{
  "schema_version": 1,
  "id": "fenaroli-partimenti",
  "title": "Partimenti",
  "work_title": "Partimenti ossia basso numerato",
  "author": "Fedele Fenaroli",
  "reader_title": "Fenaroli · Partimenti",
  "source_language": "it",
  "source_label": "Original text",
  "reading_versions": [
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  "playback_tempo": "score",
  "status": "complete-review-draft",
  "verification_status": "needs-review",
  "edition_note": "The six-volume collection edited by Robert O. Gjerdingen. Prose reflows; Book III pairs Italian rules with his English translation and modern illustrative realizations. The 1795 Regole Musicali is retained as a separate historical reference, not a seventh exercise volume.",
  "notation_note": "Bass-only exercises sound only the written bass: supply your own upper voices. Printed realizations and polyphonic passages retain their supplied voices. Original notation remains available. Rendered figures and ornaments are review transcriptions; changes of figures over sustained notes may be spaced editorially. Book III’s original labels remain in source view. Practice tempo is adjustable, not a historical performance claim.",
  "coverage_note": "260 playable scores across all six books.",
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      "english": "Fenaroli’s Book I introduces the student to simple figured basses. Even the simplest partimenti of this set require prior knowledge of the three cadences and the Rule of the Octave as detailed in Fenaroli’s Rules (see the separate file). The first partimenti of this set avoid any suspensions or other dissonances. Later exercises introduce passing and suspended sevenths. A beginner can realize these basses with block chords in the right hand, or with a simple melody constructed from tones of the chords. With more experience one can add passing or neighboring tones or try to incorporate melodic motives already present in the bass.",
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      "english": "Play the written bass and supply your own upper voices. The bass figures guide the realization; they do not represent a supplied accompaniment. Tempo is adjustable for practice.",
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      "english": "Fenaroli’s Book II presents figured basses of moderate length and difficulty. They are intended to provide practice in handling suspensions of the kind introduced in Fenaroli’s Rules (see the separate file). Hint: “X” means “10.” A minimum level of realization requires that all suspensions be properly prepared and resolved. The next higher level involves recognizing apt locations for characteristic motives or figures. The highest levels fully develop the phrase and cadence patterns indicated in the bass and smoothly connect sequential passages through the use of ascending or descending lines.",
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      "english": "Because the concept of the scale degree or scale step is so central to the Neapolitan school of partimenti, and because the welter of numbers for both intervals and scale degrees can be confusing, scale degrees in the bass will be marked by numbers in white circles (e.g., ①) and scale degrees in Above: the uniform Fenaroli would the melody by numbers in black circles (e.g., ❶). have worn as a boy at the Conservatorio di Santa Maria di Loreto, This bilingual edition is based on the orignal Italian version Naples printed in Naples 1775, and on later manuscripts and prints held in the conservatory libraries of Naples and Milan. Below: Fenaroli as an old master Concerning Fedele Fenaroli (1730–1818) . . .",
      "original": "Because the concept of the scale degree or scale step is so central to the Neapolitan school of partimenti, and because the welter of numbers for both intervals and scale degrees can be confusing, scale degrees in the bass will be marked by numbers in white circles (e.g., ①) and scale degrees in Above: the uniform Fenaroli would the melody by numbers in black circles (e.g., ❶). have worn as a boy at the Conservatorio di Santa Maria di Loreto, This bilingual edition is based on the orignal Italian version Naples printed in Naples 1775, and on later manuscripts and prints held in the conservatory libraries of Naples and Milan. Below: Fenaroli as an old master Concerning Fedele Fenaroli (1730–1818) . . .",
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      "reading_order": 76
    },
    {
      "id": "book3-portrait-2",
      "type": "image",
      "english": "Fedele Fenaroli as an old master",
      "original": "Fedele Fenaroli as an old master",
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    {
      "english": "Fenaroli, a composer from the Haydn generation, studied with the great master Durante in Naples. Fenaroli rose through the ranks of teachers to became one of the co-directors of the newly combined conservatories of Naples in the early nineteenth century. Printed editions of his partimenti became common beginning in the early 1800s, and they remained continuously available from many publishers until the twentieth century. Fenaroli’s partimenti were praised by Giuseppe Verdi, learned by the six-year-old Luciano Berio, and widely studied at the Paris Conservatory until the early twentieth century. When the American composer Walter Piston went to Paris in the 1920s to study with Nadia Boulanger, one of his assignments was to write a string quartet inspired by a Fenaroli partimento fugue. Thus for generations of students, mastery of Fenaroli and mastery of the classical tradition were one and the same achievement.",
      "original": "Fenaroli, a composer from the Haydn generation, studied with the great master Durante in Naples. Fenaroli rose through the ranks of teachers to became one of the co-directors of the newly combined conservatories of Naples in the early nineteenth century. Printed editions of his partimenti became common beginning in the early 1800s, and they remained continuously available from many publishers until the twentieth century. Fenaroli’s partimenti were praised by Giuseppe Verdi, learned by the six-year-old Luciano Berio, and widely studied at the Paris Conservatory until the early twentieth century. When the American composer Walter Piston went to Paris in the 1920s to study with Nadia Boulanger, one of his assignments was to write a string quartet inspired by a Fenaroli partimento fugue. Thus for generations of students, mastery of Fenaroli and mastery of the classical tradition were one and the same achievement.",
      "type": "paragraph",
      "id": "book3-p02-text05",
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            "page": 2
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          "printed_label": "Book III · PDF 2"
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      "reading_order": 78
    },
    {
      "english": "The Rules of Music",
      "original": "Regole Musicali",
      "type": "heading",
      "id": "book3-p03-text01",
      "sources": [
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            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 3
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          "printed_label": "Book III · PDF 3"
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      "heading_level": 3,
      "reading_order": 79
    },
    {
      "english": "For Beginning Keyboard Players",
      "original": "Per i Principianti Di Cembalo",
      "type": "paragraph",
      "id": "book3-p03-text02",
      "sources": [
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            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 3
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          "printed_label": "Book III · PDF 3"
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      ],
      "reading_order": 80
    },
    {
      "english": "NAPLES 1775.",
      "original": "IN NAPOLI MDCCLXXV.",
      "type": "paragraph",
      "id": "book3-p03-text03",
      "sources": [
        {
          "pdf_page": 3,
          "source_image": "source-pages/book3-03.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 3
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          "printed_label": "Book III · PDF 3"
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      ],
      "reading_order": 81
    },
    {
      "english": "Publ. by Vincenzo Mazzola-Vocola",
      "original": "Per Vincenzo Mazzola-Vocola",
      "type": "paragraph",
      "id": "book3-p03-text04",
      "sources": [
        {
          "pdf_page": 3,
          "source_image": "source-pages/book3-03.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 3
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          "printed_label": "Book III · PDF 3"
        }
      ],
      "reading_order": 82
    },
    {
      "english": "Music is composed of consonances and dissonances.",
      "original": "[p. 3] La Musica è composta di Consonanze, e Dissonanze.",
      "type": "paragraph",
      "id": "book3-p03-text05",
      "sources": [
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          "pdf_page": 3,
          "source_image": "source-pages/book3-03.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 3
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          "printed_label": "Book III · PDF 3"
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      "reading_order": 83
    },
    {
      "id": "book3-p03-e01",
      "type": "music",
      "english": "",
      "original": "",
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      "sources": [
        {
          "pdf_page": 3,
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      "reading_order": 84
    },
    {
      "english": "There are four [types of] consonances, namely the [intervals of a] 3rd, 5th, 6th, and 8ve.",
      "original": "Le Consonanze son quattro, cioè 3., 5., 6., ed 8.",
      "type": "paragraph",
      "id": "book3-p03-text06",
      "sources": [
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          "source_image": "source-pages/book3-03.jpg",
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      "reading_order": 85
    },
    {
      "english": "The said consonances group into two perfect ones and two imperfect ones.  The perfect ones are the 8ve and 5th, which are said to be “perfect” because they are unchanging;  The imperfect ones are the 3rd and 6th, which are called “imperfect” because they change [in different modes].  And these [consonances] are always harmonious.",
      "original": "Le dette Consonanze si dividono in due perfette, e due imperfette.  Le perfette sono 8., e 5., le quali diconsi perfette, perchè sono immutabili: Le imperfette sono 3., e 6., le quali chiamansi imperfette, perchè sono mutabili, e queste sono sempre Armoniose. [p. 4]",
      "type": "paragraph",
      "id": "book3-p03-text07",
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      "reading_order": 86
    },
    {
      "id": "book3-p03-e02",
      "type": "music",
      "english": "",
      "original": "",
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      "sources": [
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      "reading_order": 87
    },
    {
      "id": "book3-p03-e03",
      "type": "music",
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      "sources": [
        {
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      "reading_order": 88
    },
    {
      "english": "There is a prohibition against two octaves or two fifths moving in parallel because, due to their perfection, they create no variation in harmony, and these [perfect intervals] are the fundamental basses that rule the key.",
      "original": "Si proibiscono di fare due Ottave, o due Quinte di moto retto, perchè per la di loro perfezione non fanno variazione di armonia, e queste sono le basi fondamentali, che reggono il Tono.",
      "type": "paragraph",
      "id": "book3-p03-text08",
      "sources": [
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      ],
      "reading_order": 89
    },
    {
      "english": "① [in the bass] takes the 3rd, 5th, and 8ve [as consonances above it].",
      "original": "La prima del tono vuole 3., 5., ed 8.",
      "type": "paragraph",
      "id": "book3-p03-text09",
      "sources": [
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          "pdf_page": 3,
          "source_image": "source-pages/book3-03.jpg",
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      "reading_order": 90
    },
    {
      "id": "book3-p03-e04",
      "type": "music",
      "english": "",
      "original": "",
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      "sources": [
        {
          "pdf_page": 3,
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      "reading_order": 91
    },
    {
      "english": "② takes the 3rd and major 6th.",
      "original": "La seconda vuole 3., e 6. maggiore.",
      "type": "paragraph",
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      "reading_order": 92
    },
    {
      "english": "③ takes the 3rd and 6th.",
      "original": "La terza vuole 3., e 6.",
      "type": "paragraph",
      "id": "book3-p03-text11",
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      ],
      "reading_order": 93
    },
    {
      "id": "book3-p03-e05",
      "type": "music",
      "english": "",
      "original": "",
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      "sources": [
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      "reading_order": 94
    },
    {
      "english": "④ takes the 3rd and 5th.",
      "original": "La quarta vuole 3., e 5.",
      "type": "paragraph",
      "id": "book3-p03-text12",
      "sources": [
        {
          "pdf_page": 3,
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      "reading_order": 95
    },
    {
      "english": "⑤ takes the major third and the 5th.",
      "original": "La quinta vuole 3. maggiore, e 5.",
      "type": "paragraph",
      "id": "book3-p03-text13",
      "sources": [
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          "printed_label": "Book III · PDF 3"
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      "reading_order": 96
    },
    {
      "english": "⑥ takes the 3rd and 6th.",
      "original": "La sesta vuole 3., e 6.",
      "type": "paragraph",
      "id": "book3-p03-text14",
      "sources": [
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          "pdf_page": 3,
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      "reading_order": 97
    },
    {
      "english": "⑦ takes the 3rd and 6th.",
      "original": "La settima vuole 3., e 6.",
      "type": "paragraph",
      "id": "book3-p03-text15",
      "sources": [
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      "reading_order": 98
    },
    {
      "id": "book3-p04-e01",
      "type": "music",
      "english": "",
      "original": "",
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      "sources": [
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          "pdf_page": 4,
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      "reading_order": 99
    },
    {
      "english": "Observe, however, that whenever the ④ ascends to the ⑤, it [④] can take the 6th in addition to the 3rd and 5th; and if the ⑦ should ascend to the octave ①, creating a semitone, it [⑦] can take the diminished 5th in addition to the 3rd and 6th.",
      "original": "Si avverte però, che qualora la quarta del tono sale alla quinta, oltre della 3., e 5. può avere ancora la 6.; e se la settima del tono sale all’ottava formando il semitono, oltre della 3., e 6., può aver ancora la 5. falza. [p. 5]",
      "type": "paragraph",
      "id": "book3-p04-text01",
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            "page": 4
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          "printed_label": "Book III · PDF 4"
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      "reading_order": 100
    },
    {
      "english": "The Disposition of Tones [in a Mode].",
      "original": "Distribuzione de Tono.",
      "type": "heading",
      "id": "book3-p04-text02",
      "sources": [
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      ],
      "heading_level": 3,
      "reading_order": 101
    },
    {
      "english": "The ① is just.  The ② is major.  The ③ is variable [according to the mode].  The ④ is perfect.  The ⑤ is just.  The ⑥ should correspond to the third.  And the ⑦ is always major, being the support of the key.",
      "original": "La prima del tono è giusta: la seconda è maggiore: la terza è arbitararia: la quarta è minore: la quinta è giusta; la sesta deve corrispondere alla terza; e la settima è sempre maggiore, essendo il sostegno del tono.",
      "type": "paragraph",
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          "printed_label": "Book III · PDF 4"
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      "reading_order": 102
    },
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      "id": "book3-p04-e02",
      "type": "music",
      "english": "",
      "original": "",
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      ],
      "reading_order": 103
    },
    {
      "english": "The Way of Counting the Keys on a Harpsichord, from the Tonic to the Octave.",
      "original": "Modo di contare i tasti del Cembalo, dalla prima del tono fino all’ ottava.",
      "type": "heading",
      "id": "book3-p04-text04",
      "sources": [
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      "heading_level": 3,
      "reading_order": 104
    },
    {
      "english": "[Counting from the tonic, the intervals are:] a just unison; a minor second, a major second; a minor third, a major third; a minor fourth, a major fourth [=augmented]; a just fifth; a minor sixth, a major sixth; a minor seventh, a major seventh, and an octave.",
      "original": "Prima giusta: seconda minore, seconda maggiore: Terza minore, terza maggiore: Quarta minore, quarta maggiore: Quinta giusta: Sesta minore, sesta maggiore: Settima minore, settima maggiore, ed ottava. [p. 6]",
      "type": "paragraph",
      "id": "book3-p04-text05",
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      "reading_order": 105
    },
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      "id": "book3-p04-e03",
      "type": "music",
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      "reading_order": 106
    },
    {
      "english": "Musical Axioms.",
      "original": "Assiomi Musicali.",
      "type": "heading",
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      "heading_level": 3,
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    },
    {
      "english": "Give a minor seventh to a ⑤ that returns to the ①.  This seventh cannot rise, but must resolve by falling to the third of the ①.",
      "original": "La settima minore si dà alla quinta del tono, che torna alla prima; la quale settima non può salire, ma risolvere calando alla terza del primo tono.",
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          "source_image": "source-pages/book3-04.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 4
          },
          "printed_label": "Book III · PDF 4"
        }
      ],
      "reading_order": 108
    },
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      "id": "book3-p04-e04",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
        {
          "pdf_page": 4,
          "source_image": "source-pages/book3-04.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
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          "printed_label": "Book III · PDF 4"
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      "reading_order": 109
    },
    {
      "english": "Give a diminished fifth to a ⑦ that rises to the ①.  This diminished fifth cannot rise, but must also resolve by falling to the third of the ①.",
      "original": "La quinta falsa si dà alla settima maggiore del tono, che sale all prima; la quale quinta falsa non può salire, ma deve ancora risolvere calando all terza del primo tono.",
      "type": "paragraph",
      "id": "book3-p04-text08",
      "sources": [
        {
          "pdf_page": 4,
          "source_image": "source-pages/book3-04.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 4
          },
          "printed_label": "Book III · PDF 4"
        }
      ],
      "reading_order": 110
    },
    {
      "english": "Give an augmented sixth to a ♭⑥ that descends to the ⑤.  This augmented sixth should rise to the octave of the ⑤.",
      "original": "La sesta superflua si dà alla sesta minore del tono, che scende alla quinta; la quale sesta superflua deve salire all’ ottava della quinta del tono.",
      "type": "paragraph",
      "id": "book3-p04-text09",
      "sources": [
        {
          "pdf_page": 4,
          "source_image": "source-pages/book3-04.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 4
          },
          "printed_label": "Book III · PDF 4"
        }
      ],
      "reading_order": 111
    },
    {
      "id": "book3-p04-e05",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
        {
          "pdf_page": 4,
          "source_image": "source-pages/book3-04.jpg",
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          "printed_label": "Book III · PDF 4"
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      "reading_order": 112
    },
    {
      "english": "Give an augmented fourth to a ① that falls to the ⑦, or to a ④ that falls to the third of the same [①].  This augmented fourth should rise to the sixth above the ⑦.  But when you place [an augmented fourth] above the ④, it should rise to the sixth above the ③.",
      "original": "La quarta maggiore si dà all prima del tono, che cala alla settima, o pure alla quarta del tono, che cala alla terza del medesimo; la quale quarta maggiore [p. 7] deve salire alla sesta della settima del primo tono; ma qualora si dà sopra la quarta del tono, deve salire alla sesta della terza del tono.",
      "type": "paragraph",
      "id": "book3-p04-text10",
      "sources": [
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          "pdf_page": 4,
          "source_image": "source-pages/book3-04.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 4
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          "printed_label": "Book III · PDF 4"
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      ],
      "reading_order": 113
    },
    {
      "english": "The augmented fourth rises directly to the ⑤, for the augmented fourth is none other than the ⑦ [in the key] of the ⑤.",
      "original": "La quarta maggiore fa subito uscire alla quinta del tono; mentre la quarta maggiore altro non è, se non la settima maggiore della quinta del tono.",
      "type": "paragraph",
      "id": "book3-p05-text01",
      "sources": [
        {
          "pdf_page": 5,
          "source_image": "source-pages/book3-05.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 5
          },
          "printed_label": "Book III · PDF 5"
        }
      ],
      "reading_order": 114
    },
    {
      "id": "book3-p05-e01",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
        {
          "pdf_page": 5,
          "source_image": "source-pages/book3-05.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
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          "printed_label": "Book III · PDF 5"
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      "reading_order": 115
    },
    {
      "english": "Concerning Cadences.",
      "original": "Delle Cadenze.",
      "type": "heading",
      "id": "book3-p05-text02",
      "sources": [
        {
          "pdf_page": 5,
          "source_image": "source-pages/book3-05.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
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          "printed_label": "Book III · PDF 5"
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      "heading_level": 3,
      "reading_order": 116
    },
    {
      "english": "A cadence is when the bass goes from ① to ⑤, and [then] from ⑤ returns to ①.",
      "original": "La Cadenza è quella, quando il Basso dalla prima del Tono va alla Quinta; e dalla quinta retorna alla prima.",
      "type": "paragraph",
      "id": "book3-p05-text03",
      "sources": [
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          "source_image": "source-pages/book3-05.jpg",
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      "reading_order": 117
    },
    {
      "english": "There are three types of cadences: simple, compound, and double.  A simple cadence is when one gives the bass the simple consonances required by both ① and ⑤. That is, the ① takes the 3rd and 5th, and the ⑤ takes the major 3rd and 5th.",
      "original": "Le Cadenze sono de tre maniere: Semplici, Composte, e Doppie.  La cadenza semplice è quella, quando al Basso gli si danno le semplici consonanze, che rechiede tanto la prima del tono [p. 8] quanto la quinta; cioè 3., e 5. alla prima del tono, e 3. maggiore, e 5. alla quinta del tono.",
      "type": "paragraph",
      "id": "book3-p05-text04",
      "sources": [
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      ],
      "reading_order": 118
    },
    {
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      "type": "music",
      "english": "",
      "original": "",
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      "sources": [
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      "reading_order": 119
    },
    {
      "english": "A compound cadence is when, above ⑤, one makes a dissonance of a 4th prepared by the 8ve of ① [=❶] and resolved to the major 3rd of ⑤ [=❼].",
      "original": "La Cadenza composta è quella, quando su la quinta del tono ci si fa una dissonanza de quarta preparata dall’ ottava del primo tono, e risoluta alla terza maggiore della quinta del tono.",
      "type": "paragraph",
      "id": "book3-p05-text05",
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          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
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          "printed_label": "Book III · PDF 5"
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      "reading_order": 120
    },
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      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
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          "source_image": "source-pages/book3-05.jpg",
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      "reading_order": 121
    },
    {
      "english": "A double cadence is when, above ⑤, one puts the major 3rd and 5th, the 6th and 4th, the 4th and 5th, and then the major 3rd and 5th.",
      "original": "La cadenza doppia è quella, quando sù la quinta del tono si dà terza maggiore, e quinta; quarta, e sesta; quarta, e quinta, e poi terza maggiore, e quinta.",
      "type": "paragraph",
      "id": "book3-p05-text06",
      "sources": [
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      "reading_order": 122
    },
    {
      "english": "The Positions of the Right Hand.",
      "original": "Posizioni della destra mano.",
      "type": "heading",
      "id": "book3-p05-text07",
      "sources": [
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          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 5
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          "printed_label": "Book III · PDF 5"
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      ],
      "heading_level": 3,
      "reading_order": 123
    },
    {
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      "type": "music",
      "english": "",
      "original": "",
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      "sources": [
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    },
    {
      "english": "There are three positions of the right hand. The first is when the 8ve is on the top, the second is when the 3rd is on the top, and the third is when the 5th is on the top. For example, on the ①, first position [from low to high] is ❸, ❺, ❽, second position is ❺, ❽, ❸, and third position is ❽, ❸, ❺.",
      "original": "Le posizioni della mano destra sono tre: la prima posizione è quella, quando l’ ottava sta da sopra:  la seconda quando la terza sta da sopra: la terza quando l quinta sta da sopra: come [p. 9] per esempio nella prima del tono la prima posizione è 3., 5., 8: la seconda è 5., 8., 3.: la terza è 8., 3., 5.",
      "type": "paragraph",
      "id": "book3-p05-text08",
      "sources": [
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      "reading_order": 125
    },
    {
      "id": "book3-p05-e05",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
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      "reading_order": 126
    },
    {
      "english": "Concerning Scales.",
      "original": "Delle Scale.",
      "type": "heading",
      "id": "book3-p05-text09",
      "sources": [
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          "source_image": "source-pages/book3-05.jpg",
          "source_pdf": {
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      "heading_level": 3,
      "reading_order": 127
    },
    {
      "english": "The scale is when the partimento ascends stepwise from the ① to the ⑧, and then descends stepwise from the ⑧ to the ①. This is called a complete scale.",
      "original": "La scala è quella, quando il partimento ascende de grado dalla prima del tono fino all’ ottava; e poi discende de grado dall’ottava fino alla prima; e questa si chiama scala compita.",
      "type": "paragraph",
      "id": "book3-p05-text10",
      "sources": [
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          "source_image": "source-pages/book3-05.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 5
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          "printed_label": "Book III · PDF 5"
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      ],
      "reading_order": 128
    },
    {
      "id": "book3-p05-e06",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
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      "reading_order": 129
    },
    {
      "english": "The following are the consonances that are given to the notes of the scale according to",
      "original": "Le Consonanze, che se danno alle note della scala secondo le tre posizioni, sono le",
      "type": "paragraph",
      "id": "book3-p05-text11",
      "sources": [
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          "source_image": "source-pages/book3-05.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
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          "printed_label": "Book III · PDF 5"
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      ],
      "reading_order": 130
    },
    {
      "english": "the three positions.",
      "original": "seguenti.",
      "type": "paragraph",
      "id": "book3-p06-text01",
      "sources": [
        {
          "pdf_page": 6,
          "source_image": "source-pages/book3-06.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 6
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          "printed_label": "Book III · PDF 6"
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      ],
      "reading_order": 131
    },
    {
      "english": "The Scale in First Position.",
      "original": "Scala in prima posizione.",
      "type": "paragraph",
      "id": "book3-p06-text02",
      "sources": [
        {
          "pdf_page": 6,
          "source_image": "source-pages/book3-06.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 6
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          "printed_label": "Book III · PDF 6"
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      "reading_order": 132
    },
    {
      "english": "One gives a 3rd, 5th, and 8ve to ①, a 3rd, 4th, and major 6th to ②, an 8ve, 3rd, and 6th to ③, a 6th, 8ve, 3rd, and 5th to ④, a 5th, 8ve, and major 3rd to ⑤, a 6th, 8ve, and 3rd to ⑥, a diminished 5th, 6th, 8ve, and 3rd to ⑦, and a 3rd, 5th, and 8ve to ⑧. Then, in descending, one gives a 6th, 8ve, and 3rd to ⑦, a major 6th, 8ve, 3rd, and 4th to ⑥, an 8ve, major 3rd, and 5th to ⑤, a 2nd, augmented 4th, and 6th to ④, a 3rd and 6th to ③, a 3rd, 4th, and major 6th to ②, and finally a 3rd, 5th, and 8ve to ①.",
      "original": "Alla prima del tono se li dà 3., 5., ed 8.: alla second se le dà 3., 4., e 6. maggiore: alla terza 8., 3., e 6.: alla [p. 10] quarta 6., 8., 3., ed 5.: alla quinta 5., 8., 3. maggiore: alla sesta 6., 8., e 3.:  alla settima 5. falsa, 6., 8., e terza: ed all’ ottava 3., 5., ed 8.:  Discendendo poi, alla settima se le dà 6., 8., e 3.: alla sesta 6. maggiore, 8., 3., e 4.: alla quinta 8., 3. maggiore, e 5.: alla quarta 2., 4. maggiore, e 6.: alla terza 3., e 6.: alla seconda 3., 4., e 6. maggiore: finalmente alla prima 3., 5., ed 8.",
      "type": "paragraph",
      "id": "book3-p06-text03",
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          "printed_label": "Book III · PDF 6"
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      ],
      "reading_order": 133
    },
    {
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      "type": "music",
      "english": "",
      "original": "",
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      "sources": [
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          "printed_label": "Book III · PDF 6"
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      "reading_order": 134
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      "original": "",
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    {
      "english": "Regarding the fingering of the right hand, this will [best] be taught in person by a learned maestro.  Since keys in the major and minor modes require different arrangements of the fingers, the long and tedious explanations that would be required would likewise neccessarily confuse the mind of a beginner. Hence this task is remanded to the care and wisdom of maestros.",
      "original": "Riquardo al regolamento delle dita della destra mano, questo sarà insegnato dalla voce viva del dotto Maestro; mentre richiedendosi diversa situazione delle dita ne’toni de terza maggiore da quelli di terza minore, sarebbe lo stesso, che confondere necessariamente la mente de’ principianti per la lunga e tediosa spiegazione se [p. 11] ne dovrebbe fare; quindi se ne remette la cura alla saviezza de’ Maestri.",
      "type": "paragraph",
      "id": "book3-p06-text04",
      "sources": [
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          "printed_label": "Book III · PDF 6"
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      ],
      "reading_order": 136
    },
    {
      "id": "book3-p06-e03",
      "type": "music",
      "english": "",
      "original": "",
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      "sources": [
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      "reading_order": 137
    },
    {
      "english": "The Scale in Second Position.",
      "original": "Scala in seconda posizione.",
      "type": "paragraph",
      "id": "book3-p06-text05",
      "sources": [
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      "reading_order": 138
    },
    {
      "english": "One gives a 5th, 8ve, and 3rd to ②, a 4th, major 6th, 8ve, and 3rd to ②, a 3rd, 6th, and 8ve to ③, a 3rd, 5th, and 6th to ④, a 8ve, major 3rd, and 5th to ⑤, a 3rd and 6th to ⑥, a 6th, 8ve, 3rd, and 5th to ⑦, and a 5th, 8ve, and 3rd to ⑧.  Then, in descending, one gives a 6th, 8ve, and 3rd to ⑦, a major 6th, 8ve, 3rd, and 4th to ⑥, an 8ve, major 3rd, and 5th to ⑤, a 2nd, augmented 4th, and 6th to ④, a 3rd, 6th, and 8ve to ③, a 4th, major 6th, 8ve, and 3rd to ②, and finally a 5th, 8ve, and 3rd to ①.",
      "original": "Alla prima del tono se le dà 5., 8., e 3.: alla second 4., 6. maggiore, 8., ed 3: alla terza 3., 6., e 8.: alla quarta 3., 5., ed 6.: alla quinta 8., 3. maggiore, 5.: alla sesta 3., e 6.:  alla settima 6., 8., 3., e 5: ed all’ ottava 5., 8., ed 3.:  Discendendo poi, alla settima se le dà 6., 8., e 3.: alla sesta 6. maggiore, 8., 3., e 4.: alla quinta 8., 3. maggiore, e 5.: alla quarta 2., 4. maggiore, e 6.: alla terza 3., 6., ed 8.: alla seconda 4., 6. maggiore, 8., e 3.: finalmente alla prima 5.,  8., e 3. [p. 12]",
      "type": "paragraph",
      "id": "book3-p06-text06",
      "sources": [
        {
          "pdf_page": 6,
          "source_image": "source-pages/book3-06.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 6
          },
          "printed_label": "Book III · PDF 6"
        }
      ],
      "reading_order": 139
    },
    {
      "id": "book3-p06-e04",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p06-e04"
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      "sources": [
        {
          "pdf_page": 6,
          "source_image": "source-pages/book3-06.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 6
          },
          "printed_label": "Book III · PDF 6"
        }
      ],
      "reading_order": 140
    },
    {
      "english": "The Scale in Third Position.",
      "original": "Scala in terza posizione.",
      "type": "paragraph",
      "id": "book3-p06-text07",
      "sources": [
        {
          "pdf_page": 6,
          "source_image": "source-pages/book3-06.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 6
          },
          "printed_label": "Book III · PDF 6"
        }
      ],
      "reading_order": 141
    },
    {
      "english": "One gives an 8ve, 3rd, and 5th to ①, a major 6th, 8ve, 3rd, and 4th to ②, an 6th, 8ve, and 3rd to ③, a 5th, 6th, 8ve, and 3rd to ④, a major 3rd, 5th, 8ve to ⑤, a 3rd and",
      "original": "Alla prima del tono se le dà 8., 3., e 5.: alla second se le dà 6. maggiore, 8., 3., e 4.: alla terza  6., 8., e 3.: alla quarta 5., 6., 8., e 3.: alla quinta 3. maggiore, 5., ed 8.: alla sesta 3.,",
      "type": "paragraph",
      "id": "book3-p06-text08",
      "sources": [
        {
          "pdf_page": 6,
          "source_image": "source-pages/book3-06.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 6
          },
          "printed_label": "Book III · PDF 6"
        }
      ],
      "reading_order": 142
    },
    {
      "id": "book3-p07-e01",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p07-e01"
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      "sources": [
        {
          "pdf_page": 7,
          "source_image": "source-pages/book3-07.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 7
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          "printed_label": "Book III · PDF 7"
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      ],
      "reading_order": 143
    },
    {
      "english": "6th to ⑥, a 3rd, diminished 5th, and 6th to ⑦, and an 8ve, 3rd, and 5th to ⑧.  Then, in descending, one gives a 3rd and 6th to ⑦, a 3rd, 4th, and major 6th to ⑥, a major 3rd, 5th, and 8ve to ⑤, an augmented 4th, 6th, and 2nd to ④, a 6th, 8ve, and 3rd to ③, a major 6th, 8ve, 3rd and 4th to ②, and finally a 8ve, 3rd, and 5th to ①.",
      "original": "e 6.:  alla settima 3., 5. falsa, e 6.: all’ ottava 8., 3., ed 5.:  alla settima discendendo 3., e 6.: alla sesta 3., 4, e 6. maggiore.: alla quinta 3. maggiore, 5., ed 8.: alla quarta 4. maggiore, 6., e 2.: alla terza 6., 8., ed 3.: alla seconda 6. maggiore, 8., 3., e 4.: finalmente alla prima 8.,  3., e 5. [p. 13]",
      "type": "paragraph",
      "id": "book3-p07-text01",
      "sources": [
        {
          "pdf_page": 7,
          "source_image": "source-pages/book3-07.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 7
          },
          "printed_label": "Book III · PDF 7"
        }
      ],
      "reading_order": 144
    },
    {
      "id": "book3-p07-e02",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p07-e02"
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      "sources": [
        {
          "pdf_page": 7,
          "source_image": "source-pages/book3-07.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 7
          },
          "printed_label": "Book III · PDF 7"
        }
      ],
      "reading_order": 145
    },
    {
      "english": "The Minor Scale.",
      "original": "Scala in terza minore.",
      "type": "paragraph",
      "id": "book3-p07-text02",
      "sources": [
        {
          "pdf_page": 7,
          "source_image": "source-pages/book3-07.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 7
          },
          "printed_label": "Book III · PDF 7"
        }
      ],
      "reading_order": 146
    },
    {
      "english": "One also performs the minor scale in all three positions with the same hand positions.  An exception is that one does not place the 8ve above ♭⑥ when it descends to ⑤.  Instead one gives it only the augmented 6th, 3rd, and 4th.",
      "original": "La scala in terza minore si fa ancora in tutte tre le posizioni colla medesima situazione di mano; eccetto però che nella sesta minore del tono, discendendo alla quinta, non ci si mette l’ ottava; ma se le dà soltanto sesta superflua, terza, e quarta.",
      "type": "paragraph",
      "id": "book3-p07-text03",
      "sources": [
        {
          "pdf_page": 7,
          "source_image": "source-pages/book3-07.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 7
          },
          "printed_label": "Book III · PDF 7"
        }
      ],
      "reading_order": 147
    },
    {
      "id": "book3-p07-e03",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p07-e03"
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      "sources": [
        {
          "pdf_page": 7,
          "source_image": "source-pages/book3-07.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 7
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          "printed_label": "Book III · PDF 7"
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      ],
      "reading_order": 148
    },
    {
      "english": "Observe that when the minor scale ascends, one makes the ⑥ major, and in descending one makes the ⑦ minor.  This is all done to avoid the augmented second that occurs between the ♭⑥ and ♮⑦, the reason being that one recoils from the harshness of the sound caused by a [step larger than a whole tone].",
      "original": "Si avverte, che nella scala in terza minore, ascendendo, la sesta del tono si fa maggiore, e discendendo la settima del tono si fa minore; e tutto ciò per evitare il ditono, che vi è tra la sesta minore, e la settima maggiore, il quale perchè composto di due intieri toni, si sfugge per la sua sprezza di suono.",
      "type": "paragraph",
      "id": "book3-p07-text04",
      "sources": [
        {
          "pdf_page": 7,
          "source_image": "source-pages/book3-07.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 7
          },
          "printed_label": "Book III · PDF 7"
        }
      ],
      "reading_order": 149
    },
    {
      "id": "book3-p07-e04",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p07-e04"
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      "sources": [
        {
          "pdf_page": 7,
          "source_image": "source-pages/book3-07.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 7
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          "printed_label": "Book III · PDF 7"
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      "reading_order": 150
    },
    {
      "english": "Also observe that one can place the 4th together with the minor 3rd and major 6th [above ②] in scalar passages, that is ascending from ① to ③, and descending from ③ m to ①.  In other cases it [②] requires only the 3rd and major 6th.",
      "original": "Si avverte ancora che alla seconda del tono si può dare la quarta unita con la terza minore, e [p. 14] sesta maggiore quante volte si fa scala, cioè ascendendo dalla prima fino alla terza, e discendendo dalla terza fino alla prima; in altro caso richiede soltanto terza, e sesta maggiore.",
      "type": "paragraph",
      "id": "book3-p07-text05",
      "sources": [
        {
          "pdf_page": 7,
          "source_image": "source-pages/book3-07.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 7
          },
          "printed_label": "Book III · PDF 7"
        }
      ],
      "reading_order": 151
    },
    {
      "english": "For those who wish to learn quickly to play figured partimenti well, they should diligently study scales in all the keys and in all three positions.",
      "original": "Coloro, che desiderano imparar presto a ben suonare con i numeri, devono studiare con fervore le scale in tutt’i tuoni, ed in tutte e tre le posizioni.",
      "type": "paragraph",
      "id": "book3-p07-text06",
      "sources": [
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          "pdf_page": 7,
          "source_image": "source-pages/book3-07.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 7
          },
          "printed_label": "Book III · PDF 7"
        }
      ],
      "reading_order": 152
    },
    {
      "english": "Concerning Dissonances.",
      "original": "Delle Dissonanze.",
      "type": "paragraph",
      "id": "book3-p07-text07",
      "sources": [
        {
          "pdf_page": 7,
          "source_image": "source-pages/book3-07.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 7
          },
          "printed_label": "Book III · PDF 7"
        }
      ],
      "reading_order": 153
    },
    {
      "id": "book3-p07-e05",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
        {
          "pdf_page": 7,
          "source_image": "source-pages/book3-07.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 7
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          "printed_label": "Book III · PDF 7"
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      "reading_order": 154
    },
    {
      "english": "There are four [types of] dissonances, namely [the intervals of the] 2nd, 4th, 7th, and 9th. These were invented in order to render the consonances more beautiful. But note that the aforementioned dissonances cannot be used unless they are prepared by consonances and resolved to the same.",
      "original": "Le Dissonanze sono quattro, cioè 2., 4., 7., e 9.: queste sono state inventate per rendere più vaghe le Consonanze: Si avverte però, che le anzidette Dissonanze non si possono fare se no sono preparate dalle Consonanze, e resolute alle medesime.",
      "type": "paragraph",
      "id": "book3-p07-text08",
      "sources": [
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          "pdf_page": 7,
          "source_image": "source-pages/book3-07.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 7
          },
          "printed_label": "Book III · PDF 7"
        }
      ],
      "reading_order": 155
    },
    {
      "id": "book3-p08-e01",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
        {
          "pdf_page": 8,
          "source_image": "source-pages/book3-08.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 8
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          "printed_label": "Book III · PDF 8"
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      "reading_order": 156
    },
    {
      "english": "The difference between the 2nd and the 9th is that the second can be used without preparation, but the ninth must be prepared.",
      "original": "La differenza che vi è tra la [p. 15] seconda, e la nona e, che la seconda si dà senza preparazione, e la nona deve esser preparata.",
      "type": "paragraph",
      "id": "book3-p08-text01",
      "sources": [
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          "pdf_page": 8,
          "source_image": "source-pages/book3-08.jpg",
          "source_pdf": {
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            "page": 8
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          "printed_label": "Book III · PDF 8"
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      "reading_order": 157
    },
    {
      "english": "Concerning Dissonances,",
      "original": "Delle Dissonanze, o sia",
      "type": "paragraph",
      "id": "book3-p08-text02",
      "sources": [
        {
          "pdf_page": 8,
          "source_image": "source-pages/book3-08.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 8
          },
          "printed_label": "Book III · PDF 8"
        }
      ],
      "reading_order": 158
    },
    {
      "english": "or the Suspension of the Fourth.",
      "original": "legatura di quarta.",
      "type": "heading",
      "id": "book3-p08-text03",
      "sources": [
        {
          "pdf_page": 8,
          "source_image": "source-pages/book3-08.jpg",
          "source_pdf": {
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      ],
      "heading_level": 3,
      "reading_order": 159
    },
    {
      "english": "The fourth can be prepared by all four consonances, that is by the 8ve, 3rd, 5th, and 6th.",
      "original": "La quarta si può preparare da tutte le quattro Consonanze, cioè, dall’ 8., 3., 5., e 6.",
      "type": "paragraph",
      "id": "book3-p08-text04",
      "sources": [
        {
          "pdf_page": 8,
          "source_image": "source-pages/book3-08.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 8
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          "printed_label": "Book III · PDF 8"
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      ],
      "reading_order": 160
    },
    {
      "id": "book3-p08-e02",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
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          "pdf_page": 8,
          "source_image": "source-pages/book3-08.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
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      "reading_order": 161
    },
    {
      "english": "To prepare the 4th by the 8ve, the partimento should rise a 5th or descend a 4th, that is, from ① to ⑤.  See the example in the manuscript at letter A.",
      "original": "Per preparare la quarta dall’ottava, il Partimento deve salire di quinta, o scendere di quarta, cioè dalla prima del tono alla quinta, vedi l’ esempio nel manoscritto sotto la lettera A.",
      "type": "paragraph",
      "id": "book3-p08-text05",
      "sources": [
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          "pdf_page": 8,
          "source_image": "source-pages/book3-08.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 8
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          "printed_label": "Book III · PDF 8"
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      "reading_order": 162
    },
    {
      "english": "To prepare the 4th by the 3rd, the partimento should descend by step, that is, from ⑥ to ⑤, or from ② to ①. See letter B.",
      "original": "Per preparare la quarta dalla terza, il Partimento deve scendere di grado; cioè dalla sesta del tono alla quinta, o dalla seconda alla prima; vedi B.",
      "type": "paragraph",
      "id": "book3-p08-text06",
      "sources": [
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          "pdf_page": 8,
          "source_image": "source-pages/book3-08.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 8
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          "printed_label": "Book III · PDF 8"
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      ],
      "reading_order": 163
    },
    {
      "id": "book3-p08-e03",
      "type": "music",
      "english": "",
      "original": "",
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      "sources": [
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      "reading_order": 164
    },
    {
      "english": "To prepare the 4th by the 5th, the partimento should rise by step, that is, from ④ to ⑤, or from ① to ②. See letter C.",
      "original": "Per preparare la quarta dalla quinta, il Partimento deve salir [p. 16] di grado; cioè dalla quarta del tono alla quinta; o dalla prima alla seconda dello stesso.  Vedi C.",
      "type": "paragraph",
      "id": "book3-p08-text07",
      "sources": [
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          "pdf_page": 8,
          "source_image": "source-pages/book3-08.jpg",
          "source_pdf": {
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            "page": 8
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          "printed_label": "Book III · PDF 8"
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      ],
      "reading_order": 165
    },
    {
      "english": "To prepare the 4th by the 6th, the partimento should rise a 3rd, that is, from ③ to ⑤. See letter D.",
      "original": "Per preparare la quarta dalla sesta, il Partimento deve salir di terza; cioè dalla terza del tono alla quinta di esso.  Vedi D.",
      "type": "paragraph",
      "id": "book3-p08-text08",
      "sources": [
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      "reading_order": 166
    },
    {
      "english": "Note that the 4th can also be prepared by the minor 7th and by the diminished 5th.",
      "original": "Si nota, che la quarta si può anche preparare dalla settima minore, e dalla quinta falza.",
      "type": "paragraph",
      "id": "book3-p08-text09",
      "sources": [
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          "source_image": "source-pages/book3-08.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 8
          },
          "printed_label": "Book III · PDF 8"
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      ],
      "reading_order": 167
    },
    {
      "id": "book3-p08-e04",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
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      ],
      "reading_order": 168
    },
    {
      "english": "To prepare the 4th by the minor 7th, the partimento should rise a 4th, that is, from ⑤ to ①. See letter E.",
      "original": "Per preparare la quarta dalla settima minore, il Partimento deve salir di quarta; cioè dalla quinta del tono alla prima di esso.  Vedi E.",
      "type": "paragraph",
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        }
      ],
      "reading_order": 169
    },
    {
      "english": "To prepare the 4th by the diminished 5th, the partimento should rise by a semitone. See letter F.",
      "original": "Per preparare la quarta dalla quinta falsa, il Partimento deve salir di semitono.  Vedi F.",
      "type": "paragraph",
      "id": "book3-p08-text11",
      "sources": [
        {
          "pdf_page": 8,
          "source_image": "source-pages/book3-08.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 8
          },
          "printed_label": "Book III · PDF 8"
        }
      ],
      "reading_order": 170
    },
    {
      "english": "Observe that the dissonance of a 4th should always be accompanied by the consonance of the 5th.  That is because the aforementioned dissonance can never have a place above a note that, by its nature, does not take the 5th.",
      "original": "Si avverte, che la dissonanza di quarta deve esser sempre accompagnata con la consonanza di quinta; per lo che la detta dissonanza non può mai aver luogo [p. 17] sopra una nota, la quale di sua natura non voglia la quinta.",
      "type": "paragraph",
      "id": "book3-p08-text12",
      "sources": [
        {
          "pdf_page": 8,
          "source_image": "source-pages/book3-08.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 8
          },
          "printed_label": "Book III · PDF 8"
        }
      ],
      "reading_order": 171
    },
    {
      "english": "Concerning Dissonances,",
      "original": "Delle Dissonanze, o sia",
      "type": "paragraph",
      "id": "book3-p09-text01",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 172
    },
    {
      "english": "or the Suspension of the Seventh.",
      "original": "Legatura di settima.",
      "type": "heading",
      "id": "book3-p09-text02",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "heading_level": 3,
      "reading_order": 173
    },
    {
      "english": "The seventh can be prepared by all four consonances, namely the 8ve, 3rd, 5th, and 6th.",
      "original": "La settima si può preparare da tutte le quattro Consonanze, cioè 8., 3., 5., e 6.",
      "type": "paragraph",
      "id": "book3-p09-text03",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 174
    },
    {
      "id": "book3-p09-e01",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p09-e01"
      ],
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 175
    },
    {
      "english": "To prepare it by the 8ve, the partimento should rise a step, as from ① to ②. See letter G.",
      "original": "Per prepararla dell’ ottava, il Partimento deve salir di grado, come dalla prima del tono alla seconda di esso.  Vedi G.",
      "type": "paragraph",
      "id": "book3-p09-text04",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 176
    },
    {
      "english": "To prepare it by the 3rd, the partimento should rise a 4th or descend a 5th, as from ① to ④, or even from ⑥ to ②. See letter H.",
      "original": "Per prepararla dalla terza, il Partimento deve salir di quarta, o scendere di quinta, come dalla prima del tono alla quarta di esso; o pure dalla sesta del tono alla seconda del medesimo.  Vedi H.",
      "type": "paragraph",
      "id": "book3-p09-text05",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 177
    },
    {
      "id": "book3-p09-e02",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p09-e02"
      ],
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 178
    },
    {
      "english": "To prepare it by the 5th, the partimento should rise a 6th or descend a 3rd, as from ① to ⑥, or even from ④ to ②. See letter I.",
      "original": "Per prepararla dalla quinta, il Partimento deve salir di sesta, o scendere di terza; come dalla pri- [p. 18] -ma del tono alla sesta de esso; o pure dalla quarta del tono alla seconda dello stesso.  Vedi I.",
      "type": "paragraph",
      "id": "book3-p09-text06",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 179
    },
    {
      "english": "To prepare it by the 6th, the partimento should descend a step, as from ③ to ②. See letter L.",
      "original": "Per prepararla dalla sesta; il Partimento devel scendere id grado, come dalla terza del tono alla seconda de esso.  Vedi L.",
      "type": "paragraph",
      "id": "book3-p09-text07",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 180
    },
    {
      "id": "book3-p09-e03",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p09-e03"
      ],
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 181
    },
    {
      "english": "Observse that the 7th is always accompanied by the 3rd, and can resolve to a 3rd and 6th.",
      "original": "Se avverte, che la settima si accompagna sempre con la terza, e può risolvere a terza, ed a sesta.",
      "type": "paragraph",
      "id": "book3-p09-text08",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 182
    },
    {
      "english": "To resolve it to a 3rd, the partimento should rise a 4th or descend a 5th.  See letter M.",
      "original": "Per risolverla alla terza, il Partimento deve salir de quarta, o scendere di quinta.  Vedi M.",
      "type": "paragraph",
      "id": "book3-p09-text09",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 183
    },
    {
      "english": "To resolve it to a 6th, the partimento should stay put on the same note that had the tied 7th [above it].",
      "original": "Per risolverla alla sesta, il Partimento deve star fermo sulla stessa nota, che ha avuta la legatura di settima. [p. 19]",
      "type": "paragraph",
      "id": "book3-p09-text10",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 184
    },
    {
      "english": "Concerning the Suspension of the Ninth.",
      "original": "Della legatura di Nona.",
      "type": "paragraph",
      "id": "book3-p09-text11",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 185
    },
    {
      "id": "book3-p09-e04",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p09-e04"
      ],
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 186
    },
    {
      "english": "The 9th can be prepared by the 3rd and by the 5th.",
      "original": "La Nona si può preparare dalla terza, e dalla quinta.",
      "type": "paragraph",
      "id": "book3-p09-text12",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 187
    },
    {
      "english": "To prepare it by the 3rd, the partimento should rise a step, as from ① to ②, or from ③ to ④, or from ⑦ to ①. See letter N.",
      "original": "Per prepararla dalla terza, il Partimento deve salir di grado, come dalla prima del tono alla seconda; o dalla terza alla quarta; o dalla settima alla prima di esso. Vedi N.",
      "type": "paragraph",
      "id": "book3-p09-text13",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 188
    },
    {
      "english": "To prepare it by the 5th, the partimento",
      "original": "Per prepararla dalla quinta, il Partimento deve",
      "type": "paragraph",
      "id": "book3-p09-text14",
      "sources": [
        {
          "pdf_page": 9,
          "source_image": "source-pages/book3-09.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 9
          },
          "printed_label": "Book III · PDF 9"
        }
      ],
      "reading_order": 189
    },
    {
      "english": "should rise a 4th or descend a 5th, as from ① passing to ④, or from ⑤ to ①. See letter O.",
      "original": "salir di quarta, o scendere di quinta; come dalla prima del tono passando alla quarta, o dalla quinta alla prima di esso. Vedi O.",
      "type": "paragraph",
      "id": "book3-p10-text01",
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
          },
          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 190
    },
    {
      "id": "book3-p10-e01",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p10-e01"
      ],
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
          },
          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 191
    },
    {
      "english": "Observe that the aforementioned dissonance of a 9th is always accompanied by the 10th (the said 3rd) and by the 5th, when a movement of the bass by the same progression is not involved.  This dissonance of a 9th can be resolved to an 8ve, 3rd, and 6th, depending on the various moves of the partimento.",
      "original": "Se avverte, che la detta dissonanza de nona si accompagna sempre colla decima, detta terza, e con la quinta, quando non si tratta di un movimento di Basso, che continui con la stessa progressione; e detta dissonanza di nona [p. 20] può risolvere all’ottava, terza, e sesta, secondo i diversi movimenti del Partimento.",
      "type": "paragraph",
      "id": "book3-p10-text02",
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
          },
          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 192
    },
    {
      "id": "book3-p10-e02",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p10-e02"
      ],
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
          },
          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 193
    },
    {
      "english": "To resolve it to an 8ve, the partimento should remain fixed to the same note that had the tied 9th [above it. See letter O].",
      "original": "Per risolverla all’ottava, il Partimento deve rimaner fermo sulla stessa nota, che ha avuta la legatura di nona.",
      "type": "paragraph",
      "id": "book3-p10-text03",
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
          },
          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 194
    },
    {
      "english": "To resolve it to a 3rd, the partimento should descend a 3rd or rise a 6th. See letter P.",
      "original": "Per risolverla alla terza, il Partimento deve scendere di terza, o salir di sesta. Vedi P.",
      "type": "paragraph",
      "id": "book3-p10-text04",
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
          },
          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 195
    },
    {
      "english": "To resolve it to a 6th, the partimento should rise a 3rd or descend a 6th. See letter Q.",
      "original": "Per risolverla alla sesta, Il Partimento deve salir di terza, o scendere di sesta.  Vedi Q.",
      "type": "paragraph",
      "id": "book3-p10-text05",
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
          },
          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 196
    },
    {
      "english": "Concerning Suspensions of the Bass.",
      "original": "Delle legature del Basso.",
      "type": "paragraph",
      "id": "book3-p10-text06",
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
          },
          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 197
    },
    {
      "id": "book3-p10-e03",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p10-e03"
      ],
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
          },
          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 198
    },
    {
      "english": "When the partimento is tied and then returns to the same tone, the suspended note of this partimento requires a major 2nd and a perfect 4th [above it].  Above the partimento’s subsequent note, which descends a semitone, the note that had been the 2nd above the tied partimento  should remain as a 3rd.  That note which had been the 4th above the tied partimento can also remain to form, as the partimento descends a semitone, the [relative] consonance of a diminished 5th. See letter R.",
      "original": "Quando il Partimento lega, e poi ritorna allo stesso tono, la nota legata di esso Partimento richiede seconda maggiore, e quarta minor: sulla nota sussequente del Partimento, la quale scenderà di semitono, dovrà [p. 21] rimanere per terza quella nota dell’ accompagnamento, che è stata la seconda della nota del Partimento legato; Vi può anche remanere quella nota, la quale sulla nota legata del Partimento è stata quarta, e sul semitono formerà la consonanza di quinta falsa.  Vedi R.",
      "type": "paragraph",
      "id": "book3-p10-text07",
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
          },
          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 199
    },
    {
      "id": "book3-p10-e04",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p10-e04"
      ],
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
          },
          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 200
    },
    {
      "english": "Observe that the same note of the accompaniment that was a 4th above the tied partimento, can rise one step to form the consonance of a 6th above the semitone descent from the tied note that follows in the partimento.",
      "original": "Si avverte, che la stessa nota dell’ accompagnamento, la quale sulla nota legata del Partimento fu quarta, può salir di grado, e formare la Consonanza di sesta sul semitono, che nel Partimento sussiegue, discendendo alla nota legata.",
      "type": "paragraph",
      "id": "book3-p10-text08",
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
          },
          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 201
    },
    {
      "id": "book3-p10-e05",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p10-e05"
      ],
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
          },
          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 202
    },
    {
      "english": "When the partimento is tied and does not return to the same tone, the suspended note of this partimento requires a major 2nd and an augmented 4th [above it].  And one can add a major sixth to this accompaniment. See letter S.",
      "original": "Quando il Partimento lega, e non torna allo stesso tuono, la nota legata di esso Partimento rechiede seconda maggiore, e quarta maggiore; ed a questo accompagnamento si può aggiugnere la [p. 22] sesta maggiore. Vedi S.",
      "type": "paragraph",
      "id": "book3-p10-text09",
      "sources": [
        {
          "pdf_page": 10,
          "source_image": "source-pages/book3-10.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 10
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          "printed_label": "Book III · PDF 10"
        }
      ],
      "reading_order": 203
    },
    {
      "id": "book3-p11-e01",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
        {
          "pdf_page": 11,
          "source_image": "source-pages/book3-11.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 11
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          "printed_label": "Book III · PDF 11"
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      "reading_order": 204
    },
    {
      "english": "Note that the aforementioned augmented 4th should rise by a semitone to form the consonance of a 6th above the semitone descent from the tied note that follows in the partimento.",
      "original": "Si nota, che la detta quarta maggiore deve salir di semitono, e nell’accompagnamento di quella nota, che nel Partimento succede, discendendo alla nota legata, formerà la Consonanza di sesta.",
      "type": "paragraph",
      "id": "book3-p11-text01",
      "sources": [
        {
          "pdf_page": 11,
          "source_image": "source-pages/book3-11.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 11
          },
          "printed_label": "Book III · PDF 11"
        }
      ],
      "reading_order": 205
    },
    {
      "id": "book3-p11-e02",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p11-e02"
      ],
      "sources": [
        {
          "pdf_page": 11,
          "source_image": "source-pages/book3-11.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 11
          },
          "printed_label": "Book III · PDF 11"
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      ],
      "reading_order": 206
    },
    {
      "english": "The note that had been the 2nd above the tied partimento  will remain as a 3rd in the accompaniment of the next note of the partimento.",
      "original": "La Nota, che nell’ accompagnamento della nota del Partimento legata formò la dissonanza di seconda, rimarrà per terza nell’ accompagnamento della nota del Partimento successiva.",
      "type": "paragraph",
      "id": "book3-p11-text02",
      "sources": [
        {
          "pdf_page": 11,
          "source_image": "source-pages/book3-11.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 11
          },
          "printed_label": "Book III · PDF 11"
        }
      ],
      "reading_order": 207
    },
    {
      "id": "book3-p11-e03",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p11-e03"
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      "sources": [
        {
          "pdf_page": 11,
          "source_image": "source-pages/book3-11.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 11
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          "printed_label": "Book III · PDF 11"
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      ],
      "reading_order": 208
    },
    {
      "english": "Observe that the suspensions involving the 2nd and the augmented 4th produce the effect of passing from the harmony of the former key to that of the key of its fifth, for example, from the key of G to D.  Thus the note which follows the already mentioned tied note in the partimento, whenever it descends a step, is no longer considered as ⑦ of the [old] key but as ③ of the new key to which the harmony has passed.",
      "original": "Si avverte, che la legature di seconda, e quarta maggiore produce l’effetto di far passare l’ Armonia del tono, in cui stava, al tono della sua quinta; come per esempio da Gesolreut, a Delasolrè; Perciò la nota, che nel Partimento succede alla nota, che ha avuta la suddetta legature quan- [p. 23] -tunque scenda di grado, non però considera come settima del Tono, ma come terza del nuovo tono, in cui è passata l’ Armonia.",
      "type": "paragraph",
      "id": "book3-p11-text03",
      "sources": [
        {
          "pdf_page": 11,
          "source_image": "source-pages/book3-11.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 11
          },
          "printed_label": "Book III · PDF 11"
        }
      ],
      "reading_order": 209
    },
    {
      "english": "Concerning the Moves of the Partimento.",
      "original": "De’ Movimenti del Partimento.",
      "type": "paragraph",
      "id": "book3-p11-text04",
      "sources": [
        {
          "pdf_page": 11,
          "source_image": "source-pages/book3-11.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 11
          },
          "printed_label": "Book III · PDF 11"
        }
      ],
      "reading_order": 210
    },
    {
      "english": "When the partimento rises stepwise, it can accept various accompaniments.",
      "original": "Quando il Partimento sale di grado, è suscettiblile di varj accompagnamenti.",
      "type": "paragraph",
      "id": "book3-p11-text05",
      "sources": [
        {
          "pdf_page": 11,
          "source_image": "source-pages/book3-11.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 11
          },
          "printed_label": "Book III · PDF 11"
        }
      ],
      "reading_order": 211
    },
    {
      "id": "book3-p11-e04",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
        {
          "pdf_page": 11,
          "source_image": "source-pages/book3-11.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 11
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          "printed_label": "Book III · PDF 11"
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      ],
      "reading_order": 212
    },
    {
      "english": "I.  5th that moves to a 6th.  That is, after having set the 3rd and 5th above the ①, one can move the 5th to a 6th. After that, with the partimento rising a step, the 6th given to the previous note holds as 5th above the subsequent note.  And it progresses like that as long as such [stepwise] movement continues, which can extend from ① all the way to ⑧. See letter T.",
      "original": "I.  Quinta, che passa a sesta, cioè dopo aver data terza, e quinta alla prima del tono, si fa passare la quinta a sesta; dopo di che il Partimento salendo di grado, la sesta data alla nota antecedente, rimane quinta della sussequente; e così si prosiegue, finchè continua tal movimento, che può andare dalla nota del Tono fino all’ ottava di esso. Vedi T. [p. 24]",
      "type": "paragraph",
      "id": "book3-p11-text06",
      "sources": [
        {
          "pdf_page": 11,
          "source_image": "source-pages/book3-11.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 11
          },
          "printed_label": "Book III · PDF 11"
        }
      ],
      "reading_order": 213
    },
    {
      "english": "Observe that a 3rd should accompany every note of this partimento.",
      "original": "Si avverte, che ogni nota del Partimento deve avere l’ accompagnamento di terza.",
      "type": "paragraph",
      "id": "book3-p11-text07",
      "sources": [
        {
          "pdf_page": 11,
          "source_image": "source-pages/book3-11.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 11
          },
          "printed_label": "Book III · PDF 11"
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      ],
      "reading_order": 214
    },
    {
      "id": "book3-p11-e05",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
        {
          "pdf_page": 11,
          "source_image": "source-pages/book3-11.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
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      "reading_order": 215
    },
    {
      "english": "II.  7th that resolves to a 6th.  That is, after having set the 8ve and 3rd above the ①, the partimento rises one step. Above that second note of the partimento, the 8ve of ① holds over as a 7th, after which it resolves to a 6th. Then it rises a 3rd to position itself on the 8ve of the second note. That done, the partimento again rises one step, and it progresses like",
      "original": "II. Settima, che resolve a sesta, cioè dopo aver data alla prima del Tono ottava, e terza, il Partimento sale di grado, e sopra questa seconda nota del Partimento, l’ ottava della prima rimane settima, dopo di che risolve a sesta; quindi sale di terza per collocarsi sull’ ottava della seconda nota; il che fatto il Partimento sale nuovamente di grado, e così",
      "type": "paragraph",
      "id": "book3-p11-text08",
      "sources": [
        {
          "pdf_page": 11,
          "source_image": "source-pages/book3-11.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 11
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          "printed_label": "Book III · PDF 11"
        }
      ],
      "reading_order": 216
    },
    {
      "english": "that as long as such [stepwise] movement continues, which can extend from ① all the way to ⑧, provided the mode is major. See letter V.",
      "original": "prosiegue finchè continua tal movimento, che può procedere dalla prima del Tono fino all’ ottava di esso; purchè il tono sia di terza maggiore. Vedi V.",
      "type": "paragraph",
      "id": "book3-p12-text01",
      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 12
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          "printed_label": "Book III · PDF 12"
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      ],
      "reading_order": 217
    },
    {
      "english": "III.  9th, prepared by a 3rd, that resolves to the 8ve.  That is, after having set the 3rd and 5th above the ①, the partimento rises one step. Above that second note of the partimento, the 3rd of ① holds over as a 9th, after which it resolves to an 8ve. Then it rises a 3rd to position itself on the 3rd of the second note. That done, the partimento again rises one step, and it progresses like that as long as such [stepwise] movement continues, which can extend from ① up to ⑤. See letter X.",
      "original": "III. Nona preparata dalla terza, che risolve all’ ottava, cioè dopo aver data alla prima del To- [p. 25] -no terza, e quinta, il Partimento sale di grado, e sopra questa seconda nota del Partimento, la terza della prima rimane nona: dopo di che resolve all’ ottava; quindi sale di terza per collocarsi sulla terza della seconda nota; lo che fatto, il Partimento sale nuovamente di grado; e così si prosiegue finchè continua tal movemento, che può procedere dalla prima del Tono fino alla quinta di esso.  Vedi X.",
      "type": "paragraph",
      "id": "book3-p12-text02",
      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 12
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          "printed_label": "Book III · PDF 12"
        }
      ],
      "reading_order": 218
    },
    {
      "id": "book3-p12-e01",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
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          "printed_label": "Book III · PDF 12"
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      "reading_order": 219
    },
    {
      "english": "Note that the 9th takes the accompaniment of the 10th (called the 3rd).",
      "original": "Si nota, che la nona vuole l’ accompagnamento di decima, detta terza.",
      "type": "paragraph",
      "id": "book3-p12-text03",
      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 12
          },
          "printed_label": "Book III · PDF 12"
        }
      ],
      "reading_order": 220
    },
    {
      "english": "Concerning a Partimento that Rises by Semitone.",
      "original": "Del Partimento, che sale di Semitono.",
      "type": "heading",
      "id": "book3-p12-text04",
      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
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            "page": 12
          },
          "printed_label": "Book III · PDF 12"
        }
      ],
      "heading_level": 3,
      "reading_order": 221
    },
    {
      "english": "The partimento can rise by semitone in two ways, depending on the mode in which the partimento happens to be.",
      "original": "Il Partimento può salire di Semitono in due maniere, secondo le terze del Tono, in cui [p. 26] sarà il Partimento.",
      "type": "paragraph",
      "id": "book3-p12-text05",
      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 12
          },
          "printed_label": "Book III · PDF 12"
        }
      ],
      "reading_order": 222
    },
    {
      "id": "book3-p12-e02",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 12
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          "printed_label": "Book III · PDF 12"
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      ],
      "reading_order": 223
    },
    {
      "english": "I. If the partimento will be in the major mode, the ascent by semitone will start on ③, and it can continue rising by semitone until ⑥, inclusive [of all the intervening tones].",
      "original": "I. Se il Partimento sarà in Tono di terza maggiore, la salita di semitono comincerà dalla terza del Tono, e potrà semitonando salire fino alla sesta inclusivamente.",
      "type": "paragraph",
      "id": "book3-p12-text06",
      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 12
          },
          "printed_label": "Book III · PDF 12"
        }
      ],
      "reading_order": 224
    },
    {
      "id": "book3-p12-e03",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p12-e03"
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      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 12
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          "printed_label": "Book III · PDF 12"
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      "reading_order": 225
    },
    {
      "english": "II. If the partimento will be in the minor mode, the ascent by semitone will start on ⑤, and it can procede by semitone until ⑧, inclusive [of all the intervening tones].",
      "original": "II. Se il Partimento sarà in Tono di terza minore, la salita di semitono comincerà dalla quinta, e potrà procedere semitonando fino all’ ottava inclusivamente",
      "type": "paragraph",
      "id": "book3-p12-text07",
      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 12
          },
          "printed_label": "Book III · PDF 12"
        }
      ],
      "reading_order": 226
    },
    {
      "english": "Concerning a Partimento in Major",
      "original": "Del Partimento in terza maggiore, che sale",
      "type": "paragraph",
      "id": "book3-p12-text08",
      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 12
          },
          "printed_label": "Book III · PDF 12"
        }
      ],
      "reading_order": 227
    },
    {
      "english": "that Rises by Semitone and Begins said Ascent from ③.",
      "original": "simitonando, e comincia detta salita dalla terza del Tono.",
      "type": "heading",
      "id": "book3-p12-text09",
      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 12
          },
          "printed_label": "Book III · PDF 12"
        }
      ],
      "heading_level": 3,
      "reading_order": 228
    },
    {
      "id": "book3-p12-e04",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 12
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          "printed_label": "Book III · PDF 12"
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      "reading_order": 229
    },
    {
      "english": "Consider the first note of this partimento, which is ③, like a ⑦ that moves to ⑦. Whence like a ⑦ that moves to ①, it will have the accompaniment of a 3rd and 6th, to which is added the diminished 5th in consideration of [the partimento] being on the leading tone. Consider the subsequent note of",
      "original": "La prima nota di questo Partimento, che è la Terza del Tono, si considererà come settima, che passa a prima, onde come settima, che sale all’ ottava, avrà [p. 27] l’accompagnamento di terza, e sesta; al quale si aggiugnerà la quinta falsa sulla considerazione di esser detta nota semitono: la susseguente nota del Partimento si",
      "type": "paragraph",
      "id": "book3-p12-text10",
      "sources": [
        {
          "pdf_page": 12,
          "source_image": "source-pages/book3-12.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 12
          },
          "printed_label": "Book III · PDF 12"
        }
      ],
      "reading_order": 230
    },
    {
      "id": "book3-p13-e01",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
        "book3-p13-e01"
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      "sources": [
        {
          "pdf_page": 13,
          "source_image": "source-pages/book3-13.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 13
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          "printed_label": "Book III · PDF 13"
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      "reading_order": 231
    },
    {
      "english": "the partimento like a ①, whence it will have a 3rd, 5th, and 8ve.  And it continues like that successively.",
      "original": "considererà come prima del tono; onde avrà terza, quinta, ed ottava; e così successivamente.",
      "type": "paragraph",
      "id": "book3-p13-text01",
      "sources": [
        {
          "pdf_page": 13,
          "source_image": "source-pages/book3-13.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 13
          },
          "printed_label": "Book III · PDF 13"
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      ],
      "reading_order": 232
    },
    {
      "english": "Observe that over the second note of the partimento one can place, on the first half of its time value, a 4th (prepared by a diminished 5th) that resolves to a 3rd on the second half of its time value. See letter Z.",
      "original": "Si avverte, che alla seconda nota de detto Partimento si può dare sul suo primo tempo l’ accompagnamento di quarta preparata dalla quinta falza, che risolve a terza sul suo secondo tempo. Vedi Z.",
      "type": "paragraph",
      "id": "book3-p13-text02",
      "sources": [
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          "pdf_page": 13,
          "source_image": "source-pages/book3-13.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 13
          },
          "printed_label": "Book III · PDF 13"
        }
      ],
      "reading_order": 233
    },
    {
      "id": "book3-p13-e02",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
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      "reading_order": 234
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      "english": "Over this already mentioned second note of the partimento one can also place an accompaniment of a 9th (prepared by a 3rd) that on the second half of its time value resolves to an 8ve. See letter Y.",
      "original": "Alla giaddetta seconda Nota del Partimento si può dare altresì accompagnamento di Nona preparata dalla terza, che sul secondo tempo resolve ad ottava. Vedi Y.",
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      "reading_order": 235
    },
    {
      "english": "[Concerning a Partimento in Minor that Rises by Semitone and Begins said Ascent from ⑤.]",
      "original": "",
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      "heading_level": 3,
      "editorial": true,
      "reading_order": 236
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    {
      "english": "Passing on then to a partimento in the minor mode with a move ascending by semitone which, as was mentioned, will begin on ⑤.",
      "original": "Passando adesso al Partimento di Terza minor col movimento [p. 28] ascendente di semitono, il quale, come si è detto, comincerà dalla quinta del Tono:",
      "type": "paragraph",
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      "reading_order": 237
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      "english": "[I.] One should observe that the said ⑤ should have a major 3rd, a 5th, and 8ve [above it].  This 8ve will hold over as a 7th above the subsequent note [♭⑥] of the partimento ascending by semitone. On the next note of the partimento [♮⑥] rising similarly by semitone, that 7th will resolve to a minor 6th.  On the next note of the partimento [♭⑦] rising similarly by semitone, the 3rd of the preceding note holds over, and will form a suspended 9th to resolve to the 8ve above the same note of the partimento.",
      "original": "se deve osservare, che la detta quinta deve avere Terza maggiore, quinta, ed ottava; la quale ottave rimarrà per settima della susseguente nota del Partimento, ascendente di semitono: sulla successiva nota del Partimento ascendente parimente di semitono, la detta settima risolverà a sesta minore: sulla successiva nota del Partimento, ascendente parimente di semitono, remarrà la Terza della nota antecendente, e formerà la legatura di Nona per resolvere ad ottava sulla stessa nota del Partimento.",
      "type": "paragraph",
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      "reading_order": 238
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      "english": "The subsequent note of the partimento ascending by semitone, which will be the ♮⑦ of the key in which this motion began, requires the accompaniment of a 5th and 6th [above it].  The final note of this motion, which will be the ①, is accompanied with the 3rd and 5th. See A.a.",
      "original": "La successiva nota del Partimento ascendente di semitono, che sarà la settima maggiore del Tono, in cui è cominciato il mo- [p. 29] -vimento, richiede l’ accompagnamento di quinta, e sesta; e l’ ultima nota de detto movimento, che sarà la corda del Tono, si accompagnerà con terza, e quinta. Vedi Aa.",
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      "reading_order": 240
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    {
      "english": "II. On the first note of a partimento that will make the motion of rising semitones, the note which as already mentioned should be ⑤, one will provide the accompaniment",
      "original": "II. Sulla prima nota del Partimento, che sarà il movimento di salire di semitono, la qual Nota, già si è detto, dover essere la quinta del Tono, si darà l’ accompagnamento di terza maggiore, quinta, ed ottava: Alla nota",
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      "reading_order": 241
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    {
      "english": "of a major 3rd, a 5th, and 8ve. Above the subsequent note of the partimento ascending by semitone, the note which comes to be ♭⑥, one will provide a 3rd and 6th.  Above the next note of the partimento rising yet again by semitone, the note which comes to be ♮⑥, one will provide a 3rd and a diminished 5th. Above the subsequent note of the partimento ascending by semitone, which will be the ♭⑦ of the key, the diminished 5th above the preceding note will form the dissonance of a 4th, to resolve to a 3rd on the second half of its time value. Above the subsequent note of the partimento ascending by semitone, which will be the ♮⑦ of the key, one will set a 3rd and a diminished 5th. And above the subsequent note of the partimento, which will be the tonic ①, the diminished 5th of the preceding accompaniment holds over, and will resolve to a 3rd on the second half of its time value. See A.b.",
      "original": "susseguente del Partimento, ascendente di semitono, la qual nota viene ad essere la sesta minore del Tono, si darà terza, e sesta: sulla Nota susseguente del Partimento, ascendente eziandio di semitono, la qual nota viene ad essere la sesta maggiore del Tono, si darà terza, e quinta falsa: Sulla nota susseguente del [p. 30] Partimento, ascendente di semitono, la quale viene ad essere la settime minore del Tono, rimarrà la quinta falza della nota precedente, e formerà la dissonanza di quarta, per risolverla sul secondo tempo a terza: Sulla nota susseguente del Partimento, ascendente di semitono, che viene ad essere la settime maggiore del Tono, si darà terza, e quinta falza; e sulla successiva nota del Partimento, ascendente pure di semitono, la quale sarà la Nota del Tono; la quinta falza dell’ accompagnamento precedente, rimarrà per quarta, e risolverà a terza sul suo secondo tempo. Vedi Ab. [p. 31]",
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    {
      "english": "Concerning a Partimento that Descends Stepwise.",
      "original": "Del Partimento, che scende di grado.",
      "type": "heading",
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      "english": "When the partimento descends stepwise, it can accept various accompaniments.",
      "original": "Quando il Paritmento scende di grado, è suscettible di varj accompagnamenti.",
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    {
      "english": "[I.] First, one can consider the notes of the descending scale as follows:",
      "original": "Primo: Le note della Scala, che scende, si possono considerare come siegue cioè.",
      "type": "paragraph",
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      "english": "The first of them, which one takes to be the tonic [①], should be considered from that viewpoint, and because of that accompanied by a 3rd and 5th.  The subsequent note, having descended a step, should be accompanied (as ⑦) with a 3rd and 6th.  The next descending note [⑥] should be newly considered as a ①, and the tone after that [⑤] as a ⑦.  And thus one successively alternates between these two accompaniments, one of a 3rd and 5th, and the other of a third and sixth, continuing down until the partimento will arrive at the ③, to all of which the aforementioned rule applies inclusively.",
      "original": "La prima di esse, che si suppone essere la nota del Tono; per tale appunto dovrà essere considerata, e perciò deve essere accompagnata con terza, e quinta; e la nota successiva, discendente di grado, dovrà essere accompagnata (qual settima del Tono) con terza, e sesta: la successiva discendente dovrà essere di nuovo considerata come prima del Tono, e la susseguente come settima: e così successivamente si alterneranno i detti due accompa- [p. 32] -gnamenti, uno di Terza, e quinta, e l’altro di terza, e sesta, e finchè il Partimento arriverà sulla terza del Tono, fino alla quale inclusivamente procede la detta regola.",
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      "english": "II. Considering the descending scale of the partimento in the same way described in the previous article [I.], that is, with the first note",
      "original": "II. Considerata la scala discendente del Partimento dello stesso modo detto nell’ Articolo precedente, cioè, la prima nota,",
      "type": "paragraph",
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    {
      "english": "as ①, the second as ⑦, the third as a new ①, the fourth as a new ⑦, and thus hand over hand inclusively down to the ③, it is possible for this motion to be accompanied as follows:",
      "original": "come prima del Tono; la seconda come settima; e la terza nuovamente come prima; la quarta nuovamente come settima; e così di mano in mano fino alla terza del Tono inclusivamente, potrà tal movimento essere accompagnato come siegue, cioè:",
      "type": "paragraph",
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      "english": "At the start, the ① will have a 3rd and 5th [above  it].  And then, with the partimento holding the same note, the accompaniment will take a 2nd and an augmented 4th, after which, with the partimento descending to ⑦, you will see the same accompaniment of a 3rd and a 6th.  Above the next note of the partimento, which will be ⑥, one will practice what was described above with respect to the ①.  Above the ⑤, all that was said with respect to ⑦, and thus hand over hand down until the partimento reaches ③ inclusively. See A.c.",
      "original": "La prima del Tono avrà da principio terza, e quinta: e quindi restando il Partimento sulla stessa nota, gli si darà l’ accompagnamento di seconda, e quarta mag- [p. 33] -giore: dopo di ciò, scendendo il Partimento sulla settima del Tono, verrà la medesima accompagnata con terza, e sesta: sulla successiva nota del Partimento, che sarà la sesta del Tono, si praticherà ciò, che si è detto in ordine all prima: sulla quinta, ciocchè si è detto in ordine alla settima; e cosi di mano in mano sintantochè il Partimento giugnerà sulla terza del tono inclusivamente. Vedi Ac.",
      "type": "paragraph",
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      "reading_order": 251
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      "english": "III. All the notes of a partimento that descends stepwise can be accompanied by a 3rd and a 6th, until the partimento reaches ②.  There it will have a [major] 6th [❼] that, at the next note of the partimento (which will be ①), will rise to the octave [❶].",
      "original": "III. Tutte le note del Partimento, che scende di grado, potranno essere accompagnate con terza, e sesta, fintantochè il Partimento giugnerà alla seconda del Tono, alla quale si darà sesta, che sulla successiva nota del Partimento (la quale sarà la prima del Tono) salirà all’ ottava. [p. 34]",
      "type": "paragraph",
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      "reading_order": 254
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    {
      "english": "IV. A partimento that descends stepwise, could also be accompanied as follows.  With ① initially given a 3rd and 5th, one raises the 5th to a 6th.  When the partimento descends a step to ⑦, the sixth placed over the ① holds to form a suspended 7th, which resolves to a 6th. This 6th forms a suspended 7th above the following note of the partimento, and this continues in sequence down to ②, on which the suspended 7th will resolve to a major 6th [❼].  It will rise to the 8ve [❶] to form a consonance on an 8ve on the last note of the partimento [①]. See A.d.",
      "original": "IV. Il Partimento, che scende di grado, può essere altresì accompagnato come siegue, cioè. Data in principio alla prima del Tono terza, e quinta, si farà salire la quinta a sesta; Quindi scende di grado il Partimento sulla settima del Tuono, su della quale la sesta data alla prima forma legature di settima, che si risolve a sesta: La detta sesta forma legatura di settima su della sequente nota del Partimento; e così successivamente fino alla seconda del Tono, sulla quale la legatura di settima risolverà a sesta maggiore, che salendo all’ ottava, formerà sull’ ultima nota del Partimento la consonanza di ottava. Vedi Ad.",
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      "reading_order": 255
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      "english": "Observe that up to now we have treated the partimento that descends stepwise, but with detached notes. Now it remains to treat the partimento that descends stepwise, but entirely in tied notes.",
      "original": "Si avverte, che sin quì si è trattato del Partimento discendente di grado; ma con note sciol- [p. 35] -te; rimane ora a trattare del Partimento discendente di grado, ma tutto legato.",
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      "english": "Concerning a Partimento that Descends in Ties.",
      "original": "Del Partimento, che scende legato.",
      "type": "heading",
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      "english": "The tied note of the said partimento could have a perfect 4th or even an augmented 4th at the choice of the composer.  One should not descend in this way beyond the ④.  And above this last tied note of the partimento the 4th should definitely be augmented to rise to a 6th above the subsequent note of the partimento on which this motion ends.  That [final] note of the partimento comes to be ③ in the key in which the composition has been proceeding. See A.e.",
      "original": "La nota legata di detto Partimento può avere quarta minore, o pure quarta maggiore ad arbitrio del Compositore: Di questa maniera non potrà il Partimento scendere oltre alla quarta del Tono: e sull’ ultima nota legata del Partimento la quarta deve essere forzosamente maggiore per salire alla sesta della sussequente nota del Partimento, sulla quale termina il movimento; la quale note del Partimento viene ad essere la terze del Tono, a cui è passata la Composizione. Vedi Ae. [p. 36]",
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          "source_image": "source-pages/book3-16.jpg",
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            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 16
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          "printed_label": "Book III · PDF 16"
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      "reading_order": 260
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      "english": "Among the prerequisites of a partimento that begins to descend from ⑤ and proceeds descending by step, at least as far as ③, one must observe whether that partimento is in the major or the minor mode.",
      "original": "Nella supposizione di un Partimento, che comincia a scendere dalla quinta del Tono, e procede scendendo di grado, almeno fino alla terza del Tono, si dovrà osservare, se’l Tono di un tal Partimento sia ti terza maggiore, oppure di terza minore.",
      "type": "paragraph",
      "id": "book3-p16-text03",
      "sources": [
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          "pdf_page": 16,
          "source_image": "source-pages/book3-16.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 16
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          "printed_label": "Book III · PDF 16"
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      "reading_order": 261
    },
    {
      "english": "If it is in the major mode, it can be accompanied as follows:",
      "original": "Se farà di terza maggiore, potrà essere accompagnato, come siegue.",
      "type": "paragraph",
      "id": "book3-p16-text04",
      "sources": [
        {
          "pdf_page": 16,
          "source_image": "source-pages/book3-16.jpg",
          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 16
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          "printed_label": "Book III · PDF 16"
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      "reading_order": 262
    },
    {
      "id": "book3-p16-e02",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
        {
          "pdf_page": 16,
          "source_image": "source-pages/book3-16.jpg",
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      "reading_order": 263
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    {
      "english": "Above the ⑤ there will be a major 3rd and an 8ve.  On the subsequent note descending stepwise, which comes to be the ④, the same accompaniment will hold firm causing the major 3rd to become an augmented 4th, the 5th to become a major 6th, and the 8ve to become a 2nd.  Above the next note of the partimenti, which comes to be ③, the augmented 4th in the accompaniment [❼] procedes to rise a step to form the 6th [❶]. See A.f.",
      "original": "La quinta del Tono avrà terza maggiore, quinta, ed ottava: sulla nota susseguente del Partimento, discendente di grado, la quale viene ad essere la quarta del Tono, rimarrà fermo lo stesso accompagnamento, la di cui terza maggiore diverrà quarta maggiore: la quinta risulterà sesta maggiore; e l’ ottava diverrà seconda; su la nota successiva del Partimento, che viene ad essere [p. 37] la terza del Tono, la quarta maggiore dell’ accompagnamento precedente salirà di grado, e formerà sesta. Vedi Af.",
      "type": "paragraph",
      "id": "book3-p16-text05",
      "sources": [
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          "printed_label": "Book III · PDF 16"
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      "reading_order": 264
    },
    {
      "id": "book3-p16-e03",
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      "english": "",
      "original": "",
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      "sources": [
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      "reading_order": 265
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      "english": "But if the partimento will be in the minor mode, it will follow in whole the proceding rule of accompaniment concerning the major mode, with this sole difference, that above the second note of the partimento descending stepwise, which comes to be ④, the composer has the choice of adding the minor 3rd to his accompaniment [♭❻], replacing the 2nd [❺].  See A.g.",
      "original": "Ma se il Partimento sarà in Tono di terza minore, procederà in tutto la precedente regola dell’ accompagnamento del Tono di terza maggiore, con questa sola differenza, che sulla seconda nota del Partimento discendente di grado, la quale viene ad essere la quarta del Tono, si potrà ad arbitrio del Compositore aggiugnere al suo accompagnamento la terza minore; togliendone la seconda. Vedi Ag.",
      "type": "paragraph",
      "id": "book3-p16-text06",
      "sources": [
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          "pdf_page": 16,
          "source_image": "source-pages/book3-16.jpg",
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      "reading_order": 266
    },
    {
      "english": "If the partimento is in the minor mode, it can also descend semitone by semitone [from ①] down to ⑤ inclusively.  And this motion can accept various accompaniments.",
      "original": "Se il Partimento è in terza minore, potrà anche scendere di semitono in semitono fino alla quinta del Tono inclusivamente: e questo movimento è suscettiblile di diversi accompagnamenti. [p. 38]",
      "type": "paragraph",
      "id": "book3-p17-text01",
      "sources": [
        {
          "pdf_page": 17,
          "source_image": "source-pages/book3-17.jpg",
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          "printed_label": "Book III · PDF 17"
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      "reading_order": 267
    },
    {
      "english": "First, on the first half of its time value the first note of the partimento [①] will be given an accompaniment of a 3rd and 5th.  On the second half of its time value the 3rd will hold fast and the 5th will move to the 6th.",
      "original": "Primo: Sul primo tempo della prima nota di detto Partimento si darà l’ accompagnamento di terza, e quinta: sul secondo tempo di essa nota la terza rimarrà ferma, e la quinta passerà a sesta.",
      "type": "paragraph",
      "id": "book3-p17-text02",
      "sources": [
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            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 17
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          "printed_label": "Book III · PDF 17"
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      "reading_order": 268
    },
    {
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      "english": "",
      "original": "",
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      "reading_order": 269
    },
    {
      "english": "Then, above the semitone to which the partimento will descend [⑦], the previous 6th will form a suspended 7th.  The partimento will then descend again by semitone, and above this note [♭⑦] the preceding 7th will resolve to a 6th, and thus descending by semitone successively down to the penultimate note of the partimento [♭⑥].",
      "original": "Quindi sul semitono, su di cui discenderà il Partimento, la sesta antecedente formerà legatura di settima: scenderà poi il Partimento di semitono, e su questa nota la precedente settima si resolverà a sesta: e così successivamente fino all penultima nota del Partimento discendente di semitono.",
      "type": "paragraph",
      "id": "book3-p17-text03",
      "sources": [
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      "reading_order": 270
    },
    {
      "english": "Descending thus, the penultimate note of the partimento will be ♭⑥.  And the resolution of the accompaniment that will be above it should move to an augmented 6th, which will then rise to the 8ve [❺] of the subsequent note of the partimento [⑤]. See A.h.",
      "original": "La quale penultima nota del Partimento, così discendente, sarà la sesta minore del tono; e la risoluzione dell’ accompagnamento, che si sarà sopra di essa, dovrà andare a sesta superfula, per indi salire all’ ottava della nota [p. 39] susseguente del Partimento. Vedi Ah.",
      "type": "paragraph",
      "id": "book3-p17-text04",
      "sources": [
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          "source_image": "source-pages/book3-17.jpg",
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      "reading_order": 271
    },
    {
      "english": "Observe that each one of the notes of this partimento, descending by semitone, should be accompanied by its 3rd.",
      "original": "Si avverte, che ciascheduna delle note di questo Partimento, discendente di semitono, potrà essere acompagnata colla sua terza.",
      "type": "paragraph",
      "id": "book3-p17-text05",
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            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 17
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          "printed_label": "Book III · PDF 17"
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      "reading_order": 272
    },
    {
      "english": "Second, a partimento descending by semitone, can be accompanied in contrary motion, that is:",
      "original": "Second: Il Partimento discendente di semitono potrà essere accompagnato per moto contrario, cioè:",
      "type": "paragraph",
      "id": "book3-p17-text06",
      "sources": [
        {
          "pdf_page": 17,
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          "source_pdf": {
            "path": "source/pdf/IMSLP807026-PMLP1272278-fenaroli-bk3-gjerdingen.pdf",
            "page": 17
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          "printed_label": "Book III · PDF 17"
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      "reading_order": 273
    },
    {
      "id": "book3-p17-e02",
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      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
        {
          "pdf_page": 17,
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      "reading_order": 274
    },
    {
      "english": "To the first and second notes of the partimento [①,⑦] one should give a 3rd.  To the third note [♭⑦] one should give an augmented 4th.  To the fourth note [♮⑥] one should give a 6th. And to the fifth note of the partimento, which will be ♭⑥, one should give the augmented 6th, and thence to finish it all just as was described in the preceding article.  See A.i.",
      "original": "Alla prima, ed alla seconda nota del Partimento si darà terza: alla terza si darà quarta maggiore: alla quarta si darà sesta; ed alla quinta nota del Partimento, cha sarà la sesta minore del Tono, si darà la sesta superflua, per indi terminare in tutto, siccome si è detto nell’ Articolo precedente. Vedi Ai. [p. 40]",
      "type": "paragraph",
      "id": "book3-p17-text07",
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      "reading_order": 275
    },
    {
      "english": "Concerning a Partimento that Rises by a Third and Falls by a Step.",
      "original": "Del Partimento, che sale di terza, e scende di grado.",
      "type": "heading",
      "id": "book3-p17-text08",
      "sources": [
        {
          "pdf_page": 17,
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      "heading_level": 3,
      "reading_order": 276
    },
    {
      "english": "When the partimento rises by a third and falls by a step, it can accept various accompaniments.",
      "original": "Quando il Partimento sale di terza, e scende di grado, è suscettibile di diversi accompagnamenti.",
      "type": "paragraph",
      "id": "book3-p18-text01",
      "sources": [
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      "reading_order": 277
    },
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      "english": "I.  To the first note of the partimento, which one supposes to be ①, one will give the 3rd and 5th.  To the note of the partimento that rises by third, and will be ③, one will give the 3rd and 6th. To the note of the partimento that descends by step, and will be ②, one will give the 3rd and major 6th. To the next note of the partimento that rises by third, and will be ④, one will give the 2nd, augmented 4th, and 6th. To the next note of the partimento that descends by step, and will be ③, one will give the 3rd and 6th. The next note of the partimento that rises by third, which is ⑤ in the key in which the motion began, should have received a major 3rd and a 5th by virtue of the scale of the said ①. The motion we treat here, however, has other requirements and obliges one to consider the above mentioned note of the partimento no longer as ⑤, but rather as ② of the next note of the partimento [④] descending by step. And as such one will give it [⑤] a minor 3rd and major 6th.  To the next note of the partimento [④] descending by step, which one regards as a ①, will be given a 3rd and 5th. To the next note of the partimento that rises by third [⑥], one will give the 3rd and 6th. To the next note of the partimento that descends by step [⑤], one will give the 3rd and 5th so as to make a cadence to the note [①] from which the partimento began.  See A.l.",
      "original": "Primo:  Alla prima nota del Partimento, che si suppone essere la nota del Tono, si darà terza, e quinta: Alla nota del Partimento, che sale di terza, e sarà la terza del Tono, si darà terza, e sesta: Alla nota del Partimento, che scende di grado, e sarà la seconda del Tono, si darà terza, e sesta maggiore: Alla nota successiva del Partimento, che sale di terza, cha sarà la quarta del Tono, si darà seconda, quarta maggiore, e sesta: Alla nota successiva del Partimento, discendente di grado, che sarà la terza [p. 41] del tono, si darà terza, e sesta: La nota successiva del Partimento, che sale di terza, che è la quinta del Tono, in cui è cominciato il movimento, richiederebbe per ragion della scala del detto primo Tono l’ accompagnamento di terza maggiore, e quinta; il movimento però, di cui si tratta, esigge altrimente, ed obbliga a considerare la suddetta nota del Partimento no già come quinta del Tono, ma bensì come seconda della nota successiva di detto Partimento discendente di grado; e come tale se le darà terza minore, e sesta maggiore.  Alla nota successiva del Partimento discendente di grado che si riguarderà come nota del Tono, si darà terza, e quinta. Alla nota successiva del Partimento, che sale di terza si darà [p. 42] terza, e sesta: Alla nota successiva del Partimento, discendente di grado, si darà terza maggiore, e quinta, per fare cadenza su la nota, dalla quale è cominciato il Partimento. Vedi Al:",
      "type": "paragraph",
      "id": "book3-p18-text02",
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      "reading_order": 278
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      "original": "",
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      "english": "II.  The first note of the partimento, which will also be ①, will have as such the accompaniment of 3rd and 5th. In the first half of its time value, one considers the second note of the partimento ascending by 3rd as ③, which it effectively is, and as such will have the accompaniment of a 3rd and 6th.  One will consider the same note of the partimento [③], in the second half of its time value, as a ② in respect of the following note to which it will descend by step.  Whence",
      "original": "Secondo: La prima nota del Partimento, che sarà anche la prima del Tono, avrà come tale l’ accompagnamento di terza, e quinta: La seconda nota del Partimento ascendente di terza, si considera nel suo primo tempo, come terza del tono, la quale l’ è effettivamente, e come tale avrà l’ accompagnamento di terza, e sesta: La stessa nota del Partimento nel suo secondo tempo si considererà come seconda del Tono, e ciò per respetto della sua nota successiva, a cui deve discendere",
      "type": "paragraph",
      "id": "book3-p18-text03",
      "sources": [
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          "printed_label": "Book III · PDF 18"
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      "reading_order": 280
    },
    {
      "id": "book3-p18-e02",
      "type": "music",
      "english": "",
      "original": "",
      "asset_refs": [
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      "sources": [
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      "reading_order": 281
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    {
      "english": "in the said second half of its time value it will have, according to the key [of the note below] a 3rd and major 6th. The third note of the partimento descending by step [②], will then be considered as a ①. Whence in its accompaniment, the note which in the preceding accompaniment had formed a 6th, will rise directly by semitone and will form an 8ve.  The other note, which had formed the consonance of a 3rd in the preceding accompaniment, will hold over in the first half of the time value of this accompaniment, and it will form a suspended 4th that will resolve to a 3rd in the second half of the time value of the note of the partimento. And so on until the end of the said motion. See A.m.",
      "original": "di grado; onde in detto secondo tempo avrà, come se- [p. 43]-conda del Tono, l’ accompagnmento di terza, e sesta maggiore: La terza nota poi del Partimento, discendente di grado, sarà considerata come prima del Tono; laonde nel suo accompagnamento quella nota, la quale nell’ accompagnamento precedente aveva formata sesta, salirà subito di semitono, e formerà ottava: L’ altra nota, che nell’accompagnamento precedente avea formata la consonanza di terza, remarrà ferma nel primo tempo di questo accompagnamento, e formerà legatura di quarta, che risolverà a terza nel secondo tempo della nota del Partimento, e così fino alla fine di detto movimento. Vedi Am:",
      "type": "paragraph",
      "id": "book3-p19-text01",
      "sources": [
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          "source_image": "source-pages/book3-19.jpg",
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      "reading_order": 282
    },
    {
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      "english": "",
      "original": "",
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    {
      "english": "III.  The first note of the partimento [①] will be accompanied by a 3rd and 5th.  The second note [③] ascending by 3rd, will have a 3rd and 6th. On the third note of the partimento [②] descending by step, the 6th above the previous note will form a suspended 7th which will resolve to a 6th above the same note of the partimento. The fourth note of the partimento [④] ascending by 3rd will have a 3rd and a 6th. [The ensuing 7th] will be resolved as above, following the same accompaniment until the end of the motion. See A.n.",
      "original": "Terzo: La prima nota del Partimento sarà accompagnata con terza, e quinta: La seconda, [p. 44] ascendente di terza, avrà terza, e sesta: sulla terza nota del Partimento discendente di grado, la sesta della nota antecedente formerà legature di settima, che sulla stessa nota del Partimento risolverà a sesta: La quarta nota del Partimento, ascendente di terza, averà terza, e sesta, per risolvere some sopra, sequendo sempre lo stesso accompagnamento sino alla terminazione del movimento. Vedi An:",
      "type": "paragraph",
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      "reading_order": 284
    },
    {
      "english": "Concerning a Partimento that Falls by Third and Rises by Step",
      "original": "Del Partimento, che scende di terza, e sale di grado.",
      "type": "heading",
      "id": "book3-p19-text03",
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      "english": "This motion can accept various accompaniments according to the diverse interpretations that one may have of the notes of the partimento that form it.",
      "original": "Questo movimento è suscettibile di diversi accompagnamenti, secondo la diversa considerazione, in cui si avranno le note del Partimento, che lo formano. [p. 45]",
      "type": "paragraph",
      "id": "book3-p19-text04",
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          "printed_label": "Book III · PDF 19"
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      "reading_order": 286
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      "original": "",
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      "english": "I.  The first note of the partimento, considered as ①, will be accompanied with a 3rd and 5th. And the second note of the partimento, having descended a 3rd, considered as ⑥, will be accompanied with a 3rd and 6th. The third note of the partimento [⑦] having ascended a step, considered now as ①, will be accompanied with a 3rd and 5th. And thus one successively alternates the accompaniments until the end of the motion,",
      "original": "Primo: La prima nota del Partimento, considerata come prima del Tono, si accompagnerà con terza, e quinta; e la seconda nota del Partimento, discendente di terza, considerata come sesta del Tono, si accompagnerà con terza, e sesta: La terza nota del Partimento, ascendente di grado, considerata nuovamente come prima del Tono, si accompangerà con terza, e quinta: e così successivamente si alterneranno gli accompagnamenti fino alla terminazione del",
      "type": "paragraph",
      "id": "book3-p19-text05",
      "sources": [
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          "source_image": "source-pages/book3-19.jpg",
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      "reading_order": 288
    },
    {
      "english": "whether that of a 3rd and 5th for the notes of the partimento ascending by step, or of a 3rd and 6th for the notes of the partimento descending a 3rd.",
      "original": "movimento, tanto quella di terza, e quinta alla nota del Partimento, ascendente di grado, quanto quello di terza, e sesta alla nota del Partimento discendente di terza.",
      "type": "paragraph",
      "id": "book3-p20-text01",
      "sources": [
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          "source_image": "source-pages/book3-20.jpg",
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      "reading_order": 289
    },
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      "english": "II.  The first note of the partimento, considered as ①, will be accompanied with a 3rd and 5th. And the second note of the partimento [⑥] descending by 3rd, will be considered as ⑦ in relation to the following note to which it will rise by step. And like a ④ (as has been said) it will be accompanied with a 3rd, 5th, and 6th. The third note of the partimento [⑦] having ascended a step, will now be considered as ①, whence it will be accompanied with a 3rd and 5th. And thus the aforementioned two accompaniments, that is, of a 3rd, 5th, and 6th for the notes of the partimento descending a 3rd, and of a 3rd and 5th for the notes of the partimento ascending by step, will proceed alternately the one to the other until the conclusion of the motion. See A.o.",
      "original": "Secondo.  La prima nota del Partimento, considerata come prima del Tono, si accompagnerà [p. 46] con terza, e quinta; e la seconda nota del Partimento, discendente di terza, si considererà come settima del Tono respettivamente alla nota successiva, su di cui dovrà salir di grado; e come quarta del Tono (come si è detto) si accompagnerà con terza, quinta, e sesta: La terza nota del Partimento ascendente di grado, si considererà nuovamente come prima del Tono; laonde si accompagnerà con terza, e quinta; e così gli anzidetti due accompagnamenti, cioè quello di terza, quinta, e sesta sulla nota del Partimento discendente id terza, e quello di terza, e quinta sulla nota del Partimento ascendente di grado, succederanno alternativamente l’ uno all’ altro fino alla terminazione de movimento. Vedi A.o. [p. 47]",
      "type": "paragraph",
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          "printed_label": "Book III · PDF 20"
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      "reading_order": 290
    },
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      "reading_order": 291
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    {
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    {
      "english": "III.  The notes of the partimento that form the above mentioned motion can also be considered as follows. On the note of the partimento that descends by 3rd, if one considers it as ⑥, one makes a suspension of a 7th prepared by the 5th of the preceding note of the partimento [①] in order to resolve it to a 6th on the second half of its time value. And thus one [progresses] successively until the conclusion of the motion. On the note that ascends a step [⑦], if one considers it as ①, one makes a suspension of a 9th prepared by the 3rd of the preceding note [❶] in order to resolve it to an 8ve on the second half of its time value [❼].",
      "original": "Terzo. Le note del Partimento, che formano il movimento suddetto, si possono anche considerare come siegue, cioè: Quella nota di esso Partimento discendente di terza, si considererà come sesta del Tono, in cui si farà una legatura di settima preparata dalla quinta della nota precedente del Partimento, per risolverla sul secondo tempo a sesta, e così successivamente fino all terminazione del movimento: quella che ascende di grado si considererà come prima del Tono, su di cui si farà una legatura di nona preparata dalla terza della precedente per risolverla sul suo secondo tempo ad ottava. Vedi A.p. [p. 48]",
      "type": "paragraph",
      "id": "book3-p20-text03",
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      "reading_order": 293
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      "reading_order": 294
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    {
      "english": "Concerning a Partimento that Rises by Fourth and Descends by Third",
      "original": "Del Partimento, che sale di quarta, e scende di terza.",
      "type": "heading",
      "id": "book3-p20-text04",
      "sources": [
        {
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      "reading_order": 295
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    {
      "english": "This motion can accept various accompaniments. I.  If one considers this motion as being from ① and leaping to ④, then each of the said two notes of the partimento will be accompanied with a 3rd and a 5th. See A.q.",
      "original": "Questo movimento è suscettibile di diversi accompagnamenti; ed in primo luogo si condidererà tal movimento come a prima del tono, che sale a quarta; onde ciascheduna della dette due note del Partimento si accompagnerà con terza, e quinta. Vedi A.q.",
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      "id": "book3-p20-text05",
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      "reading_order": 296
    },
    {
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      "english": "",
      "original": "",
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      "sources": [
        {
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      "reading_order": 297
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    {
      "english": "II.  The note of the partimento ascending the 4th [④] can have in its accompaniment a suspended 9th, prepared by the 5th.  This 9th will resolve to the 8ve on the second half of the time value of the aforementioned partimento [④].  This can continue until the conclusion of this motion. See A.r.",
      "original": "Second. La nota del Partimento ascendente di quarta potrà avere nel suo accompagnamento la legatura di nona, preparata dalla quinta, la quale nona sul secondo tempo della nota sudetta del Partimento se resolverà ad ottava; e così successivamente fino alla terminazione del movimento. Vedi A.r.",
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      "sources": [
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      "reading_order": 298
    },
    {
      "english": "III.  Granting that the partimento is in the major mode, on its first note [①] one can make a descent from the 8ve in the accompaniment to the minor 7th, and this tone, staying put above the next note of the partimento ascending a 4th, will form a suspended 4th on the first half of this same note’s time value, which will resolve to a 3rd on the second half.",
      "original": "Terzo. Supposto, che ‘l tono [p. 49] del Partimento sia di terza maggiore, si potrà sulla prima nota di esso far scendere l’ottava dell’ accompagnamento sulla settima minore, e questa rimanendo ferma sulla successiva nota del Partimento ascendente di quarta, formerà sul primo tempo della medesima legatura di quarta, che sul secondo tempo risolverà a terza.",
      "type": "paragraph",
      "id": "book3-p21-text02",
      "sources": [
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      "reading_order": 299
    },
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      "reading_order": 300
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    {
      "english": "One can procede thusly until the conclusion of this motion, provided that all the notes of this same partimento, having descended a 3rd, will have a major 3rd. See A.s.",
      "original": "Così potrà procedersi fino alla terminazione del movimento; purchè tutte le note del medesimo, discendenti di terza, abbiano la terza maggiore. Vedi A.s.",
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      "reading_order": 301
    },
    {
      "english": "Concerning a Partimento that Falls a Fourth and Rises a Step.",
      "original": "Del Partimento, che scende di quarta, e sale di grado.",
      "type": "heading",
      "id": "book3-p21-text04",
      "sources": [
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      "heading_level": 3,
      "reading_order": 302
    },
    {
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      "english": "",
      "original": "",
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      "sources": [
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      "reading_order": 303
    },
    {
      "english": "This move can accept various accompaniments.",
      "original": "Questo movimento è suscettibile di diversi accompagnamenti,",
      "type": "paragraph",
      "id": "book3-p21-text05",
      "sources": [
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      "reading_order": 304
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    {
      "english": "I. Firstly, all of the notes of this partimento can be accompanied with a 3rd and 5th.  That is, one considers the first of these notes as a ① that passes to its fifth [⑤].  And thus one considers the third note of the partimenti [⑥] likewise as a ① that passes to its fifth [③].",
      "original": "e primieramente tutte le note di detto Parti- [p. 50] -mento si accompagneranno con terza, e quinta, considerata cioè la prima di esse note come prima del tono, che passa alla sua quinta; e così la terza nota del Partimento come prima parimente del tono, che passa alla sua quinta.",
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      "reading_order": 305
    },
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      "original": "",
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      "reading_order": 306
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      "english": "II.  The first note of the partimento [①] will have the accompaniment of a 3rd, 5th, and 8ve.  The 8ve [❶] will hold over as a 4th above the note of the partimento [⑤] that descended a 4th.  And on the second half of the time value of this note that descended a 4th, it [❶] will resolve to a 3rd [❼].  This 3rd will hold over as a 9th above the next note of the partimento [⑥] that ascended a step. And on the second half of the time value it [❼] will resolve to an 8ve [❻]. And thus one progresses until the conclusion of the motion. See A.t.",
      "original": "Secondo.  La prima nota del Partimento avrà l’ accompagnamento di terza, quinta, ed ottava: l’ ottava rimarrà per quarta della nota del Partimento discendente di quarta, e sul secondo tempo di essa nota, discendente di quarta, risolverà a terza: Questa terza rimarrà per nona della nota successiva del Partimento, ascendente di grado; e sul secondo tempo di essa risolverà ad ottava: E così successivamente fino alla terminazione del movimento. Vedi A.t. [p. 51]",
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      "reading_order": 307
    },
    {
      "english": "Concerning a Partimento that Rises a Fifth and Falls a Fourth.",
      "original": "Del Partimento, che sale di quinta, e scende di quarta.",
      "type": "heading",
      "id": "book3-p22-text01",
      "sources": [
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      "heading_level": 3,
      "reading_order": 308
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      "reading_order": 309
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    {
      "english": "This motion can accept various accompaniments.",
      "original": "Questo movimento è suscettibile di diversi accompagnamenti, ed in primo luogo.",
      "type": "paragraph",
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      "reading_order": 310
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      "english": "I. Each and every note of the said partimento can be accompanied with a 3rd and 5th, considering its first and third notes [①,②] as ①s that pass to their respective ⑤s. And thus one progresses until the conclusion of the motion.",
      "original": "Ciascheduna nota del Partimento sudetto si accompagnerà con terza, e quinta, considerando la prima, e la terza nota di esso come prima del tono, che passano alle loro rispettive quinte: e così successivamente fino alla terminazione del movimento.",
      "type": "paragraph",
      "id": "book3-p22-text03",
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      "reading_order": 311
    },
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      "reading_order": 312
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      "english": "II.  Each and every note of the said partimento, with the exception of the first, which will have the simple accompaniment of a 3rd, 5th, and 8ve, can, during the first half of its time value, accompanied with a 4th prepared by the 8ve and resolved to a 3rd during its second half. See A.u.",
      "original": "Secondo.  Ciascheduna nota di detto Partimento, essettuatane la prima, che avrà l’ accompagnamento semplice di terza, quinta, e ottava, potrà essere nel suo primo tempo accompagnata con la quarta preparata dall’ ottava, e risoluta nel secondo suo tempo in terza. Vedi A.u. [p. 52]",
      "type": "paragraph",
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      "english": "Concerning a Partimento that Rises a Fourth and Falls a Fifth.",
      "original": "Del Partimento, che sale di quarta, e scende di quinta.",
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      "heading_level": 3,
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      "english": "This motion can accept various accompaniments.  In the first place:",
      "original": "Questo movimento è suscettibile di diversi accompagnamenti, ed in primo luogo.",
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      "reading_order": 315
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      "english": "I.  Each and every note that forms it can be accompanied with a 3rd and 5th, considering the first and third of these notes [①, ⑦] almost as ①s that pass to their respective ④s.  And thus one progresses.",
      "original": "Ciascheduna delle note, che lo formano, si accompagnerà con terza, e quinta, considerando la prima, e terza di esse note, come tante prime del tono, che passano alle loro respettive quarte; e così successivamente.",
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      "reading_order": 317
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      "english": "II.  Considering each and every one of the note that form the said motion as almost ①s that pass to their respective ④s (as was mentioned above), they can (with the exception of the first, which requires the simple accompaniment of a 3rd, 5th, and 8ve) be accompanied on the first half of their time value with the dissonance of a 9th prepared by a 5th and resolved to the 8ve on the second half of the time value, and thus progressively.  See A.x.",
      "original": "Secondo. Considerando ciascheduna delle note, che formano il detto movimento, come tante prime del tono, che passano alle loro respettive quarte, secondo si è detto di sopra, potranno (eccetuatane la prima, la quale esigge il simplice accompagnamento di terza, quinta, ed ottava) es- [p. 53] -sere accompagnate nel loro primo tempo con la dissonanza di nona preparata dalla quinta, e risoluta nel second tempo ad ottave, e così successivamente. Vedi A.x.",
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      "english": "III.  Considering the notes of the said motion in the same way [as above], it is possible for each and every one of them (with the exception of the first, which requires the",
      "original": "Terzo. Sulla stessa considerazione delle note di detto movimento potrà ciascheduna di esse (eccetuatane la prima, la quale esigge il simplice accompagnamento di terza, quinta,",
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      "english": "simple accompaniment of a 3rd, 5th, and 8ve) to be accompanied on the first half of their time value with the dissonance of a 7th prepared by a 3rd, and thus progressively. See A.v.",
      "original": "ed ottava) essere accompagnate nel loro primo tempo con la dissonanza di settima preparata dalla terza, e così successivamente. Vedi A.v.",
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      "english": "Concerning a Partimento that Rises a Sixth and Falls a Fifth.",
      "original": "Del Partimento, che sale di sesta, e scende di quinta.",
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      "english": "This motion can accept various accompaniments.",
      "original": "Questo movimento è suscettibile di diversi accompagnamenti. [p. 54]",
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      "english": "I.  On can consider the first note of the partimento as a ① that passes to ⑥, hence it [①] will be accompanied with a 3rd, 5th, and 8ve. The second note, considered as ⑥, will be accompanied with a 3rd and 6th. And thus one progresses until the conclusion of the motion. See A.z.",
      "original": "Primo.  La prima nota del Partimento se considerarà come prima del tono, che passa a sesta; onde sarà accompagnata con terz, quinta, ed ottave; e la seconda considerata come sesta del tono, si accompagnerà con terza, e sesta, e così successivamente fino alla terminazione del movimento. Vedi A.z.",
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      "english": "II.  The first note of the partimento, considered as a ① that passes to ⑥, one can accompany with a 3rd and 5th. The second note, as ⑥, will be accompanied with the dissonance of a 7th prepared by a 5th that resolves to a 6th on the second half of the said note’s time value. And thus one progresses until the conclusion of the motion. See B.a.",
      "original": "Secondo. La prima nota del detto Partimento considerata come prima del tono, che passa alla sesta, si accompagnerà con terza, e quinta: La seconda nota del Partimento, come sesta del tono, sarà accompagnata con la dissonanza di settima preparata dalla quinta, che sul secondo tempo di detta nota resolverà a sesta, e così successivamente fino alla terminazione del movimento. Vedi B.a. [p. 55]",
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      "english": "Observe that this motion is equivalent to one that descends a 3rd and rises a 4th.",
      "original": "Se avverte, che questo moviment equivale a quello di scendere di terza, e salire di quarta.",
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      "english": "Learned masters will see to it that their scholars study carefully in all keys, and not only scales but also the dissonances and moves, this being the only path to arrive at the fine playing of a partimento. Should masters find missing rules, or errors, they may supplement and accommodate [the text] to their liking. For here nothing else was done than to place in order the rules well known by masters, and to give beginners a lamp to guide them away from careless playing.",
      "original": "I dotti Maestri faranno che i loro Scolari studiassero bene in tutti i toni, tanto le scale, quanto le dissonanze, e movimenti, essendo l’ unica strada di poter giungere a ben suonare il Partimento. Se mai trovassero regole mancati, o erroi, potranno aggiungere, ed accomodare a loro piacere, mentre quì altro non si è fatto se non mettere in ordine le regole, che da tutti molto bene si sanno, e dare a’ principianti un lume, acciò non suonino a caso.",
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    {
      "english": "[variant, Florence, Gio. Canti, 9th ed., 1863:",
      "original": "[var., Firenze, Gio. Canti, 9a ed., 1863:",
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    {
      "english": "... to guide the fine playing of a partimento, and thus to learn counterpoint with greater facility.]",
      "original": "...a ben suonare il partimento, per poi con maggior facilità apprendere il contrappunto.]",
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      "english": "Fenaroli’s Book IV contains unfigured basses. Without figures, how does a performer know which chords to use? All the patterns introduced in the previous three books are employed in Book IV, so instead of asking “What chord comes next?” ask “Which pattern is this?” Thorough knowledge of the patterns will allow one’s memory to take over and aid the completion of a realization. In a beginning level of realization, the right hand will play mostly consonant chords. At an intermediate level, the right hand will add carefully prepared dissonances and small melodic figures. At an advanced level, the realization will feature extended melodic imitation and counterpoint.",
      "original": "Fenaroli’s Book IV contains unfigured basses. Without figures, how does a performer know which chords to use? All the patterns introduced in the previous three books are employed in Book IV, so instead of asking “What chord comes next?” ask “Which pattern is this?” Thorough knowledge of the patterns will allow one’s memory to take over and aid the completion of a realization. In a beginning level of realization, the right hand will play mostly consonant chords. At an intermediate level, the right hand will add carefully prepared dissonances and small melodic figures. At an advanced level, the realization will feature extended melodic imitation and counterpoint.",
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      "english": "Fenaroli’s Book V begins with partimenti that follow in the tradition of his teacher Francesco Durante. For these, a “theme” is provided to indicate the style of realization. Note that the themes demand quite florid melodic realizations. The remaing partimenti come in two sets of preludes and fugues. Both sets are of moderate to high difficulty, with the second set being written in more difficult keys. Partimento fugues are tests of memory. The subject and countersubject of the fugue must be retained in memory and readily available for recall, always transposed to the local key. Keep the texture thin. Often only the subject and countersubject will sound together. You may use thicker textures for sequential episodes learned from the Regole.",
      "original": "Fenaroli’s Book V begins with partimenti that follow in the tradition of his teacher Francesco Durante. For these, a “theme” is provided to indicate the style of realization. Note that the themes demand quite florid melodic realizations. The remaing partimenti come in two sets of preludes and fugues. Both sets are of moderate to high difficulty, with the second set being written in more difficult keys. Partimento fugues are tests of memory. The subject and countersubject of the fugue must be retained in memory and readily available for recall, always transposed to the local key. Keep the texture thin. Often only the subject and countersubject will sound together. You may use thicker textures for sequential episodes learned from the Regole.",
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      "type": "heading",
      "english": "No. 1, The Theme",
      "original": "No. 1, The Theme",
      "heading_level": 3,
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          "printed_label": "Book V · PDF 6"
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    {
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          "source_pdf": {
            "path": "source/pdf/IMSLP807028-PMLP1272278-fenaroli-bk5-gjerdingen.pdf",
            "page": 6
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          "printed_label": "Book V · PDF 6"
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      ],
      "reading_order": 427
    },
    {
      "id": "book5-001-notes",
      "type": "paragraph",
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      "english": "The source omits tuplet numerals in this theme. Its beamed subdivisions are interpreted as 3:2 triplets to fit the printed meter; no notes are added.",
      "original": "The source omits tuplet numerals in this theme. Its beamed subdivisions are interpreted as 3:2 triplets to fit the printed meter; no notes are added.",
      "editorial": true,
      "sources": []
    },
    {
      "id": "book5-002-heading",
      "type": "heading",
      "english": "No. 1, The Partimento · Gj 1375",
      "original": "No. 1, The Partimento · Gj 1375",
      "heading_level": 3,
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            "path": "source/pdf/IMSLP807028-PMLP1272278-fenaroli-bk5-gjerdingen.pdf",
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          "printed_label": "Book V · PDF 7"
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      "reading_order": 429
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    {
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          "source_pdf": {
            "path": "source/pdf/IMSLP807028-PMLP1272278-fenaroli-bk5-gjerdingen.pdf",
            "page": 7
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      "reading_order": 430
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    {
      "id": "book5-003-heading",
      "type": "heading",
      "english": "No. 2, The Theme",
      "original": "No. 2, The Theme",
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          "pdf_page": 8,
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          "source_pdf": {
            "path": "source/pdf/IMSLP807028-PMLP1272278-fenaroli-bk5-gjerdingen.pdf",
            "page": 8
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          "printed_label": "Book V · PDF 8"
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      "reading_order": 431
    },
    {
      "id": "book5-003",
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      "original": "",
      "asset_refs": [
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          "source_pdf": {
            "path": "source/pdf/IMSLP807028-PMLP1272278-fenaroli-bk5-gjerdingen.pdf",
            "page": 8
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          "printed_label": "Book V · PDF 8"
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      "reading_order": 432
    },
    {
      "id": "book5-003-notes",
      "type": "paragraph",
      "reading_order": 433,
      "english": "The source omits tuplet numerals in this theme. Its beamed subdivisions are interpreted as 3:2 triplets to fit the printed meter; no notes are added.",
      "original": "The source omits tuplet numerals in this theme. Its beamed subdivisions are interpreted as 3:2 triplets to fit the printed meter; no notes are added.",
      "editorial": true,
      "sources": []
    },
    {
      "id": "book5-004-heading",
      "type": "heading",
      "english": "No. 2, The Partimento · Gj 1376",
      "original": "No. 2, The Partimento · Gj 1376",
      "heading_level": 3,
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            "path": "source/pdf/IMSLP807028-PMLP1272278-fenaroli-bk5-gjerdingen.pdf",
            "page": 9
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          "printed_label": "Book V · PDF 9"
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      "reading_order": 434
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    {
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          "printed_label": "Book V · PDF 9"
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      "reading_order": 435
    },
    {
      "id": "book5-005-heading",
      "type": "heading",
      "english": "No. 3, The Theme",
      "original": "No. 3, The Theme",
      "heading_level": 3,
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      "reading_order": 437
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    {
      "id": "book5-006-heading",
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      "english": "No. 3, The Partimento · Gj 1377",
      "original": "No. 3, The Partimento · Gj 1377",
      "heading_level": 3,
      "sources": [
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            "path": "source/pdf/IMSLP807028-PMLP1272278-fenaroli-bk5-gjerdingen.pdf",
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      "sources": [
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      "reading_order": 439
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    {
      "id": "book5-007-heading",
      "type": "heading",
      "english": "No. 4, The Theme",
      "original": "No. 4, The Theme",
      "heading_level": 3,
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    {
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      "reading_order": 442,
      "english": "Unnumbered continuation groups retain the triplet or sextuplet rhythm established by the source.",
      "original": "Unnumbered continuation groups retain the triplet or sextuplet rhythm established by the source.",
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    {
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    {
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      "english": "Unnumbered continuation groups retain the triplet or sextuplet rhythm established by the source.",
      "original": "Unnumbered continuation groups retain the triplet or sextuplet rhythm established by the source.",
      "editorial": true,
      "sources": []
    },
    {
      "id": "book5-009-heading",
      "type": "heading",
      "english": "No. 5, The Theme",
      "original": "No. 5, The Theme",
      "heading_level": 3,
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      "english": "PDF page 17, bar 83: source pickup or terminal long value retained literally (8 quarter-note beats). PDF page 17, bar 84: source pickup or terminal long value retained literally (8 quarter-note beats).",
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      "blockId": "book1-introduction",
      "title": "Book I: Simple figured basses",
      "group": "Books",
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    {
      "blockId": "book1-01-heading",
      "title": "No. 1 · Gj 1301",
      "group": "Book I",
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      "title": "No. 2 · Gj 1302",
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      "title": "No. 3 · Gj 1303",
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      "title": "No. 4 · Gj 1304",
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      "title": "No. 5 · Gj 1305",
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      "title": "No. 6 · Gj 1306",
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      "title": "No. 7 · Gj 1307",
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      "title": "No. 8 · Gj 1308",
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      "title": "No. 9 · Gj 1309",
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      "title": "No. 11 · Gj 1311",
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      "title": "No. 12 · Gj 1312",
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      "title": "No. 15 · Gj 1315",
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      "title": "No. 16 · Gj 1316",
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      "title": "Book II: Harder figured basses",
      "group": "Books",
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      "title": "No. 1 · Gj 1317",
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      "title": "No. 2 · Gj 1318",
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      "title": "No. 3 · Gj 1319",
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      "title": "No. 4 · Gj 1320",
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      "title": "No. 5 · Gj 1321",
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      "title": "No. 8 · Gj 1324",
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      "title": "No. 9 · Gj 1325",
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      "title": "No. 10 · Gj 1326",
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      "title": "No. 11 · Gj 1327",
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      "title": "No. 13 · Gj 1329",
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      "title": "No. 14 · Gj 1330",
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    {
      "blockId": "book3-introduction",
      "title": "Book III: Rules and realizations",
      "group": "Books",
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      "blockId": "book3-p03-text01",
      "title": "The Rules of Music",
      "group": "Book III",
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      "blockId": "book3-p04-text02",
      "title": "The Disposition of Tones [in a Mode].",
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      "title": "The Way of Counting the Keys on a Harpsichord, from the Tonic to the Octave.",
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    {
      "blockId": "book3-p04-text06",
      "title": "Musical Axioms.",
      "group": "Book III",
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      "blockId": "book3-p05-text02",
      "title": "Concerning Cadences.",
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      "blockId": "book3-p05-text07",
      "title": "The Positions of the Right Hand.",
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    {
      "blockId": "book3-p05-text09",
      "title": "Concerning Scales.",
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    {
      "blockId": "book3-p08-text03",
      "title": "or the Suspension of the Fourth.",
      "group": "Book III",
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    {
      "blockId": "book3-p09-text02",
      "title": "or the Suspension of the Seventh.",
      "group": "Book III",
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    {
      "blockId": "book3-p12-text04",
      "title": "Concerning a Partimento that Rises by Semitone.",
      "group": "Book III",
      "page": 12
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    {
      "blockId": "book3-p12-text09",
      "title": "that Rises by Semitone and Begins said Ascent from ③.",
      "group": "Book III",
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    {
      "blockId": "book3-p14-text02",
      "title": "Concerning a Partimento that Descends Stepwise.",
      "group": "Book III",
      "page": 14
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    {
      "blockId": "book3-p16-text01",
      "title": "Concerning a Partimento that Descends in Ties.",
      "group": "Book III",
      "page": 16
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    {
      "blockId": "book3-p17-text08",
      "title": "Concerning a Partimento that Rises by a Third and Falls by a Step.",
      "group": "Book III",
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    {
      "blockId": "book3-p19-text03",
      "title": "Concerning a Partimento that Falls by Third and Rises by Step",
      "group": "Book III",
      "page": 19
    },
    {
      "blockId": "book3-p20-text04",
      "title": "Concerning a Partimento that Rises by Fourth and Descends by Third",
      "group": "Book III",
      "page": 20
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    {
      "blockId": "book3-p21-text04",
      "title": "Concerning a Partimento that Falls a Fourth and Rises a Step.",
      "group": "Book III",
      "page": 21
    },
    {
      "blockId": "book3-p22-text01",
      "title": "Concerning a Partimento that Rises a Fifth and Falls a Fourth.",
      "group": "Book III",
      "page": 22
    },
    {
      "blockId": "book3-p22-text05",
      "title": "Concerning a Partimento that Rises a Fourth and Falls a Fifth.",
      "group": "Book III",
      "page": 22
    },
    {
      "blockId": "book3-p23-text02",
      "title": "Concerning a Partimento that Rises a Sixth and Falls a Fifth.",
      "group": "Book III",
      "page": 23
    },
    {
      "blockId": "book4-introduction",
      "title": "Book IV: Unfigured basses",
      "group": "Books",
      "page": 3
    },
    {
      "blockId": "book4-01-heading",
      "title": "No. 1 · Gj 1331",
      "group": "Book IV",
      "page": 4
    },
    {
      "blockId": "book4-02-heading",
      "title": "No. 2 · Gj 1332",
      "group": "Book IV",
      "page": 5
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    {
      "blockId": "book4-03-heading",
      "title": "No. 3 · Gj 1333",
      "group": "Book IV",
      "page": 6
    },
    {
      "blockId": "book4-04-heading",
      "title": "No. 4 · Gj 1334",
      "group": "Book IV",
      "page": 7
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    {
      "blockId": "book4-05-heading",
      "title": "No. 5 · Gj 1335",
      "group": "Book IV",
      "page": 8
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    {
      "blockId": "book4-06-heading",
      "title": "No. 6 · Gj 1336",
      "group": "Book IV",
      "page": 9
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    {
      "blockId": "book4-07-heading",
      "title": "No. 7 · Gj 1337",
      "group": "Book IV",
      "page": 10
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    {
      "blockId": "book4-08-heading",
      "title": "No. 8 · Gj 1338",
      "group": "Book IV",
      "page": 11
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    {
      "blockId": "book4-09-heading",
      "title": "No. 9 · Gj 1339",
      "group": "Book IV",
      "page": 12
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    {
      "blockId": "book4-10-heading",
      "title": "No. 10 · Gj 1340",
      "group": "Book IV",
      "page": 13
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    {
      "blockId": "book4-11-heading",
      "title": "No. 11 · Gj 1341",
      "group": "Book IV",
      "page": 14
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    {
      "blockId": "book4-12-heading",
      "title": "No. 12 · Gj 1342",
      "group": "Book IV",
      "page": 15
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    {
      "blockId": "book4-13-heading",
      "title": "No. 13 · Gj 1343",
      "group": "Book IV",
      "page": 16
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    {
      "blockId": "book4-14-heading",
      "title": "No. 14 · Gj 1344",
      "group": "Book IV",
      "page": 17
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    {
      "blockId": "book4-15-heading",
      "title": "No. 15 · Gj 1345",
      "group": "Book IV",
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    {
      "blockId": "book4-16-heading",
      "title": "No. 16 · Gj 1346",
      "group": "Book IV",
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    {
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      "title": "No. 17 · Gj 1347",
      "group": "Book IV",
      "page": 20
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    {
      "blockId": "book4-18-heading",
      "title": "No. 18 · Gj 1348",
      "group": "Book IV",
      "page": 21
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    {
      "blockId": "book4-19-heading",
      "title": "No. 19 · Gj 1349",
      "group": "Book IV",
      "page": 22
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    {
      "blockId": "book4-20-heading",
      "title": "No. 20 · Gj 1350",
      "group": "Book IV",
      "page": 23
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    {
      "blockId": "book4-21-heading",
      "title": "No. 21 · Gj 1351",
      "group": "Book IV",
      "page": 24
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    {
      "blockId": "book4-22-heading",
      "title": "No. 22 · Gj 1352",
      "group": "Book IV",
      "page": 25
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    {
      "blockId": "book4-23-heading",
      "title": "No. 23 · Gj 1353",
      "group": "Book IV",
      "page": 26
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    {
      "blockId": "book4-24-heading",
      "title": "No. 24 · Gj 1354",
      "group": "Book IV",
      "page": 27
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    {
      "blockId": "book4-25-heading",
      "title": "No. 25 · Gj 1355",
      "group": "Book IV",
      "page": 28
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    {
      "blockId": "book4-26-heading",
      "title": "No. 26 · Gj 1356",
      "group": "Book IV",
      "page": 29
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    {
      "blockId": "book4-27-heading",
      "title": "No. 27 · Gj 1357",
      "group": "Book IV",
      "page": 30
    },
    {
      "blockId": "book4-28-heading",
      "title": "No. 28 · Gj 1358",
      "group": "Book IV",
      "page": 31
    },
    {
      "blockId": "book4-29-heading",
      "title": "No. 29 · Gj 1359",
      "group": "Book IV",
      "page": 32
    },
    {
      "blockId": "book4-30-heading",
      "title": "No. 30 · Gj 1360",
      "group": "Book IV",
      "page": 33
    },
    {
      "blockId": "book4-31-heading",
      "title": "No. 31 · Gj 1361",
      "group": "Book IV",
      "page": 34
    },
    {
      "blockId": "book4-32-heading",
      "title": "No. 32 · Gj 1362",
      "group": "Book IV",
      "page": 35
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    {
      "blockId": "book4-33-heading",
      "title": "No. 33 · Gj 1363",
      "group": "Book IV",
      "page": 36
    },
    {
      "blockId": "book4-34-heading",
      "title": "No. 34 · Gj 1364",
      "group": "Book IV",
      "page": 37
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    {
      "blockId": "book4-35-heading",
      "title": "No. 35 · Gj 1365",
      "group": "Book IV",
      "page": 38
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    {
      "blockId": "book4-36-heading",
      "title": "No. 36 · Gj 1366",
      "group": "Book IV",
      "page": 39
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    {
      "blockId": "book4-37-heading",
      "title": "No. 37 · Gj 1367",
      "group": "Book IV",
      "page": 41
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    {
      "blockId": "book4-38-heading",
      "title": "No. 38 · Gj 1368",
      "group": "Book IV",
      "page": 42
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    {
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      "title": "No. 39 · Gj 1369",
      "group": "Book IV",
      "page": 43
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    {
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      "title": "No. 40 · Gj 1370",
      "group": "Book IV",
      "page": 44
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    {
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      "title": "No. 41 · Gj 1371",
      "group": "Book IV",
      "page": 45
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      "title": "No. 42 · Gj 1372",
      "group": "Book IV",
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      "title": "No. 43 · Gj 1373",
      "group": "Book IV",
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      "title": "No. 44 · Gj 1374",
      "group": "Book IV",
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      "title": "No. 22, Fugue · Gj 1412",
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      "blockId": "book5-044-heading",
      "title": "No. 23, Prelude · Gj 1413",
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      "blockId": "book5-045-heading",
      "title": "No. 23, Fugue · Gj 1414",
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      "blockId": "book5-046-heading",
      "title": "No. 24, Prelude · Gj 1415",
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      "title": "No. 24, Fugue · Gj 1416",
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      "title": "No. 25, Prelude · Gj 1417",
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      "blockId": "book5-049-heading",
      "title": "No. 25, Fugue · Gj 1418",
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      "blockId": "book5-050-heading",
      "title": "No. 26, Prelude · Gj 1419",
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      "blockId": "book5-051-heading",
      "title": "No. 26, Fugue · Gj 1420",
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      "blockId": "book5-052-heading",
      "title": "No. 27, Prelude · Gj 1421",
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      "title": "No. 27, Fugue · Gj 1422",
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      "blockId": "book6-introduction",
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      "blockId": "book6-001-heading",
      "title": "No. 1, Fugue · Gj 1423",
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      "blockId": "book6-002-heading",
      "title": "No. 2, Canon · Gj 1424",
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      "blockId": "book6-003-heading",
      "title": "No. 3, Fugue · Gj 1425",
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    {
      "blockId": "book6-004-heading",
      "title": "No. 4, Canon · Gj 1426",
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    {
      "blockId": "book6-005-heading",
      "title": "No. 5, Fugue · Gj 1427",
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    {
      "blockId": "book6-006-heading",
      "title": "No. 6, Canon · Gj 1428",
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      "blockId": "book6-007-heading",
      "title": "No. 7, Imitations · Gj 1429",
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    {
      "blockId": "book6-008-heading",
      "title": "No. 8, Fugue · Gj 1430",
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    {
      "blockId": "book6-009-heading",
      "title": "No. 9, Imitations · Gj 1431",
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    {
      "blockId": "book6-010-heading",
      "title": "No. 10, Prelude · Gj 1432",
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      "blockId": "book6-011-heading",
      "title": "No. 10, Fugue · Gj 1433",
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      "blockId": "book6-012-heading",
      "title": "No. 11, Prelude · Gj 1434",
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      "blockId": "book6-013-heading",
      "title": "No. 11, Fugue · Gj 1435",
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      "blockId": "book6-014-heading",
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      "title": "No. 12, Fugue · Gj 1437",
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      "title": "No. 13, Prelude · Gj 1438",
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      "title": "No. 13, Fugue · Gj 1439",
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      "blockId": "book6-018-heading",
      "title": "No. 14, Imitations · Gj 1440",
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      "blockId": "book6-019-heading",
      "title": "No. 15, Canon · Gj 1441",
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      "blockId": "book6-020-heading",
      "title": "No. 16, Fugue · Gj 1442",
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      "blockId": "book6-021-heading",
      "title": "No. 17, Canon · Gj 1443",
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      "blockId": "book6-022-heading",
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      "page": 38
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    {
      "blockId": "book6-023-heading",
      "title": "No. 19, Imitations · Gj 1445",
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    {
      "blockId": "book6-024-heading",
      "title": "No. 20, Imitations · Gj 1446",
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      "blockId": "book6-025-heading",
      "title": "No. 21, Prelude · Gj 1447",
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      "page": 43
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      "blockId": "book6-026-heading",
      "title": "No. 21, Fugue · Gj 1448",
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      "blockId": "book6-027-heading",
      "title": "No. 22, Prelude · Gj 1449",
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      "blockId": "book6-028-heading",
      "title": "No. 22, Fugue · Gj 1450",
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      "page": 46
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      "blockId": "book6-029-heading",
      "title": "No. 23, Prelude · Gj 1451",
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      "page": 48
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      "blockId": "book6-030-heading",
      "title": "No. 23, Fugue · Gj 1452",
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      "page": 49
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    {
      "blockId": "book6-031-heading",
      "title": "No. 24, Prelude · Gj 1453",
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      "page": 51
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    {
      "blockId": "book6-032-heading",
      "title": "No. 24, Fugue · Gj 1454",
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      "page": 52
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    {
      "blockId": "book6-033-heading",
      "title": "No. 25, Prelude · Gj 1455",
      "group": "Book VI",
      "page": 54
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    {
      "blockId": "book6-034-heading",
      "title": "No. 25, Fugue · Gj 1456",
      "group": "Book VI",
      "page": 55
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    {
      "blockId": "book6-035-heading",
      "title": "No. 26, Prelude · Gj 1457",
      "group": "Book VI",
      "page": 57
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    {
      "blockId": "book6-036-heading",
      "title": "No. 26, Fugue · Gj 1458",
      "group": "Book VI",
      "page": 58
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    {
      "blockId": "book6-037-heading",
      "title": "No. 27, Prelude · Gj 1459",
      "group": "Book VI",
      "page": 60
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    {
      "blockId": "book6-038-heading",
      "title": "No. 27, Fugue · Gj 1460",
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      "page": 61
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      "blockId": "book6-039-heading",
      "title": "No. 28, Prelude · Gj 1461",
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      "blockId": "book6-040-heading",
      "title": "No. 28, Fugue · Gj 1462",
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      "blockId": "book6-041-heading",
      "title": "No. 29, Prelude · Gj 1463",
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      "page": 66
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    {
      "blockId": "book6-042-heading",
      "title": "No. 29, Fugue · Gj 1464",
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      "page": 67
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      "blockId": "book6-043-heading",
      "title": "No. 30, Prelude · Gj 1465",
      "group": "Book VI",
      "page": 69
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    {
      "blockId": "book6-044-heading",
      "title": "No. 30, Fugue · Gj 1466",
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    {
      "blockId": "book6-045-heading",
      "title": "No. 31, Prelude · Gj 1467",
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    {
      "blockId": "book6-046-heading",
      "title": "No. 31, Fugue · Gj 1468",
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    {
      "blockId": "book6-047-heading",
      "title": "No. 32, Partimento · Gj 1469",
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      "page": 76
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    {
      "blockId": "book6-048-heading",
      "title": "No. 33, Partimento · Gj 1470",
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      "page": 78
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    {
      "blockId": "book6-049-heading",
      "title": "No. 34, Partimento · Gj 1471",
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      "page": 80
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    {
      "blockId": "book6-050-heading",
      "title": "No. 35, Partimento · Gj 1472",
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      "page": 82
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      "blockId": "book6-051-heading",
      "title": "No. 36, Partimento · Gj 1473",
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      "blockId": "book6-052-heading",
      "title": "No. 37, Partimento · Gj 1474",
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      "page": 86
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      "blockId": "book6-053-heading",
      "title": "No. 38, Partimento · Gj 1475",
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      "blockId": "book6-054-heading",
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