Author: Doni, Giovanni Battista

Title: Aduersaria Musica B

 Editor: Massimo Redaelli
Source: Florence, Biblioteca Marucelliana, MS A.291, f. <1r>-<23v>

[-<f.1r>-] [B in marg.] Aduersaria Musica B

Rinaldo del Mel writes sweetly and artfully. He rarely employs the fifth, and even more rarely the seventh and the ninth.

The Prince of Venosa, ordinarily, raises the penultimate note of the bass part of a piece by a third, and then makes it descend by a fifth, which is normal. The most usual way is to make the third note from the end to rise to the fifth, and then to make the penultimate fall by a fifth also. Modern composers who pursue harsh intervals so fondly can be compared to someone who eats pheasants for a long time and then begins to crave beans.

The hypatodus starts and ends on the same note, or in the one at the octave lower. The other voices start on one of the main notes of that mode and, equally, end on one of the main ones.

The notes that follow a sharp (#) usually ascend, while those that follow the a flat (b) usually descend. However, the most up-to-date composers, such as the Prince of Venosa, are freer in this also.

The notes of a [baryphonos] ascending to the higher register are called quilio. This is different from the falsetto, as the notes of the latter are sweet and similar to those of the Soprano voice.

Antiphons appear to derive their name from the fact that children used to sing them, as it occurs among the Greeks.

It appears, from an ancient handwritten Gregorian Gradual preserved in Saint Augustin's Library, that it was customary for antiphons to be sung alternatively with individual verses of the psalms.

The psalm Dixit Dominus, which is sung in the tone , seems to express loose and languid demeanour, as those of a drunken or sleepy person, as in the case of the Hypolydian according to Plato, especially because several phthongi are assigned to the last syllables, which last longer than the preceding syllables, which are pronounced whole. The fact that this had not been practised before is proved by the fact that they are all written with notes of the same value.

Falsetto can also be called netoides.

[-<f.1v>-] [Doni, Aduersaria Musica B, 1v; text: Tautosymphonia, Homosymphonia, simplex, inuersa, Epallela, Hypallela, Hypallela, Epicatallela, catallela, anthypallage, Epallage, Hipallage, Epicatallage, Hypocatallage, Parallela, Epiparallela, Hypoparallela, propinqua, remota, Heterosymphonia, Episystaltica, Hyposystaltica, Parasystaltica, coniuncta, disiuncta, per ascensum Hypatodi, remotum, propinquuam, Netodi, Paradiastaltica, Amphisystaltica, Amphidiastaltica, superpropinqua, subpropinqua, utrinque]

Features or characteristics of the consonances

[-<f.2r>-] How to compose in two parts

The major third must precede an octave cadence.

When the parts move to a perfect consonance, they must proceed by contrary motion.

An octave can be the penultimate interval, if the last one is a fifth.

It is not advisable to build perfect consonances on sharpened notes, when writing for voices. However, this is practised in instrumental writing.

When vocal parts move similarly, it is unsafe to move by sixth.

[[Sixths are to be used sparingly, and, when one uses them, the parts should move by contrary motion]]

The major sixth is only used before the octave and when the parts move by contrary motion. As for the minor sixth, it is sufficient that the parts move by contrary motion.

[After add. in marg.] the major sixth [[one places previously]] the parts must widen, which means that they must go to the octave; after the minor sixth, the parts must contract and move to the fifth.

Two fifths are allowed, when the soprano descends to the fourth and the bass rises to the fifth, or, when the soprano rises to the fifth and the bass descends to the fourth.

In vocal writing, when the voice moves by leap, even if the notes are fast, they cannot alternate between a consonance and a dissonance, [as it occurs in instrumental music add. supra lin.], but it can be done when it moves by step.

It is better for the parts to widen than to get closer, starting from the interval of a third.

The last interval can be an octave, an unison, a fifth or a major third.

If the parts draw closer or move by leap, it is better for the octave to be preceded by a minor sixth rather than by a major sixth.

If the parts proceed by disjunct motion, the penultimate interval cannot be a sixth.

[-<f.2v>-] When the two parts proceed by step, one presumes by contrary motion, it is not advisable to move to the octave, because the variety deserved by a forced motion is not achieved.

Not only the last, but also the penultimate consonances, must be good, namely, an octave, a fifth or a major third.

A dissonance heard between two of the same consonances does not justify them.

The highest and the lowest note in a sequence must be consonant, rather than dissonant.

Two adjacent major thirds do not sound effective.

Conjunct motion in all parts does not produce a good effect.

One must move from a consonance to another in the most direct way.

One is advised to avoid the relation of the tritone, as well as other bad relations. The relation of the tritone is the product of two adjacent major thirds when both parts move by step.

[-<f.3r>-] [Doni, Aduersaria Musica B, 3r,1; text: A, [sqb], C, D, E, F, G, a, c, d, e, f, g, Lydius, Phrygius, Dorius, Hypolydius, Hypophrygius [Hypolydius ante corr.], Hypodorius, Mixolydius, Systema stabile]

Demonstration of how the ordinary system of the individual modes was of nine notes, and where a note was added above or below. Also, what position, in the system, the added notes occupied, as they were added, besides the eight of the Tone. If one is added at the bottom, it will be able to be called Hypotropus, Conversely, if it is added at the top, it will be called Hypertropus.

It follows that, as a rule, the span of each individual mode consisted of nine notes, as one can see in the Dorian mode. In fact, if each mode has the same interval above and below, for instance, re mi below and also above, and, if others...

[Doni, Aduersaria Musica B, 3r,2; text: A, [sqb], C, D, E, F, G, a, c, d, e, f, g]

[[inc et q in marg.]]

This distribution seems more probable:

[-<f.3v>-] [Doni, Aduersaria Musica B, 3v; text: A, [sqb], C, D, E, F, G, a, c, d, e, f, g, Luna, Mercurius, Venus, Mars, Iupiter, Saturnus, Mixolydian, Lydian, Hypolydian, Phrygian, Hypophrygian, Dorian, Hypodorian]

The depth and the size of the skies are related to the modes, the speed of their motion to the rhythm.

[-<f.4r>-] Metameledesis

Metamelismus, [ma add. supra lin.], Variants of the melody or of the passage

Metarhythmismus, Change from a rhythm to another.

Melodies derive their name from the main note, namely, either the one that produces the melody or from the one that is subject to the human voice. Therefore, it is varied and the outline of the melody is chromatic, but the melodies are not played by instruments, one shall be able to say that the entire melody and composition is chromatic

Epimelisma, passaggio on a passaggio, repeated passaggio

Code [Caudae add. supra lin.] are called, in plainchant, the notes on the same syllable that are varied towards the lower register, as at the end of the verse Dixit Dominus of the . . . . . Tone.

Paraphonemata are notes more unnecessarily protracted, namely, in the lower or higher register, than necessary, similarly to parapsalmata

The aforementioned caudae that occur in psalms can be called [[Paramelismata]], or [signum] Epilemmatismi [Epime ante corr.], or Perilemmatismi, or Analemmatismi, or Epanalepsis, or Epicatalepses.

Paramelisma is a wrong passaggio.

Catalepsis is a musical term found in the Scholia to Aristophanes.

[[Epilemmatismus]] [Paralemmatismus corr. supra lin.] can be called the cauda of the clausulae found in certain psalm verses.

Analemmatismus [Proslemmatismus ante corr.] applies to those that occur in the middle or at the beginning of a verse. [[Prosme]] [[Pr]]

Syncopations consists of a tied dissonance and consonance.

A tie occurs between two notes of the same pitch.

[[Sincope Paratasis Metarsios et metathetica]]

Syncope, Synarsis, genaralitas.

Two dissonances tied constitute Parasemasia [[Paraphonesia Paraphonesis]] [Paraphonesis Antimasia Parasymphona corr. supra lin.]

Note against note is called Antisemasia Antisemasia holomeres.

Part of a note occurring against another note, Parasemasia Antisemasia mero . . . .

Several notes against a note, Polysemasia Antisemasia polymeres

When two notes last for part of a rhythm and another one, but are of different values.

When individual notes occur on individual beats.

When individual notes cover several beats.

When the notes last for less than half of one beat and the same of another beat.

When the notes occupy whole beats and parts of beats.

When notes occupy part of a beat.

When notes occupy two individual halves of two beats.

[-<f.4v>-] Phthongus holometer [[steros] add. supra lin.], [[monorhythmos, Dirhythmus, et holorhythmus]]

Phthongus [[Dirhythmus]] [[hemisyaeos]] Dihemimeres, Dimetes

Phthongus [[Dirithymus]] [Dimeter corr. supra lin.] isomeres

Phthongus [[Dirythmus]] [Dimeter corr. supra lin.] anisomeres

Phtongus [[Dirhythmus]] [Dimeter corr. supra lin.] epimeter et eius species trihemimeres [[[Trirhythmus]] Trimeter add. supra lin.] penthemimeres trihemisyaeus

Note against note [sema pros sema] [phthongos pros phthongon]

[[meros phthongou pros phthongon

polloi phthongoi pros phthongon

polloi phthongoi pros meros pthongou]

Antisemasia [phthongou pros phthongon] [phthongou pros meros phthongou] [phthongon pros phthongon] [phthongon pros meros phthongou]

Systema oligochordum, mediocre polychordum [polyphthongum ante corr.]

Antisymphonia can be called the case in which the line ascends and descends by step in the bass, while it moves by leap in the top parts, and vice versa.

The melodies of the ecclesiastical chant are either mesodic, namely, of such kind that the paraphonasts sing descending by a second from the penultimate note to the last one, while the hypatodes, who sing those melodies in hypothematic fashion, move sing the last two notes before the last one, then descend by a fifth to another added note, and finally rise to the last one by leaping a fourth.

Parts of melodies and songs.

The part that sings the melody (Melos Dialecticum) and that sings is called Proegumenon.

The part that does not sing the melody [and provides the instrumental accompaniment add. supra lin.] is called Melos Symphoneticum Sympleromaticum organicum

Parte che fa l’aria (Melos Dialecticum) e che canta Proegumenon

[-<f.5r>-] Those who published the books of ecclesiastical chant corrected, as they say themselves, according to the Gregorian chant, do not appear to have perused some ancient manuscripts of such chants, as, for instance, the one that is found in the Library of Saint Augustin, but to have emended them following their own ideas and initiative.

Symphoniae complementitiae et simpleromaticae means that they have aesthetic merits.

Melos Decarythmus, chant consisting of ten rhythmic units or measures.

Plausus chjronomicus, beat of the hand.

Melos homeorhythmum, melody that proceeds with similar rhythms.

Melos Isorhythmus, melody that proceeds with equal rhythms.

Melos anomaeorythmum, anisorhythmum, melody that does not proceed with similar or equal rhythms.

Melos prolixum, melody consisting of many or few measures.

Melos homoeomeus,anomomeomeus, melody consisting of equal or unequal parts.

Melos simplex et compositum, simple and composite melody.

Multiforme uniforme, varied and uniform melody.

Melos polytropum, melody based on several modes.

Polychroes et polygenes, melody of different outlook and origins.

Metasymphoniasums, movement to another consonance.

Anasymphoniasmus, repetitioof the same consonance.

The proparoxytonus accent has a dactylic power and a reputation for gravity, particularly because the languages that do not have it are specific to people that are fairly feeble and furious.

Earlier accents, such as those of the Etrusci, denote a deep mind and profound sentiment.

The oxytonus accent indicates, instead, thrust and daring, while the paroxytonus has nothing but

In our epic poems, there are few proparoxytonus words, which organise the poems on the basis of gravitas.

Apodosis can be a compositional term, as can Epidosis and Metadosis.

1 . . . . . . (tie) whose first part is a consonance and the second a dissonance.

2 whose first part is a dissonance and the second a consonance.

3 whose first and third part are dissonances, and the mieddle one a dissonance.

4 whose first and third part are dissonances, and the second one a consonance.

5 whose second and fourht part are consonances, and the first and third consonances.

6 whose dirst and third are consonances, and the second and fourth dissonances.

[-<f.5v>-] [Doni, Aduersaria Musica B, 5v; text: Agoge directa, reflexa, anagoge, catagoge, Pyramidoides, conuersa, circumfleza, inuersa, Pettia, Syringias, Quaternaria, [[ad diatessaron]], tetradica, [[Agoge pettia]] AnAgoge Spiralis, helicoides, [homoiobathmos], Quinaria, Diapente,[[ad]], et cetera, climacias, [[diasta]], pettia, pettoides, [[paragogica seu]] diastolica, huic contraria, systaltica]

[-<f.6r>-] [Doni, Aduersaria Musica B, 6r; text: Anaploce pettoides, spiralis diatrion, Diatrion, Plocopettia, [isobathmos], diatessaron et cetera, Plocopettia diastolica anabatica, Combinatio, [syndiasmos] [homoiosemps] et cetera, climacias, dyadica, [syntriasmos], [anomoiosemos], [homoiosemos], scalaris, [monobathmos diphthongos], Dibathmos tri[phthongos infra lin.], <a>fidie, antiphonemata simplicia, Multiplicia scilicet composita, duplea]

A brief fuga, which is often reduced, is called perfidia.

[-<f.6v>-] [Doni, Aduersaria Musica B, 6v,1; text: [homoiosemos], [anomoiosemos], du gallon]

Some sections of melodies are [homoiomele], others are [homoiorhythma], others [amphomoia], others paromeomeles, and others paromoeorhythmae.

[Doni, Aduersaria Musica B, 6v,2; text: [paromoiomeles], [paromoiorhythmos], [[paramphomoia]], [homoiorhythmos], [homoiomeles]]

[-<f.7r>-] [Doni, Aduersaria Musica B, 7r; text: [mone], stasis, Ploce, et cetera, [[ploce]], [[ca<ta>ploce]], symploce, epiploce, Periploce, Periplokon. Synepiploce, Synodia oxypycna, Barypycna, amphypycna, Mesopycna]

A composition in several parts can be duplex triplex, quadruplex, quintuplex, sextuplex, dyadica, triadica, tetradica, pentadica, sexadica.

[-<f.7v>-] The fourth is expressed perfectly by a pyramid, as it has four sides that are equilateral triangles. The fifth is represented by the cube. The pyramid, in fact, has three angles as its basis, just as the diatessaron has three intervals. The diapente is represented by the cube. In fact, just as the diatessaron has three intervals, similarly, the diapente has three angles at its base. The diapente has four angles at the base and four raised ones. Moreover, the diatessaron has fours sounds, the pyramid four sides and four angles. The diapente has five sounds and the cube five visible sides. Hence, the Diapason can be represented as follows.

[Doni, Aduersaria Musica B, 7v,1]

Moreover, through these reasoning, it is possible to conceive the Diapason as the number ten, as the four sides of a pyramid and the six of a cube added together amount to the number ten.

It appears that the diatessaron absolve the single of function of being complementary to the diapente, as, according to Aristoteles' opinion, the female seed contributes only to the nourishing of the foetus, while the male one contributes also to the development of its structure.

3/2 the diapente has the superior number even, which is

4/3, conversely, represents the Diatessaron;

The Ditonus, 5/4 and the Diapente, and,, the Semiditonus and the Diatessaron, constitute, respectively, the major Hexachord, 5/3, and the minor Hexachord, 8/5.

Note that the difference between 5 and 3 is 2, and between 8 and 5 is 3.

Hence, 3 and 2 form the diapente, which, added to the major and minor hexachord, constitutes the Disdiapason

[Doni, Aduersaria Musica B, 7v,2; text: 5, [[signum]], 3, 2, differentia, 8]

If the numbers are ordered in this way, the sequence of the consonances will be apparent, namely, 5 and 3 represent the major hexachord, 3 and 2 the diapente, 8 and 5 the minor hexachord, 5 and 3 the major hexachord.

Moreover, the diapason diatessaron consists of the ratio 8/3. you notice in this case that the minor hexachord is represented by the ratio 8/5 and the major one by the ratio 5/3.

The diatessaron is a part of the diapente and the Semiditone of the Ditone in the same way that the woman is a part of the man.

Contemporary teachers who do not sing children chromatic intervals, and even less enharmonic ones, are wrong to do so.

One can name four opinions regarding the position of the diatessaron: the first one, of those who place it between the Diapente and the ditone; the second one, between the ditone and the semiditone; the third one, between the semiditone and the two hexachords; the fourth one, after the two hexachords, in the last place.

[-<f.8r>-] [Doni, Aduersaria Musica B, 8r; text: sexta, tertia, maior, minor, 53, 65, 85, 54, 8, 11, 13, 9, 3, 2, 4, 1, Dupla]

Among the consonances, the Diapason and the Diapente are comparable and do not have a specific property.

The Ditone can be placed with the Diapason and the Diapente.

The minor third and the minor hexachord are weak and effeminate.

The Diatessaron and the major hexachord are rather harsh and hard, and excessively masculine.

Homosymphonia Cyclia, namely, circularis, means a canon.

In certain Ricercari by a Spanish composer, three parts sing in the same time proportion, but one contains three notes per bar, a second one six and the third one nine. It produces a pleasant effect.

Adriano Villaert's three-part compositions are very highly esteemed.

Comma Toniaeum 81/80 [[Semicomma]] [Dicomma corr. supra lin.] major [[82]] 41/40 82 80 [[Semicomma]] [Dicomma corr. supra lin.] minor 42/41 [[Quarta Commatis pars]] [Tetracomma maius corr. supra lin.] 21/20 [Minus corr. supra lin.] 22/21 Octacomma major 11/10 Minor 12/11 6/5 major [[7]] minor 7/6.

It is not possible to proceed in a different way than this one, as, in fact, the number five cannot be divided into two parts.

Just as as paintings that consist of very contrasting colours are very beautiful, thus the Enharmonic genus consists of the largest and smallest intervals. The Chromatic follows, and it occupies the middle ground. The Diatonic holds the third place, while the last one pertains to the last genus, such as the Ptolomy's Diatonic 12/11 11/10 10/9, for which reason it can be called an anomalous Enharmonic genus.

Equivalence of intervals is commonly known as participatio.

The place (or the order according to status) of the Diatessaron appears to be between two thirds.

[homalon], Ptolomy's Diatonic genus.

[homaloeides], various species of the Diatonic genus [Diatonicum syntonum ante corr.].

[anomaloeides], various species of Chromatic genus.

anomalon, Enharmonic genus.

[-<f.8v>-] [Doni, Aduersaria Musica B, 8v; text: diapente iusta, diapason, Ditonos diminutus, Semiditonus iustus, diatessaron, diapente diminuta, aucta, A, b, C, d, e, f]

Since, for the most part, the Diatessaron is sung nowadays a little larger and the diapente a little smaller, even when they divide the diapason, hence it follows that the ditonum is reduced (in this form it is also consonant, but not the semiditone, which would not be consonant) without great loss of consonances. So, if A a is a perfect diapason, A e a perfect diapente and e a a perfect diatessaron, if the note e is lowered a little, the diatessaron d a will be slightly enlarged, while the diapente A d will be slightly reduced.

Consequently, if the note that divides the diapente into a ditone and a semiditone remains fixed, we will have the ditone A [[d]] [c corr. supra lin.] perfect, but the semiditone [[b]] [c corr. supra lin.] d reduced (the place the straight one between c [b ante corr.] and e). But if the Semiditone does not divide it, it follows necessarily that the note c is moved and placed as b, with the smaller ditone A b at the bottom and the perfect Semiditone b d above it.

When the Enharmonic Lydian and Hypolydian were sung alone, they appear to have started from a diesis, while, when they were sung together with other modes or genera, [[from two diesis]] they started from a ditone in the Enharmonic, from a semiditone in the chromatic, and from a tone in the Diatonic. The Dominicans, quite differently from others, sing great part of the hymn Te Deum starting from a tone.

Claudio Monteverdi's instrumental bass lines require for the most part a single note, and do not produce a good effect in ensemble if others are added. Nevertheless, he used to compose using a lute with many upper strings

Cockerells naturally sing the Dorian mode, sacred to the Sun.

Doves sing the Hypolydian, sacred to Venus.

Dogs sing the Phrygian, sacred to Mars.

It must be considered whether, in order to preserve the nature of the modes, where one ascends by leap, one ought to descend by step and vice versa.

It appears that this should be observed in order to preserve the nature of the modes, so that the longer notes and those that follow a rest are placed in the main notes, not merely at a cadence, unless weakness requires otherwise.

Lions sing the Hypodorium, while eagles perhaps the Hypophrygium.

[-<f.9r>-] Stefano del Nilbio in a certain mascherata set to music the word conculcation, repeating it often and combining it into these sounds c, o, n con, c, u, l, conculi [[ca]] c, a, ca, t, zi, cazi.

The individual parts in Luca Marentio's works do not appear to be beautiful to sing, but they sound very beautiful when sung together.

This rule is given to compose well for several parts: once the main idea is completed, it must be worked in all the parts together, namely, each part must not worked out separately and another one begun after the previous is completed, but they have to be worked out together, a few bars at a time, following the technique of those who make baskets. Once a circular support is in place, which represents the main idea or subject, the empty sections are filled in at the same time, rather than waiving them loosely and thickening them out afterwards. Thus, the individual melodies prove more varied, since, in any other way, the parts composed at first would consist of stepwise motions, while the ones composed at the end would be full of wide leaps.

If someone composes on a given subject proceeding in a note-against-note fashion operates in a similar way to someone who emends faulty verses.

When the trombone is blown with forceful breath and completely closed, it naturally produces the octave, then it rises to the fifth, then to the fourth (which also proves that the fourth is a consonance), then to the major third, and, finally, to the Tone.

The example quoted by Zarlino in the second chapter of the eighth book of the Supplementi della Giumetta, which consists of a fifth between the notes C sol fa ut and G sol re ut, ascribed to the Lydian, should be much more accurately assigned to the Hypophrygian, since both have the same species of the fifth. Hence, one sees that the trumpet is naturally Phrygian.

Notes characteristic of the Hypodorian: Re, la;

Note characteristic of the Hypophrygian, Vt [ut ante corr.], sol;

of the Hypolydian, Fa, fa;

of the Dorian, Mi, la;

of the Phrygian, Re, sol;

of the Lydian, Vt, fa;

of the Mixolydian, Mi, mi.

Prosultus and Subsultus can be words connected with dancing.

When you see connected modes, they have some notes in common.

Just as Prosultus, Insultus and Dissultus.

[-<f.9v >-] [Doni, Aduersaria Musica B, 9v,1; text: [te], [ta], [te], fa, sol, 3, 5, 6, [signum], [signum], 8]

In this passage, one can see a tone between two semitones, namely, the one between C sol fa ut and D la sol re. Moreover, since it would be difficult to sing, one places two [M] [M]

for every [S], or one has to utter the second sol as the first fa, as it is marked. If there are words, it cannot be struck again.

[Panarmonia], the greatest consonance.

[Doni, Aduersaria Musica B, 9v,2]

Homophonesis [scilicet tautophonesis add. supra lin.], a passage encompassing the same note

Homoephonesis, the repetition of the same passage, a completely literal imitation in other notes.

Paraphonesis, the similar repetition [[ei]] of the same passage on different notes, also known as Imitation.

Inverted homophonesis, Retrograde Fugue.

As a whole, they can be called antiphonemata or 'on different notes'.

Homophonemata, Homoephonemata and paromoephonemata can be called the same passages, but of a longer span.

Analepses [ton calon] are repetitions [commonly known as repeats add. supra lin.] of the same endings.

Epanalepses, commonly known as three-times repeats, are passages repeated three times. They can be called holocolae or commaticae according to whether they repeat a passage wholly or in part.

1 A [la mi add. supra lin.] re D la sol re can be called connecting notes.

2 B. fa b. mi E la mi can be called notes enabling change.

3 G. sol re ut F fa ut C sol fa ut can be called characteristic notes.

[-<f.27r>-] To [these add. supra lin.] musical genera, Diatonic, Chromatic, Enharmonic, Mixed and shared, it appears necessary to add the confluent genus, in which fewer notes taken from a number of the other genera, and in no particular sequence, are intermingled.

These appear to be the most comfortable syllables associated with the notes.

[Doni, Aduersaria Musica B, 10r,1; text: a a, ta ta, g ti, f [[la]] re, e da, d to [tho ante corr.] c li ri, [sqb] de, b le. A ta tha, G it, F [[la]] re, E da, D to [tho ante corr.] C [[la]] ri, B de, A tha ta]

The seven letters have individual syllables, and, thus, they correspond both to the syllables and the letters. The middle one, ta, is partially the same as tha Proslambanomene and Mese hyperboleon and partly different. It is the same because it responds in the same way as the others, but different so that it has its specific note, as the closest of all, and also to avoid that it may have the same sound as the closest, ti. Notes that answer each other at the fifth, have the same consonants, such as ri, re, to ti, (however, da, ta are interchangeable, as they are so similar). The notes that answer each other at a tritone, although through four notes, have different consonants, as in the case of ut re da B, E.

The notes that answer each other at a diapente, have the same vowel, as in the case of

tha, da, de re, etcetera; those that have consonants slightly enlarged or reduced answer to very similar locations, such as in the case of soft, medium [medium et aspirate add. supra lin.], as in the case of tha and the.

The diatonic vowels can be ordered according to this illustration

A E wide I O wide

Chromaticum e short

Enarmonicum o short

[[Doni, Aduersaria Musica B, 10r,2; text: atha, gheti, fere, e da, deto, Keli, Keri, bede, bele, ata, Bede, Atha] in marg.]

In the case of [[Chromatic]] [Enharmonic corr. supra lin.] notes, it will be possible to use c re (with a short e) between B de and C ri;

D te (with a short e) for the Enharmonic Lichanos Hypato Enarmonio and for the Enharmonic Parhypate Hypaton;

D to (with a short o) for the Chromatic Lichanos Hypaton;

C ro (with a short o<)> for the Chromatic Parhypate Hypaton, and similarly in the case of the others.

[-<f.10v>-] Zarlinus correctly places between b et [sqb] a semitone of this size, 135/128. It flows from this that there is no perfect Diatessaron between G and C, but a wider than perfect one. The same occurs between A and d and between b and e (it is, in fact a larger tritone containing more than two major tones and a minor one).

It is, moreover, well known that the interval between F and [sqb] is a trotone [[but, equally, that is rather enlarged]]

Equally, between G and e, but in the same way as between G and d #. In fact, the sign that we place there signifies four commas.

There are three main species of tongue positions employed by cornettists and flute players. They can be called Tatetismus Rarerismus Lalelismus. To these one can add the Tarelisums, the Tarerismus and the Darelismus, that are a mixture of the aforementioned three.

The comma placed by Zarlino and Salinas between C and D should be better placed between [sqb] and b, as, otherwise, this interval would appear uncertain, namely, sometimes it would be produced larger and sometimes smaller.

Zarlino correctly defines the three Systems of the Syntonic Diatonic in the sixth chapter of the fourth book of the Supplementi, which can be called natural, artificial and instrumental systems, or, rather, harmonic, melodic and instrumental.

Zarlino did not understand correctly the difference between grammatical, musical and rhetorical accent.

[[Cataglottismus]] could be also, and better, called diaglottismus [[cataglottismus]], and the enlargement that it expresses could be called Dialectus.

Polycrotic harpsichords are rightly called the ones in which several strings are hit by the pressure of a single particular quill.

Hypocrotismuscan be called a particularly elegant type of downbeat.

Anacrotismus can be called the small vibrations caused by the fingers of the left hand on the neck of a viol.

Epallaxis is the crossing over of fingers on the harpsichord, which occurs in stepwise motions.

[-<f.11r>-] The vowels could also be usefully called back into use instead of systematic or diagrammatic notation.

[[[Doni, Aduersaria Musica B, 11r; text: [Alpha], [Epsilon], [Eta], [Iota], [Omikron], [Ypsilon], [Omega], Mese, A, a, a a, uel si, A, B, C, D, E, F, G, a, b, [sqb], c, d, e, f, a a, t[omega], pu, bo, di, be, l[epsilon], tha, fro, ly, ta, p[epsilon], re, bo, lu, th[omega], [[pa]], d[epsilon], to, [signum], [Theta], b[epsilon], da, pa, fi, [signa]]]

[-<f.11v>-] [Doni, Aduersaria Musica B, 11v; text: A, B, C, D, E, F, [sqb], c, d, e, f, g, a a, [Omega], [Ypsilon], [Alpha], [Epsilon], [Omikron], [Eta], [[Omikron]], [Iota], [[Omega]] [omega corr. supra lin.], [ypsilon], [alpha], [epsilon], [omikron], [eta], [iota], [theta], t[omega], ly, ru, pa, t[epsilon], ro, be, thi, Enarmonium, [signa], ba [ta ante corr.], [[the]], d[epsilon], bhe, si molle, my, ny [thu ante corr.], [[pa]] [[fa]] ba, re, chromaticum, th[epsilon], [[fa]] [[fe]], siccum, fa, fe, Semitonium, Tonus, Semionium, Trihemitonium, Ditonus, Diesis minor, maior]

[-<f.12r>-] Systems of two modes seem to have been found to compose Chromatically and Enharmonically, in this way.

[Doni, Aduersaria Musica B, 12r; text: Nete diezeugmenon, Paranete, chromatica, Enarmonica, Hypolydius, Trite, Diatonica, Dorius, Paramese, Synemmenon, Lichanos Meson, Parhypate, et, Hypate, E, E [signum], F, F # G, a, b, [sqb], [sqb] [signum], c, c [signum], c #, d, e]

[-<f.12v>-] [heterophonia], according to Plato it means and playing. apud Platonem.

Singing proschorda according to Plato means homophonically and with the same rhythms.

Concentus [Consonantiae ante corr.] [[olig]] oligomele [oligopl melj ante corr.], means a composition with no less than two parts and no more than three.

Polymele Concentus means a piece in no more than six parts. Compositions in more than six parts are called sympleromusica.

Varieties of Paraphonestica music occur when several melodies of plainchant are sung at once, while other parts sing cantus figurati.

Another species occurs when the instrument, instead of the voice sings the fundamental part.

The species of Symphonomestic ensemble are two, instrumental and vocal. The mixed vocal one has two forms: a first one, when all the melodies sing words; a second one, where none sing words, but all hum and whistle. A third one occurs when one part sings a text, while the others only the vowels, as perchance it as practised in the choruses of the tragedy.

Grammatica, tragedy by Callia according to Athenaeum

Polychordum Epitrapeziu, Instrument with many strings resting on a table.

The endings or the passages of melodies that answer to previously heard ones and replete almost the whole melody with these, as in a imitative composition based on a subject, will be called antiphonemata with good reason, as it happens here and there in the Diapedeses.

Strict imitation are more correctly called Isophoneses, while less strict ones are called parisophoneses. Inverted strict imitations are called antisophoneses

Parenthetic melodies can be called.

Epithetic melodies.

An emphatic melody can be called one that produces an air, but does not have words.

A dialectic melody is one that creates an air with words, or that expresses a specific melodic contour, arioso.

Emphasismus is the expression that occurs through music or through an appropriate melody.

Commaticum melos is a melody that is broken, divided and not coherent.

[Ten] The extended five digits of the hand demonstrate the diapente. The diatessaron is illustrated by four straightened fingers and the thumb pushed down. The diapason is indicated by the four straightened fingers of each hand.

The tone of the division is indicated by the distance from the thumb to the first finger.

The Phrygians used the number seven as the number ten. Herodotus <aliqua desunt>

[-<f.13r>-] Diatessaron can be illustrated as follows.

[Doni, Aduersaria Musica B, 13r,1]

The Diapente as follows.

[Doni, Aduersaria Musica B, 13r,2]

The Diapason is represented by the twi hands, right and left, joined together.

Of the instruments, some are Aphthonga [Aloeophthonga ante corr.], namely, those that have fixed notes, such as the lyre, the clavichord, the pipe organ. Others are Alloeophthonga can vary the pitch of the notes, such as the lyropandura, the viola, trumpets, trombones, etcetera.

Other instruments are somewhat in between these two sorts, such as the flute and the lyre.

Some instruments are played percussively. Some are played in a vertical position, such as the harp, others horizontally, such has the clavichord, others in a position half-way between the two, or orthioplagia, such as the lyres.

Epistygma et Hypostygma, apostrophe and comma.

Some instruments are [akribosymphona] [or [teleosymphona] add. supra lin.], which means that they have perfect consonances.

Others <aliquid deest>.

The harpsichord can be also be called Plagiosambuca, or rather the choir [in the church in Lignon].

The interval of the tritone is harsh, the semidiapente is soft. In fact, the triteone exceeds the diatessaron and the semidiapente is smaller than the diapente. Augmented intervals are harsh, while diminuished are soft.

The minor sixth is more perfect than the major sixth, because the minor is closer to the diapente, an inferior consonances, and the major to the diapason, a more perfect consonance.

Tanilli can be called the keys of a harpsichord because of their square shape.

[[Superiore]] [Transtilli corr. supra lin.] can be called the wooden guides that are placed under the tanilla. Subsilia, or saltarelli, are the middle part of the plectra into which the quills are inserted. A wooden barrier or separator, small pointers that separate the strings by semitone, small iron bridges or magades.

Bombaulus appears to have been a name for the pipe organ. Hesychius, in fact, describes [bombaulios] as a flautist who can [bombein aulon]. Subsequently, a certain type of instrument called Bumbolum is mentioned in the works of Rabanus Maurus, which was called thus perhaps because its name was deduced from there.

[diaulonia], as found in Eusthatius, appears to be a ragnaia, or a thicked of trees where birds make their nests.

[diauleion] was called the performance of a player of tibia on the stage between the acts of a play.

Instruments such as the flute [[and the Pandurro Calamaulus]] produce one note a time, others several at once. In between these two classes are instruments such as the panduria.

The rhaptaulus is an instrument able to produce one note at a time.

[-<f.13v>-] The organ can also be called t Polyaulus, organum Tuscum

Bombaulus and Physiaulus.

Polychordum canonicum or Polychordum catalepticum [or clauichordium catalepticum add. supra lin.] can be called the instrument that appears in an illustration of Zarlino's Supplement. Its function can be gathered from the sounds of the notes.

Octochordus Canon seu octachordum Canonicum, which can also be referred as Ptolemy's, are all this kinds of instruments.

Mixed modes appear to have been used most of all in chromatic compositions, since such mingling occurred mostly between modes that were a semitone apart. For this reason, it seems that the Hypodorian and the Iastiodorian were used [[(the Iastiophrygian more rarely)]], but the Phrygioaeolian [[ita]] rarius[[)]] as well as the Lydiaeolian more rarely).

The Iastioaeolian and the Iastiolydian were used more frequently, and occasionally the Iastiophrygian. The Doriaeolian, the Doriophrygian and the Doriolydian were, however, never used.

Iastiaeolius more frequently used.

Iastiolydius

Iastiophrygius

Iastiodorius

Hypodorius Saturn Moon

Hypophrygius Jupiter Mars Mercurius

Hypolydius Mars Venus Venus

Dorius Sun Sun

Phrygius Venus Mars

Lydius Mercurius Jupiter

Hypolydodorius Less frequently used.

Phrygiaeolius

Lydiaeolius

Doriaeolius Rarely used.

Doriophrygius

Doriolydius

Hypolydoiastius

Doriastius Iasti Dorius

Phrygiastius Iasti Phrygius

Lydiastius Iasti Lydius

Doriaeolius

Phrygiaeolius

Lydiaeolius

These are the only mixtures that, it appears, should be adopted.

[-<f.13v>-] [Doni, Aduersaria Musica B, 13v; text: Homphonia

alterna antistropha, XII, Quinta]

[-<f.14r>-] When one composes on a chromatic subject another

chromatic part, it is inevitable that some intervals that are very

difficult to sing are created, particularly when the parts proceed

note-against-note.

The Enharmonic genus admits equal dieses much more

than the chromatic genus admits chromatic semitones.

According to Aristotle, [Magadizein] seems to mean 'to play on a bourdon',

namely, when the top part or the bottom part continue to play the same

note, while other dissonant notes are played or sung at the same time.

The Colascione is called by the Greeks [dikhordos],

and commonly [tampouras], perhaps from the term [pandoura] distorted,

as if to mean an Italian tamburo.

[kibourion], name of an musical instrument popular among the Greeks of our time.

Greek singers of Mount Athos, when they hear Greek singers from Crete

and others who sing in the Latin style, they usually despise them,

albeit they are more artful and sing more sweetly. Why?

Because they seem to have defected to the West.

Ceraulus is called [kerato] by the modern Greeks.

[[Psa]] [psalterion] [[psalerion] ante corr.] is called by modern Greeks

a triangular instrument with sixty strings arranged on a table. They think

that David used it and that it can be called psalterium epitrapezium.

When Luca Marenzio directed some singers, he always intoned the same note,

the fa of F fa ut, without changing the tone, while the singers

tuned themselves to it.

When Mutio Efrem beats triple time, he does it in this way:

he beats a table with his finger and says 'one'; second, he lifts the hand

and stops for an instands; third he lifts the hand a little more,

and then he starts again.

Others, when beating triple time, do this: they beat the downbeat on the table,

then they raise their hand towards the left hand-side,

they finish raising their hand on the third beat, and then they start again.

The higher-pitched Cerauli are blown with great difficulty.

Ectatic instruments draw their name from their ability

to extend the sounds ad libitum, as in the case of the flutes.

[-<f.14v>-] Acrophthongi instruments are those that are struck briefly, such as the lute, mediophthongi or parectactic instruents are those that are those that are struck a little longer.

Lutes and organs do not sound well together. Consequently, viols and harpsichords sound even worse. In face, viols are ectatic instruments, not only harpsichords are acrophthongi, but the former are [isemitonia] and the latter [isotonia], but viols are [neurokhorda], while harpsichords are [khalko]chorda.

Iteration can be called a sign of repeat of the melody and anadiplosis in Greek.

Duplicata, the interval of a fiftheenth.

Triplicata, the interval of a twenty-second.

Replicata, the interval of a tenth decima.

Reduplicata, the interval of a seventeenth.

Replicatio, Duplicatio, Conduplicatio.

In Ptolomy, apopsalma is the alternation or section of the string of the canon, whose sound is not explored, or the interval of the parts that is left over after several sections that produce continuous sounds and it serves as complement to the diapason. For instance, in the common lute in which the distance between the last fret and the previous is smaller than the previous ones, which can be called epipsalma or anepipsalma.

Antipsalmata can be called the homophoneses of the instrument to the diapason.

In Proclus, propselaphemata seem to be the light touches of the strings that the kitharists apply when they test the strings or when they prepare the ears of the audience. These are shorter than the preludes called procitharismata.

Pampselapheses indicates names and words in a speech, rhythms and melodies in musical compositions.

The noise of the bombards obstructs the ears of the players to such an extent that many say that they cannot hear themselves for quite a while afterwards.

The triple ratio consists of a dupla and a unit. The unit is half of a dupla. The tripla represents the diapason diapente, therefore the diapente is half of the diapason.

[-<f.15r>-] [Doni, Aduersaria Musica B, 15r; text: Diagrammata testudinis Panarmoniae Semimaius, Pro Enarmonio, chromate, A, b [signum], b, C, d [signum], d, E, Tonus, [[Semitonium minus]], Semitonium minus, Diesis maior, minor]

The most easy tuning of string instruments for the Enharmonic genus appears to be the one that happens through Diatessaron, Tone and Diatessaron; for the Chromatic, the one that occurs through Ditone and Trihemitone and has to return to the beginning.

Antagoge means conjoint movement between two parts.

Antiploce means disjoint stepwise movement between two pards.

Paragoge means that one part holds a note and the other one procedes by disjoint movement.

The Romans called the melos rhytymic modes or numbers.

Didymus' Enharmonic appears more suited to the lute, while Archytas' to the harpsichord.

The space between the bridge [hypagogea] and the peg box.

The sound produced by that section.

The section between two frets that is added as an complement towards the high register to a particular consonance.

[The places of the Canon marked with numbers where the bridge stands add. infra lineas]

Interchordium, space between two strings.

Interiugium, space between two junctures.

Those who number the tones as fifteen did so correctly. Fifteen, in fact, are the number of notes in the whole system.

The minor semitone appears to contain seven major particles, the major one nine; the major diesis appears to contain four, the minor one three.

Alternatively, the major semitone appears to contain four particles, the minor three; the major diesis five, and the minor four.

Apollo is the symbol of speculative life, Bacchus of active life, Venus of a life imbued in pleasures. Thus, the Dorian mode suits Apollo, the Phrygian Bacchus and the Lydian Venus.

Apollo presides over reason, Bacchus on irascibility and Venus on desire.

The Enharmoniac genus suits Apollo, the Diatonic Bacchus and the Chromatic Venus.

[-<f.15v>-] It is plausible that the major semitone should contain six particles and the minor five, in order that a ratio of the Semiditone may be achieved that renders the remaining space a diatessaron. Equally, the major Diesis has to contain five particles and the minor four, so that the ratio of the Ditone may be achieved that contains the remaining space, namely, of an Enharmonic diatessaron.

In fact, if the major semitone contained three parts, the minor two parts, the major diesis four and the minor diesis three, then it will appear that it matches the Diapente of the Chromatic and the diatessaron of the Enharmonic, and, consequently, the Diapason of the Diatonic, by assigning five particles to the tone and two and a half to the semitone.

If we want the major semitone to contain six interval particles and the minor five, I believe that seven particles of the note should be ascribed to the major semitone and five to the minor one, which must be understood if the major semitone is placed in the low register and the minor one in the high register.

It appears that the Diatonic genus mixes much better with the Enharmonic than with the Chromatic as it is very clear to the ears. If, after two dieses, one touches the nearest minor semitone, the melody will be less balanced than if one arrives to a tone after two dieses.

Just as the Diapason contains twelve semitones (which are equal in the viol), thus the tone will contain twelve particles, of which seven will be ascribed to the major Semitone and five to the minor one.

The diapente contains seven semitones, namely 4 3. The diatessaron contains five, namely 3 2, as one can see by the different numbers.

The Diatessaron appears suited to the Diatonic genus, the Ditonus to the Enharmonic, the Trihemitone to the Chromatic. Thus, the Tonus appears to contain twelve commas, seven for the major semitone and five for the minor.

Where it is to be considered whether two commas amount to the interval that normally in the common lute can be seen between two minor semitones.

What if there were a new genus of the Enharmonic and Chromatic in which, instead of the diatessaron, the tetrachords contained, in the Enharmonic, a ditone, and in the Chromatic a trihemitone, namely, in the Chromatic genus:

Major Semitone

Minor Semitone

Major Semitone;

in the Enharmonic genus:

major diesis

minor diesis

Interval of a Tone and of a minor Semitone?

The Diatonic, nevertheless, will not change, in which this seems to proceed correctly, namely, that the Enharmonic genus, which I would class as the most magnificent of all, has the largest interval.

Moreover, just as in the chromatic genus is established within the ditone through Semitone, Semitone and [(minor) add. supra lin.] Tone, the Enharmonic is realised in the trihemitone through diesis, diesis and major Tone, but the thickened Enharmonic consists of three separate dieses and a compound interval of three dieses. [-<16r>-] The thickened Chromatic consists of [[4]] [3 corr. supra lin.] [[diese]] separate Semitones and a tone. [[But, instead of the tone of the division the thickened Enharmonic will have]] However, this kind of Enharmonic genus will have three compound Semiditones and one uncompounded one.

Consequently, the third interval of the Diatonic Tetrachord is the major tone, while the third interval of the Chromatic Tetrachord is the minor Tone, and, of the Enharmonic, the major Semitone.

Simple prosodies or accents [[it is double]] are two, Grammatical and Musical; the compound ones, similarly, are Rhetorical and Poetical.

Grammatic prosody teaches to elevate a syllable where necessary, as well as to produce the sound, to aspirate, et cetera. Musical prosody teaches epitasis and anesis, namely, presence and absence of pitch, on the syllables and to highlight those that are found in a speech. Rhetoric prosody considers both matters and teaches to apply the musical accent more frequently, as well as to pronounce the Grammatic accent more clearly where needed. Also, it considers silences and pauses within the synctactical structure, etcetera, as well as the fastness or slowness of the speech.

[<Poe>ma<ti>ca in marg.] Poetic prosody does the same, but more expressively and in a way that is closer to singing.

The monotone voice can be expressed thus:

[Doni, Aduersaria Musica B, 16r,1]

The declamatory voice can be shown thus:

[Doni, Aduersaria Musica B, 16r,2]

or thus.

[Doni, Aduersaria Musica B, 16r,3]

The middling, poetic or recitative voice thus:

[Doni, Aduersaria Musica B, 16r,5]

The melodic voice thus:

[Doni, Aduersaria Musica B, 16r,6]

It is better to say that the natural System proceeds through the Pentachord and the Tetrachord, than by Diapente and the Diatessaron.

In the correct modes there are eight or nine different notes

Subprimus Primus superprimus Submedius Medius Supermedius Subultimus Vltimus Superultimus

[aphegoumenos] [hegoumenos] [ephegoumenos] [apomesos] [Mesos] [epimesos] [apeskhatos] [eskhatos] [epeskhatos]

[hegoumenos] can be called preceding.

Some instruments are simle and other complex. The latter can be called polyorgana.

[-<f.16v>-] [Doni, Aduersaria Musica B, 16v; text: C, C #, D, D #, E, E #, F, F #, G, G [signum], 1 Citharae, 2 Fides, Semitonium minus, maius, Ditonus]

If the second string of the citola is tuned to the top string forming the interval of a major third and leaving the frets as they are, then, if one plays on the first fret the F fa ut, it forms a smaller fourth with the second. However, if the first string is stopped as to play a E #, which is about a minor semitone above E, said fourth will be tuned exactly.

Several consequences flow from this. Firstly, the distance from C to D is a minor semitone and from D to E is a major semitone; secondly, that the distance from D to D # is a major Semitone and from D # to E is an equal semitone, since, were they both major semtone, they would amount to a minor tone more than a ditone; thirdly, that the fourth tunes within its ratio.

It appears that the tone can be divided into two equal semitones. In fact, if the numbers 9/8 are multiplied by ten so that they ascribe ninety particles to the lower note and eighty to the higher one, then the difference, ten, is diveded into two parts, five and five, and those five particles are added to each of them, it appears that an equal semitone shall occur between those two notes.

So that the perfect consonances, namely, diapente and diatessaron, may be employed again in their proportions and, nevertheless, the compositions may be made varied with certain other consonances, to avoid them being too poor of invention, this is how one must construct the neck of the lute has to be divided into eight notes that make up the Diapason, but in the diatonic diatoniaeus genus, namely, into two limmas and five [[minor Semitones]] [major tones corr. supra lin.]. Then, the other enharmonic intervals shall be extracted from the Tones that sit above, so that what shall be left over from that tone will form the sesquiquarta ratio with the next whole tone. Then we shall have the Diapente and the Diatessaron in perfect consonance, and, consequently, the Diatesseron ditone and the major hexachord. Thus, one shall be able to play and sing Enharmonic melodies, and not chromatic ones, but only in a single mode.

[-<f.17r>-] [Doni, Aduersaria Musica B, 17r,1; text: Modus Dorius, limma, 9/8, E, e, a, Ditonus, Interuallum Enarmonium, Diatessaron seu hexachordum grauius]

Aristotle, in his work On the Sense and Sensible, maintains that there is the same relationship between colours as there is between sounds, but it seems a rather disparate reasoning. If, on one hand, black and white appear to have their extreme terms known and actually extant, low and high pitch do not.

A way to divide the neck according the aforementioned division can be this one. Take a canon divided into proportional parts, which one could call an analogic canon, such as the one used by lyre-makers, but divided with extreme precision, so that one side is divided according to the toniea species, namely in sesquioctave ratios, an other one is divided into limmas, equally carefully divided, a third one into Enharmonic intervals, [and a fourth one into chromatic intervals add. supra lin.]. Then, by applying to the neck of said canon the proposed intervals that it contains, one will be able to divide it by taking as its lower parts the one that has larger measured spaces, or the median or the highest pitched one.

[Doni, Aduersaria Musica B, 17r,2; text: Canon analogicus [[triplex]] [quadruplex corr. supra lin.] et cetera, hemitoniaea, [[Apotomaicum]], [[Interualla chromatica]], Toniaea in Lemmatica, Diaesiaeum intervallorum enarmonica]

Moreover, if between the pegbox and the extremity of the canon the boundaries of no harmonic interval, which derive from such canon, shall be conveniently formed, one shall be able to widen or shorten the span of the strings laid on the canon.

However, since what was described above shall suit only an instrument that has a few notes and since there is limited possibility for varied compositions, it shall be necessary to mix, as come used to do, another mode of those that lay at the distance of a semitone. However, to avoid to add specific sections and numbers in all of the seven main modes, namely, [-<f.17v>-] [Hypolydio in marg.] Dorian, Iastian, Phrygian, [[Lydian]] Aeolian, Lydian and Mixolydian and escape any confusion, on the wide side of the neck there could be added seven small canals, etched with their own openings, at the end which the specific numbers and the sections of each mode would be noted in black ink, wether with simple lines or numbers (the sounds being proportional to the length) or letters and note-signs of each mode. Moreover, the bottom of such canals will be of white ivory, for instance, so that they would stand out better in Greek. The holes, conversely, as the cover of the tones is black, will be made of ivory. The openings, in fact, will be contained by the gut frets of the canon themselves. It will be useful, occasionally, to cover the neck from the other side with a white ivory band on which the notes of the sounds would be marked.

[Doni, Aduersaria Musica B, 17v; text: lista bianca, Dorius, Phrygius]

One can adopt one of the other method ad libitum. Thus, you shall uncover this or that small channel and you will apply frets to those sections, and you will be able to tighten or relax the entire system by reducing the length of the strings with the help a pipe.

Music singers who are expert players of a particular instrument play the rhythms of musical compositions with greater accuracy.

[-<f.18r>-] It has to be noted that it is clear enough from the aforementioned division [[we consider it very clear]] [[successfully]] that not only a single tone could be sung in the Enarmonic genus, which is what it appears to have been the practice of the ancients.

Secondly, we note that the Ditone and the major Hexachord are specific consonances of the Enharmonic genus. In order to obtain the chromatic genus, in fact, it appears that the following intervals have to be added to the Diatone Diatonaeus: after the limma, another interval like the major semitone, so that the remainder of it detracted from a tone forms the interval of the sesquiquinta, namely, the semiditone, with the next whole tone, so that the characteristic consonances of this genus, the Semiditone and the minor hexachord, may be created. It has to be noted, however, that, albeit the aforementioned chromatic and Enharmonic intervals will consist of very disparate ratios and very large numbers, they will be useful, nevertheless, if those ratios were reduced to closer ratios consisting of smaller numbers.

Musical canons can be of different types.

The arithmetic or isologic canon is divided into equal parts and, mostly, the other side is divided into smaller particles, as in this illustration.

[Doni, Aduersaria Musica B, 18r,1; text: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 15, 20, 30]

The harmonic or analogic canon proceedes through the same ratios as the one used by the makers of lyres, as in this case.

[Doni, Aduersaria Musica B, 18r,1; text: 9/8]

These are the two species of canon without strings.

The canons that have strings can have one, two or eight strings, for the most part.

The canons with many strings have a single and static bridge or several and movable ones, or several fixed ones, such as the Helicon described by Ptolemy.

A canon is called arithmetic if it is divided into several numbers and the length of the string can be accommodated to it. An analogic canon is not the same, but it is frequently necessary to reduce or lengthen the board or the bridge.

Zarlino's canon with many strngs can be called Polychordal canon or Catalepterium with meny plectra or. . . . such [subtili add. supra lin.]chordum will have to be called cymbalum

[-<f.18v>-] [Doni, Aduersaria Musica B, 18v; text: Tetrachordum Chromaticum, [[Diatessaron]], Dorium, Trihemitonius, Tonus disiunctionis, limma, apotome, Iastium, Phrygium, E, F, G, [sqb], D, F, F #, G, [[Tonus distinctionis]]]

It appears that in the chromatic Genus, if the Iastius mode began with a minor Semitone and it was more intense than the Dorian because of its minor Semitone.

In the Diatonic genus, the left over between these modes amounted to an equal Semitone.

In the Enharmonic genus it appears that the mutations from one to the other or the mixing of them occurred extremely rarely, and I believe that this Iastius started from a minor semitone, but a major diesis, as the Dorian started from a major one.

Aristoxenus used equal Tones and Semitones very skilfully. In fact, though it were true that a tone could be divided into two equal parts, nevertheless such division could be so accurate that the difference would be minimal. This becomes clear if the lower string is ascribed the number 900 and the higher the number 800, and then the difference is divided as far as possible in equal parts. At least, if we double the number 8 several times we arrive at the number 321, namely, 8 16 32 64 128 156 312.

Similarly, by doubling the number 9 several times we obtain the sequence 9. 18. 36 72. 148. 196. 392.

We divide the difference between 392 and 312 into two parts as similar as possible.

The difference is, in fact, 80. It will be possible to divide a comma as 41 and 39 parts, whose difference is minimal.

Our major semitone is a comma larger than the limma, namely 51/80, hence, in the illustration placed above, it will be possible to place the comma that occurs between [signum] and [signum] between a and b., thus, for instance [signum].

[-<f.19r>-] The comma 81/80 shall be called more correctly Comma Toniaeum rather than Harmonic, as it is called by Salinas, because it amounts to the difference between a major and a minor Tone.

The comma of the ancients, namely, the difference between apotome and limma, shall be called Semitoniaeum rather than Pythagoric, which is what Salinas calls it.

In the illustration placed above, in short sequence, it shall be possible to play all of the three genera and all of the modes in a lute with bronze strings, by enlarging or reducing the section that divides the Tone of the division.

If the analogic canon is divided into a continous seris of major tones, it will be possible to apply those sections to the neck of the lute, and then, by enlarging or reducing the inner sections, it will be possible to create equal tones (except that of the division).

In order for those sides of the aforementioned analogic canon to be able to be adopted in the division of the neck, it is necessary for the Diapason to consist of hole apotomes, limmas and dieses.

The disposition of the tetrachord according to Didymus appears to be adapted to the Chromatic genus. In fact, the major Semitone is followed by the minor tone, which can be divided into a major and a minor semitone, through the mixture of two modes. For this reason it appears suited to the Enarmonic genus as well. However, Ptolomy's division is more suited to the diatonic. However, if the tetrachords are considered without regard to compositions and to the mixture of two modes, Ptolomy's division will be better suited to the Diatonic.

Didymus' Chromatic-Enharmonic supports each of these opinions because the Semiditone, a consonance that appears unsuited to the Diatonic genus, occurs rather rarely.

[[In the illustrations provided above]] All these Semitones can be found [in melodies, corr. supra lin.] namely, major, minor (in the minor Tone), equal (of the equal Tone), major and minor [(]of the major Tone[)].

This is the nature of consonances, which goes against common opinion. The more perfect they are, the more they can be vary from their correct proportion. This is evident in the case of the Diapente, which, however lowered, it pleases nevertheless, while, if it is augmented by the same amount, cannot be tolerated. Similarly, the Ditone can vary from its ratio (but only if reduced), while its opposite, the minor hexachord, will not sound very good, if enlarged.

[-<f.19v>-] Equally, it will be possible to alter the Semitone by enlarging it, while, if the minor hexachord is reduced, it will sound worse.

However, the reason why the Diapente [and the ditone add. supra lin.] can be made smaller and not larger, while the Semiditone can be enlarged and not reduced, is this one, namely, because all the consonances, when they are removed from their ratio, can only do so towards the consonance that is closest to them [or towards the opposite consonance to them add. supra lin.]. Hence, it will be possible to move the diapente towards the diatessaron, but not towards the minor hexachord, and the Ditone towards the Semiditone, but not towards the Diatessaron, since it does not respond to it as the Semiditone does in a certain way, particularly because it is further removed than the Semiditonus. It is not strange that the Semiditone cannot be made larger or smaller, as there is no smaller consonance than it is. Thus, the series of consonances in order of perfection after the Diapente shall consist of the diatessaron, the ditone, the Semiditone, the minor Hexachord and, finally, the major hexachord. The first three of these consonances are assigned to the first class, the latter three to the second class.

There is a difference between being a soft or sharp consonance and being a perfect or imperfect one. In fact, the Diatessaron is more sharp than the diapente, but less perfect, while the Ditone is, at the same time, more sharp and perfect than the major hexachord.

The Ditone is sharper if raised and softer if reduced, while the Semiditone is the opposite.

Also when the Semiditone has a Tone in the higher part and a Semitone in the lower part is sharper, as mi sol, while, if it has a Semitone above and a Tone below, it is softer, as re fa. However, the Semiditone behaves in the opposite way with regard to the lower regiser. In fact, if the tone is in the higher part and the semitone in the lower part, as in sol mi, it is softer, while if the tone in the lower part, it sounds sharper, as in fa re. This appears to occur in the same way in the major and minor hexachord.

In the case of the diatessaron, as its species are three, the matter is considered in a different way. In fact, while this interval appears to be the sharpest of all in the Phrygian species, in which the Semitone is flanked by two Tones, in the Lydian species, in which the semitone is placed above two tones, this interval is soft in ascending and sharp in descending. In the Dorian, conversely, it is sharp in ascending and soft in descending. This provides evidence that it also is more perfect than the Dorian.

[-<f.20r>-] One can deduce from this axiom that, in these species, when the intervals are sharp in ascending, they are soft in descending. Therefore, if we want to write a masculine and lively melody, we shall ascend with closer intervals than when we descend, and vice versa.

In the lute with metal strings, it appears that the tone of division ought to be delimited with a middle fret that divides the major and minor Semitone with metal frets, as in the case of the other notes, but also with a supplementary fret made of gut, which may moved back and forth, so that that tone may be reduced to the size of an equal tone by means of that fret, so that it may be placed correctly in each section.

Two, three, five and [seven add. supra lin.] appear to be special numbers, while three and [[trium]] [four corr. supra lin.] are the origin of the main harmonic proportions.

[Doni, Aduersaria Musica B, 20r; text: Way to use the major Tone in the place of the division in the Dorian mode with other four equal tones on the lute with metal strings, Semitone, minor Tone, major, of the division, E [signum], #, a, a #, b, b [signum], [sqb], e, Diesis, smallest, [[equal to two others]] 16/15, almost equal, 135/128, [sqb] signum, 81/80, 25/24, 135/128, comma, remainder of the minor diesis, et]

[-<f.20v>-] In the chromatic and diatonic divisions of the neck of the lute, because of the large number of notes, letter notations appears to be more practical and useful than tablature or chordasemia.

If we want to create a full texture, we have to mix the Iastius and the Dorian in the Diatonic and chromatic genus.

Iastolidian. [[I call it, infact]] I believe, in fact, that the Iastolidian was a mode that had the Lydian tone and the Iastian species, [[seu D]] which is not very dissimilar from the Dorian.

It is reasonable to believe that contemporary sinters [[appear to mar their voices]] have the sense of hearing spoiled by the practice of singing together with instruments that, in our practice, have consonances outside the remit of perfection. In fact, albeit Zarlino says that human voices are naturally eminently flexible at will in ensemble, so that they may sound in perfect consonance, nevertheless, because of this depraved practice, this cannot occur [[particularly as]]. Moreover, if one may be able to sharpen or flatten a particular note while holding it, as it is necessary, while the singer listens to the other voices, nevertheless a fraction of that note shall be sung out of tune at the very beginning.

High and low pitch appear to consist in density and sparseness, but what are these [[low pitch]] density and sparseness is not easy to define in words.

We can adopt letter signs, on the example of the ancients, in our scores beside tablature, as, for instance, in the neck of the viol chromatically and enharmonically divided, since it will be hard to make the transition from one to the other unless individual letters are assigned to each note and they are picked up in the playing.

The Enharmonic genus alludes to the disdiapason and the ratio 4/1, the Diatonic to the diapason and the ratio 2/1, the chromatic to the Diapason diapante and the ratio 3/1. (For this reason, perhaps, only imperfect consonances suit the Diatonic, the Chromatic all except the ditone and the Semiditone, and the Enharmonic all of them.

The Diapason in chromatic compositions is contained within the Disdiapason, in Enharmonic compositions within the Trisdiapason, or, rather, this rule should be followed in full passages [of chords add. supra lin.] that consists of various genera.

In Enharmonic compositions, one should use the Semiditone and the major hexachord, while the ditone and the minor hexachord should be used in the chromatic ones, but, when [[as one understands that]], in fact, they occur on their own (namely, in a chord of two parts) then perhaps the major sixth and the major third are more suited to the Enharmonic.

[-<f.21r>-] [Doni, Aduersaria Musica B, 21r; text: Canon Lyropoeicus [[Enneaplus]] Dodecaplus Analogicus, 8/7, 9/8, 10/9, 11/10, 12/11, 15/14, 16/15, 21/20, 19/18, 26/25 [29/28 ante corr.], 31/30, 24/23, 7/6, equal Semitone, ratios to be adopted, 5/4, 6/5, added to 5/4 produces 32/31, [[cum]], 114/90, 30/29, 200/27, 46/45, 56/55, Semitons of the lute, 28/27, [[sesqui]], equal Semitones, minor, major Toni, Canon Isologicus Arithmeticus, analogicus Geometricus]

[-<f.21v>-] [Doni, Aduersaria Musica B, 21v; text: E, E [signum], F, F [signum], G [signum], G, G [signum], G [signum], a, a [signum], a [signum], b, [sqb], [sqb] signum, e, e [signum], d [signum], d, d [signum], d [signum], e, Semitonium maius, diesis minor, major, Tonus, minor, of the division, 135/128, [[Lydiam]], Lydian, Aeolian, first, Dorian Tetrachord, Chromatic, secund, 1. Iastian, f, Enharmonic, Lydioaeolian, of the Dorian, Lydian, Aeolian, note of the Tone]

[-<f.22r>-] The Mixolydian and Hypolidian modes appear to be worse than the others, because they have the diapason divided into Tritone and Semidiapente, which they divide into two almost equal diapentes. In the Ecclesiastical tones, the relationship between the second and the first tone is the same as the one between the fourth and the third, and so on.

esiasticis sicut se habet secundum ad primum ita quartum ad tertium et cetera

[Doni, Aduersaria Musica B, 22r; text: E, E [signum], F, F [signum], G [signum], G, G [signum], G [signum], a, a [signum], a [signum], b, [sqb], [sqb] signum, e, e [signum], d [signum], d, d [signum], d [signum], e [signum], e, Ditonus, semiditonus, comma, diesis minor, major, Tone, 135/128, In the Dorian, Aeolian, Lydian]

[-<f.22v>-] Questions on Music.

Whether the Diatesseron is truly a consonance.

What place has to be assigned to the Diatessaron among the consonances and what degree of perfection?

What is the vocal inflection that can be heard in bells or in any instrument whose string is struck while it is moved?

As the sound of a string that is allowed to resonate after being struck little by little descends to the lower Diapason and, at the same time, the sound vanishes and disappears so that it is no longer heard from a distance, that movement of the instrument then causes the sound to move closer to our ears, to be reinforced and to regain its high pitch quality.

This occurs also when we speak, as, when we talk, we lower the voice after an exclamation, and then we raise it again through the syllables that carry an acute accent.

What is the most beautiful and perfect type of melody.

What people are more suited to music.

What combination is more suitable.

[-<f.23r>-] If the consonances are divided into perfect and imperfect, the perfect ones will be the Diapason and the Diapente, while the imperfect ones will be the Semiditone, the Diatessaron and the two Hexachords. If they are divided into perfect, medium and imperfect, the Diapason and the Diapente will be perfect, the Ditone, the Semiditone and the Diatessaron will be medium, and the two hexachords will be imperfect.

If the Diatessaron were to be placed according to its ratio, it would seem that its place should be after the Semiditone and before the two hexachords.

I believer the Iastian to have the same species as the Dorian, but, because we read in Plutarch that the Iastian was similar to the lower Lydian, namely the Hypolydian, this could be explained in this way. If E e is ascribed to the Dorian, F f, where the Hypolydian species is located, will have to be assigned to the Iastian. And, perhaps, the Iastian will match the Hypolidian in this, as it also has the tone of the division in the third place ascending, and not in the fourth, as the Dorian does.

The Dorian in the soft Diatonic appears to have had this tetrachord: 3 dieses, 2 dieses, 5 dieses and a Tone, while the Iastian, a semitone higher, this tetrachord: 2 dieses, 3 dieses, 5 dieses and a Tone.

Players of pandura experiment with a bow.

Median note of the tuning Tone, or Dorian. 1. The median note of the Tenor is G. On the harpsichord the middle note is D, which is most typical and it is employed as tuning Tone.

Few can be found who can sing perfectly and play certain instruments, particularly of the wind family [ton physeton]. One of these who can do it is a certain Ursinus Romanus from Bourges, who sings as an excellent bass and plays the high cornetto.

He blows the cornetto from through a wider embouchure, so that the sound produces is more vivacious and similar to the human voice.

In Gallia, when a musician travels through one of their cities, they host him for three days.

[-<f.23v>-] It appears that the Enharmonic cadence consists of a ditone (in the procataloga) and a Diapason (in the cataloga), while the chromatic cadence consists of a diapason (in the procataloga) and of a diapente or a minor tenth (in the cataloga).

Catalogae that prolong a composition appear to suit elevated emotions, while those that concentrate them appear to suit depressing emotions.

In depressing melodies, the more perfect consonances appear to suit the longer notes, while the more imperfect appear to suit shorter or faster notes. The opposite happens in elevating melodies, to which are more suited tied notes and imperfect consonances in longer notes, or even dissonances.

According to Proclus' commentary on the Timaeus, this appears to be the enoplian rhythm.

[Doni, Aduersaria Musica B, 23v,1]

I believe this to be the Orthian rhythm.

[Doni, Aduersaria Musica B, 23v,2; text: [en orge]]

In this passage, albeit one moves to the fifth by contrary motion, the effect is not good, because of some bad relations.

[Doni, Aduersaria Musica B, 23v,3]

Major Tridiesis, namely, three major dieses.

Median Tridiesis [minor ante corr.], namely, [[a major Tone and a minor diesis]] two major dieses and one minor one.

Minor Tridiesis [third add. supra lin.], namely, two minor dieses and a major one.

[Minor Tridiesis minor, or fourth, namely, three minor dieses add. infra lin.]

Major Pentediesis maior, namely, one major Tone and a major diesis.

Median Pentediesis, namely, one major Tone and a minor diesis.

Pentediesis minor third, namely, major Tone and major diesis. T

Smallest Pentediesis fourth, minor Tone and minor diesis.

[Doni, Aduersaria Musica B, 23v,4]