID 3Ak
proximate 5I> 5Al
most proximate
major 3rd 3Dfc 1A
proximate 2C» 4A
>
most proximate 6A
5th (common) 2B1- 1C
5th (just)
minor 6th 1A 3D11
proximate 5Al 5E>
most proximate
major 6th 3Al ID
proximate 2G» 4D>
most proximate 6D
8ve IF IF
Example 19 illustrates all the consonances listed here.

Below the First F Fa Ut [IF]

Above the First F Fa Ut [IF]

Second F Fa Ut [3E#], with Examples
All the Consonances Below and Above 3E^

Below Above
minor 3rd 5D^ 2G»
proximate 3D> 3Afc
most proximate
major 3rd 2C» 5A^
proximate 4C 1A
most proximate
5th (common) 3A» 3B»
5th (just)
minor 6th 5Afc 2C»
k
proximate 3A 3D1
most proximate
major 6th 2G» 5Dt94
proximate 4G ID
most proximate
8ve 3E» 3E»
[11 Ir] The consonances are written down in example 20.

Below the Low Third F Fa Ut [3E«]
94. Misprint: text has "D la sol re quarto."

Example 20.2 All the Consonances, with Proximates, Above the Low Third
F Fa Ut [3E»]
Readers should not think it a nuisance if in ensuing chapters I take up

another way of illustrating and discussing the six ranks of my
archicembalo. For I must do so in order to be able to get the lower and
upper octaves on the ranks after the first three, which I have illustrated
and explained in sequence so as not to confuse students, who will thus
hear the minor and major thirds better.
To make things plainer, it is clear that in the preceding chapters I
began with A la mi re [1A], describing its lower consonances. For the
student's keener understanding, I returned to the same A la mi re, ex-
plaining and [11 lv] illustrating with examples just how many upper con-
sonances it has within the octave. To ensure that everyone easily
understands me, I retained the same method for the second A la mi re
[2G«], as well as the third [3A^], fourth [4A], fifth [5A^], and sixth [6A].
I did not want to start from A re in the first rank and go through the
upper consonances to the octave—the low A la mi re—nor did I want to
start on the high A la mi re and do the octaves down in all the ranks,
which would have reached down to A re. For this method was bound to
give a fair amount of trouble to the novice on account of the above-
mentioned minor and major thirds.
I have now guided students by means of these three ranks to a certain
level of competence in finding all the consonances in all the ranks with-
out moving from the key of the first A la mi re. For from that key you
can strike any consonance above and below in all the ranks, such as G sol
re ut as well as F fa ut.
Chapter 21 All the Consonances Below and Above the High

First E La Mi [IE], with Examples
Let us now begin with E la mi, which is where we left off. When we
have found its upper consonances and have placed its octaves in their
order, we shall then begin over again with D sol re, C fa ut, and B mi, the
latter being the last key at the limit of the A re, the octave of A la mi re.
The system I described also serves the order of the consonances below.95
We therefore follow at the octave of the above-mentioned notes and down
to A la mi re.
All the Consonances Below and Above IE
Below Above
minor 3rd 2C» 1G
proximate 4C 4G
most proximate 6G
major 3rd 1C 2G»
proximate 3B» 3Ak
most proximate
5th (common) 1A IB
5th (just) 6A96 6B
minor 6th 2G» 1C
proximate 4G 4C
most proximate 6C97
major 6th 1G 2C»
proximate 5& 3D1
most proximate 6G98
8ve IE IE
All the consonances for the first E la mi [IE] may be seen in example 21.

Below the First E La Mi [IE]
95. Misprint: text has ascendente.

96. Misprint: text has "E la mi sesto." Perhaps Vicentino was thinking of 6A. But the
latter is not a "true" fifth below IE, and he did not include it in ex. 21.1. See note 57, above.
97. Vicentino seems to have forgotten that the sixth rank of the archicembalo has no 6C
key. See note 32, above.
98. Error: 6G is not the most proximate major sixth below IE, and Vicentino did not
include it in ex. 21.1.

Above the First E La Mi [IE]

Second E La Mi [2E1*], with Examples
All the Consonances Below and Above 2E^
Below Above
minor 3rd 1C 3<?

proximate 3B» 5G t99
100
most proximate [6C]
major 3rd 4B 1G
proximate IB 4G
most proximate 6B101 6G
5th (common) 3Ak 2B^
5th (just) 6B 102
minor 6th 1G 4B
5
proximate
most proximate
9'
6G103
3B»
major 6th 3Gfc 1C

proximate 2F» 4C
most proximate 6C104
l
8ve 2E 2&
[112r] All the consonances listed here may be seen in example 22.
99. Misprint: text has "G sol re ut secondo."

100. Not only is there no 6C in the sixth rank of the archicembalo (see note 32, above,
and also ex. 22.2, segment 5) but 6C is not the most proximate minor third below 2$.
Vicentino did not include it in ex. 22.1.
101. Misprint: text has "la sua propinqua sara B fa B mi primo."
102. Error: this is not the "true " fifth above 2E1; I omit it in ex. 22.2.
103. 6,G is not the most proximate minor sixth below 2E1'. I do not include it in ex. 22.2,
even though Vicentino did.

Below the Second E La Mi [2Et]

Above the Second E La Mi [2El]

Third E La Mi [3D*], with Examples
All the Consonances Below and Above 3D*
Below Above
minor 3rd 3B» 2F»
proximate 4B 3Gk
most proximate
major 3rd IB 5&
proximate 5#
>
1G
most proximate 6B 105
5th (common) 2G» 3A»
5th (just)
minor 6th 5<> IB
proximate 3G^ 4B>
most proximate 6B
major 6th 2F» 3B»
proximate [4F] 1C
105. Error: 6G is not the most proximate major third below 3D", and Vicentino did not
most proximate [6C]106

8ve 3D* 3D»
[112v] All the consonances listed here are notated in example 23.

Below the Third E La Mi [3D«]

Above the Third E La Mi [3D»]

and Low Fourth E La Mi [4E], with Examples
All the Consonances Below and Above 4E
Below Above
minor 3rd 3D> 4G
proximate 2O 2G»
most proximate
major 3rd 4C 3A^
proximate 1C 5A^
5th (common) 4A> 4Bj
5th (just) 6A 6E108
106. Error: 6C, a hypothetical key (see note 32, above), is not the most proximate major
sixth above 3D". I do not include it in ex. 23.2, even though Vicentino did.
108. 6E is to be put below 4B, the note that forms a tempered fifth above 4E. This
interval is a "true" fifth. See note 76, above.
minor 6th 5At109 4C
proximate 2G» 2CIH10
major 6th 4G 3I>
proximate 1G 4D
most proximate 4G
8ve 4E 4E
[113r] All the consonances appear in example 24.

Below the High [Fourth] E La Mi [4E]

Above the Low [Fourth] E La Mi [4E]

and Low Fifth E La Mi [5 E^], with Examples
All the Consonances Below and Above 5&
Below Above
minor 3rd 4C 5&
proximate [1C] 1G112
109. Misprint: text has "A la mi re primo."
110. Misprint: text has "C sol fa ut primo."
111. Error: 6C, a hypothetical key (see note 32, above), is not the most proximate minor
sixth above 4E; Vicentino did not include it in ex. 24.2.
112. Error: text has "G sol re ut terzo."
most proximate [6C]"3 [6G]1H

major 3rd 3B» 4G
proximate 4B 2G»115
most proximate
5th (common) 5A> 5B^
5th (just)
minor 6th 4G 3B»
proximate 1G) 1C
most proximate 6G
major 6th 5& 4C
proximate 3G^ 2C»
most proximate
8ve 5^ 5Ek
Example 25 shows the consonances enumerated in this chapter.

Below the High Fifth E La Mi [5&]

Above the Low Fifth E La Mi [5E>]

114. Error: 6G is not the most proximate minor third above 5E1*. I do not include it in
ex. 25-2, even though Vicentino did.
115. Error: text has "A la mi re terzo."
Chapter 26 All the Consonances, with Proximates, Below the

High First D La Sol Re and Above the First D Sol Re
[ID], with Examples
All the Consonances Below and Above ID
Below Above
minor 3rd IB IF
proximate 5B>
>
4F>
most proximate 6B116 [6F]"7
major 3rd 2B^ 2F»
proximate 3A« 3&
most proximate
5th (common) 1G> 118 1A
5th (just) 6A
minor 6th 2F» 2Bt119
proximate 4F 5Bl
most proximate
major 6th IF IB
proximate 3E» 4B
most proximate
8ve ID ID
[113v] Example 26 illustrates the consonances listed here.
Example 26.1 All the Consonances, with Proximates and Most Proximates,
Below the High First D La Sol Re [ID]
116. Error: 60 is not the most proximate minor third below ID; Vicentino did not
118. Misprint: text omits primo.
Above the First D Sol Re [ID]
Chapter 27 All the Consonances, [with Proximates] and Most

Proximates, Below the High Second D La Sol Re and Above
the Second D Sol Re [20], with Examples
All the Consonances Below and Above 2C*
Below Above
minor 3rd 3A& IE
proximate 4A 4E
most proximate [6E]
major 3rd 1A 3E»
proximate 5A^ IF
most proximate
5th (common) 2F* 2G»
5th (just)
minor 6th 3E# 1A
proximate 4E 4A
most proximate 6A
major 6th IE120 3A»
proximate 5E1'121 2&
most proximate
8ve 2O 2C»
[H4r] Example 27 shows all the consonances, with their proximates
and most proximates.
120. Error: text has "F fa ut grave prime."

121. Error: text has "f fa ut secondo in terzo ordine."
H* ftH-
Below the High Second D La Sol Re [2O]
Above the Second D Sol Re [2O]
Chapter 28 All the Consonances, with Proximates and Most

Proximates, Below the High Third D La Sol Re and Above
the Third D Sol Re [3D1*], with Examples
All the Consonances Below and Above 3D^
Below Above
minor 3rd 2B^ 4E
proximate 3A« 3E»
most proximate
major 3rd 4A IF
proximate 1A> 4Fj
most proximate 6A [6F]122
5th (common) 3G^ 3Ak
5th (just)
minor 6th IF 4A123
proximate 3E» 3A»
most proximate
major 6th 4E 2Bk
proximate IE 5 gtl24
most proximate 6E
8ve 3Dk 3I>
[114v] The consonances listed here are illustrated in example 28.
Below the Third D La Sol Re [3D1]125
Above the Third D Sol Re [3^]

Proximates, Below the High Fourth D La Sol Re and Above
the Fourth D Sol Re [4D], with Examples
All the Consonances Below and Above 4D
Below Above
minor 3rd 4B 4F
proximate IB 2F»
most proximate 6B
major 3rd 5& 3Gfc
proximate 2& 5&
most proximate
5th (common) 4G 4A
124. Misprint: text has "B fa B mi sesto."

125. Misprint: segment 1, lower voice, note 2 is 3b1
5th (just) 6G12S
minor 6th [3G1 5B11
proximate 2F» IB
most proximate
major 6th 4F 4B
proximate 1F> 3B»
most proximate [6F]127
8ve 4 5 128 4D
[115r] Example 29 shows the consonances listed here.
Below the High Fourth D La Sol Re [4D]
Above the Fourth D Sol Re [4E>]

Proximate*, Below the Fifth D La Sol Re and Above the
Fifth D Sol Re [5^]
All the Consonances Below and Above 5D^
Below Above
minor 3rd 5Bk 3E»
b
proximate 2B IF
126. Misprint: text has "G sol re ut terzo."
128. Misprint: text has "D sol re primo."
most proximate
major 3rd 3A» 4F
proximate 4A 2F»
most proximate
5th (common) 5 £1,129
5A>
5th (just)
minor 6th 4F 3A»
proximate IF) 2Bk
most proximate [6F]130
major 6th 3E» 5fr
proximate 4E IB
most proximate
8ve 5Dk 5Dl
All the consonances listed here may be seen in example 30.
Below [the Fifth] D La Sol Re [5I>]
Above the Fifth D Sol Re [51>]
129. Misprint: text lacks quinto.

Chapter 31 All the Consonances, Their Proximate* and Most
Proximates, Below the High First C Sol Fa Ut and Above
the First C Fa Ut [1C], with Examples
All the Consonances Below and Above 1C
Below Above
minor 3rd 1A 2&
proximate 5Ak 5E^
most proximate 6A131
major 3rd 3A> IE
proximate 2G»132 4E
most proximate [6E]
5th (common) IF 1G
5th (proximate) 3E» 4G
5th (just) 6G
minor 6th IE 3Al
proximate 5£ 5Afc
most proximate
major 6th 2Efc 1A
proximate 3D» 4A
most proximate 6A
8ve 1C 1C
[115v] Example 31 shows the consonances listed here.
Below the High First C Sol Fa Ut [1C]
131. Error: 6A is not the most proximate minor third below 1C; Vicentino did not
132. Error: text has "G sol re ut quarto."
Above the First C Fa Ut [1C]

Proximates, Below the Second C Sol Fa Ut and Above the
Second C Fa Ut [3B'], with Examples
All the Consonances Below and Above 3B$
Below Above
minor 3rd 5A^ 3D»133
proximate 3Al 2E1"
most proximate
major 3rd 2G» 5^
proximate 4G IE
most proximate
5th (common) 3E» 5 GUM
5th (just)
minor 6th 5fr 2G»
proximate 2Ek 3A1-
most proximate
major 6th 3D» 5A^
proximate 4D 1A
most proximate
8ve 3B» 3B»
[H6r; incorrectly numbered 119r] The consonances listed here ap-
pear in example 32.
133. Misprint: text has "E la mi secondo."

134. Misprint: text has "C sol re ut quinto."

Below the Second C Sol Fa Ut [3B»]

Above the Second C Fa Ut [3B»]

Proximates, Below the Fourth C Sol Fa Ut and Above the
Fourth C Fa Ut [4C], with Examples
All the Consonances Above and Below 4C
Below Above
minor 3rd 4A 5E1-
proximate 1A [IE]
most proximate 6A
major 3rd 5^135 [4E]
proximate 3A>136 3E»
most proximate
5th (common) 4F 4G
5th (just) 6F137
minor 6th 4E 5A1-
proximate IE 1A138
135. Misprint: text has "B fa B mi quinto."

136. Misprint: text has "B fa B mi secondo."
138. Misprint: text has "A la mi re terzo."
most proximate 6E
major 6th 5& 4A
proximate 2Ek 3A»
most proximate
8ve 4C 4C
[Il6v] Example 33 shows all the consonances listed in this chapter.
Below the High Fourth C Sol Fa Ut [4C]
Above the Fourth C Fa Ut [4C]

Proximates, Below the High First B Fa B Mi and Above
the First B Mi [IB], with Examples
All the Consonances Below and Above IB
Below Above
minor 3rd 2G» ID
proximate 4G 4D
most proximate 6D
major 3rd 1G 3D»
proximate 5G^ 2E>
most proximate
5th (common) IE 2F»
5th (just)
minor 6th 3D# 1G
proximate 4D 4G
most proximate 6G
major 6th ID 2G*
proximate 51> 3A«
most proximate
8ve IB IB
The consonances listed above can be better understood in example 34.

Below the High First B Fa B Mi [IB]

Above the First B Mi [IB]
Chapter 35 All the Consonances, with Proximate* and Most

Proximates, of the High Second B Fa B Mi to the Octave
Below and of [the Second] B Mi [2&] to the Octave Above,
with Examples
All the Consonances Below and Above 2B^
Below Above
minor 3rd 1G 3Dk
proximate 5& &
most proximate
major 3rd 3Gk ID
proximate 2F» 4D
most proximate 6D
5th (common) Z& IF
5th (just)
minor 6th ID139 3G1-
proximate & r/H
5*J
140
most proximate 4D
major 6th 3D1- 1G
proximate 2C» 4G
most proximate 6G
8ve 2Bfc 2Bk
[117r] All these consonances are written down in example 35.
Below the High Second B Fa B Mi [2Bk]
Above the Second B Mi [2Bk]
139. Misprint: text lacks primo.

140. Error: 4D is not the most proximate minor sixth below 2B4 Vicentino did not

Proximate*, of the High Third B Fa B Mi to the Octave
Below and Above the Third B Mi [3 A*] to the Octave Above
All the Consonances Below and Above 3A*
Below Above
minor 3rd 5& 2CI'«
proximate 3G^ 3 D tl42
most proximate
major 3rd 2F» 5Dt
proximate 4F ID>
most proximate 6D 143
5th (common) 3Et 3E»
5th (just)
minor 6th 50^ 2F»
proximate 3Dfc 3G^
most proximate
major 6th 2O 5Gt144
proximate 4C 1Gj145
most proximate [6G]146
8ve 3A» 3A«
[117v] These consonances may be seen in example 36.
Down to the Octave Below from the High Third B Fa B Mi [3A*]
141. Misprint: text has "D sol re terzo."

142. Misprint: text has "D sol re secondo."
143. Error: 6D is not the most proximate major third above 3A"; Vicentino did not
144. Error: text has "A la mi re secondo."
145. Error: text has "A la mi re terzo."
146. Error: 6G is not the most proximate major sixth above 3A*; Vicentino did not
Up to the Octave Above from the Third B Mi [3A*]

Proximates, of the High Fourth B Fa B Mi to the Octave
Below and of the Fourth B Mi [4B] to the Octave Above
All the Consonances Below and Above 4B
Below Above
minor 3rd 3A1- 4D
proximate 2G» 3D«
most proximate
major 3rd 4G 2E1-
proximate 1G> 5E1-
most proximate 6G
5th (common) 4E> 3G^
5th (just) 6E
minor 6th 2Efc 4G
proximate 3D» 2G«
most proximate
major 6th 4D 3A^
proximate ID> 5A^
most proximate 6D
8ve 4B 4B
[118r] Example 37 illustrates all these consonances as well as their
proximates and most proximates.
Example 37.1 [All the Consonances Below the Fourth B Fa B Mi (4B)]
Example 37.2 [All the Consonances Above the Fourth B Mi (4B)]
Chapter 38 All the Consonances, with Proximate* and Most

Proximates, Below the High Fifth B Fa B Mi and Above
the Fifth B Mi [5&], with Examples
Not to omit the B fa B mi in the fifth rank [5Bl>], let me say that it
closes off our discussion and demonstration of all the consonances, with
their proximates and most proximates, on all the ranks of the
archicembalo, down to the octave below and up to the octave above. If I
wanted to take the discussion further, I would only repeat what I have
already said. Therefore, this B fa B mi [56^] marks the conclusion of the
explanation of the consonances, as I indicated above.
All the Consonances Below and Above 5&
Below Above
minor 3rd 4G 5I>
proximate 1G ID
most proximate 6G147 6D148
major 3rd [5&] 4D
proximate [3G1 3D»
most proximate
5th (common) 5^ 4F
148. Error: 6D is not the most proximate minor third above 51^; Vicentino did not
5th (just)
minor 6th 4D 5G1
proximate ID> 1Gj
most proximate 6D 6G149
major 6th 5F> 4G
proximate 30^ 2G»
most proximate
8ve 58^ 5B>
Thus, the ranks mentioned above, with their consonances, are com-
pleted, as is evident in example 38.
Below the Fifth B Fa B Mi [5B^]
Above the Fifth B Mi [5Bk]
149. Error: 6G is not the most proximate minor sixth above 5B17; Vicentino did not
Chapter 39 On the Strings, or the Movable and Stationary

Steps, and on Those Which Are Neither Completely Mov-
able Nor Completely Stationary
[118v] Philosophers have written about movable and stationary strings,
or steps, as well as about those which are neither completely movable nor
completely stationary, as was explained in my discussion of Book IV,
chapter 12 of The Fundamentals of Music by Boethius.150 I must now
explain which steps in my practice are movable, which are stationary,
and which are neither completely movable nor completely stationary.
We use eight note-values in our practice: they are called maxim, long,
breve, semibreve, minim, semiminim, croma, and semicroma.151 All these
note-values have served and continue to serve music practice in the mix-
ing of the parts of the three genera—that is to say, the diatonic with
some species of the chromatic and enharmonic, as I explained earlier
[Book III, chapter 15].152 None of these note-values will ever change,
even when written in the three genera or in their species. When demon-
strating any of the above-mentioned genera or species, you write the shapes
for the note-values named above with these signs near them (before, af-
ter, below, or above): flats, naturals, sharps, or dots. These signs indicate
to a singer that the notes to which they have been added [119r] are mov-
able with respect to their pitch. Where before, the step of a whole tone
was sung between one note and another, a step of a major or minor
semitone is now sung when the notes are marked by flats, naturals, or
sharps. For depending on whether these signs indicate ascent or descent,
they inform singers of which intervals are major or minor, as I have taught
and illustrated by means of examples [Book I, chapters 5-42]. Moreover,
these notes are movable when dots are written above, before, or after
them, for singers raise or lower them by one-half of a minor semitone, as
I explained in the chapters on such signs [Book I, chapters 8, 11, 13, 15-
17, and 19-21].
Example 39.1 Ascending and Descending Stationary [Steps]
150. Bower translation, Bk. 4, chap. 13. See "Music Theory," chap. 13, and "Music
Practice," Bk. Ill, chap. 56.
151-SccBk. I, chap. 4.
152. This kind of mixing produces what Vicentino calls tempered music.
380 Book on VMusic Practice
In my practice, then, we have represented by notes written in the dia-

tonic genus steps that are stationary and never change in that genus, as I
show through one octave in example 39.1
There are some steps that are neither completely movable nor com-
pletely stationary. These are associated with two genera, namely the dia-
tonic and chromatic, as in the case of the beginning of the third tetrachord
at its conjunction or disjunction [with the tetrachord below].153 The two
natural semitones can serve as shortened semitones, not moving in posi-
tion, yet lowering the pitch of the step through the flat sign, as seen in
examples 39.2 and 39.3.
Example 39.2 Ascending Stationary [Steps]
Example 39.3 Neither Completely Movable nor Completely Stationary

[Steps] Serving the Diatonic and Chromatic Genera
Example 39.4 illustrates the completely movable strings or, rather, steps
of the enharmonic genus. These divide the major and minor semitones
according to the division for performance on my archicembalo.154
Stationary steps never move, as we saw, and they can be heard on my
archicembalo. For instance, it is clear that A la mi re does not change and
neither does G sol re ut. Readers are warned that the note-shapes written
on A la mi re and G sol re ut, and even the signs written near this A la mi
re and this G sol re ut (or near any other step), do not change. Neither
do the first A la mi re [1A], nor the first G sol re ut [1G], nor the stable
strings of the other steps change position. On the contrary, pitch changes
by means of the signs. It goes to the second A la mi re [2G*], the second
G sol re ut [2F*], or to the third, fourth, fifth, or sixth, depending on
when a player or composer must use such signs. Should anyone wish to
illustrate the fourth A la mi re [4A] and then descend to the second
[2G*], third [3A1*], and fifth [5A1*] without writing them in descent to G
sol re ut, he will have to draw other lines or spaces, which are difficult to
learn to sing. Thus, signs offer the following advantage: they obviate the
153. See "Music Theory," chap.3.

154. Vicentino refers to the first tuning system. See App. VII.
need for other lines [and spaces] and easily convey the division of the
semitones and of the major and minor dieses.
In example 39.4 I illustrate the completely movable strings on my
archicembalo. The movable strings also apply to composing with the di-
vision of the major and minor semitone.
Example 39.4 [Completely Movable Steps] Dividing the Whole Tone into
Four Parts and the Semitone into Two
Chapter 40 Rule for Finding Upper and Lower Major and

Minor Semitones on Every Location When Leaving the
First Rank to Go to the Second or Third Ranks and Vice
Versa, with Examples
[119v] So that students may easily learn how to recognize major and
minor semitones, I shall instruct them without giving many examples
and only with a reminder. Students should examine carefully the draw-
ing of my archicembalo [figure 2], for it shows that all the ascending
minor semitones are marked with sharps on the second and third ranks
when they indicate a departure from the stable strings, that is, the white
keys in the first rank. What remains between the sharp and the rest of
the whole tone is the major semitone. In the reverse direction, the de-
scent from a whole tone, which is always on a white key, to a sharp forms
the major semitone, whereas the remainder needed to complete the whole
tone is the minor semitone. If this reminder about the sharps is kept in
mind, they will be easy to master.
The flat has the opposite effect of the sharp. Every time a flat is found
on the second or third rank indicating a departure from a white key in
the first rank to ascend to another note, this flat creates a major semitone.
The remainder needed to complete the whole tone is the minor semitone.
But if the semitone occupies the interval down from the first rank to a
flattened note in the second or third rank, this interval is a minor
semitone. The remainder needed to complete the whole tone is then a
major semitone.
The natural sign has the same effect as the sharp. On leaving a white
key to descend to another white key in the first rank, as from C fa ut
[1C] to B fa B mi [IB], you find the natural, and the interval will be a
major semitone. But when the natural is found in the soft hexachord, it
creates an ascending minor semitone. In example 40, all these signs iden-
tify the major and minor semitones. Higher sharps make minor semitones,
lower sharps major semitones; the same is true of the natural sign.
Example 40.1 Ascending Minor and Descending Major Semitones Made by

Sharps and by Naturals
Example 40.2 Ascending Major and Descending Minor Semitones Made by

Flats on Movable Strings
[120r] Whenever in the relevant chapters [Book I, chapters 5-23] I

discussed and demonstrated the major and minor semitones, I was aware
that those examples—with their major ascending and minor sequences—
were as useful to know as they were pleasing to see. I should alert stu-
dents to what I said above: when a player or composer departs from
stationary strings and goes to movable strings, either up or down, he will
find major and minor semitones in the second and third ranks, just as he
will find the same when leaving the movable strings of the second and
third ranks to go to the first rank. This rule never fails on my archicembalo.
To descend from a stable string to the second rank by way of a major
semitone, you remain on the stable key and locate the descending minor
semitone on the third rank.
I shall give an example of one such stable string and how one sequence
finds its duplicate in the other, except for the presence of major and
minor semitones, as I said before. To be somewhat better understood by
those who are rather inexperienced on the archicembalo, let me say that
my speaking of one sequence and the other sequence refers to going from
the first to the second rank and from the first to the third rank. If a
player or composer is on A la mi re [1A] he will find the major semitone
below on the second A la mi re [2G*]; and the minor semitone below will
be found on the third A la mi re [3A1*]. Staying on the first A la mi re
[1A] and planning to ascend to B fa B mi by way of a major semitone, he
will find one on the second B fa B mi [2B1*]; if he wants the upper minor
semitone, it is available on the third B fa B mi [3A1*]. Thus, if you always
stay on the stationary strings—namely, on the first rank—you will al-
ways find major and minor semitones on every location, both above and
below. As I have indicated, the same goes for moving from the third and
second ranks, either up or down, to reach the stable strings of the first
rank.
Chapter 41 Rule for Finding Upper and Lower Major and

Minor Semitones, Starting on the Enharmonic, or Fourth
Rank, and Going to the Fifth, Third, and Second Ranks,
and Vice Versa
[120v] To adhere to the sequence of major and minor semitones in
each rank, in the preceding chapter I discussed the locations of these
semitones from the first to the second and third ranks as well as the
reverse, from the third to the second and first ranks. I shall now state the
rule for finding major and minor semitones in the same way while on
the fourth rank.
If a composer is on the fourth A la mi re [4A], he will find the major
semitone below on the third A la mi re [3A1*]; if he wants the lower minor
semitone, it is on the fifth A la mi re [5A1*]. If he wants to ascend from
the same fourth A la mi re [4A] by way of a major semitone, he will find
it on the fifth B fa B mi [51^]; if he also wants the upper minor semitone,
he will find it placed on the second B fa B mi [2B1*].155 Let readers pay
attention to this rule, for it is truly admirable. Every time a composer is
on the first stable rank on a string that can make a natural whole tone
with another stable string, either above or below, I submit that he should
remember this nice antithesis: if, for instance, he is on the first A la mi re
[1A] and descends to the second [2G1*] byway of a major semitone. Con-
trariwise, if he is on the fourth A la mi re [4A]—the stable string in the
enharmonic rank—and descends to the fifth A la mi re [5 A1*], he will find
155. Misprint: text has "B fa B mi prime."

a minor semitone. The reason is that these two stable ranks, the first and
fourth, generate contrary steps.
This rule holds firm except for the major semitone above the first A la
mi re [1A] to the second B fa B mi [2B1*],156 and likewise the major
semitone above the fourth A la mi re [4A] on the fifth B fa B mi [5B17].
Moreover, the same happens between the first D sol re or D la sol re
[ID] and the second E la mi [2E1*], and between the fourth D sol re or D
sol re ut [4D] and the fifth E la mi [5&]. All the others are also placed in
opposition. As a consequence, the first stable rank is associated with the
second and third ranks with respect to making major and minor
semitones, just as the fourth stable enharmonic rank is associated with
the second, third, and fifth ranks with respect to progressing by upper
and lower major and minor semitones. The exceptions are the natural
stable semitones in the fourth and first ranks. The division of the upper
minor semitones between the first and the second ranks has an opposite
effect to that between the fourth and the fifth ranks, for the latter are all
major semitones.
All the lower semitones from the second and third ranks to the first
rank also act as minor semitones to the fifth rank, which in turn serves as
a source of major semitones to the fourth rank. For instance, the first G
sol re ut [1G] ascends by major semitone to the third A la mi re [3A1*],
and the fourth G sol re ut [4G] ascends by major semitone to the fifth A
la mi re [5A1*]. When this same fourth G sol re ut [4G] seeks the upper
minor semitone, it goes to the third A la mi re [3A1*], for the third A la mi
re [3A^] is connected to the first G sol re ut [1G] and to the fourth G sol
re ut [4G] by a major and a minor semitone, respectively. Truly an admi-
rable system! It then follows that the same third A la mi re [3A1*] ,157 which
thus served as the major semitone below the first G sol re ut [1G], also
serves as the lower major semitone to the fourth A la mi re [4A]. The
same goes for the third G sol re ut [3G17] and the third D la sol re [3D1*]
and their octaves.
Students of the archicembalo will note that when ascending from the
stable strings of the fourth rank to the fifth rank, the semitones are all
major from top to bottom. As for the semitones [121r] of the fourth
rank—that is, such lower major semitones as the F fa uts and the C sol fa
uts—these occur between the fourth E la mi [4E] and F fa ut [4F] and
between the fourth B fa B mi [4B]158 and C sol fa ut [4C]. When these
156. Misprint: text has "B fa B mi primo."

158. Misprint: text has "B fa B quarto."
keys [4F and 4C] need the lower minor semitone, they go to the second
F fa ut in the third rank [3E*] and the second C sol fa ut in the third rank
[3B*], respectively. The reason is that the third rank serves as a source of
the minor semitone for both the first and fourth ranks, as I said above.
Thus, the second F fa ut [3E*] serves as a descending minor semitone to
[the first] E la mi [IE], and likewise as an ascending minor semitone to
the third F fa ut in the fourth rank [4F]. The third rank, therefore, is
satisfactory in connection not only with the first rank but also with the
fourth and fifth ranks. I shall not prolong the discussion by going from
key to key in the fourth rank. Players are capable of understanding all
the other keys on their own, now that they know the procedure of divid-
ing the whole tone and the semitone—the other keys, after all, follow
the same system.
No one should be surprised that I have shown the fourth rank to be a
movable one among the completely movable strings, even though in this
chapter I call it a rank of stable strings. The reason is as follows: When a
composer is on the fourth rank and plans to progress along it with whole
tones and semitones, as is done in the first rank, the fourth rank is then
called stable. But when he is on the stable strings of the first rank and
crosses over to the fourth rank, the strings are then completely movable
with respect to the first rank. At the same time, this fourth rank is a
stable one with respect to the fifth, third, and second ranks, because they
are all changed, whereas the fourth is not. For this reason, then, you may
certainly call it stationary with respect to itself and its own system, as
well as movable with respect not to itself but to the first rank.
To help students more easily learn the major and minor semitones
mentioned above, I offer example 41, whose notation shows to players
and singers alike which are the differences and the ranks connected to
them.
Example 41 Ascending Major and Minor Semitones, as well as Descending

Minor and Major Semitones on the Fourth Natural Rank
Chapter 42 The Whole Tones of the Stable Strings of the First

Rank with Their Natural Semitones, with Examples
Since it is necessary to list the whole tones of the stable strings of the
first rank with their semitones, I list them through an ascending and
descending octave between the first A re and the first A la mi re [1A], as
in example 42.
Example 42 [Natural Whole Tones and Semitones in the First Rank]
Chapter 43 Discussion of the Whole Tones That Are Neither

Completely Movable Nor Completely Stationary, Gener-
ated by the Disjunct String That in Practice We Call Sing-
ing in the Soft Hexachord
[12 lv] The whole tones we sing in the soft hexachord in practice re-
semble the natural ones, for only one string is changed; the lower semitone
on the first rank is lowered one more step to make a semitone in place of
a whole tone. For instance, a flat sign is added to B mi or to B fa B mi
[IB] to change this note [2B1*]. To acquire its just fourth, you must also
change E la mi [IE], thus generating a second rank [2E1*]. To refer to B
mi or B fa B mi in the soft hexachord, therefore, you say second B mi or
second B fa B mi, because it is placed in the second rank.
Example 43.1 [Natural Whole Tones and Semitones in the Second Rank]
Moreover, for the student's deeper understanding, I provide an ex-

ample that starts on B mi [2B1*],159 rising and falling through an octave.
When a melody is completely in the soft hexachord, you may then call it
natural in the soft hexachord. For it can be written without the flat ei-
ther a fifth above or a fourth lower. Experience teaches us this, as in
example 43.1.
If the same notes are raised by a fifth, they demonstrate that the flats
are resolved to naturals. This is done either by raising the notes a fifth or
else by lowering them a fourth. You may therefore consider them notes
that are neither completely movable nor completely stationary.
Example 43.2 [The Same Notes at the Fifth Above]
Chapter 44 Discussion of the Chromatic Whole Tones and

Semitones That Are So Transformed by Flat Signs in No-
tation and on the Instrument That They Resemble The
Whole and Semitones of the Stable Strings, with Examples
[122r] To give a better understanding of the ranks of my archicembalo,
I continue with the flat sign I was discussing before, for the flats were
put into practice before the sharps.160 Thus, I go up and down the octave
Example 44.1 Chromatic Whole Tones and Semitones in the Second, Third,
and Fourth Ranks with Flats and Dots
159. Although there is a flat in the signature of ex. 43.1, the series does not begin on 2Bt.
160. See Bk. I, chaps. 3 and 4.
Example 44.2 [Natural Whole Tones and Semitones in the First Rank]
between the third A re and the third A la mi re [3A1*] by whole tone and
semitone exactly as in the first natural rank. For, as everyone sees and
hears, when anyone decides to write a composition made up of one and
the same [chromatic] nature, listeners hear absolutely no difference be-
tween it and the first rank of [natural] stationary strings. Experience
teaches this better with actions than I can with example 44.
Chapter 45 Discussion of the Chromatic Whole Tones and

Semitones That Are So Transformed by Sharps in Nota-
tion and on My Archicembalo That They Resemble the
First Rank of Stable Pitches, with Examples
Sharps were invented to aid and reintegrate the consonances, and they
have the same effect as flats in distinguishing the major from the minor
semitone, depending on whether they are on the note above or below.161
I begin with sharps from the second A re [2G*] and go up and down the
octave between the second A re and the second A la mi re [2G#] by whole
tone and semitone, just as in the case of the natural whole tone and
semitone.
Example 45.1 Chromatic Whole Tones and Semitones Ascending and

Descending with Sharps in the Second and Third Ranks
!61.SeeBk. I, chap. 4.
Chapter 46 Discussion of the Natural Enharmonic Whole Tones

[and Semitones] of the Stable Strings of Their Rank, Writ-
ten in the Same Way as the Natural Ones Except for the
Dot Indicating the Raising of Pitch by One-Haifa Minor
Semitone, and Having Within This Rank the Same Na-
ture as the Natural Whole Tones and Semitones
[122v] The student should note that once he has crossed over to the
natural enharmonic or fourth rank and proceeded in it with whole tones
and semitones, the notes sound as though they were written without
dots, even though they do have dots above them. The recognition of the
dots or the enharmonic dieses comes [only] when the differences be-
tween them and other pitches are sounded. For instance, when a player
leaves the first stable strings of the first rank and crosses over to the fourth
rank, then such differences are audible. This is also true for the distinc-
tion between major and minor semitones.162 By way of illustration in
example 46,1 ascend and descend the same way between the fourth A re
and the fourth A la mi re [4A]. This sequence is like the one on the
natural first rank.
Example 46.1 Natural Enharmonic Whole Tones and Semitones in the

Fourth Rank

Chapter 47 Discussion of the Whole Tones and Semitones As-

cending and Descending Between the Fifth A Re and the
Fifth A La Mi Re [5^]
[123r] When a composer climbs the fifth rank continuously by whole
tone and semitone, this procedure is like that of the natural first rank.
The whole tones on the [fifth] rank of the archicembalo are called chro-
matic in the enharmonic because they are found on the enharmonic or-
der. The latter is used whenever it is necessary to designate the mixed
genera of the fifth rank. In the fourth rank, they are called diatonic
enharmonic. The enharmonic semitones that are not natural are called
chromatic enharmonic semitones. The whole tones of the fifth rank are
referred to as chromatic enharmonic whole tones. These are shown in
example 47 along with the natural enharmonic whole tones.
Example 47.1 Chromatic Enharmonic Whole Tones and Semitones in the

Fifth and Third Ranks
Example 47.2 [Natural Enharmonic Whole Tones and Semitones in the

Fourth Rank]
Chapter 48 Discussion of the Enharmonic Dieses, with the

Ascending Division First of the Major Semitone and Then
the Minor Semitone, with Examples
[123v] Earlier I discussed the division of the whole tone into four and
five parts. But since it is now necessary to round out the explanation of
my archicembalo, I shall go over this material once again so as not to fail
to show students all the divisions found on this instrument. I shall begin
by demonstrating the two enharmonic dieses in the major semitone and
then follow with the division of the minor semitone, thus completing
the whole tone.
Here is a firm rule for the student. Every time he starts off intending
to divide the ascending major semitone and, leaving the first rank of
stable strings, crosses over to the fourth rank, this first diesis will be a
minor diesis. For instance, when he leaves the first A re [1A] and crosses
to the fourth A re [4A], the first diesis will be minor. The second diesis
will be major, for it is the completion of the major semitone on the sec-
ond B mi [2B1*]. This major diesis, like all major dieses, is the same size as
the minor semitone. Thus, whenever a minor semitone is missing, you
use of the major diesis. After this comes the division of the minor
semitone, which is divided into two minor dieses. Thus, if you leave the
major semitone that ended on the second B mi [2B1*] and go to the fifth
B mi [5B1*] by way of a minor diesis, then the other [minor] diesis will be
on B mi [IB]. As a consequence, the whole tone always contains one
major diesis and three minor ones in the enharmonic division, and in
the chromatic division it contains two semitones, one major and the other
minor, as I have already stated.163
The rule for knowing how to find the major diesis is as follows. When-
ever a player leaves the first rank by either ascending to the fourth rank
or descending to the fifth rank, the first and last dieses will always be
minor ones. If after the first [minor] diesis he wants a major diesis, he
goes on to strike the string of the major semitone; but if he wants [124r]
a minor diesis, he strikes the string of the minor semitone, either above
or below. In this way, you always know which are the major and which
the minor dieses, because of your earlier knowledge of the major and
minor semitones, as I indicated before [Book I, chapter 11]. Example
48.1 illustrates these enharmonic dieses ascending and descending through
one octave.
163. See ex. 59.6, below. The sequence outlined here is as follows: 1A-4A (mD) and 4A-
2B» (MD), equaling 1A-2B* (MS), followed by 2B*-5Bk (mD) and SB^-IB (mD), equaling
2BMB (mS).
Example 48.1 [Major and Minor Semitones and Minor and Major Dieses]
Readers should note that in the division of the whole tone in example
48.1,1 have made it a rule that a composer should always seek the minor
diesis when leaving the first rank. He thus goes to the fourth rank in
ascent and [to the fifth rank] in descent. However, he may make a major
diesis upward or downward by means of the minor semitone, for this
step is also known as the major diesis, from the division of the major
semitone.164 But I warn you that once he has crossed to the enharmonic
Example 48.2 [Minor and Major Semitones and Major and Minor Dieses]
164. From 1A, one goes up to 3A&, and down to 3AK

order, whenever I say "a diesis," I mean a dot. The same goes for the
chromatic order, for when I then talk about [124v] dieses, these always
mean sharps.
With example 48.2 I illustrate the ascent from the first A re to the first
A la mi re [1A], with the whole tone divided into four parts and into its
minor and major semitones. I begin with the division of the minor
semitone because in example 48.1 I showed the whole tone divided first
by the major semitone.
Chapter 49 Rule for Finding the Division of the Enharmonic

Dieses in Chromatic Whole Tones Marked by Sharps, wit.
Examples of Ascending and Descending Whole Tones and
Semitones Divided into Four and Two Parts, Beginning
First with the Division of the Major Semitone and Then
of the Minor Semitone
Many times a composer or an organist must decide to pass from one
rank to another by means of major or minor enharmonic dieses, and
hence he finds himself progressing with chromatic whole tones and
semitones marked with sharps. So that students will understand the com-
plete division of my archicembalo, I shall give examples of the division
of such whole tones and semitones ascending [125r] from the second A
re [2G*] to the second A la mi re [2G*]. I begin the division with the
Example 49.1 [Enharmonic Dieses Starting with the Division of the Major
Semitones in Accidental Chromatic Whole Tones Marked by Sharps]
Example 49.2 Enharmonic Dieses Starting with the Division of the Minor
Semitones in Accidental Chromatic Whole Tones Marked by Sharps
major semitone, adhering to the preceding sequence. Then I begin again

and show the same division ascending and descending with the minor
semitone first. Both divisions are given in example 49.
[125v] As shown in the preceding chapter, when a player leaves the
first rank and either ascends to the fourth rank or descends to the fifth,165
he always finds that the first and last dieses are minor. The natural
semitones are exceptional because they always have the major dieses first
when they descend. But as you can see in example 49, in the case of
divided chromatic whole tones that go up and down the octave with
their semitones, the division of their dieses allows a player or composer
to begin and end with either major or minor dieses, depending on what
suits his purpose and on how these steps show up within the divisions.
Chapter 50 Discussion of the Enharmonic Dieses in the Divi-

sion of Major Semitones in Chromatic Whole Tones Marked
by Flats, on the Third A Re [3A1*], Ascending and De-
scending One Octave
The explanation of these enharmonic dieses is as follows. When a player
is situated on the third A re [3A1*] and plans to ascend with the division
of the chromatic whole tone, he begins by dividing the whole tone into
165. Error: text has "si partira dal primo ordine discendere nel quarto ordine, e ascendente."
four parts. First of all, the first two parts are divided by the division of
the major semitone ascending and likewise descending through the oc-
tave. After this division, you will see once again the division of the same
whole tone into four parts starting with the minor semitone. All stu-
dents of my archicembalo thus receive exhaustive instruction on every
division, as is evident in example 50.
Example 50.1 [Enharmonic Dieses Starting with the Division

of the Major Semitone]

of the Minor Semitone]
[126r] There is an advantage in this third rank and in the others —

namely, the capability of making either a major or a minor diesis at the
beginning, the middle, or the end of the chromatic whole tone, either in
ascent or in descent. This advantage arises from the semitones, for their
major and minor sizes can be found in every location. In example 50.2 I
show the enharmonic dieses that begin with the division of the minor
semitone, dividing the [chromatic] whole tone into four parts, as in ex-
ample 50.1, ascending and descending through one octave.
[126v] In example 50.2, it is evident that wherever there is a major
semitone, there also is the advantage of having either the major or minor
diesis at the beginning or the end of that semitone. It now remains to
discuss the dieses in the fourth rank that ascend and descend by natural
enharmonic whole tones and semitones.
Chapter 51 Discussion of the Enharmonic Dieses in the Divi-

sion of Natural Enharmonic Whole Tones and Semitones,
Ascending and Descending Through One Octave from the
Fourth A La Mi Re [4A], First with the Major and Then
with the Minor Semitone
I have already discussed the fourth rank and how it progresses in vari-
ous ways. It now remains to show how to divide enharmonic whole tones
and semitones into enharmonic dieses. When progressing through [whole

tones], it is possible to divide each into five enharmonic dieses. I shall
also demonstrate which of these are major and which minor. I begin
with the division of the major semitone [example 51.1], ascending from
the fourth A re [4A] to [the fourth] A la mi re [4A] and descending with
the same sequence.
[127r] Example 51.1 illustrates the division of the major semitone
within the enharmonic whole tone at the start of the ascent and of the
descent. And within the major semitone, the major diesis can be made
either at the start or at the end of this semitone. Example 51.2 illustrates
the division of the minor semitone at the start of the ascending and de-
scending enharmonic whole tone.

Chapter 52 Demonstration and Discussion of the Enharmonic

Dieses Placed in the Whole Tones and Semitones of the
Fifth Rank
[127v] To conclude the division of the enharmonic dieses, I should
illustrate the division of these dieses in the fifth rank, starting with the
division of the major semitone into two parts and then that of the minor
semitone. In example 52.1 I place the division of the major semitone
first in the ascending and descending semitones between the fifth A re
and the fifth A la mi re [5A1'].

It remains to mention the ascent and descent between the fifth A re and
the fifth A la mi re [5 A1'] starting with the division of the minor semitone,
as in example 52.2.

Chapter 53 Explanation of the Seven Octave-Species Starting

on the First A Re [lA],from Which Are Formed the Eight
Tones or Modes
[128r] In chapters 48-51 I discussed and exemplified the complete
division of my archicembalo. So that students may better reap the fruit
of this division, I shall now demonstrate the instrument's usefulness.
Example 53.1 [How to Find the Seven Octave-Species on the First

A Re (1A)]
Example 53.2 How to Find the Seven Octave-Species on the First B Mi [IB]
Example 53.3 How to Find the Seven Octave-Species

on [the First] C F a U t [1C]

on the First D Sol Re [ID]

on the First E La Mi [IE]
€1
0

on the First F Fa Ut [IF]
Whenever it is necessary for a choir to respond, a player can immediately

produce any mode without moving from the stable string of the first A re
[1 A]. This advantage is not found in any other [keyboard] instrument or
organ. The same thing can be done while staying on the first B mi [IB],

on the First G Sol Re Ut [1G]
and so on, step by step on [the first] C fa ut [1C], D sol re [ID], E la mi

[IE], F fa ut [IF], and G sol re ut [1G]. I shall demonstrate the seven
octave-species on each of these stable strings, so that students may easily
study and form all the modes out of these seven octave-species, shown in
example 53.166
Chapter 54 Explanation of the Seven Octave-Species on the

Fourth A Re [4 A], B Mi [4B], C Fa Ut [4C], D Sol Re
[4D], E La Mi [4E], F Fa Ut [4F], and G Sol Re Ut
[4G], with Examples
[129r; incorrectly numbered 119r] To keep the order required in ex-
plaining the seven octave-species on every key of the archicembalo, it is
necessary to discuss the fourth rank. I reasoned that a pupil would ac-
quire greater understanding of and facility on my instrument more quickly
if, after sounding the stable strings on the first rank, he proceeded to go
up a diesis between one key and the next while searching for all the seven
octave-species, instead of going from the first rank in sequence to the
second, third, fourth, and fifth ranks. After he has learned how to divide
every major and minor semitone, the practice of playing through every
division of these ranks comes easily.
I now begin [129v] on the fourth A re [4A] and proceed in example 54
with the ascending order of its natural steps up to [the fourth] A la mi re
166. The order of these octave-species, starting on A, is based on the system given in Bk.
Ill, chap. 4 (see especially note 7). It does not follow the ancient ordering of Boethius. For
the latter, see "Music Theory," chap. 12. On forming the diatonic, chromatic, and enharmonic
modes from their respective seven octave-species, see Bk. Ill, chaps. 4-22, 38-42, and 45-
49.
[4A], as I did before. Students will thus know how to form all the modes
on the fourth rank on every key of this rank.167 Example 54 demonstrates
these octave-species.

on the Fourth A Re [4A]

on the Fourth B Mi [4B]

on the Fourth C Fa Ut [4C]
167. Misprint: text has "sopra ogni tasto d'ogni ordine."


on the Fourth D Sol Re [4D]

on the Fourth E La Mi [4E]

on the Fourth F Fa Ut [4F]

on the Fourth G Sol Re Ut [4G]

Second A Re [2G«], B Mi [3A«], C Fa Ut [3B«], D Sol Re
[20], £Z<z Mi [3D*], ^/fc £7* [3E»], and G Sol Re Ut
[2F*] /» /#* Second and Third Ranks, with Examples
[130r] As seen earlier, \ began on the first A re [1A] and in the next
chapter \ demonstrated the seven octave-species on every key of the fourth
rank, one minor diesis above the first. \ now begin on the second A re
[2G^] , which is one minor diesis above the fourth rank and therefore one
minor semitone above the first rank.168 On this second A re [2G#] are

on the Second A Re [2G»]
168. Vicentino is confused here. The second A re [2G*] is a major semitone, or three
dieses, below the first A re [1A], as he explained in chap. 4. It is a minor diesis above the
fourth G sol re ut [4G] and a minor semitone above the first G sol re ut [1G]. The key that
is one diesis above 4A and a minor semitone above 1A is the third B mi [3A*].
formed the seven octave-species with the ranks mentioned above. Thus,
this practice will help students when they must play one minor diesis
above the fourth rank. They can also show that they know how to play
one minor semitone above the first A re or A la mi re [1A]. The octave-
species are notated in example 55.

on the Third B Mi [3A»]

on the Second C Fa Ut [3B«]

on the Second D Sol Re [2C»]
406 Book on V Music Practice

on the Third E La Mi [3D»]169

on the Second F Fa Ut [3E»]

on the Second G Sol Re Ut [2F»]
169. Misprint: caption has "E la mi secondo."

Chapter [56] Explanation of the Seven Octave-Species on the

Third A Re [3A^, BMi [2B^], C Fa Ut [1C],170 D Sol Re
[3D^], E La Mi [2E*\, ^ Fa Ut [IF], W G S*/ fo £7*
[3G1*] /» the [First], Second, and Third Ranks
[131v] It remains to discuss what a composer or player should do when
he wants to go a minor diesis above the minor semitone. He should go
about it as follows: rise one major semitone above the first A re [1A] by
crossing to the third A re [3A1*].171 The latter gives us seven octave-spe-
cies, along with B mi [2B^], C fa ut [1C], D sol re [3D^], E la mi [2E^], F
fa ut [IF], and G sol re ut [3G1*] in the second and third ranks.172 Using

on the Third A Re [3A^]173

on the Second B Mi [2Bk]
170. Misprint: title has "F fa ut." As will become clear in the text of this chapter, the
octave-species on C fa ut and F fa ut are on the first natural rank.
171. As before (see note 168, above), Vicentino has mixed up the directions. One major
semitone above the first A re [1A] is the key of the second B mi [26^].
172. Regarding C fa ut and F fa ut, see note 170, above.
173. In octave 5, note 3 is written as C^, a pitch that must be played by the 4B key on the
fourth rank of the archicembalo. See note 58, above.
this practice, a composer can rise continually from one diesis to another,
from minor to major semitone, above the first A re [1A]. Example 56
shows you how to proceed.
[132r] The guide for finding the seven octave-species on the first C fa
ut [1C] tells us that it is on the first rank. Because the natural semitone
is divided into three dieses, two minor dieses below make up a minor
semitone. If a player decides to raise the latter by one minor diesis, he
will cross to the first C fa ut [1C]. Inasmuch as the method for finding
the seven octave-species on the first C fa ut [1C] has already been given,
it is not necessary to explain it again here.

on the Third D Sol Re [SD^]

on the Second E La Mi [2EI>]
[132v] Information on how to find the seven octave-species on the
first F fa ut [IF] has already been given. The reasoning is the same as in
the case of the first C fa ut. Because of the major semitone, whenever an
organist wants to go one minor diesis higher than the second F fa ut
[3E*], he strikes the first F fa ut [IF]. We now proceed to the third G sol
re ut [SG^, which is one minor diesis higher than the second G sol re ut
[2Ft].174 Its seven octave-species are shown in example 56.5.

on the Third G Sol Re Ut [3G^1

Fifth A Re [5A^], Each Ascending Through One Octave,
with the Same Rules as the Other Ranks
I shall not omit discussing the fifth rank, which gives the final bit of
assistance to players by means of a minor diesis above [the first] A re
[1A].175 Example 57.1 demonstrates the seven octave-species on the fifth
A re [5^].
Example 57.1 [How to Find the Seven Octave-Species

on the Fifth A Re (5Ak)]
[133r] The guide to finding the seven octave-species on the fourth C

fa ut [4C] has been shown earlier. The guide is needed because you can-
not proceed in the normal way on account of the natural major semitone
in the fourth rank. I now go on to the fifth D sol re [5D1*], whose octave-
species, as seen in example 57.3, follow the same system as all the others.
175. As in chaps. 55 and 56, the direction should be reversed. The fifth A re [5At] is a
minor diesis below A re [1A].

on the Fifth B Mi [5B^]

on the Fifth D Sol Re [5I>]
The guides to finding the seven octave-species on the fourth E la mi

[4.E] and the fourth F fa ut [4F] have already been given. I therefore go
on to the fifth G sol re ut [5G1*], whose seven octave-species are like the
others in that they follow the same systems, as is evident in example 57.4
Example 57.4 [How to Find the Seven Octave-Species

on the Fifth G Sol Re Ut (5Gt)]
Chapter 58 Explanation of the Sixth A Re [6A] According to

the Rules Seen Above but Raised One Comma Above the
First A Re [1A] in the First Rank, Providing Just Fifths
Above the First and Below the Fourth Ranks
[133v] It was my intention to proceed consecutively from minor diesis
to minor diesis, ascending continually from one rank to the next.176 I
should have begun first with a discussion of the comma, inasmuch as it
is the smallest part of the enharmonic diesis. But because this order would
not allow me to proceed systematically from one rank to the next, I post-
poned the explanation and examples of the comma until now. Anyway,
the sixth rank comes after the other ranks mentioned above.
The sixth rank cannot provide seven octave-species above every key, as
the others have done. It can, however, help the player a little, for when
he is on the first A re [1A], he can go a comma higher in the sixth rank
[6A] and then progress through this rank in the same way as through the
first, except for its division of the major semitone in the fourth rank. It
was not possible to accommodate this division in the sixth rank because
there was not room enough to place the jacks.177
I shall not give examples of the comma here because I demonstrated it
in other contexts. It is therefore quite unnecessary to explain and illus-
trate its modes or tones by virtue of the methods to be followed by com-
posers for the seven octave-species, key by key. Indeed, every player and
composer who understands the system of the seven octave-species can
form by himself any tone or any mode in any kind of genus or species
with the species of fourth and fifth included in all the octave-species.178
Chapter 59 An Easy Way to Learn to Read in All the Clefs with

All Sorts of Accidental Notes, Using the Conventional Clefs
and the Natural Series
In the preceding chapters on all the ranks of the archicembalo, I dis-
cussed how to recognize their steps and how the steps are written down
176. Since every whole tone is divided into five dieses, there are two possible ascending
sequences on the archicembalo, one with 1A at the start and the other with 1A at the end.
First: 1A, 4A, 3M 26^, 5BS second: 4G, 2G», 3A^, 5At, 1A.
177. The sixth rank omits 6C and 6F, although the possibility of including them seems
to have been entertained by Vicentino. See notes 13 and 32, above, and App. II.
178. On forming the diatonic, chromatic, and enharmonic modes, see Bk. Ill, chaps. 4-
22, 38-42, and 45-49.
in practice. It is now necessary to provide a brief and easy guide for learn-
ing to read all kinds of notes in every clef.
First of all, students should note that I shall present the first set in
each series in its natural form; the subsequent natural or accidental sets
are to be read according to the first one, which is placed above them,
with the names of the same syllables applicable to the natural notes. Thus,
pupils read all the sets with identical syllables. Consequently, once a stu-
dent has memorized the notes of the first natural set, he will know how
to read any of the other sets in that series.
So that students of these steps will find it easy to read the [134r] notes,
I present seven natural series, one after the other. For instance, the top
natural set has under it seven or eight diverse clefs with a variety of nota-
tional markings—such as soprano, contralto, tenor, and bass—with high
and low clefs written in all the usual ways known today. Lest students
find it strange to see notes written with so many sharps and flats, I re-
mind them that all these notes are to be read, as I said above, according
to the first set in each series: the first according to the first, the second
like the second. The [first set in the] third series shows how to read all
the other sets below it, and the same goes for the different sets in the
fourth, fifth, sixth, and seventh series. These are written in such a way
that they cover all the spaces and lines. Whoever knows how to read
these natural spaces and lines will know how to read through the octave-
species.
My method is as follows. I begin by writing the seven series with the
usual natural notes [example 59.1]. Then I go back and write them a
minor diesis higher [example 59.2]; then another diesis higher, so that
they appear to be a minor semitone above the original series [example
59.3]; then another diesis higher, so that they appear to be a major
semitone above [example 59.4]; then another diesis higher [example 59.5];
and finally another diesis higher [example 59.6]. Thus, the seven series
are each written in the same way as those in the demonstration of the
five ranks of my archicembalo, each rising a minor diesis above the pre-
ceding rank, as can be seen throughout example 59.179
179. This is not an accurate description of what happens in exx. 59.1-59.5, though a
general correlation to the ranks of the archicembalo can be discerned. If the natural diatonic
series begins on ID, then the rest should be raised, respectively, to 4A, 3D*, 2Et, and 5E1'.
Exx. 59.1-59.3 follow this system, but exx. 59.4 and 59.5 begin below D on 3D1* and 5D1'.
Thus, the second rank is omitted.
Example 59.1 The Notes Written in the Three Clefs

According to Natural Usage (continues)
Example 59.1 Continued


[136r] With example 59.1 I have finished all the series for all the clefs
written on all the lines [and spaces] of all the parts used in [ordinary]
music practice. Following this is the guide for reading all the notes writ-
ten one minor diesis above the natural diatonic notes. These notes are
written in the natural enharmonic rank without moving the notes from
their locations, as is evident in example 59.2. As the natural series show,
the natural enharmonic notes are to be read like the natural diatonic
ones.
Example 59.2 [Notes Written a Minor Diesis Above the Natural Series]180
(continues)
180. CS which is the same pitch as 4B, appears three times: once in series 4, and twice in
series 7. See note 58, above.


[138r] The guide to learning to read all the notes written one minor
semitone above the natural diatonic series, but on the same lines and
spaces as the natural series, is given in example 59.3. These notes should
be read like the natural diatonic notes.
Example 59.3 [Notes Written a Minor Semitone

Above the Natural Series]181 (continues)
181. Starting with ex. 59.3, the series, except for the first and last, are presented in a
different order, with a more systematic presentation of the clefs: in exx. 59.3-59.5, series 2,
3, 4, 5, and 6 correspond to series 3, 5, 6, 4, and 2, respectively, in exx. 59.1 and 59.2.


[139v] Next is the guide to learning to read all the notes written a
major semitone above the natural diatonic series and a minor semitone
above the natural enharmonic series,182 with all the clefs in use today. As
example 59.4 demonstrates, the notes should be read in the same way as
the natural diatonic ones.

Example 59.4 [Notes Written a Major Semitone

Above the Natural Series]183 (continues)
183. Every series has at least one example of C1* and one of F1*. See note 58, above.


[141 v] Finally, we come to the guide to learning to read all the notes
written one major semitone above the natural enharmonic series, and
one minor semitone above the minor semitone higher than the natural
diatonic series,184 with all the clefs in use today. These notes, shown in
example 59.5, are to be read in the same way as the natural diatonic
ones.

Example 59.5 [Notes Written a Major Semitone

Above the Enharmonic Series]185 (continues)
185. There are five examples of Ck, an alternate spelling for 3B*, in series 2, 6, and 7, and
two examples of F1*, an alternate spelling for 3E*, in series 5. See note 93, above.


[I43r] My archicembalo contains a division of the whole tone that has

five minor dieses in it. In example 59.61 have written a whole tone from
F fa ut to G sol re ut. From F fa ut [IF] up to the fourth F fa ut [4F], you
find a [minor] diesis. From 4F up to 2F*, you find another minor diesis,
and this diesis completes the minor semitone. From 2F* to 3G1*, there is
a minor diesis that completes the major semitone. Then, from 3G1* to
5G^, there is another [minor] diesis. And from 5G1* to 1G, you find the
[minor] diesis that ends on G sol re ut [1G]. The same happens in the
reverse direction.
To distinguish the major from the minor semitone, remember that
three dieses are put in the former and two in the latter, either above or
below. Moreover, every diesis can be partitioned into two commas, the
whole tone having ten commas, the minor semitone having four com-
mas, and the major semitone having six commas.186 As everyone can see
in example 59.6, my archicembalo has a different division from the one
used by Boethius.187
Example 59.6 [A Whole Tone Divided into Five Dieses]
Chapter 60 Examples of the Many Ways of Writing Major and

Minor, Accidental, and Natural Semitones in the Divi-
sion of My Archicembaloy with Their Ratios
[I43v] I am certain that some people may be surprised at my return to
a discussion and demonstration of examples of commas, minor and ma-
jor dieses, and minor and major semitones, as well as minor, natural, and
major whole tones, together with their ratios. To these people I reply
that it is not superfluous to repeat this material. Players or other scholars
very often find it convenient to separate this book on the archicembalo
from the other books. So that this instrument and its divisions may be
understood, I repeat its divisions separately, along with examples and
ratios.
The ratio of the major semitone is 14:13.
Example 60.1 [The Major Semitone]

The ratio of the minor semitone, or major diesis, is 21:20, whereas
that of the major semitone, as I said, is 14:13.188
Example 60.2 [The Minor Semitone, or Major Diesis]
186. SeeApp. II.

188. In this and the next four chapters, Vicentino reverts to ratios to define the intervals
available on the archicembalo in the first tuning. Since this tuning is an extension of meantone,
such ratios can only approximate the tempered intervals on the instrument. See App. VII.
Even so, there are many puzzling anomalies.
Chapter 61 Demonstration of the Four Kinds of Natural and

Accidental Whole Tones and the Many Ways of Writing
Them, with Examples and Ratios
There are four kinds of whole tones on my archicembalo.1891 call the
first minor accidental and the second natural. The third is likewise called
natural. Though there is some difference between the two natural whole
tones—one is located in the sesquioctaval ratio [9:8] and one in the
sesquinonal ratio [10:9]—nonetheless this small discrepancy cannot be
perceived, either in singing or in playing.190 But in the tuning of instru-
ments, recognition of such a small difference is achieved. I designate
both whole tones natural. The third and fourth whole tones are called
accidental. Every sort of whole tone may be composed on my instru-
ment, either accidentally or naturally, by mixing the ranks with one an-
other.
Thus, we find the sesquioctaval whole tone on the first rank, from G
sol re ut [1G] to A la mi re [1A], for instance, but between A la mi re
[1A] and B fa B mi [IB] we find the sesquinonal whole tone, leaving a
major semitone [to complete the fourth].191 Both these whole tones are
natural. Then, on the second rank, we also have sesquioctaval and
sesquinonal whole tones, such as those ascending from the first E la mi
to the second G sol re ut [1E-2F#] and from the latter to the second A la
mi re [2F"-2G^. These two whole tones also have the ratios given above.
And on the third rank, for instance, we find the sesquioctaval whole tone
between the third G sol re ut and the third A la mi re [3Gl>-3A1'].
The sesquiduodecimal ratio [13:12], which is the minor whole tone,
occurs between the third A la mi re and the third B fa B mi [SA^-SA*].
This whole tone is made up of two minor semitones.192 Then, between
[I44r] the third B fa B mi and the third C sol fa ut [3A*-3B»], we find a
whole tone in the same ratio as the natural one. Going from the third C
sol fa ut to the third D la sol re [3B*-3D1'], we find a minor whole tone

190. See Bk. I, chap. 24, where Vicentino opts for the 10:9 whole tone.
191. In the context of meantone tuning, this statement makes no sense. Vicentino de-
scribes a tetrachord composed of two whole tones, G-A (9:8), A-B (10:9), and a major
semitone, B-C (16:15). See Bk. I, chap. 6. This tetrachord outlines the diatonic syntonon
tuning of Ptolemy. For the relevance of Ptolemy's tuning to keyboard instruments and
Vicentino's source for this connection, see Bk. I, note 47.
192. This whole tone is indeed made up of two minor semitones, but its ratio on the
archicembalo is not 13:12 (139 cents). See App. VII.
composed of one minor diesis and one major semitone.193 Another mi-
nor whole tone, composed of two minor semitones, occurs between the
third D la sol re and the third E la mi [3D^3D*]. Between the third E la
mi and the third F fa ut [3D*-3Etf] we find a just whole tone in the ratio
of the natural whole tone. A minor whole tone made up of one minor
diesis and one major semitone occurs between the third F fa ut and the
third G sol re ut [3E*-3G1'].194 Between the third G sol re ut and the third
A la mi re [3Gt-3A1'] we find a just whole tone, although in an ascending
stepwise octave in the third rank from the high A la mi re to the very
high A la mi re [SA^-SA17], there occurs first a minor whole tone and then
a just whole tone. There then follow two minor whole tones, a just whole
tone, a minor whole tone, and finally a just whole tone. You have now
understood about the whole tones available on the third rank. Both the
fourth and fifth ranks have their just whole tones as well.
Whenever a player needs to make a major whole tone, regardless of
which rank he happens to be on, he can always locate one from two
major semitones or from one just whole tone plus a comma, or else from
the same plus a minor diesis.195 This major whole tone can be found in
the second rank but not in other single ranks, unless you cross over from
one rank to another. Example 61 illustrates these whole tones.
Example 61.1 shows all just whole tones, either natural or accidental,
in the sesquioctaval ratio of 9:8 or the sesquinonal ratio of 10:9.
Example 61.1 Natural and Accidental Just Whole Tones
Example 61.2 shows accidental minor whole tones made up of either

two minor semitones or one major semitone and one minor diesis. They
are in the sesquiduodecimal ratio of 13:12.
193. The minor diesis is between 3BMC and the major semitone between 1C-3D1*.
194. The minor diesis is between 3EMF and the major semitone between 1F-3G1".
195. See Bk. I, chap. 24. The major whole tone made up of two major semitones or of
one tone plus one diesis is classified as proximate, whereas the whole tone enlarged by a
comma is most proximate. See also Bk. I, chap. 41.
Example 61.2 Accidental Minor Whole Tones
Example 61.3 shows accidental major whole tones composed of either

two major semitones or one natural whole tone and one minor diesis.
They are in a ratio something like the sesquiseptimal, or 8:7, but with a
small discrepancy.196
Example 61.3 Accidental Major Whole Tones
Chapter 62 Demonstration of Minor and Major Thirds, with

Ratios and Examples of Their Proximates
[I44v] We have six kinds of thirds on my archicembalo, three minor
and three major.197 Among these thirds there are two in the natural rank
that I consider to be commonplace. In practice they are called minor
third, or semiditone, and major third, or ditone. These are conventional
thirds for us today, and I have already indicated when they are composite
and when incomposite [Book I, chapter 26].
There are also four other thirds, three of which are accepted on the
archicembalo because they are better than the [commonplace] ones we
use.198 Thus we have a third larger than the minor third by a comma, a
third that departs from the minor third. Because the minor third we use
is weak, this increase of a comma gives it more vigor, in that it now
moves toward the major third. I have named it most proximate. There is
yet another step larger than the minor third, and since it contains one
more enharmonic diesis than the latter, it shares in the major third. It
can be used as a good consonances because it is larger than the minor
third and smaller than the major third.199 Next on my instrument we
196. For once, Vicentino is correct. See note 188, above.
197. These are not the same six listed in Bk. I, chap. 25.
198. The thirds enlarged by a diesis or a comma in the first tuning system are "better"
than ordinary thirds, whereas the thirds produced by the second tuning system are "true."
See chap. 6, above.
199. This is the proximate minor third. See Bk. I, chap. 28. For most proximate sizes, see
Bk. I, chap. 41.
have the major third plus a comma. This consonance is considered to be
very good because it is not blunted like the one we use. It contains two
sesquioctaval ratios similar to Boethius' ditone.200 Finally, the major third
plus one enharmonic diesis, though not too good, is passable in running
passages.
Now I turn to the examples and the ratios of these four thirds, that is,
[the minor and major third] and their proximates and most proximates.
They are shown in examples 62.1—62.3.
Example 62.1 Natural and Accidental Minor Thirds
Example 62.2 Accidental Proximate Thirds
Example 62.3 Accidental Most Proximate Thirds
The ratio of the minor third is called the sesquiquintal, as in 6:5, and
that of its proximate is 5f: 4y. The latter is irrational.201
As my readers know, the first rank on my archicembalo has naturally
placed thirds, both minor and major. Wherever three successive semitones
are found in the second rank, as in G sol re ut [2F&], A la mi re [2G&], and
B fa B mi [2B^], then between the second G sol re ut and the second B
mi [2FK-2B1'] you find [I45r] a proximate major third: an impracticable
200. De inst. mus., 1.23. The major third plus comma on the archicembalo, at 406 cents,
is indeed close to the Pythagorean third of 408 cents (81:64). However, in the preceding
statement, Vicentino has forgotten that since the major thirds on his instrument, rather
than being blunted, are only slightly larger than their true size, the addition of a comma
makes them even larger.
201. For the syntonic 6:5 minor third, see Bk. II, chap. 17. For the same interval on the
archicembalo, see App. VII. Vicentino s irrational ratio for the proximate minor third works
out to 347 cents, very close to the size of this interval on his instrument (348 cents).
interval. Furthermore, there is only one [accidental] minor third in the

third rank. It starts between the natural major semitone in the first rank,
C fa ut [1C] to B mi [IB] in the third rank [3B#], and ends between E la
mi [IE] and D la sol re [ID] in the third rank [3D*]. The rest are all
minor thirds larger by an enharmonic diesis, that is, proximate minor
thirds.
Since there are no major thirds in the second rank, I go on to the
fourth rank, which has minor [and major] thirds like those in the first
rank. The fifth rank has major thirds like those in the first rank, and the
sixth rank has its major and minor thirds like those in the first rank. It
remains to give the ratios of the minor and major thirds as well as their
proximates. [Natural] major thirds appear in examples 62.4-62.6, along
with accidental major thirds, their proximates and most proximates.
Example 62.4 Natural and Accidental Major Thirds
Example 62.5 Accidental Proximate Major Thirds
Example 62.6 Accidental Most Proximate Major Thirds202
The ratio of the major third is called the sesquiquartal, as in 5:4. The
ratio of the proximate major third is larger than the sesquitertial ratio, as
202. Segment 5 features a 6C key. See note 32, above. Seven other thirds, omitted in my
transcription, show nonexistent "comma" keys: la-c", 3gt-D1', 3P-a*, 4g-b, 5gk-D1', 4e-a1', and
3e«4^.
in 4^-: 3 y.203 The latter is irrational, as is the ratio of the most proximate
major third.
Chapter 63 Demonstration of the Fourths That Sound Like

Natural Fourths on the Archicembalo
[I45v] I need not explain fourths, because I talked about thirds in the
preceding chapter, and anyone who knows about major semitones can
form any fourth in any rank by placing the major semitone above the
major thirds I have already discussed. In the [first] tuning of the
archicembalo there is no just fourth. In example 63 I write out the fourths
in every rank under the sesquitertial ratio, 4:3, that designates the fourth,
with the proviso that there are no just natural and just accidental fourths
in the [first] tuning, as I said above.
Example 63 Natural and Accidental Fourths
Chapter 64 Demonstration of Leaps of the Fifth, the Minor

and Major Sixth, and the Natural and Accidental Octave
I am sure that no explanation is needed of fifths, minor and major
sixths, and octaves, for I have discussed them, their nature, and their
ratios over and over again in earlier chapters [Book I, chapters 37-41].
To demonstrate these leaps and to make it easier for the readers, I write
them down in example 64. I shall not stop to explain the locations and
ranks in which they can be found, because near the start of this book I
mentioned those fifths that do not keep to the steps of their own ranks
but rather leap from one rank to another. Since they have been shown to
students, their designation has eliminated the difficulty of searching for
203. For the syntonic 5:4 major third, see Bk. II, chap. 17. The major third on Vicentino's
instrument, at 387 cents, is virtually the same size as the syntonic major third (386 cents).
The value of the proximate third as here defined, 435 cents, is somewhat removed from this
interval on the archicembalo (426 cents). Vicentino's attempt to define the proximate minor
third is more successful. See note 201, above.
their locations. The other fifths, then, are all in their [proper] places, for
they follow along step by step.
The tuning of these fifths is a little short, as is customary in the tuning
of all [keyboard] instruments.204 Even though fifths are designated by the
sesquialter ratio, as in 3:2, this ratio nevertheless cannot be achieved in
the [first] tuning. The ratio for the fifths tuned on instruments is thus
disproportionate and irrational—all for the sake of having well-tuned
thirds and sixths.205 I shall not give the ratios of the minor and major
sixth, since I have already done so [Book II, chapter 17]. Nor will I stop
to list the places where sixths 206 are placed on the ranks of the
archicembalo, for he who knows how to find a fifth can easily add a
major semitone above it to make a minor sixth and also add a whole tone
above it to make a major sixth.
I shall give examples of the fifths that must be marked with accidentals
on my instrument. Let no one be surprised that some of them look like
sixths. This is so because the division of the semitones above and below
alters the notation of these fifths. For the same reason, it is necessary, on
the other hand, that leaps of a minor sixth seem in some places to be
leaps of a fifth, and that leaps of a major sixth seem to be leaps of a
seventh. But octaves look like octaves in notation, and they do not change
in any of the ranks because they are found in the stable ranks. Example
64 illustrates these leaps.
Example 64.1 Leaps of the Natural and the Accidental Fifth That Sounds
Like a Natural Fifth
Example 64.2 Leaps of the Minor Sixth as They Must Be Notated

for My Archicembalo
204. See chap. 5, above, and App. VII. In the second tuning, however, true fifths occur
between the first and second keyboards. See chap. 6, above and App. VIII.
205. See chap. 5, above, and Bk. I, chap. 6.
206. Misprint: text has ottave.
Example 64.3 Leaps of the Major Sixth as They Appear in My Practice20'
Example 64.4 Leaps of the Octave Required for Composing

on My Instrument
Chapter 65 Demonstration of How a Player Should Cross from

One Rank to Another, Either with Tenseness or Slackness
[I46r] Just as in performances by singing ensembles you hear every
day a singer's pitch corrected when he makes a mistake—strange as this
may seem to the audience—so the same happens to ensemble players
when they stop playing in the middle of a composition to tune their
instruments. As a result, the ears of the listeners are deeply offended, for
they expect to hear a sweet harmony, well united and tuned. Discord
does not gratify them. Singers, therefore, must be so coordinated that
they do not make mistakes. Correcting the pitch of someone who has
made a mistake is done in school, where singing is learned, and not in
public places like churches and other locations, where many people are
gathered to listen to music. Strange as it may be to hear someone err in
singing, he who corrects errant singers seems even worse, for he can be
heard now in the low parts, now in the high parts, and now among the
outer parts. He thus resembles someone who imitates the many voices of
mankind, moving the listeners more to laughter than to admiration of
his ability. Therefore, all those in charge of public or private concerts
should coordinate and unite themselves with the singers so that they will
please the audience. When crossing from one whole tone to another, or
from an accidental to a natural step, or vice versa, instrumentalists are
likewise warned to avoid such errors as offend the audience.
207. The final sixth ends on f ^, the alternate spelling of 3e''. See note 93, above.
It is now necessary to instruct students of my archicembalo on how to

cross elegantly from one rank to another without disturbing the listen-
ers. Whenever a player crosses from one rank to another, he must take
care to cross over first with the consonance of a third, either minor or
major. Over this third he puts a fifth, and then in this fifth he inserts a
major or minor third. Thus, the third leads him from one rank to the
other. If he plays according to this method, he can always cross over,
either ascending or descending, with agility and without disturbing the
audience. Shorter steps always provide sweeter harmony. Whenever a
player plans to cross between mixed patterns, it is a good idea to play
diatonically first and then gradually to cross to the chromatic steps, look-
ing for a way to cross over to the enharmonic steps by means of the
chromatic ones. The player should proceed in an elegant manner, now in
one rank and then in another, in keeping with the sequence of the fugues
and other subjects.
To show intensity or [I46v] slackness, a player should select the ap-
propriate steps.208 Take the case of a player who is on the first C fa ut
[1C] and has chosen to play over this note the octave, tenth, and twelfth
[1C, IE, 1G]. He now wants to move with the bass part, and so he leaps
up a ditone, a tense step or leap that has a good effect. Having gone to
the first E la mi [IE], he puts over it the fifth, octave and major tenth
[IB, IE, 2G#]. With this progression, three parts were changed both in
singing and playing, whereas only one part stayed the same and held
firm. The parts that changed had the good effects of intensity and cheer-
fulness. First, the bass moved by a ditone, which is tense when ascend-
ing. The tenor moved by a descending major semitone, a tense step. The
soprano ascended by a minor semitone, which is a tense step. Thus the
more intense parts predominate, canceling any slackness, especially when
they are the outer parts—and all the more so if they are matched with
the consonances of the major third and an appropriate rate of motion.209
On the basis of this example, a player can learn an infinite number of
passages. For delightful listening, he should always try to ascend with
minor semitones and [major] dieses, because this ascent always produces
vivacity. A descent with these intervals produces sadness. To cross from
one rank to another without bothering about other parts, always cross
over with semitones in every rank, both ascending and descending. You
can rely on experience to inform you on matters such as these.
208. On tense and slack intervals, see Bk. I, chaps. 14-42.

209. On rates of motion, see Bk. II, chap. 31.
Chapter 66 Discussion of the Defects of the Lute, the Bowed

Viol, and Other Instruments with Similar Divisions
From the time of the invention of the bowed viol and the lute until
now, these instruments have been played with the division of equal
semitones. They are played everywhere today. As a result, two errors arise.
First, the consonances of the third and, in some places, of the fifth are
not just. Second, when they are played with other instruments whose
division of the whole tone is into two semitones—one major and one
minor—they do not agree, so that, frankly, they never accord with these
instruments when they are played together.
So the fingerboard of the lute should be divided in the following way:
first with the major semitone, then with the minor. You should thus
have the major and the minor semitone and then the major semitone in
order to complete the fourth. If the enharmonic division is desired, the
major semitone is divided into three parts and the minor semitone into
two, just like the divisions of the whole tone on my archicembalo. The
same division is required on bowed viols. The three-string viol, without
frets and played with the bow, is a very good instrument because it can
produce any division. Among the wind instruments, the trombone is
wonderful when it is carefully played.
In example 66, I have drawn two long lines like the fingerboard of a
lute and divided them by major and minor semitones. The double [ver-
tical] lines mark the ordinary division, whereas the single [vertical] lines
indicate the addition of the dieses that make up the major and the minor
semitone.
Example 66 Length of a Fourth Divided into Thirteen

Minor Enharmonic Dieses
End of the Treatise

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Book V On Music Practice About The Instrument Called The Archicembalo

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Book V on Music Practice About the Instrument Called

2. For A la mi re in the lowest octave, see Bk. I, ex. 5.1.

cending through seven pitches we form seven octave-species on each pitch.

5. See note 29, below and my introduction.

Chapter 2 Demonstration and Documentation of the Length,

6. See figures 1-3.

I likewise show all the measurements with lines and explanations.

[lOOv] The line [9 cm.] for the width of the rose.

Line [11.2 cm.] for the length of the long jacks.

Line [7.2 cm.] for the length of the short jacks.

Chapter 3 On the Six Ranks of the Archicembalo

Chapter 4 Explanation of the Names of All the Keys Within

la mi re or A re and ending on G sol re ut, or from A re to Gamma ut.

Example 4.1 [The Descending Major and Minor Semitone

Example 4.2 [Descending Semitones That Conclude the Whole Tone

Example 4.3 [Ascending Semitones Between A La Mi Re and B mi]

According to philosophers, habit becomes second nature.18 Therefore,

cending semitone, the remainder needed to complete the whole tone

21. See chap. 13, below.

Chapter 5 How to Tune the Archicembalo

23. Misprint: text has "D sol re."

other instruments, with the fifths and fourths somewhat blunted, as is

Chapter 6 How to Tune My Archicembalo with Just Fifths on

Chapter 7 How to Find Seven Fifths That Do Not Stay Within

45. See Bk. I, chap. 28.

50. See note 47, above.

Example 8.1 [All the Consonances, with Proximates,

Example 8.2 [All the Consonances, with Proximates,

Chapter 9 All the Consonances Below and Above the Second A

55. See chap. 8, above.

Example 9.1 All the Consonances, with Proximates,

Example 9.2 All the Consonances, with Proximates,

60. Error: text [106v] has "F fa ut secondo in terzo ordine."

Chapter 10 All the Consonances Below and Above the Third A

[107r] You should note that whenever a major or minor consonance

Example 10.2 All the Consonances, with Proximates,

Chapter 11 All the Consonances Below and Above the Fourth

All the Consonances Below and Above 4A

64. See chap. 3, above.

Example 11.1 All the Consonances, with Proximates,

Example 11.2 All the Consonances, with Proximates,

Chapter 12 All the Consonances Below and Above the Fifth A

All the Consonances Below and Above 5A^

[107v] These consonances can be seen in example 12.

Example 12.1 All the Consonances, with Proximates,

Example 12.2 All the Consonances, with Proximates,

Chapter 13 All the Consonances, Larger Than the Minor and

All the Consonances Below and Above 6A

Example 13.1 All the Consonances, Larger or Smaller by a Comma, Below

Example 13.2 All the Consonances, Larger or Smaller by a Comma, Above

Chapter 14 All the Consonances Below and Above the First G

All the Consonances Below and Above 1G

minor 6th IB 2Efc

Example 14.1 All the Consonances, with Proximates,

Example 14.2 All the Consonances, with Proximates,

77. Misprint: text has "E la mi sesto."

Chapter 15 All the Consonances Below and Above the Second

All the Consonances Below and Above 2F*

Example 15.1 All the Consonances, with Proximates,

79. Error: text has "B fa B mi terzo."

Chapter 16 All the Consonances Below and Above the Third G

All the Consonances Below and Above 3G^