{
  "schemaVersion": 1,
  "version": "caveman",
  "label": "Caveman",
  "status": "Playful, blunt English adaptation. Musical rules and exceptions retain their source meaning.",
  "notes": [
    {
      "block": "64-2",
      "text": "The English source calls the third note consonant here, but the adjacent blocks call it dissonant. Both adaptations preserve this inconsistency."
    }
  ],
  "sourceSha256": "dafd0e6983d908f2324b4de9fb5cc51196ac711c37c56e990f0fd6a1c8c051f7",
  "scope": "All 777 English reading blocks. Source notation, labels, lyrics in the scans, and editorial notes retain their original wording.",
  "blocks": {
    "intro-43-h2": "Dialogue.",
    "intro-43-1": "Josephus. Master, me come to learn music rules and principles.",
    "intro-43-2": "Aloysius. You want to learn to compose music?",
    "intro-43-3": "Joseph. Yes. Me do.",
    "intro-43-4": "Aloysius. Music study is huge sea. Even Nestor’s long life cannot finish it. You take on hard work, heavier than Mount Etna. Choosing any life path is hard: good choice or bad choice shapes all years after. So think very carefully before choosing music. Musicians and poets are born with a gift. Look back. Since childhood, has nature pulled you toward music? Does the pleasure of harmony move you deeply?",
    "intro-43-5": "Joseph. Very deeply. Before me could reason properly, strong fire pulled all my thoughts and care toward music. Cannot explain it. Still burns now. Me want to learn so badly, almost cannot help it. Day and night, sweet tunes ring in ears. Me have no reason to doubt this calling. Hard work does not scare me away. With nature’s help, me trust me can overcome it. Old man once said: study is more pleasure than toil.",
    "intro-44-1": "Aloysius. Your natural pull toward music pleases me greatly. One more obstacle. Clear it, and you join my pupils.",
    "intro-44-2": "Joseph. Say it freely, Master. Me certain: this reason, or any other, will not frighten me out of my plan.",
    "intro-44-3": "Aloysius. Maybe you choose music for future riches and plenty of possessions? If so, change plan. Trust me. Apollo rules Parnassus, not Plutus. Music’s god, not wealth’s god. People burning for riches must take another road.",
    "intro-44-4": "Joseph. Not at all. Me want music itself. No profit wish hiding behind it. My teacher often said: be content with modest living. Seek virtue, reputation, and good name more than money. Virtue is its own reward.",
    "intro-44-5": "Aloysius. Great joy. Young man who fits my way of thinking. But do you know the previous book? Intervals, divisions of consonance and dissonance, kinds of motion, four rules—all known?",
    "intro-44-6": "Joseph. As far as me know, none of that is missing from my head.",
    "intro-44-7": "Aloysius. Then begin work. Begin with God himself, thrice greatest, source of all knowledge.",
    "intro-44-8": "Joseph. Before lessons, one question, Master. What does counterpoint mean? Me hear that word everywhere. Experts say it. People who know nothing of music say it too.",
    "intro-44-9": "Aloysius. Good question. Counterpoint is main thing we study and work at. Long ago, people used points instead of today’s note shapes. Put point against point: called it counterpoint. Note shapes changed, name stayed. Counterpoint means composition made according to music’s rules. Big family contains several species. We study them one after another. Start with simplest:",
    "45-h1": "Exercise I.",
    "45-h2": "First lesson.",
    "45-h3": "One note meets one note.",
    "45-2": "Joseph. First question solved. Good. Now tell me: what is note-against-note counterpoint?",
    "45-3": "Aloysius. Simplest kind. Two or more voices. Every note same length. All intervals consonant. Note shape can vary, but length must match. We use semibreves because easy to understand. With help from God, start with two voices. Take a cantus firmus from a chant book, or make one yourself. Put it underneath. Like this:",
    "45-4": "Put a consonance above each note. Follow the motion rules from end of previous book. Mostly use contrary or oblique motion. Fewer traps there. Similar motion needs more care. Watch rules closely.",
    "45-5": "Joseph. Those rules I know. But you said consonances come in perfect and imperfect kinds. Do we use them differently?",
    "46-1": "Aloysius. Patience. Much difference between them; more on that later. Here, follow motion rules and use more imperfect consonances than perfect ones. Otherwise both work equally. Except start and end: those must be perfect.",
    "46-2": "Joseph. Why more imperfect ones? Why perfect ones at start and end?",
    "46-3": "Aloysius. You ask ahead. Fine, but only a little. Imperfect consonances give richer harmony. Reason comes later. Two voices with only equal notes already very bare. Too many perfect consonances make them emptier. Start signals perfection. End signals rest. Imperfect consonance gives neither a perfect start nor a finished end. Also remember next-to-last note: cantus firmus below, give it major sixth. Cantus firmus above, give it minor third.",
    "46-4": "Joseph. That all the rules?",
    "46-5": "Aloysius. Not all. Enough to start. Corrections teach rest. Put cantus firmus underneath. Write counterpoint above it in soprano clef. Use rules so far.",
    "46-6": "Joseph. Me try.",
    "47-1": "Aloysius. Good work. Careful thinking. But why numbers above both soprano and alto?",
    "47-2": "Joseph. Alto numbers show consonances. They help me watch motion. Soprano numbers count notes: 1, 2, 3, and so on. So you see this is thought, not luck. First note: fifth, a perfect start. First to second: fifth to third, oblique motion. Any motion allowed there. Second to third: third to third, similar motion. Both imperfect, so allowed. Third to fourth: third to fifth, contrary motion. Imperfect to perfect needs that. Fourth to fifth: perfect to imperfect, similar motion allowed. Fifth to sixth: imperfect to perfect, contrary motion. Sixth to seventh: oblique motion, safe. Seventh to eighth: both imperfect, similar motion allowed. Eighth to ninth: both imperfect, any motion allowed. Ninth to tenth: same rule. Tenth is next-to-last. Major sixth because cantus firmus below. Tenth to eleventh: imperfect to perfect, contrary motion. Last consonance perfect. All as you said.",
    "48-1": "Aloysius. Good reasoning. Keep three motions and four rules firmly in head. Then progress easier. Leave cantus firmus in alto. Now put tenor counterpoint below it. Before, you counted intervals upward. Now count downward from cantus firmus to lower voice.",
    "48-2": "Joseph. That seems harder.",
    "48-3": "Aloysius. Other pupils say same. Trick is simple: count downward from cantus firmus to bottom voice.",
    "48-4": "Joseph. Why mark first two notes wrong? I began with fifth. Perfect. Then third by similar motion. Perfect to imperfect allows any motion. Me confused and embarrassed. Please explain.",
    "48-5": "Aloysius. No shame. I had not told you this rule: counterpoint must use same mode as cantus firmus. This melody begins and ends on D, la, sol, re. You began on G, sol, re, ut. Wrong mode. I changed fifth to octave. Now same mode.",
    "49-1": "Joseph. Good, ignorance not carelessness. But second note: what wrong there?",
    "49-2": "Aloysius. Second note wrong against third, not first. Third to fifth by similar motion. Imperfect to perfect needs contrary motion. Keep second note down on D, la, sol, re. Oblique motion gives tenth. Then tenth to fifth goes contrary. Fixed. Beginners miss things. Practice teaches. Rest is good, especially minor third before end with cantus firmus above.",
    "49-3": "Joseph. Why forbid similar motion from imperfect to perfect? Seems small thing. Tell reason so rule stays in head.",
    "49-4": "Aloysius. It hides two fifths in a row. One open, one hidden. Fill in notes by diminution and hidden one appears. See example.",
    "49-5": "Skilled singer may add diminution, especially when singing alone. Cannot forbid that. Octave to fifth by similar motion causes same problem. Two fifths in row. Look.",
    "50-1": "Fill fifth leap with notes. There: two fifths. One was hiding. Rules have reasons. Rule-makers did not invent them for nothing.",
    "50-2": "Joseph. Me see. Me amazed.",
    "50-3": "Aloysius. Now same lesson through natural modes in this octave. Started D. Next E, F, G, A, C.",
    "50-4": "Joseph. Why skip B between A and C?",
    "50-5": "Aloysius. B has no consonant fifth. So no mode here. More later. See example.",
    "50-6": "This fifth has two tones and two semitones. False fifth. Dissonant. True fifth needs three tones and one semitone, as Book One said.",
    "50-7": "Joseph. Can flat below or sharp above fix false fifth? Like this?",
    "50-8": "Aloysius. Yes. But then fifth leaves diatonic notes. Not natural mode anymore. Transposed mode. We study those later; natural modes now.",
    "51-1": "Joseph. These modes different?",
    "51-2": "Aloysius. Very. Semitones sit in different places, so melodies work differently. Not your problem yet. Take new cantus firmus on E. Write counterpoint above.",
    "51-3": "Exactly right. Now cantus firmus above, tenor counterpoint below.",
    "51-4": "Joseph. Wrong again? If two voices this hard, what about three or four? What means crossed line from note six to seven?",
    "51-5": "Aloysius. No worry. You had not learned this warning. Practice prepares you for more voices. Heard “mi against fa is devil in music”? Notes six to seven do that. Fa to mi by major fourth, or tritone. Hard to sing, harsh to hear. Never use that leap in counterpoint. Chin up. Move from E mode to F.",
    "52-1": "Good. Whole thing good.",
    "52-2": "Joseph. Cantus firmus in tenor this time. Change anything?",
    "52-3": "Aloysius. Just helps you learn clefs. Use neighboring clefs so simple and compound consonances easier to tell apart. Now put bass counterpoint below cantus firmus.",
    "52-4": "Good. But why cross above cantus firmus from notes four through seven?",
    "52-5": "Joseph. Otherwise too much similar motion. Melody less graceful.",
    "52-6": "Aloysius. Good rule-watching. When voices crossed, you treated cantus firmus as lower voice. Counted consonances above it. Correct. Now mode on G.",
    "53-1": "Joseph. Me worked carefully. Still two error marks: nine to ten, ten to eleven.",
    "53-2": "Aloysius. Eager pupil, but patience. Rules not taught yet. Nine to ten leaps major sixth. Forbidden: counterpoint must be easy to sing. Ten to eleven moves tenth to octave. Lower voice up, upper voice down by step. Italians call this Octava Battuta; Greeks call it Thesis. Some forbid it on downbeat. But I searched long and found no reason why this next example's octave",
    "53-3": "gets approval,",
    "53-4": "but next one gets rejected:",
    "53-5": "Both reach octave by contrary motion. Unison reached this way is different,",
    "53-6": "third to unison, like this:",
    "53-7": "Unison merges voices. Almost disappears. So in this species, use unison only at start or end. Never inside.",
    "54-1": "Back to battuta octave: use it or avoid it. Your choice. Little difference. But voices leaping together inward from far apart to octave? No. Even with more voices. Like this:",
    "54-2": "Even stronger warning for unison. Like this:",
    "54-3": "Eight voices harder. Those leaps nearly unavoidable, especially in basses and voices acting as basses. More later. Now put last example's counterpoint below.",
    "54-4": "Joseph. Why NB on first counterpoint note?",
    "54-5": "Aloysius. Leaving unison by leap usually bad. Leaping into it too. But here leap belongs to cantus firmus. Cannot change it. Must allow. Without fixed chant, different story. Also why sharp on note eleven? Not usual in diatonic music.",
    "55-1": "Joseph. Wanted sixth there. Singing teacher said fa wants down, mi wants up. Here sixth moves up to third, so sharp helps climb. Also F natural at eleven would clash in relation with F sharp at thirteen.",
    "55-2": "Aloysius. Good eye. Obstacles gone. Finish modes A and C.",
    "55-3": "Last two examples show you know this species. Now second species.",
    "56-h1": "Exercise I.",
    "56-h2": "Second lesson.",
    "56-h3": "Second species of counterpoint.",
    "56-1": "First know beat. We use duple time: two equal halves. Hand down is thesis. Hand up is arsis. We use those names. Second species: two minims against one semibreve. Downbeat note must be consonant. Upbeat may be dissonant only when moving by step from previous note to next. If it leaps, must be consonant. Dissonance here fills gap between notes a third apart. That is diminution. Like this:",
    "56-2": "Middle note may be consonant or dissonant. Either fine. Just fill the gap between notes a third apart.",
    "56-3": "Joseph. First species motion rules still apply?",
    "56-4": "Aloysius. Yes. Except next-to-last measure. Cantus firmus below: first note fifth, second major sixth. Cantus firmus above: first note fifth, second minor third. See example.",
    "57-1": "Plan ending before you start. Easier. Now work step by step with earlier cantus firmi.",
    "57-2": "Joseph. Me try. Please patient with mistakes. Head still foggy.",
    "57-3": "Aloysius. Do your best. Corrections clear fog.",
    "57-4": "Joseph. Knew mistakes would come. First note of measure nine and first of ten both marked. Why? Both progressions imperfect to imperfect, contrary motion.",
    "57-5": "Aloysius. Your reasoning right, but new rule needed. Both errors same. Little third leap cannot hide successive fifths or octaves. Upbeat note too short and leap too small. Ear still hears them. Look from measure eight onward.",
    "58-1": "Take upbeat note away. Here is what ear hears.",
    "58-2": "Same for octaves.",
    "58-3": "Bigger leap different: fourth, fifth, sixth. Greater distance makes ear forget first downbeat against next one. Here fourth leap breaks up successive octaves enough.",
    "59-1": "That fourth leap also saves your measures three to four. Without middle note, would look like this.",
    "59-2": "Without leap, breaks rule: imperfect to perfect needs contrary motion. Fourth leap removes fault, like this:",
    "59-3": "Now fix your exercise.",
    "59-4": "Good. Rules staying in head. Before counterpoint below, two useful tricks. First: half-measure rest may replace first note. Second: voices too close, nowhere to go, no contrary motion possible? Leap minor sixth or octave. Minor sixth allowed. Like these:",
    "60-1": "Now counterpoint below in previous exercise.",
    "60-2": "Take all cantus firmi from first species. Do remaining five modes. Counterpoint above and below.",
    "60-3": "Joseph. You said lower counterpoint needs fifth on first note of next-to-last measure. But this mode gives bad fifth, mi against fa. So me used sixth instead.",
    "61-1": "Aloysius. Good catch. Continue other four modes.",
    "62-1": "Good work. Gods sell knowledge for effort. Drop hollows stone by falling often, not by force. So study without quitting. No day without a line. Also look past current measure. Think about next ones.",
    "63-1": "Joseph. True. Without looking one or two measures ahead, me would get stuck.",
    "63-2": "Aloysius. Good. Keep care and effort. Hard work must not crush you. Thinking you already know much must not distract you. Keep going; fog slowly clears. Triple time has three notes against one. Should mention it here. Easy enough for a few examples, no separate lesson needed.",
    "63-3": "Middle note can clash. All three move by step. If any of three leaps, all three must be consonant. Earlier rule says so.",
    "63-h1": "Exercise I.",
    "63-h2": "Third lesson.",
    "63-h3": "Third species of counterpoint.",
    "63-4": "Third species: four semiminims meet one semibreve. Five semiminims walk by step, up or down? First must be consonant. Second can clash. Third must be consonant. Fourth can clash if fifth consonant. See examples:",
    "64-1": "First exception. Second and fourth notes consonant? Then third can clash. Like this:",
    "64-2": "Here third note in every example consonant. Called diminution of third leap. Strip examples to bare bones. See truth:",
    "64-3": "Now see third note, the dissonance, only fills leap of third. It fills gap between second and third notes in bare version. Such gap always allows diminution. Put note in middle.",
    "64-4": "Second exception: changed note. Italians call it Cambiata. Second note clashes, then leaps into consonance. See:",
    "65-1": "Strict rule says third leap from note two to three should happen from note one to two. Then second note makes consonant sixth. Like this:",
    "65-2": "Fill step from first note to second with diminution. Get this:",
    "65-3": "But fusae have no place in this species. Great masters accept first example, with seventh on second note. Maybe melody more graceful that way.",
    "65-4": "Last thing: measure before last. Usually harder than others. Cantus firmus below? Build it like this:",
    "66-1": "Cantus firmus above? Build it like this:",
    "66-2": "Know these points and earlier species. This one should go easy. But me warn again: think hard about next measure. Avoid getting stuck. Start work. Use all first-lesson cantus firmi in given order.",
    "68-1": "Aloysius. Why flats here and there? We work in diatonic genus. Flats not usual there.",
    "69-1": "Joseph. Without them, mi against fa would sound rough. Flats no harm to diatonic genus, me think. Need brings them in. Accidental, not substantial.",
    "69-2": "Aloysius. Good eye. Same reason sometimes needs sharps too. Judge carefully where and when. Examples show you know this species well enough. To keep talk short, do G, A, C alone. Next:",
    "69-h1": "Exercise I.",
    "69-h2": "Fourth lesson.",
    "69-h3": "Fourth species of counterpoint.",
    "69-3": "Two minims meet semibreve. Minims same pitch, joined by curved line. First on arsis. Second on thesis. People call this Ligatura, or Syncopation. Two kinds: consonant and dissonant.",
    "69-4": "Consonant ligature: both minims consonant. Arsis and thesis both. See examples.",
    "69-h4": "Consonant ligatures.",
    "69-5": "Dissonant ligature: first note on arsis consonant. Always must be. Second note on thesis clashes. See:",
    "70-h1": "Dissonant ligatures.",
    "70-1": "Here dissonances sit on thesis. Substantial, not accidental passing notes from diminution like earlier species. Clashes give ear no pleasure by themselves. Sweetness comes from next consonance, where clash resolves. So now:",
    "70-h2": "How clashes resolve.",
    "70-2": "Before resolution rules, know this: tied note delays next note. Like prisoner in chains, then set free. So every dissonance must step down to nearest consonance. See:",
    "70-3": "Take delay away. Example becomes this:",
    "71-1": "Remove delay. Consonance on next measure's thesis tells where clash must resolve. Cantus firmus below? Second goes to unison. Fourth to third. Seventh to sixth. Ninth to octave. Rule firm as rock. Thus no ligature from unison to second, or octave to ninth. See:",
    "71-2": "Take delay away. First example: two unisons in row. Second: two octaves in row. Like this:",
    "71-3": "But third to second, and tenth to ninth, different. Like this:",
    "72-1": "These good. Remove delay, or ligature, and still good. See:",
    "72-2": "Now know clashes and resolutions with cantus firmus below. Next: which clashes fit, and how resolve, when cantus firmus above.",
    "72-3": "Here second resolves to third. Fourth to fifth. Ninth to tenth. Examples:",
    "72-4": "Joseph. Why leave seventh out? Cannot use it with cantus firmus above? Tell me why.",
    "72-5": "Aloysius. Me left seventh out on purpose. Main reason: great old masters. Their practice carries weight. Almost none use seventh resolving this way to octave.",
    "73-1": "Could say octave too perfect. Gives seventh too little harmony when seventh resolves there. But masters often invert seventh into second, then resolve second to unison. Unison most perfect consonance. Gives even less harmony. So follow great masters' established use. See seventh inverted to second, resolving to unison:",
    "73-2": "Joseph. Before exercise, may me ask? Can dissonant delay, or ligature, go up too? These examples seem to have same logic:",
    "73-3": "Aloysius. Knot harder than Gordian knot. You only beginner. Cannot grasp yet. Explain elsewhere. Remove delay and thirds seem equal, up or down. But difference hides underneath. Explain in proper place. For now, teacher says: every clash steps down to nearest consonance. Measure before last: cantus firmus below needs seventh resolving to sixth. Cantus firmus above needs second resolving to minor third, then unison.",
    "74-1": "Joseph. Every measure needs own ligature?",
    "74-2": "Aloysius. Yes, wherever possible. Sometimes no room. Then fill measure with untied minims until ligature possible again. Come. Practice ligatures.",
    "74-3": "Good work. But why no ligature in measure five? After third, use fifth. That starts ligature. Stay on same staff line. Next measure's thesis gives another ligature, a sixth. Me said use every chance.",
    "74-4": "Joseph. Could have done. Left out on purpose. Same ligatures already in measures three and four. More repetition would annoy ear.",
    "74-5": "Aloysius. Wise choice. Melody and graceful movement deserve much room too. Continue.",
    "75-1": "Aloysius. Enough examples for now. Ligatures season harmony well. Work remaining three modes' cantus firmi this way. Find others too. Practice much. Can never practice this species enough.",
    "76-1": "Next species needs grace. So know now: earlier ligatures can take other forms. Same substance. Harmony moves faster. See:",
    "76-2": "First and third cases: basic forms. Following ones marked “the same”: changes for melody or motion. Can also break ligature like this:",
    "76-3": "Next species sometimes allows two fusae mixed in. Put them in second and fourth parts of measure. Never first and third.",
    "76-4": "Know all that? Next:",
    "76-h1": "Exercise I.",
    "76-h2": "Fifth lesson.",
    "76-h3": "Fifth species of counterpoint.",
    "76-5": "This one called florid counterpoint. Must bloom like flower garden. All ornaments. Graceful melody. Easy, supple motion. Pleasing mix of note shapes. Division in arithmetic uses counting, adding, subtracting, multiplying. Same here: combine earlier species. Nothing new except melody's grace. Me beg you: never forget. Give melody greatest care and effort.",
    "77-1": "Joseph. Me try hardest. But scarcely dare pick up pen without example to see.",
    "77-2": "Aloysius. Courage. Me make first example for you.",
    "78-1": "Now fit counterpoints for remaining cantus firmi to this model.",
    "78-2": "Aloysius. Diligent work. Me pleased you care much for melody. Entering thesis, you mostly use oblique motion or syncopation. Keep doing that. Adds great grace to counterpoint.",
    "79-1": "Joseph. Me very happy my work pleases you some. Your kindness gives courage. Think me improve fast now. Remaining three modes: with you, or alone?",
    "79-2": "Aloysius. This species useful beyond words. Do those three modes with me. And never stop practicing this kind more and more.",
    "79-3": "Joseph. Your advice always law to me.",
    "80-1": "Joseph. Last example, soprano, measure five. What nota bene, NB, mean?",
    "80-2": "Aloysius. No worry. Me have not taught this yet. Advice, not rule: two semiminims starting measure make melody limp if no ligature follows right away. Want only two at start? Tie them to following ligature. Or add two more semiminims for smooth flow. See:",
    "81-1": "Two voices done. All five species, cantus firmus underneath it all. Praise God. Now back to start: note against note, three voices. See rules for each species and how to build three parts.",
    "e2-p81-0": "EXERCISE TWO. LESSON ONE. Three voices. Note against note.",
    "e2-p81-1": "Three voices make full triad. No extra voice needed. Add more voices, and you mostly repeat notes already there. Book says adding a “third” voice here. Odd. See source note. Learn three voices well. Then more voices much easier.",
    "e2-p81-2": "Joseph. Me really want learn this. But me scared. Big task. Small skill.",
    "e2-p81-3": "Aloys. No fear. You managed two voices. Learn these new points first. Start simple: note against note. Use same order as before. Three voices need not crush you.",
    "e2-p81-4": "Now the simplest kind of three-voice music: Equal note lengths. Three semibreves sound together, one in each voice. Consonances only.",
    "e2-p82-1": "Put triad in each measure. Unless another musical need gets in way.",
    "e2-p82-2": "Joseph. Triad? What that?",
    "e2-p82-3": "Aloys. Bottom note. Third above it. Fifth above it. Those three notes make triad. Look:",
    "e2-p82-5": "Joseph. What can get in way of triad?",
    "e2-p82-6": "Aloys. Sometimes melody needs smoother path. Use sixth or octave instead. Sometimes next perfect consonance would make forbidden pair. Then use sixth instead of fifth, or octave, or both. Here:",
    "e2-p82-8": "Joseph. Master, me think measure 2 could have triad. Give tenor fifth. Then in measure 3, give tenor a third. Leave other measures as you wrote them. Like this:",
    "e2-p83-2": "These moves seem fine. Voices move properly. Melody still smooth.",
    "e2-p83-3": "Aloys. Good thought. Your version can work. But mine has more natural flow, order, and variety. Tenor walks down by step to measure 3. No leap. There we get sixth. Bass note mi likes sixth here. We spoke of this before. Me explain more now. First, this arrangement with sixth:",
    "e2-p83-5": "Note making sixth has moved from its usual place. Put it back. Looks like this:",
    "e2-p84-1": "C in its usual place makes triad. Move C one octave up. Leave other notes. Now sixth appears. This applies when mi goes next to fa. Here:",
    "e2-p84-3": "If mi leaps somewhere else, fifth fits better than sixth. Look:",
    "e2-p84-5": "Back to variety. Mine has A once in tenor. Yours has A twice. See:",
    "e2-p85-0": "Variety matters. Remember now. Remember later too.",
    "e2-p85-1": "Joseph. Do not get angry. Why start voices so far apart? Me think another way could work.",
    "e2-p85-2": "Aloys. Your questions give joy, not much bother. See bass climb by step? Other voices need room to come toward bass. So start them far away.",
    "e2-p85-3": "Show me your other ways.",
    "e2-p85-4": "Joseph. Me bring two examples. Not to win argument. To learn.",
    "e2-p85-6": "Aloys. These not all bad. But first one: all three voices go up from measure 1 to 2. Some step. Some leap. Trouble can happen. Here trouble between tenor and alto:",
    "e2-p86-0": "Take bass away. Hear bad move. Looks like imperfect consonance goes to perfect one. But worse: that fifth is diminished. Not consonance at all. Rules matter between all voices, not just against bass. More voices sometimes need less strict handling. Even three voices can bend rule for strong reason. Here fifth goes to final octave by similar motion. Both perfect. But no other way here:",
    "e2-p86-2": "Joseph. Could tenth replace octave? Then trouble gone?",
    "e2-p86-3": "Aloys. Could. But tenth is imperfect consonance. Ending needs firm rest. In four voices, extra fifth can give that support even with third there.",
    "e2-p86-4": "Joseph. What wrong with my second example?",
    "e2-p86-5": "Aloys. Rising into sixths on downbeat sounds harsh. Upbeat sixths carry less weight. Easier to accept. But this species has no upbeat notes. More on this later.",
    "e2-p86-6": "Now practice. Me give one model in three forms. First: given melody, called cantus firmus, in top voice. Next: middle voice. Last: bass voice. You must do this too. Use earlier given melodies in their stated order.",
    "e2-p87-2": "Triad used wherever other needs allow. Voice movement still obeys points we already discussed.",
    "e2-p87-3": "Joseph. Alto against bass, measure 7 to 8: imperfect consonance to perfect one. Rule says contrary motion. You used similar motion.",
    "e2-p87-4": "Aloys. True. But remember exception. If no other way avoids bigger trouble, three voices can bend that rule.",
    "e2-p87-5": "Joseph. Me remember. But bass could go from F to higher C. Contrary motion. Like this:",
    "e2-p88-0": "Aloys. One problem fixed. Two more arrive: note 9 to 10, then 10 to last. At note 9, tenor and bass also make unison. Octave gives fuller harmony. And do not go outside five staff lines without strong need.",
    "e2-p88-1": "Joseph. Me convinced. But maybe this way?",
    "e2-p88-3": "Aloys. Worse. Major-sixth leap forbidden. Seventh leap? Think how hard to sing. Melody must move naturally. Now put cantus firmus in middle voice.",
    "e2-p88-5": "Joseph. Why octave in measure 9? Fifth could fit. Then triad.",
    "e2-p89-0": "Aloys. Yes, fifth could fit. But octave helps melody more. Melody matters much. Me keep saying this. Now last model: cantus firmus in bass.",
    "e2-p89-2": "Joseph. Looks good except final measure. Third instead of fifth might make harmony fuller.",
    "e2-p89-3": "Aloys. Which third? Minor third does not give strong ending here. Major third causes other trouble. This mode uses minor third, F without sharp. Ears hear that through whole given melody. Sharp at end would jar. Better leave third out.",
    "e2-p89-4": "Now do other five modes. Put cantus firmus in each of three voices. Keep all earlier rules in mind.",
    "e2-p90-0": "Joseph. Ending took much work. Usual cadence pattern does not fit before last note. This pattern:",
    "e2-p90-2": "Mode gives no natural perfect fifth there. It also does not allow sharp needed for usual cadence. So me used different ending. But final major third worries me. You said leave third out in these modes. Use fifth instead.",
    "e2-p90-3": "Aloys. You judged well. Semitone sits in special place here. Need different cadence. Do not fear major third here. Leave third out only when possible. Fifth at end would make two fifths in a row. So use major third. Minor third gives weaker close. Keep going.",
    "e2-p94-1": "Joseph. Here other modes. Me think examples good, as far as fixed melody allows. Without fixed melody, me could put triad in more places.",
    "e2-p94-2": "Aloys. Right. Later you make free composition. No fixed melody tying you down. But practice with fixed melody helps greatly. It trains doing and thinking. That leads to real skill. Do it again. And again. Me mean it.",
    "e2-p94-3": "First species done. Now second species.",
    "94-h1": "Exercise II.",
    "94-h2": "Second lesson.",
    "94-h3": "Three voices. Minims meet semibreve.",
    "94-1": "Remember this species' two-voice rules. Remember triad rules from three-voice semibreves too. But one easing: to keep triad in three voices, minim leaping third can sometimes allow two fifths. See:",
    "95-1": "Forbidden in two voices. Allowed in three for triad, as me said. Three model examples now. Help you make rest.",
    "96-1": "Joseph. You said two minims must never sit on same staff line in two-voice version. So no ligature here. But all three examples have ligature in final cadence. Last example ends with major third too. Me remember that forbidden as well.",
    "96-2": "Aloysius. Memory good. Almost every rule has exception. Follow rule when possible. Always possible in two voices. Not always in three. Here two untied minims instead of ligature would make faulty unison, or octave with no harmony. Last note's major third in third example necessary. Soprano cannot use fifth there. Would make two fifths in row.",
    "96-3": "One part gets minims for whole cantus firmus. Other two get only semibreves. Minims must fit both semibreves properly. Keep motion and other rules as far as possible.",
    "96-4": "Now make examples for remaining tenors. Use three changes of position, as shown.",
    "99-1": "Aloysius. Enough examples for now. Do remaining three modes same way, alone.",
    "99-2": "Joseph. Hard study. Sometimes next measure seems almost impossible to reach.",
    "99-3": "Aloysius. Yes, these species hard. Two minims must fit semibreves in other two parts. All rules still matter. Hard, almost impossible, unless you think one or two measures ahead before writing. Me said this often. But practice brings skill and easy writing beyond words. Remove cantus firmus chains later. Well-practiced student makes free music almost like play. Much joy.",
    "99-h1": "Exercise II.",
    "99-h2": "Third lesson.",
    "99-4": "Same lesson order as two voices. So now four semiminims meet semibreve. Difference: two voices fit semiminims to one other part's semibreve. Here fit them to semibreves in two parts. Keep this species' two-voice rules. Keep all three-voice rules learned so far too.",
    "99-5": "Joseph. Anything else to watch?",
    "99-6": "Aloysius. Only this: as in every species, care most about notes on thesis.",
    "99-7": "Joseph. Then me try without model example.",
    "99-8": "Aloysius. Good. Cannot make triad with first semiminim of arsis? Try second or third.",
    "102-1": "Aloysius. These examples good. Show much learning already. Finish other modes and cantus firmi at home. Then, if you want, do all six modes again. One part semiminims, another minims, third semibreves. Like this:",
    "102-2": "Three different note forms add beauty beyond words. Give this exercise greatest care. Change position three or four ways, as before.",
    "102-3": "Joseph. Me try with all strength. Your advice always law.",
    "102-4": "Aloysius. Now we must work through:",
    "103-h1": "Exercise II.",
    "103-h2": "Fourth lesson.",
    "103-h3": "Ligature.",
    "103-1": "Remember two-voice ligatures. Build exactly same in three voices. Only new thing: concordance for added third part. Remember ligature just delays next note. Strange but true: give third part same concordance it would have without ligature. See:",
    "103-h4": "No ligature.",
    "103-h5": "With ligature.",
    "104-1": "Both examples give third part same concordance. Ligature no obstacle. Same for ligatures in low, foundational part. See:",
    "104-2": "Remove ligatures. Triad would give these forms. But another problem stops them: several fifths in row.",
    "104-3": "Joseph, this faulty example only here to show one thing. Ligatures do not change concordance arrangement. Stays exactly same.",
    "104-4": "Joseph. Master, that claim makes me doubt. May me tell you?",
    "104-5": "Aloysius. Speak bold. You quiet so long, me almost doubt whether you understood all me said.",
    "104-6": "Joseph. If ligatures change nothing, first example with ligatures must be as wrong as second. Remove ligatures from second and fifths follow fifths. Ignore ligatures in first and same fault remains.",
    "105-1": "Aloysius. Sharp argument. Shows good attention. Great masters approve first, reject second. Their authority matters much. But “change nothing” means only nature and substance of concordances. Same in both. Ligatures surely can change other things and make them allowed.",
    "105-2": "Joseph. That distinction would solve it. But earlier two-voice ligature example stands against it. You rejected that one because tie could not allow two octaves. See:",
    "105-3": "Here ligature cannot save two faulty octaves. Same reason means next example's ligature cannot save two fifths:",
    "105-4": "Aloysius. Strong objection. Know this: high part reaches ear clearer. Many things banned up high allowed down low. Low sound hides them, strikes ear less. High pitch reveals. Low pitch hides. Deeper reason: fifth perfect, octave more perfect, unison most perfect. More perfect means less harmony, as said elsewhere. Dissonance itself has no sweet harmony. All pleasure comes from next consonance where it resolves. So clash resolving to fifth easier to accept than one resolving to octave. No surprise masters reject first and accept second. Closer resolution's perfect consonance comes to imperfect consonance's nature, easier to allow. Satisfied? Get ready for exercise.",
    "106-1": "Joseph. Me do as you command.",
    "106-2": "Aloysius. Why error sign, or doubt sign, in soprano, measure three?",
    "106-3": "Joseph. Me remember first part of ligature must be consonant. Here me used fourth, a dissonance. Two semibreves required. Could find no other way. Also remember good masters use this.",
    "107-1": "Aloysius. Good doubt. Shows close attention. Strict rule bends here. First part must be consonant when foundation moves every measure. But bass stays still here, held in same position. Then ligature all dissonant can be faultless and very elegant. See:",
    "107-2": "Other doubt sign, measure six. What mean?",
    "107-3": "Joseph. Seventh needs third beside it. But cantus firmus forced me to give octave instead.",
    "107-4": "Aloysius. Remember, these lessons practice ligature every measure. Other concordance needs less strict here. We spoke of them elsewhere, will again. Free composition different: no restriction stops proper companion for each clash. So tolerate seventh with octave here. Next exercises.",
    "108-1": "Aloysius. Last example: why whole-measure rest at start of foundational part?",
    "108-2": "Joseph. Could find no ligature there. Thought wrong to fill gap with another species. So used rest to help.",
    "108-3": "Aloysius. Clever help. Me pleased. But could do this:",
    "109-1": "Tenor acts as bass in first measure. Alto can do this too. Even soprano, if possible. Lowest part always foundation, whatever its name. Build others on it. Now next two tenors in natural order.",
    "110-1": "Aloysius. Harmony here as good as ligatures with two semibreves each measure allow. Restriction stops fully complete harmony. We said often: ligatures matter more here. Many forms in this exercise teach them fully. Practice this hard. Principal ornament of composition. First measure could be better. Here it is:",
    "111-1": "Alto and soprano make hidden pair of fifths. Ear hears easily. Avoid in three voices. Give alto rest. Like this:",
    "111-2": "Joseph. Me used same help in bass, measure six, same exercise. Otherwise could find no way to keep ligatures going.",
    "111-3": "Aloysius. Clever. Rule says ligature every measure only where possible. Do remaining three modes with same exercise.",
    "111-h1": "Exercise II.",
    "111-h2": "Fifth lesson.",
    "111-h3": "Florid counterpoint.",
    "111-4": "Aloysius. Two-voice lesson showed this species. All five species combined, melody beautiful and graceful. Three-voice exercises so far taught concordances for other two semibreve parts. Me sure you understand. No need more explanation. Straight to examples.",
    "114-1": "Aloysius. Enough for now. Do remaining four modes alone with same care. Then you understand this species fully. Oblique motion in most measures makes work much easier. Now four voices.",
    "114-h1": "Exercise III.",
    "114-h2": "First lesson.",
    "114-h3": "Four voices. Four parts.",
    "114-2": "Three voices already hold full harmonic triad, as said before. Fourth voice must double consonance already there. Except some dissonance cases, explained elsewhere. Unison and octave far different in distance and position. But same name. Both can be C. Octave counts as repeated unison.",
    "114-3": "Four voices mainly third, fifth, octave. Faulty movement often stops octave. Then double third more often. Double sixth less often. Keep Book One's progression and motion rules as far as possible. Compare all parts with foundation and each other. “As far as possible”: necessity, melody, imitation, or strict subject sometimes forces hidden fifths or octaves to be allowed.",
    "115-1": "Less rule-breaking makes more perfect four-voice music.",
    "115-2": "Joseph. Me see explanation through fog. Need example or two to see clear.",
    "115-3": "Aloysius. This example clears fog easy.",
    "115-4": "Do not wonder at simple numbers on compound intervals. Different from earlier. Only to show doubled consonances clearly. Copy model. Any doubt? Say it. No doubt? Take same cantus firmus. Put it in each part in turn, usual way.",
    "115-5": "Joseph. Matter which part gets which consonance?",
    "115-6": "Aloysius. Matters much. Three-voice exercises should show that. Each consonance wants proper place in natural order, where possible. But biggest thing: can first measure move correctly to second, third, even fourth? If no, change first measure's arrangement. Place consonances so next measures flow correctly and easily.",
    "116-1": "Joseph. What proper place do consonances want?",
    "116-2": "Aloysius. Order comes from harmonic division of octave. First makes fifth. Divide fifth again, get third. Keep this order unless next measures' progression stops you. Happens often. Here natural order:",
    "116-3": "First fifth, born from octave's division. Second octave itself. Third comes third, or tenth, born from fifth's division.",
    "116-4": "Joseph. Our keyboard seems to put third first, before fifth. So four voices should go in this order:",
    "116-5": "Aloysius. Seems so. Not true. Division decides order, not keyboard. Third low down, close to foundation, sounds muddy. Also bigger numbers making interval mean higher sound. Thus higher place. Fifth uses 2 and 3. Add, get 5. Third uses 4 and 5. Add, get 9. Nature says fifth below, third above.",
    "117-1": "No doubts left? Do rest of this mode and other modes. Check every measure boundary. Compare every part with every other. Let no rule fault sneak in. Needs great care. Parts must fit bass or foundation. Middle parts must fit each other by rules too.",
    "117-2": "Joseph. Earlier four-voice example has fourth between middle parts sometimes. You called fourth dissonance, banned in semibreves-only music. Me cannot ignore doubt.",
    "117-3": "Aloysius. Right to ask. But consonance or dissonance judged against foundation. Middle parts can make other intervals. Still avoid bad things like two fifths or octaves in row. Also closer parts give more perfect harmony. United strength stronger. Hard things will come. Excellence needs hard climb. Olympic athletes need opponents. You need tireless study, persistence, and patience as shield.",
    "118-1": "Joseph. First two examples made me hesitate. Tenor too close to bass, against your advice. Often low thirds. Had no other way with cantus firmus required in all four parts. Judge and correct them, please.",
    "118-2": "Aloysius. True. Fixed cantus firmus gave no other way in these practice examples. Free invention different. In time, you see huge value of exercises. Two more modes remain. Usual four positions for cantus firmus. Continue.",
    "121-1": "Examples fairly good. Unchanging cantus firmus prevents exact obedience to motion and other strict rules. Free composition allows that easily. Do remaining three modes same way. Cantus firmus in all four positions.",
    "121-h1": "Exercise III.",
    "121-h2": "Second lesson.",
    "121-h3": "Minims meet semibreve.",
    "121-2": "Remember this species in three voices. Keep every rule in four voices too. Only difference: two minims fitted two semibreves before. Now three. Also keep four-voice note-against-note rules as species' tight limits allow. Practice now.",
    "123-1": "Joseph. This species hardest yet. Full of trouble. Could not make measure before last obey rule at all.",
    "123-2": "Aloysius. True. Two minims against three semibreves make difficulty. Rule only there to teach combining them, and careful, watchful concordance building. So sometimes no way forward. Free composition never needs such long stretch under this rule. Lessons train you, not meant for practical use. Reader no longer practices spelling syllables. Same: species only for learning. Do other modes at home.",
    "123-h1": "Exercise III.",
    "123-h2": "Third lesson.",
    "123-h3": "Semiminims meet semibreve.",
    "123-3": "Look to two- and three-part lessons for this species' rules. Only new thing: concordance. Two voices fit semiminims to one semibreve. Three voices to two. Here four semiminims must fit three semibreves. Use harmony rules you know. Examples make clear.",
    "124-1": "Joseph. Master, why double third in measure four? Tenor could use unison instead of one third. Like this:",
    "125-1": "Aloysius. Could do that. But unison on thesis makes music less full. Also soprano's third, or tenth, moves. Does not sound all the time, so incomplete. What second doubt sign, B, mean?",
    "125-2": "Joseph. Alto and tenor move perfect consonance to perfect consonance by similar motion. Seems faulty.",
    "125-3": "Aloysius. Required semibreves leave no other way. Must tolerate. Split tenor semibreve and easy fix. Like this:",
    "125-4": "Same for earlier species examples. Many things wrong without required semibreves. Now do remaining examples. Move cantus firmus to different parts.",
    "126-1": "Aloysius. Joseph, fine proof of progress. Nothing from lessons forgotten. First semiminim gives full harmony. Other three move about, then smooth entry to next measure. Other harmony and species rules kept too. This works when thesis, each measure's start, gets full harmony: third and fifth. Continue.",
    "127-1": "Aloysius. What A mean in soprano, measure two?",
    "127-2": "Joseph. Perfect to perfect by similar motion: fifth to octave. Makes me doubt. Worse because outer parts.",
    "127-3": "Aloysius. Me said before, say again: required semibreves sometimes excuse these moves. Even free composition cannot always avoid them. Still, middle parts tolerate them better than outer parts. You saw right.",
    "128-1": "Joseph. A in tenor marks same kind of broken rule. Imperfect to perfect: third to fifth by similar motion. Think same necessity excuses it too.",
    "128-2": "Aloysius. Right. Strict species permits no better. Fault harder to hear in middle part too. Now do E, la, mi same way with me. Lacks fifth. Hardest mode of all. Other modes at home.",
    "131-1": "Joseph. Soprano and violin, first note to second: third moves to fifth against common rule. Earlier reasons made me leave it. Could find no fix either.",
    "131-2": "Aloysius. Said often: necessity permits much here that free composition should avoid. Same at B: octave to fifth by similar motion against lowest part. Species difficulty excuses. Finish other modes at home. Now next species.",
    "131-h1": "Exercise III.",
    "131-h2": "Fourth lesson.",
    "131-3": "Two- and three-voice lessons taught: ligatures follow semiminim species. You know their nature already. Now learn companions for ligatures in four voices. Three-voice lesson said some: use concordances needed without tie. Ligature only delays next note. Changes nothing about concordances. See examples.",
    "132-1": "Examples show same concordances, tied or untied.",
    "132-2": "Joseph. Master, rule never has exception?",
    "132-3": "Aloysius. Some exceptions in this lesson. Must combine ligatures with three semibreves lasting whole measure. First trouble: fifth beside seventh in ligature. Cannot do it. See:",
    "132-4": "Ligature resolves. Makes faulty clash with tenor. Must avoid above all.",
    "132-5": "Joseph. How fix this?",
    "132-6": "Aloysius. Split tenor semibreve like this.",
    "133-1": "Joseph. But this species says no splitting semibreve.",
    "133-2": "Aloysius. True. When possible. Soon examples show cases where necessity demands split. So three whole semibreves cannot be iron rule here.",
    "133-3": "Joseph. Put octave with seventh. Then no semibreve needs splitting. Your last example can go like this:",
    "133-4": "Aloysius. True here. Nothing stops octave replacing fifth. But often notes before and after leave no room for octave. Then must use fifth and split semibreve. Other cases need split too. Next examples show.",
    "134-1": "Joseph. Only doubtful bit: tenor and alto move from measure four to five.",
    "134-2": "Aloysius. Worry gone when you know this: fourth between middle parts counts for little, or acts like imperfect consonance. Treat that move like similar motion from perfect to imperfect consonance. Remember well. Now more examples.",
    "135-1": "Examples show problem. Four-voice ligatures cannot always have three whole semibreves. Even when they can, harmony sometimes cannot meet every rule for completeness.",
    "135-2": "Joseph. I see which semibreves split and why. But where is harmony missing something?",
    "135-3": "Aloysius. First example, measure six, thesis: no fifth. Complete harmony needs it. Last example, measure five: second doubled, needed sixth missing. Next example shows.",
    "135-4": "Same example, measure five: fourth doubled. Strict rule says double second instead.",
    "135-5": "Joseph. Why double second instead of fourth?",
    "135-6": "Aloysius. Main issue: full harmony. Not second or fourth by itself. Full harmony needs third, fifth, octave. Here doubled fifth takes octave's place. So harmony lacks fullness. I mean second half of measure, where octave needed. First half has second, and second cannot have octave companion. Like this:",
    "136-1": "Let these small faults pass. Strict species gives students big benefit. Teaches correct writing, and how far necessity lets rules bend. Model is before you. Copy method in other five modes, changing positions same way. Now fifth species.",
    "136-h1": "Exercise III.",
    "136-h2": "Fifth lesson.",
    "136-2": "Joseph, you know florid counterpoint makes this species. Earlier examples and explanations taught it, especially three-voice exercise. Only new thing: add fourth part in semibreves. Weave it in by four-voice rules. Examples now.",
    "138-1": "Joseph. Here too, like ligatures species, some semibreves split.",
    "138-2": "Aloysius. Whole semibreves means whole where possible. See: wherever possible, rule followed exactly. Work other five modes with same care.",
    "138-3": "Five species done separately. Now practice together. Keep same cantus firmus. Mix minims, semiminims, ligatures. Each part gets own motion. Much fine variety. See example.",
    "139-1": "Finish this mode and other five with equal care. Move cantus firmus through all four positions, one in each part. Bring separate species lessons together. Watch exactly how parts work against each other. You should know that now. Good practice gives huge benefit. Almost every later difficulty already met here. Want progress? Spend serious time on five species. Keep choosing new cantus firmi yourself. Work at least one or two years. Do not rush into free invention. Sweet freedom tempts. Wander about wasting time, and firm foundation never comes.",
    "139-2": "Joseph. Master, path rough. Many thorns. So much weary work. Hard to avoid boredom.",
    "139-3": "Aloysius. Joseph, complaint forgiven. I understand. But Muses live on mountain, reached by steep path. Even humblest craft asks at least three years as apprentice. Music needs far more skill, difficulty, material than manual crafts. Among liberal arts, none outranks it. Let future benefit push you. Hope of glory pull you. Think of easy writing later, and trust that notes are right. After this, set cantus firmus aside awhile. Learn imitations and fugues. First, outside cantus firmus limits, some dissonances resolve differently: ninth to sixth, tenth to third, fourth to sixth or third. Written below. Examples:",
    "140-1": "Joseph. Why those resolutions without cantus firmus, but not with it?",
    "140-2": "Aloysius. Both parts move to resolve. Cantus firmus stays fixed, so cannot do that. These resolutions cannot work where oblique motion required. Now back to two voices, free of cantus firmus.",
    "140-h1": "Exercise IV.",
    "140-h2": "Only lesson.",
    "140-h3": "Imitation.",
    "140-3": "Imitation: first part moves. Next part rests, then follows same interval steps. No need to match mode, whole tones, semitones. Can start at unison, second, third, fourth, fifth, sixth, seventh, octave. Examples make clear.",
    "141-1": "Joseph. Example tells me following part need not repeat all first part's notes.",
    "141-2": "Aloysius. Correct. Canon copies all. Imitation needs only certain notes.",
    "141-3": "Joseph. Last example seems start on C, end on G.",
    "141-4": "Aloysius. Already forgot? Imitation has no mode or tonal-placement fence. Following part just tracks first part somehow. Usually imitation sits in middle, less often beginning. Middle cares less for strict mode.",
    "142-1": "Aloysius. Practice these models awhile. Pick few notes. Copy note for note to other part at any interval you like. Build above them with varied note values. Follow counterpoint rules. Keep melody graceful. There: two-voice composition.",
    "143-h1": "Exercise V.",
    "143-h2": "First lesson.",
    "143-h3": "Fugue in general.",
    "143-1": "Respected authors say fugue comes from fugere, flee, and fugare, put to flight. First part runs. Second chases. But imitation does same. Need better difference. Fugue: following part repeats certain earlier notes, respecting mode and mostly whole tones and semitones. Must know mode. People call it tone. Better say first mode, second mode, and so on. Otherwise confused with tone intervals, ratios 9:8 and 10:9. Modes are tangled subject. Beginner needs only enough now. Full account waits till book end. Mode is series of intervals inside octave, with semitones in different positions. Horace says:",
    "143-2": "Things have measure. Fixed bounds stand.\nGo beyond, or fall short: rightness gone.",
    "143-3": "Semitones have six possible arrangements. So six modes. Octave systems below: D, E, F, G, A, C.",
    "144-1": "Count from first note of each mode. Semitones sit in six different positions. Black notes mark difference. Leave proper first, second, third names for later. For now number in shown order. Mode also bounded by fourth and fifth inside octave. Shape fugue subjects by those limits. Example:",
    "144-2": "First part leaps fifth? Following part leaps fourth. Keeps inside mode or octave. Reverse also true. Example:",
    "144-3": "Imitation has no such rule. Just same steps and leaps enough. Example:",
    "145-1": "Fugue starts only at mode-making intervals: unison, octave, fifth. Imitation can start at every interval, as said.",
    "145-2": "Joseph. Think I understand modes, imitation, fugue so far. Now teach subject choice and how fugues start and continue. Often hear even music teachers do not all know this.",
    "145-3": "Aloysius. True. More talk than knowledge. I will explain all you ask. Six different modes means each needs own fitting subject. First-mode theme does not fit second, third, fourth, fifth, sixth. Whole tones and semitones sit differently in each. Examples show.",
    "145-h1": "Subject for first mode.",
    "145-4": "Following part takes theme at fifth. Same whole tones, same semitones. Example:",
    "145-5": "No other mode lets this subject do that. Try A, la, mi, re. Closest match to D, la, sol, re:",
    "145-6": "Following part's next-to-last note: fa instead of mi. Whole tone and semitone swap places. Need sharp before that note to match first subject. Example:",
    "145-7": "But current diatonic genus forbids this. Subjects must have no sharps or flats. Otherwise never learn modes' true nature.",
    "146-h1": "Exercise V.",
    "146-h2": "Second lesson.",
    "146-h3": "Fugue for two parts.",
    "146-1": "Now simple clear way to make two-part fugue. Pick few-note subject fitting mode. Write in starting part. When done, second part takes same notes at fourth or fifth, respecting mode. First part meanwhile makes florid counterpoint with varied note values. Continue melody awhile. First cadence on mode's fifth. Then rest whole or half measure, or skip rest if big leap. Take theme again, usually first-starting part, at different interval from opening. Other part rests then enters before first part finishes subject. More melody, then second cadence on mode's third. Finally put subject in either part. Other part enters already in second measure if possible. Parts now closely joined. End with final cadence.",
    "146-2": "Joseph. I remember you said before—",
    "146-3": "Aloysius. Hold question till example clears fog. Take subject used earlier to show mode. Make fugue by given method. Model gives easier straight path. Example:",
    "147-1": "Alto finishes subject. Soprano takes it at mode's fifth. Alto makes florid counterpoint till soprano done. Both continue briefly, cadence on fifth. Alto then repeats subject a fifth of mode lower, no rest because entry leaps. Soprano rests, enters at mode's octave. Earlier now: subject's third measure. Alto keeps melody moving. Soprano finishes; both continue briefly; second cadence on mode's third. Last, alto takes subject. Soprano joins already in second measure. Final cadence ends. Practice simple method in other modes. Fugue knowledge grows.",
    "147-2": "Joseph. Fugue has sharps and flats. Thought diatonic genus forbids those.",
    "147-3": "Aloysius. Rule means subjects. Natural semitones show modes and differences, without sharps or flats helping. Melodic continuation is different. Sharps and flats allowed, sometimes needed, to avoid harsh mi against fa. These cases usually come from following clash:",
    "148-1": "Now tell earlier doubt.",
    "148-2": "Joseph. You said fugue differs from imitation: following part enters only fifth, octave, unison. Then fugue instructions also said fourth.",
    "148-3": "Aloysius. First I meant fundamental note and this arrangement:",
    "148-4": "No fourth there. Second statement left fundamental aside and meant upper part. This arrangement:",
    "148-5": "Even there, A can count as fifth. Fundamental D understood. So second part in next example follows at fifth. Example:",
    "149-1": "Joseph. Why change note values near fugue's end, even inside subject?",
    "149-2": "Aloysius. Can tie notes that were untied. Adds charm. Often changing note values is necessary for close overlap of subjects. Now try mode E yourself. Pick subject fitting no other mode. Make fugue like last example. One difference: first mode and all others cadence first on fifth. E must cadence first on sixth. Add third part needing major third, and fifth cadence strays too far from mode. F right after makes bad mi-against-fa course. Ear unhappy. Example:",
    "149-3": "Think you know all needed now. Start work.",
    "149-4": "Joseph. Master, if first try goes badly, please do not be angry.",
    "149-5": "Aloysius. No fear. You know my patience. I know beginner's difficulty too.",
    "149-h1": "Mode E.",
    "150-1": "Joseph. Sure subject fits no other diatonic mode. But is treatment just as good?",
    "150-2": "Aloysius. Courage, Joseph. Subject well made, treatment too. Almost beyond beginner skill. Promises fine progress. Now mode F and remaining modes.",
    "150-h1": "Mode F.",
    "151-h1": "Mode G.",
    "151-1": "Joseph. Unsure second cadence should stay as written or go this way. Example:",
    "151-2": "Aloysius. That cadence needs two sharps. Three with third part added. Too far from this mode. Better for transposed mode, discussed later. Your seventh-and-sixth cadence works. Now A, fifth in our order. Bit different, so I give example:",
    "152-1": "Joseph. I see why second part leaps third from first note to second. Otherwise cannot get fa from first part's second note. But after first cadence, why alto starts subject on B mi? That pitch does not fit mode.",
    "152-2": "Aloysius. Foundation sits on E. A would clash with E below, so entry cannot use A. Necessary change. Fugue loses nothing. Middle of fugue even improves: subject parts become equal throughout. Beginning different. There, carefully respect mode and proper entry pitch already explained.",
    "152-3": "Joseph. Hard to make subjects overlap ever closer. Seems must choose subjects just for that.",
    "152-4": "Aloysius. True. First seek and test subjects that work. Think before choosing. Someone may laugh: plain thin subjects, no flavor! I agree. Here aim is true diatonic modes, not lofty invention. Bounds narrow. Mixed genus gives more room and richer subjects. Discussed much at Book One's end. Now last mode, C.",
    "153-1": "There. Outline and doorway into fugues.",
    "153-2": "Painter needs much drawing practice first. Fugue needs long practice with given model too. Strongly urge it. Keep seeking new things, one after another.",
    "153-3": "Joseph. This genus feels poor. Little material. Little room for invention.",
    "153-4": "Aloysius. Yes, tighter than mixed genus. Less room to roam. But best for learning modes and differences. Very necessary for a cappella music sung without organ. Not so poor you cannot find varied subjects. Practice two voices privately now. On to three-part fugues.",
    "154-h1": "Exercise V.",
    "154-h2": "Third lesson.",
    "154-h3": "Fugues for three parts.",
    "154-1": "Three voices, with cantus firmus or without: give full triad much care. You know this now. Three-part fugue starts by two-part rules until third entry. Both parts must finish subject first. Then third enters, with melodic continuation before or none, as parts allow or demand. Composer must judge carefully. Third part must bring new harmony, not enter for nothing. Try to complete harmonic triad at entry. Or enter in dissonance controlled by ligature. More elegant.",
    "154-2": "Joseph. Which earlier part should third part follow for interval?",
    "154-3": "Aloysius. Usually first-starting part. Gives variety, very important. But if parts' arrangement favors another interval, use judgment. Rule bends to that.",
    "154-4": "Joseph. Same cadence rule as two voices?",
    "154-5": "Aloysius. No. No formal or complete cadence ending with major third unless subject can enter. If subject can enter, complete or deceptive cadence may be on fifth, third, or other interval not too foreign to mode.",
    "155-1": "Joseph. Dear Master, what is deceptive cadence?",
    "155-2": "Aloysius. Formal or complete cadence reaches major third, then octave. Deceptive one uses minor third instead. Ear expects formal cadence. Gets fooled. Italians call it Inganno. Examples now.",
    "155-3": "Can also keep major third above but dodge formal cadence below. Foundation avoids octave, takes other consonance. Example:",
    "155-4": "Even more elegant with several parts. Example:",
    "156-1": "Now see formal cadence justified by subject entry, even on interval mode seldom uses. Take this subject:",
    "156-2": "Example shows formal cadence on subject's first note and how other parts must fit. Now cadence on second note:",
    "156-3": "These formal cadences allowed. Add fine ornament too. Enough joining cadences to subjects. Now examples show foundation dodging cadences woven into subjects, even with major third. Take subject from first two-voice fugue.",
    "157-1": "Joseph. Why so many cadences in two voices, but limits here with three?",
    "157-2": "Aloysius. Two-voice cadences differ from formal ones. Seventh to sixth, or second to third. Less restfulness. Really they prepare formal cadences more than deserve cadence name. Add third part, change nothing else: formal cadence appears. Example:",
    "157-3": "Joseph. Dear Master, please do not get angry. Many small questions may tire you.",
    "157-4": "Aloysius. Ask boldly. Many musicians trip on this stone. Want it fully removed for you.",
    "157-5": "Joseph. Why formal cadence allowed with entering subject but not without?",
    "157-6": "Aloysius. Formal cadence says rest. Use at end, or after finished section before new subject. But subject entering inside cadence pushes rest away. Keeps fugue moving till end. Says: not finished yet.",
    "158-1": "Joseph. Doubt gone. Lessons understood. Think ready for three-part fugues.",
    "158-2": "Aloysius. Yes, after one more thing. Show foundation under two descending parts moving seventh to sixth, or second to third. Makes melodic continuation much easier.",
    "158-3": "For fifth and sixth together, upper parts must have seventh resolving sixth, or second resolving third. Same for fourth and fifth together. Use bit of this or similar melody, inside subject or outside, to clear path for subject entry. Now three voices. Keep subjects from earlier two-voice pieces. Develop in three parts. I make first model. You copy method in other modes.",
    "159-h1": "Three-voice fugue in mode D.",
    "160-1": "Fugue same as two-voice one until third part enters. While third sings subject, upper parts build fitting melodic counterpoint. Then alto repeats subject at new interval. Foundation keeps melody going. Soprano rests, gets ready. Enters at different interval from opening, with strong dissonance announcing subject. Minor sixth avoids cadence.",
    "160-2": "Alto finishes subject there, then rests three measures. Why? Upper and lower parts too close: no middle room. Also alto soon needs subject entry. Notice alto entering with fifth and sixth. Big strength from that. Notice tenor entry right after, and melody built above.",
    "160-3": "Joseph. Tenor entry seems break rule. No harmonic triad, no dissonance. Only sixth and octave.",
    "160-4": "Aloysius. Glad you watch closely. But entry method was advice, not binding rule. First subject note is minim, little weight. Sixth above is strong and easy to hear. Makes entry clear, replaces missing harmony. Satisfied?",
    "160-5": "Joseph. Fully.",
    "161-1": "Aloysius. Continue. Look at melody built above subject. As upper parts continue, cadence on F gets dodged by tenor's subject entry after rests. Then change note values a little. Each part can enter with subject every measure. Final cadence ends fugue.",
    "161-2": "Joseph. So never put rest unless subject comes right after?",
    "161-3": "Aloysius. Yes. Old subject, or new one later repeated in other parts. Otherwise Gospel scolds, Matthew 22: Friend, how enter without wedding garment? Now mode E. Try three-part fugue this way or similar. Do not fret cadence interval if subject can enter elegantly. First see this mode's final cadence. Different from others.",
    "161-h1": "Three-voice fugue in mode E.",
    "163-1": "Joseph. Master, nervous bringing this fugue. Maybe cadence on A happens too often.",
    "163-2": "Aloysius. Fear away, Joseph. No scolding. Amazed beginner weaves subject so well and finds melody so fitting to mode. Subject itself led to many A cadences. Still varied: accompanying notes keep changing. If phrases lack charm, blame tight diatonic genus, especially this poor mode. Parts sing gracefully too. Neither blocks other. Both move freely. Now F, then others.",
    "163-h1": "Three-voice fugue in mode F.",
    "164-1": "Joseph. Think fugue turned out fairly well. Unless melodic continuation mixed into subject at alto's second entry is wrong.",
    "164-2": "Aloysius. That continuation is clever work. Strict diatonic genus and mode keep everything on familiar path. Melodic continuation lets little novelty enter subject. Subject entries well timed everywhere. Accompanying harmony follows counterpoint rules. Good. Now mode G.",
    "165-h1": "Three-voice fugue in mode G.",
    "166-h1": "Three-voice fugue in mode A.",
    "167-h1": "Three-voice fugue in mode C.",
    "168-1": "Aloysius. Very glad. Short simple method brought you well beyond beginner acquaintance. Parts sing beautifully, rest at right time, enter well. Now need continued practice for ease. Add frequent ligatures, now one part, now another. Much flavor. Different motions make nearly every part easy to hear. This advice for all composition, not just fugue. Three holds perfection. Keep studying three voices privately. Helps greatly when more parts come. Now four voices.",
    "168-h1": "Exercise V.",
    "168-h2": "Fourth lesson.",
    "168-h3": "Fugues for four parts.",
    "168-2": "Exercise III explained fourth part and how it fills harmony. You should know now. Question left: which earlier part should fourth follow? Composer judges harmony, grace, variety. Usual practice: tenor follows soprano, bass follows alto. More parts means danger of crowding. Keep room to move. Like walking through packed crowd: bump right, left, ahead, cannot pass. Parts block each other same way. Graceful singing gone. Avoid carefully.",
    "169-1": "Joseph. If crowding happens by surprise, how fix?",
    "169-2": "Aloysius. Change melodic continuation. Or rest part that fits only by force. Wait till room opens for subject reentry. Better think ahead and arrange well first. Easier keep case sound than repair after damage. While watching one part, remember others. Do not give some so much that last has no room or graceful song. Here model: same first three-voice fugue theme and same material till fourth entry. Study and imitate.",
    "170-1": "Joseph. Fugue seems much like three-part one. Except end, rarely all four sound together. Fourth enters, another quickly stops.",
    "171-1": "Aloysius. Same subject gives similarity. Treated almost like three-voice fugue to make four easier. Why I urged three-voice practice. Four rarely together? No surprise. Told you not to force parts at bad times. Four-voice writing need not always sound all four. Others move while one rests, then resting part takes subject. Add few notes after subject to keep full harmony longer. Treat other modes this way yourself.",
    "172-h1": "Four-voice fugue in mode F.",
    "174-1": "Aloysius. Fine examples show you know simple method enough. Other modes for private practice. Save time: now fugue with several subjects for ornament. Needs double counterpoint knowledge first. Discuss that now.",
    "174-h1": "Exercise V.",
    "174-h2": "Fifth lesson.",
    "174-h3": "Double counterpoint.",
    "174-2": "Double counterpoint: parts can swap places. Upper becomes lower through inversion. Name, I think, comes from two melody arrangements, high and low, with nothing else changed. Fine useful art in all composition, especially fugues with several subjects. Soon you hear why. Needs fuller explanation. Some list double counterpoint at third, fourth, fifth, sixth, octave, tenth, twelfth, more. Leave cramped little-use kinds and kinds nearly same as others. Study usual important ones: octave, tenth, twelfth. Each kind avoids certain consonances and dissonances, so either part can move to new interval. First general rules. Give subjects different motions: smaller note values in one, larger in other. Ear tells apart, no confusion. Do not start both together. Rest makes one enter later. Stay inside limits given for each kind. Begin octave: easiest, most useful.",
    "175-1": "At octave, move either part octave up or down. Harmony changes but still follows rules. Joseph, three things: avoid fifth; no leap to octave; stay within octave. Numbers opposite each other show what every consonance and dissonance becomes when inverted.",
    "175-table": "1. 2. 3. 4. 5. 6. 7. 8.\n8. 7. 6. 5. 4. 3. 2. 1.",
    "175-2": "Invert: unison becomes octave; second, seventh; third, sixth; fifth, fourth. Others same pattern. Fifth forbidden because turns into dissonant fourth. Example:",
    "176-1": "But fifth can work with ligature. Example:",
    "176-2": "Joseph. Understood so far. Why no leap to octave, and why stay within octave? Please explain quickly, Master. Waiting hard. Heard great praise for this counterpoint. Long wanted examples.",
    "176-3": "Aloysius. No delay. Paired numbers show octave becomes unison. Said often: leap to unison wrong except cadence manner. Example:",
    "176-4": "Better avoid octave on thesis altogether. Inverts to unison, poorly used except syncopation, as said. Why stay within octave? Double counterpoint meant to give different harmony by inversion. Go beyond octave and compound consonances become simple, but harmony stays same kind. Only position changes. Next example shows:",
    "177-1": "Tenth, a compound third, becomes simple third. Ninth, compound second, becomes simple second. Others same. Compound and simple consonances differ only in position.",
    "177-2": "Joseph. Think all understood now. Please, no more waiting. Show examples.",
    "177-3": "Aloysius. First example, bound to cantus firmus:",
    "178-1": "Next example, free of cantus firmus:",
    "178-2": "Follow rules just given, and inversion always works. Correct composition assured. Examples show.",
    "178-3": "First example can make three voices too. Every thesis must move contrary or oblique. Add third part by putting counterpoint tenth lower. Example:",
    "179-1": "Every thesis, start of measure, uses contrary or oblique motion here. So copy counterpoint note for note a tenth lower. Three voices made.",
    "179-2": "Joseph. This clever counterpoint delights me. Long wanted to know. How use examples in real composing?",
    "179-3": "Aloysius. Meant to finish other kinds first. But you eager. Take first fugue's subject in first mode. Weave countersubject in. Show how to arrange and carry through whole fugue.",
    "179-h1": "Four-voice fugue with countersubject. Double counterpoint, inverted at octave.",
    "181-1": "Aloysius. Here practical use. Your impatience won example. Countersubject starts at unison after half-measure rest. Inversion changes unison to octave. See numbers 1, 2, 3, 4, 5. Sometimes outer part, sometimes middle, countersubject always answers main subject at octave. Swapping keeps harmony changing.",
    "181-2": "Joseph. At NB, unison seems become fifteenth, not octave.",
    "181-3": "Aloysius. Compound intervals follow same usage as simple, as said. Sometimes this transposition gives middle parts room. Skillful choice. At number 6, see variety: parts leave main subject. Play with countersubject alone, in close overlap.",
    "182-1": "Joseph. Amazing combination. Could both subjects join that closely, then final cadence finish?",
    "182-2": "Aloysius. Yes. Change some note values, like this:",
    "182-3": "Aloysius. At NB, two semiminims replace two semibreves. Lets tenor and bass enter in subject's third measure. Otherwise impossible. Changing note forms for this allowed, and shows fine invention. Subjects can swap thanks to double counterpoint. Build them properly, and fugue easy to make and extend. Joseph, treat other fugues same way, in mode order. Vary countersubject entry. Not always subject's first measure. Principal subject may suit second or third measure entry. Here second-mode fugue opening shows. You finish it.",
    "183-1": "Bring this fugue and others with your own countersubjects. I correct them.",
    "183-2": "Joseph. Any other special rule for this kind?",
    "183-3": "Aloysius. Rest comes from simple-fugue teaching and usual counterpoint rules. Semitone sits differently in each mode. So each mode has own melody continuation and development. Said often. Practice this counterpoint in other modes at home. Now double counterpoint transposed at tenth.",
    "184-h1": "Exercise V.",
    "184-h2": "Sixth lesson.",
    "184-h3": "Double counterpoint transposed at tenth.",
    "184-1": "Double counterpoint is genus. Several species inside. Different transpositions of parts make species different.",
    "184-2": "Enough said of first species: counterpoint at octave.",
    "184-3": "Now second species, counterpoint at tenth. Avoid certain consonances and dissonances. Then either part moves tenth up or down, note values exactly same. Paired numbers show intervals to avoid.",
    "184-table": "1. 2. 3. 4. 5. 6. 7. 8. 9. 10.\n10. 9. 8. 7. 6. 5. 4. 3. 2. 1.",
    "184-4": "No successive thirds or tenths in similar motion. Invert: thirds make two octaves, tenths two unisons. No successive sixths either: become two fifths. Avoid tied fourth in upper part. Inverts to seventh practice rejects, already shown elsewhere. Stay within tenth. Here example with same cantus firmus as before.",
    "185-1": "Inversion at tenth. Same cantus firmus stays put.",
    "185-2": "Same result: raise cantus firmus third, lower counterpoint octave. Two tones plus octave make tenth. Clear enough.",
    "185-3": "Make three voices: keep both parts, copy cantus firmus note for note a tenth lower.",
    "186-1": "Same for first example of this counterpoint. Copy counterpoint tenth lower. Other parts stay.",
    "187-1": "Joseph. Wonderful. Copying makes third part. Can every two-voice piece of this species become three?",
    "187-2": "Aloysius. Yes, if species rules obeyed and every thesis has contrary or oblique motion. Like examples before.",
    "187-3": "Now two examples without cantus firmus. Then nothing about this counterpoint left unknown.",
    "187-4": "Copy soprano note for note tenth lower. Three voices, complete by every rule.",
    "187-5": "Next example: transpose soprano octave lower and third higher. Complete three-voice composition made.",
    "188-1": "These rules enough, in my judgment. Practice awhile till easy. Any doubt left, say it.",
    "188-2": "Joseph. First cantus firmus example seems leave mode at both start and end when inverted.",
    "188-3": "Aloysius. Yes, but new mode friendly to first. Examples mainly show inversion, less for direct use. Need not invert from beginning or carry inversion to end. Start with subject fitting mode. Add another that inverts at tenth. Invert where composer judges fitting. Soon fugue shows. Want inversion right at start? Begin on mode's third or unison. Then inverted part stays inside mode. Earlier examples without cantus firmus show this.",
    "188-4": "Joseph. In four-part writing, what does fourth part do?",
    "188-5": "Aloysius. Rest awhile. Or fill empty space with extended melody. Or enter with subject in contrary motion or another allowed way. Previous example made four-voice shows.",
    "189-1": "Now show practical composing use. Take first-mode subject used in simple fugues and other examples so far.",
    "189-2": "Joseph. Master, please forgive interruption.",
    "189-3": "Aloysius. Go on. Speak.",
    "189-4": "Joseph. Countersubject can invert at octave. So seems belongs to octave counterpoint.",
    "189-5": "Aloysius. Wrong to exclude it here just because octave inversion works too. Last octave example and last examples of current species show both kinds can combine. Before continue, see this example proving subject inverts at tenth too.",
    "190-1": "Alto moves with bass countersubject entirely in tenths. Makes three voices. Same result if countersubject raised octave and lowered third, by paradox given for this species. Example:",
    "190-2": "Joseph. Many thanks, Master. You reminded me and clear examples chased doubt away. Please resume fugue and finish in same manner.",
    "192-1": "Here short fugue. Shows tenth counterpoint more than every fugue trick. Use model in remaining five modes. Take subjects from each mode's simple fugue. Meanwhile inspect every transposition here. Anything unclear, point out.",
    "192-2": "Joseph. Numbers 1, 2, 3 seem wrong for tenth counterpoint. Countersubjects move in thirds and sixths, not required tenths.",
    "192-3": "Aloysius. Still built on right principle. Place them this way and they match counterpoint exactly. See:",
    "193-1": "Tenor at 1, alto at 2 cannot reach tenth. Had to give those parts third lower. At 3, closer joining made this arrangement best. Same for 6. What doubt about 4 and 5?",
    "193-2": "Joseph. You said subject must return after rest. Those places seem not do it.",
    "193-3": "Aloysius. Subject may return original or inverted. Countersubject there inverted, in contrary motion. Allowed, adds variety. Also beware: this writing needs much judgment. Follow counterpoint's special rules. Keep parts from wandering far beyond staff or leaving harmony empty.",
    "193-h1": "Exercise V.",
    "193-h2": "Seventh lesson.",
    "193-h3": "Double counterpoint at twelfth.",
    "193-4": "Counterpoint at twelfth: one of two or more parts can move twelfth up or down. Number rows show intervals allowed and forbidden.",
    "193-table": "1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.\n12. 11. 10. 9. 8. 7. 6. 5. 4. 3. 2. 1.",
    "193-5": "All intervals work except sixth and seventh resolving to sixth. Stay within twelfth too.",
    "194-1": "Can sing this in two, three, even four parts, several ways. Each needs own special rules.",
    "194-h1": "Twelfth counterpoint for two parts.",
    "194-2": "No extra rules beyond earlier ones. No sixth, no seventh resolving sixth. All motions allowed otherwise: similar, contrary, oblique. Example with cantus firmus now.",
    "194-3": "Joseph. Why soprano ends on fifth instead of octave?",
    "194-4": "Aloysius. Makes twelfth transposition end more fittingly in mode. Though transposed part may leave mode without harming double counterpoint. Keep cantus firmus still. Move soprano counterpoint twelfth down. Add flat sometimes so every interval matches original correctly.",
    "195-1": "Transposition correct. Another way: counterpoint octave down, cantus firmus fifth up. Like this.",
    "195-2": "Joseph. Seems transposition makes whole new mode.",
    "195-3": "Aloysius. Already said this counterpoint has that privilege. A not foreign to mode D. In practical music with several parts, can make formal cadence fitting mode. After cantus firmus ends, add melodic continuation and carry to finish. Example:",
    "196-h1": "Twelfth counterpoint example. Add tenth counterpoint to make three voices.",
    "196-1": "Keep cantus firmus in place. Move counterpoint twelfth down. Move same counterpoint tenth up for third voice. Example:",
    "197-1": "Joseph. What rules make this two-part counterpoint turn into three voices?",
    "197-2": "Aloysius. Follow other rules too. Start and end on fifth, so twelfth-transposed part stays in mode. Use contrary or oblique motion. Avoid dissonant ligatures. Then three voices work.",
    "197-3": "Joseph. These examples' melodic course sounds a little harsh.",
    "197-4": "Aloysius. Correct. Often happens in minor-third modes. Transposition and strict cantus firmus make less pleasant melody through harsh mi against fa. Must tolerate because cantus firmus and mode demand it. Free writing without cantus firmus different. Next example shows.",
    "198-1": "Transpose parts as in last example. Becomes three voices.",
    "198-2": "Remember opening rule: no sixth in this counterpoint. Means untied sixth. Syncopated sixth can work. Next example proves:",
    "199-1": "Three double-counterpoint species studied separately. Now uncommon example joins them. Makes two, three, four parts, with much varied harmony.",
    "199-h1": "First, at twelfth, two voices.",
    "199-h2": "Soprano goes down a twelfth.",
    "199-h3": "Soprano goes down a tenth.",
    "200-1": "Soprano goes down a tenth. Move it up an octave. Same three voices, somewhat different harmony.",
    "200-h1": "Another way.",
    "201-h1": "Another way.",
    "201-h2": "Another way.",
    "202-1": "Joseph. Great Master, how many ways you got? Where this stop?",
    "202-2": "Aloysius. Me show how mighty useful double counterpoint is. All this fine variety comes from it. In counterpoint at twelfth, use almost only fifths and octaves with contrary motion. Use thirds with oblique motion. Then pull counterpoint at octave and tenth from counterpoint at twelfth. Great many forms! Example:",
    "202-3": "Now first soprano moves at tenth with tenor. Second soprano moves at tenth with bass. You get full four-voice work. Example:",
    "203-h1": "Another way.",
    "204-1": "See, Joseph? These counterpoints matter much. Two well-built parts make three or four voices. If this amazes you, see why hard study worth doing.",
    "204-2": "Joseph. Me use all strength to learn this amazing craft. Its use, variety, and beauty make me want work.",
    "204-3": "Aloysius. Love alone gets you through this work, Joseph. Me warned you before. Chase fame or riches, and weariness beats you or work disappoints you.",
    "204-4": "Must also show inversion by contrary motion in work with no dissonance ligatures. Two ways: simple contrary motion and reversed contrary motion. Simple way flips notes. What went up goes down. Pay no mind to semitones. Look at familiar subject:",
    "204-5": "Reversed contrary motion flips notes so mi always matches fa. Next note diagram shows how.",
    "205-1": "Match notes climbing from left with notes falling from right. D stays D. E becomes C. F becomes B mi. G becomes A. Same subject shows it.",
    "205-2": "Leave simple contrary motion aside. Less important, less hard. To make reversed contrary motion clear, me invert earlier third example, the three-voice work, like this:",
    "205-h1": "Reversed contrary motion.",
    "206-1": "Joseph. Amazing flip! Can any work do this?",
    "206-2": "Aloysius. Only work with no dissonance ligature, like me said. Mode and subject make some transpositions and inversions good, others bad. Use care and judgment. Fancy craft must not steal pleasant sound. Next fugue shows risk. It serves counterpoint at twelfth more than pleasing melody.",
    "208-1": "No need explain this fugue's part transpositions and subject swaps again. Many explanations and examples already made them known. That ends this kind of counterpoint. No need praise its use again. Want several subjects that swap places? What other road but double counterpoint? Without mixed subjects, work stays plain. Church work especially loses greatest ornament.",
    "208-2": "Joseph. Me hoped for direct and contrary motion mixed, with subjects swapping. Me disappointed.",
    "209-1": "Aloysius. Would do it if subject allowed and work gained grace. Best when you can invent own subject. Prepare it so contrary form sounds charming too. Soon me show example. First see fugue or imitation mixed with cantus firmus all through its course:",
    "211-1": "Joseph. By immortal God! Such clever woven harmony! Craft so great, me almost lose hope of making same. How you let first subject enter all through cantus firmus?",
    "211-2": "Aloysius. Fair wonder, Joseph. Hard, but less hard than you think. Keep lessons firm in head. Practice all carefully. Similar work then less trouble. Before making subject for cantus firmus, inspect every measure with eyes and mind. Can direct or contrary subject fit? Aim every measure, or as many as possible. Keep counterpoint laws and pleasing melody. Another way: take subject note for note from cantus firmus. Or copy its shape, changing or syncopating some note value. Next example:",
    "211-3": "Use these ways, or others fitting cantus firmus. First plan when, where, and which portion allows subject entrance. Till now me tied you to tiring cantus firmus, set subjects, and narrow poor diatonic genus. Rough road! But only road to full understanding. Now leave thorns for flower field. Choose own subjects, make own ideas, roam mixed genus with more room. Use every time kind, triple and quadruple with freer beat. Use smaller notes, irregular subjects, and transposed modes.",
    "212-1": "Joseph. Me glad bonds finally off! Can test own skill now. But you promised show direct subject with reversed contrary form. Please show soon!",
    "212-2": "Aloysius. Good reminder. Me show that, and more. Outside diatonic genus, another inversion way exists. Me also show three different subjects combined. And show how changing note values in common style permits departures from usual counterpoint laws. For reversed contrary motion in mixed genus, mi must match fa and fa match mi everywhere. Earlier diatonic rule need not bind you. Examples make clear.",
    "212-3": "Earlier diatonic rule would flip this theme into reversed contrary motion like this:",
    "212-4": "But next flip fits this subject's mode much better. Example:",
    "213-1": "This reversed contrary form starts and ends inside mode bounds. Here sketch of fugue using it:",
    "215-1": "Alternate direct and contrary subjects like this. Work gets variety harmony needs. Notice shortened notes let both forms move together. Some composers use direct alone almost to middle. Only then bring contrary form. Choose for yourself.",
    "215-2": "Joseph. This fugue seems not built on double counterpoint.",
    "215-3": "Aloysius. Correct. We covered that plenty. Here me only show direct form with contrary. But several subjects, each different in character and note value, need double counterpoint. See next:",
    "215-h1": "Fugue with three subjects.",
    "217-1": "Here how three subjects fill fugue. Second uses counterpoint at octave. Third uses counterpoint at twelfth. First, give each different note values. Different motions make subjects easy to hear. Second, when twelfth subject enters, other parts must not make sixth with each other. Otherwise transposition breaks. Third, whole subject need not always reach end. Another subject's entrance or fine melodic course can excuse cutting it. Such three-subject work usually needs fifth part. Then swapping easier. Not every part busy all time, and parts get more rest.",
    "217-2": "Joseph. Me see and admire craft. Need more time to do well. Me work at home, spare you now. Master, you mentioned variation figure, irregular fugues, transposed modes. If lesson order allows, explain these now.",
    "217-3": "Aloysius. No delay. First:",
    "217-h1": "Variation and anticipation figures.",
    "217-4": "Variation means irregular diminution. Regular diminution only works where notes leap a third. Example:",
    "218-1": "Variation instead works where notes move by step. Example:",
    "218-2": "Example shows variation leaves usual counterpoint rules. Leap goes consonance to dissonance, then dissonance to dissonance. Counterpoint forbids this. Common composition allows. More examples:",
    "219-1": "These variations and similar ones can work in common composition if substance stays same. These too. Example:",
    "219-2": "Anticipation takes half preceding note's value and adds it to next note. Example:",
    "220-1": "Few examples enough. Composers today hardly need add variations. Singers add more than enough already. Hear till sick! Sounds more gargling than singing.",
    "220-2": "Joseph. Where these variations and counterpoint rule-breaks come from?",
    "220-3": "Aloysius. Singers invented them, as just said. Regular diminutions not enough. Wanted show flexible voices. If only they varied with restraint and kept substance! Composers would be happy. But appetite and boldness now so huge, careful hard-built harmony gets flipped. Composer barely knows own work. Worse, talentless singers copy this excess. Mouth takes thousand shapes, more than Roscius's gestures. Five vowels sound at once instead of one. They compete rolling notes till neither music nor words clear. Proud of it! Who can stop flood? Times and customs at fault. Good beginnings slide worse with time.",
    "220-4": "Joseph. Me still apprentice, no right to judge. But me never liked harmony wrecked like this. Think me understand variations and their making now. Next transposed modes and irregular fugues.",
    "220-5": "Aloysius. First know natural modes fully, then transposed ones. Earlier simple-fugue talk touched them briefly. Now me explain as fully as needed.",
    "221-h1": "Modes.",
    "221-1": "Modes! Like sorting ancient chaos. Old and newer writers give almost one opinion per head. Me not blindly admire Greeks. Their first music had few intervals. Plato says so in Timaeus. Later more tetrachord and octave species came, so more modes. But Greek mode names and numbers came more from peoples' character and style than octave species. Dorian, Hypodorian, Phrygian, Lydian, and such named national habits. Like we say Italian, French, English aria today. Greek music barely leaves shadow now. Why still stick foreign names on modern modes and make hard matter harder? Leave obsolete matters and music history aside. Look at newer writers, especially twelve-mode camp: six authentic or principal, six plagal or collateral.",
    "221-2": "Joseph. All modern musicians say twelve modes?",
    "221-3": "Aloysius. No. Some, perhaps following chant, say eight. Others more or fewer.",
    "221-4": "Next explanation and our own view soon show what these opinions worth.",
    "221-5": "Recall simple fugues. Semitone positions give six octave species, thus six principal modes: D, E, F, G, A, C. Diagram already there. Me repeat because discussion needs it.",
    "222-1": "Count semitone positions from each system's first note. Six positions make six octave species. Exactly that many principal modes, no more. Any other octave system is transposition of one of these.",
    "222-h1": "Transposed modes from first mode, D.",
    "223-1": "These are first mode D moved. Semitones stay in same places. Same solmization. Position changes, species does not.",
    "223-h1": "Transposed forms of second mode, E.",
    "223-2": "And some other forms, little use.",
    "223-h2": "Transposed forms of third mode, F.",
    "224-1": "Other forms made with flat or sharp get little use.",
    "224-h1": "Transposed forms of fourth mode, G.",
    "224-h2": "Transposed modes from fifth mode, A.",
    "225-h1": "Transposed modes from sixth mode, C.",
    "226-1": "Joseph. All this says only six natural modes to me.",
    "226-2": "Aloysius. Hold judgment, Joseph. Remember Book One: octave divides harmonically or arithmetically. Harmonic split puts fifth below, fourth above. Arithmetic split puts fourth below, fifth above. Book One explained how. No repeat here.",
    "226-3": "Two octave splits make two different octave species, thus two different modes. Harmonic makes authentic. Arithmetic makes plagal. So twelve different octave systems seem to require twelve modes.",
    "226-h1": "Harmonically split octaves and their modes.",
    "226-4": "These systems surely come from harmonic split. But Joseph Zarlino and many others give next systems for plagal modes. Do they truly come from arithmetic split? Big dispute.",
    "226-5": "Zarlino himself gives next system from octave C in Part Four, Chapter Nine, on modes.",
    "227-1": "Lowest pitch stays here. That true arithmetic split. Since plagal modes do arise that way, following systems must show them.",
    "227-2": "Joseph. Then only five plagal modes.",
    "227-3": "Aloysius. Yes. Cannot split F–f arithmetically. Tritone gets in way, as me said elsewhere.",
    "227-4": "Joseph. What we accept in this mess?",
    "227-5": "Aloysius. Me tell after we examine use and difference of authentic and plagal modes.",
    "227-6": "Zarlino says both modes share beginnings, endings, cadences. Only difference: authentic melody stays higher, plagal lower. He does not demand authentic subjects always climb or plagal always fall. Examples show.",
    "228-1": "Examples show only these differences: plagal melody lower, subject ends on collateral interval, E and B natural. Giovanni Maria Bononcini wants low melody and changed clefs too. Also wants subject descend fourth, fitting plagal nature.",
    "228-2": "Angelo Berardi, otherwise fine writer, seems use authentic and plagal as names only. Ignores subject direction and melodic height. His examples even put authentic melody below plagal.",
    "228-3": "Who knows music and other writers yet calls last example plagal? Subject and melody seem authentic. Same writer gives stranger work for third mode, E–e. Me show whole thing. More reason to marvel.",
    "230-1": "See? Entering tenor and last cadence do not fit label above. Nothing stops calling work A, or Hyperphrygian, its proper mode. Could show many Palestrina examples too. Even great Aloysius of Palestrina cared little for modes. Their authority holds me back, but me almost think these fine writers had no firm answer. Or thought authentic versus plagal too small to bother with. Maybe old ears accepted narrow bounds. Today's hungry ears barely accept reasonable bounds! Judge then worth of theory that cramps music.",
    "230-2": "Joseph. Writers disagree, matter unclear. Which road we take?",
    "230-3": "Aloysius. Advice, Joseph, not command. Leave plagal modes. Use D, E, F, G, A, C and transpositions. Follow earlier simple-fugue lessons and coming ones. Roam widely through intervals fitting your mode. Work with correct harmony, freedom, and charm is authentic enough. Work without them, all too plagal!",
    "231-1": "Joseph. Maybe plagal needed when composing on chant?",
    "231-2": "Aloysius. No. Consider intonations and church modes. Learn those from chant experts. For melody, follow advice just given, without plagal restriction. You will make work worth keeping.",
    "231-3": "Joseph. You use only six modes for figured music. What order? Which first, second, third, and rest?",
    "231-4": "Aloysius. Joseph Zarlino and most then put C, or Dorian, first. Later almost all newer musicians put D first, formerly called Phrygian. We proved only six modal species exist. Order matters little. Joseph, if you want usual names, use them.",
    "231-h1": "Different fugue subjects.",
    "231-5": "Earlier me mentioned irregular fugues or subjects. Irregular compared with diatonic subjects whose answer needs no sharp or flat. Outside strict diatonic genus, these subjects can still be regular if built to mode. Now Joseph, invent different subjects from ones used so far.",
    "231-6": "Joseph. Me give them as they come, no choosing.",
    "231-7": "Aloysius. How you make answering part?",
    "231-8": "Joseph. Me think two ways. Make answer's last note fit mode. Or follow solmization. Example:",
    "232-1": "Aloysius. Both allowed, different reasons. First ends on proper mode pitch. Second respects solmization at final note.",
    "232-2": "Joseph. Which you prefer?",
    "232-3": "Aloysius. Second deserves respect for two reasons. Better melody, less change to subject's course. Strong rule: keep subject whole where possible. Break only for weighty reason. Melody comes before mode. Other part can repair modal lack through melody and by holding mode note above foreign note. Example:",
    "232-4": "Use same judgment for next subject. Example:",
    "232-5": "Both subjects regular in one sense, irregular in another. Irregular: placed outside proper mode, so upper part needs flat to make semitone in both. Regular: they fit mixed genus, most used today.",
    "233-1": "Joseph. What mean, subjects outside proper mode?",
    "233-2": "Aloysius. If me show mode giving that semitone without flat, does that not prove subjects belong there?",
    "233-3": "Joseph. Seems so. Which mode?",
    "233-4": "Aloysius. Mode A. Example:",
    "233-5": "Joseph. Good thing to notice.",
    "233-6": "Aloysius. But flat at beginning, outside melody, marks mode moved up fourth. Then subjects still regular and fit mode. Example:",
    "233-7": "Today mixed genus firmly used. These fine points get little care, though needed for true mode knowledge. Now give more subjects.",
    "233-8": "Joseph. Error mark at third note! Me right to hesitate over answer. What makes error?",
    "234-1": "Aloysius. First to third note makes seventh. Middle note cannot hide bad leap. When first to second leaps fourth, watch third note carefully. First-to-third interval in answer must match proposing part. Proposing part has sixth between them. Answer must too. Example:",
    "234-2": "Joseph. Now subject and melody seem outside mode bounds.",
    "234-3": "Aloysius. No. Proposing subject does not end on mode octave. How could answer end on its fifth? All subject and melody intervals naturally sit inside mode octave, yes? But add sharp at start, making transposed mode, and answer changes a little. Example:",
    "234-4": "Same subject sometimes needs different answer because mode differs. Give another subject, please.",
    "235-1": "Joseph. Me hunted answer long time. Found none.",
    "235-2": "Aloysius. Two answers possible: follow mode or solmization. To follow mode, first reduce subject from chromatic to diatonic genus like this:",
    "235-3": "Then answer comes by itself. Example:",
    "235-4": "Turn answer to chromatic genus. Here it is:",
    "235-5": "Joseph. Could answer keep whole subject and every semitone? Like this:",
    "235-6": "Aloysius. No. E-flat too foreign for mode D. Different if subject built like this:",
    "235-7": "Here E-flat is real substance of subject. Second answer method follows solmization. Like this:",
    "236-1": "Me prefer this way. Breaks subject less than first. Almost same subject answered upward fits mode and semitones all through. Example:",
    "236-2": "Joseph. Master, with leave, me propose one or two string themes. Strings have more room to roam. Me try answers too. Example:",
    "237-1": "Aloysius. Subjects fit today's lack of restraint. Beware such huge long wide subjects in four voices, Joseph. Hard to stop parts blocking each other with such wild tangled themes. Still, answer fits as well as subject allows. In some places mode needs answer's fourth instead of first part's fifth. Elsewhere third instead of second's step. You did that well. Remember lessons and answers of any kind should cause little hesitation. But choose subjects with judgment first. Not all develop equally well.",
    "237-2": "Joseph, me said you can now use every time and proportion, hard lessons finished. Now see how different note shapes and values become equal when beat measure changes.",
    "238-1": "These three different-shaped notes have same value because beat measure differs. Examples show:",
    "238-2": "Joseph. Me see unequal shapes with equal value clearly. What use?",
    "238-3": "Aloysius. Shows where, and which measure quarter, dissonance ligatures belong. In duple time with stroke through sign, like cut time, use them only on thesis, measure beginning. Except this case:",
    "239-1": "Presto: first and third quarters. Adagio: every quarter. See examples.",
    "239-2": "Do not sing last example's ligatures with faster beat. Then desired effect never comes.",
    "239-3": "Me think nothing left out. You know how to put thoughts and ideas on paper under art's rules. Now selection: choose one idea over another to earn good taste praise.",
    "239-h1": "Taste.",
    "239-4": "Everyone talks taste. Italian says good taste, Frenchman perfectly good taste, Latin speaker exquisite taste. Defining it harder than saying it! Strictly taste belongs to tongue. Broadly, to right and fitting order. For music two kinds: active and passive. Active is musician singing or playing, covered earlier. Passive is listener receiving melody. Who judges good or bad? Saying goes: my things please me, yours please you, each likes own. Also no arguing over taste, no judging own case. Rustic likes little tune more than fine composition. Mr. Bellegarde tells of well-born man who hated nightingales but loved frogs croaking. Built house by distant treeless pond. Frog music day and night! No trees for birds to stay and tire him. Joseph, what think of his mighty taste?",
    "240-1": "Joseph. Think fair to question it.",
    "240-2": "Aloysius. Hear more rash foolish judgment and punishment. Proud piper Marsyas challenged Apollo. Got flayed for arrogance. Midas, Phrygia's king, chose Pan over Apollo. Got donkey ears. Poets invented these tales. If bad judges today got such sure punishment, how many skinless folk and donkey ears! Everyone may enjoy own things. But judging needs knowledge: distinguish common familiar things from higher ones, keep nature and order. Cicero says people approve good speeches and poems without knowing what moves them, where excellence lies, or how delight was made. Some modern composers chase taste and novelty by wrecking consonance and dissonance customs and all art's laws. Call themselves creators! Only almighty God creates. Our small newness is rearranging same consonances and dissonances with sound reason. Good-taste work follows precepts, avoids trivial and excessive, aims high but moves naturally, and pleases experts too.",
    "241-1": "Joseph. Your definition needs many hard things!",
    "241-2": "Aloysius. True, Joseph. Beginners struggle even finding ordinary things. Must have those ready before reaching all this. Your fine progress may make you ready. Me explain definition part by part ahead of time.",
    "241-3": "First, work follows precepts. Lawless work may have rare idea and tickle untrained ears. Experts want correctness plus fine idea, so not satisfied. Also avoid low ordinary ideas that bore through triviality. Seek new and high. But novelty must not break nature and order. Ideas too hard to sing or play please neither performers nor listeners. Performers struggle. Listeners hear unreasonable work in ears, never mind.",
    "241-4": "Joseph. Big demand, Master: no commonplace, yet high, unusual, and natural!",
    "241-5": "Aloysius. Yes. Easy natural sound without commonplace is hard. Thus saying, easy is difficult. Good taste gets excellence and flavor from difficult ease. Mere novelty by overturning nature and order avoids that trouble. But does it reach good taste? Much rests on composer's genius and talent. Yet charming impulses must stay inside nature, order, laws to deserve sound taste.",
    "242-1": "Joseph. What if bad times and corrupt taste make flood too strong? Resist and lose reputation and living?",
    "242-2": "Aloysius. Lucky person who likes grain more than husk has no worry. Keep sound judgment. Less lucky one, rest in virtue. Wise Seneca teaches providence his way, not Christian way. Many rivers, rains, healing springs cannot change sea taste or weaken it. So hardship cannot alter brave mind. It stays firm and draws events into own character. These are morals, yes. But keeping arts and sciences unspoiled is virtue too.",
    "242-3": "Different composition kinds and styles need different taste. First discuss styles, since most our work aims there.",
    "242-h1": "Church style.",
    "242-4": "Sacred above worldly in dignity. So worship music meant for eternity holds highest place. Give it chief effort. God is perfect. Praise music should keep rules fully and strictly, as human faults allow, with every means to stir devotion. Cheerful text still needs church gravity, modesty, decorum. Do not pull listeners to other feelings. Fit words with clear, expressive, proper music easy to sing and pronounce. Avoid small notes on words. But held vowel without new word can take diminutions singer can manage. Like skilled tailor measuring every joint, length, width, clothe text exactly. Know meaning and feeling. Music must sing and speak persuasively. Different texts need different church methods: Masses, motets, psalms, hymns, and others. All fit two kinds: a cappella or full-choir style, and mixed style. Start older, honored a cappella.",
    "243-h1": "A cappella style.",
    "243-1": "Earliest worship used voices alone. Then organs came, later nearly all instruments, as today shows. Now two a cappella ways: voices alone, no organ or instruments, and voices with them. First still in many cathedrals and imperial court during Lent, thanks to monarch's special piety and worship. For this unaccompanied kind, avoid mixed genus and transposed modes packed with sharps or flats. Use pure diatonic genus only. Otherwise music misses effect, as me said before.",
    "244-1": "Joseph. Why forbid mixed genus and transposed modes?",
    "244-2": "Aloysius. Think me gave reason in Book One: without instruments, voices struggle with intonation. Make singing easy and natural. Subjects too must be easy, natural, but not barren or ordinary. Short text needing long work means repeated words, like Kyrie and Amen. Fight weariness with rich melodic variety or new subjects. Study others' examples. You learned foundations with me, Joseph, so my work familiar. Here Kyrie from my Mass Vicissitudinis. Later study greater masters. Aloysius of Palestrina is undisputed chief and light of this style. Me urge imitate him again and again if you want more than ordinary progress.",
    "244-h1": "Kyrie from Mass Vicissitudinis.",
    "245-lyrics": "Lord, show mercy.",
    "246-1": "Joseph, inspect woven harmony. Ask about anything doubtful or unclear.",
    "246-2": "Joseph. Me admire parts linked so close with subject. Almost every measure has subject in one or two parts. Melody easy and natural, harmony full. Subject almost replaces melodic continuation. If me could do as well as understand, could rightly be proud of progress. At first NB last soprano note in seventh measure worried me. Leap leaves seventh there.",
    "246-3": "But me remember same in lessons. Diminution left out to keep subject whole, like this.",
    "246-4": "Aloysius. Fine attention and judgment! You found all worth seeing. Be hopeful. Understanding brings you near doing. Time and unbroken practice finish job. But not every subject can enter almost every measure so close. Test before choosing. Alter subject or choose another if needed. Notice parts stay inside staff bounds together. Gives harmony great force. Use this or similar a cappella model for short texts, Kyrie and Amen. Long Gloria or Credo needs new subject for each new text period. Subject expressive, fitting music and words' meaning and feeling, as said before.",
    "247-1": "Joseph. What if subject fits music and words but cannot enter easily?",
    "247-2": "Aloysius. Proper planning makes room. Give entering part rest first. Other parts shape melody to allow new subject during continuation, at cadence, or more rarely after cadence. Whole Mass too long here. Me show offertory. Apart from Kyrie and Amen, method largely fits rest of Mass text. Learn how subject fits words and enters right moment.",
    "247-lyrics1": "Lord, me lift soul to you.",
    "248-lyrics2": "My God, me trust you.",
    "249-lyrics3": "Do not let me face shame.",
    "250-lyrics4": "Do not let enemies mock me.",
    "252-lyrics5": "All who wait for you will not face shame.",
    "254-1": "Joseph, subjects link all through this work. First feel words: To you, Lord, me lift soul. Subject climbs and keeps climbing, like confident prayer. Fits words close. Second part enters before first finishes. Short melody through deceptive cadence lets third part, tenor, enter. Then soprano and alto use almost another subject on my soul instead of continuation. Graceful! To avoid long continuation and needless words, alto rests half-rest then imitates subject on levavi. Soprano rests, imitates little later. After more motion, parts cadence on D with almost-subject animam meam. Soprano rests, brings new subject and text period. Hear expression in Deus meus. Subject enters every measure so close, almost snatched from mouths. Then bass gives fitting in te confido subject. Others take it, mix with Deus meus, carry to cadence on B fa.",
    "255-1": "Joseph. New progression me never saw in lessons: fifth to fifth, though contrary motion. Example:",
    "255-2": "Aloysius. Good eye. Rule allows it, but same-species perfect consonances twice give little variety. Use only for strong need, especially four voices. Here subject could not enter otherwise. That excuses it. Closely woven subjects often need small freedom. Next subject often leaps fourth instead of third, or third instead of step. Same reason: bring subject earlier. Now bass enters under that cadence with non erubescam. Others repeat close, reaching cadence on F. Bass then starts neque irrideant me inimici mei. Fits words well, continues long with parts tight together.",
    "255-3": "Joseph. Earlier subject's development seems have two fifths right after each other, like this:",
    "256-1": "Tenor seems act as bass here.",
    "256-2": "Aloysius. Some writers think so. But quieter tenor lets ear hear second fifth comes from third, not earlier fifth. Too small a matter to damage subject's course or grace. You can now inspect rest easily. Also note: never repeat words that mean nothing alone. Next me show this style with cantus firmus duty and text. See how subjects enter.",
    "256-lyrics1": "Hail Mary, full of grace.",
    "258-lyrics2": "Lord is with you.",
    "258-lyrics3": "You blessed among women.",
    "261-lyrics4": "And fruit of your womb blessed too.",
    "262-1": "Joseph, here model bound to cantus firmus, Gregorian chant. Subjects less singable and expressive than earlier? Blame chant restriction. Cannot choose any subject, only ones fitting chant. Usually draw from chant itself or copy it. Words repeat perhaps too much because chant short and its course must last whole offertory. Such duty takes some ornament away. But cantus firmus sound brings sweetness and breath of devotion. Listeners attend at once.",
    "262-2": "Joseph. You said subjects enter during cadence, rarely after it ends. This work seems opposite.",
    "262-3": "Aloysius. Again, cantus firmus restriction. Subjects from Gregorian chant cannot enter anywhere you please. But constant motion, reason for rule, never breaks. Goes to end. Enough a cappella examples without organ or instruments. Study and weigh these, then study greater craft in other fine authors.",
    "262-4": "Joseph. What watch when making psalms and hymns in this style?",
    "262-5": "Aloysius. Nothing special. Give music some song character, especially hymns, since verse. No separate lesson needed. Next a cappella with organ and other instruments. More freedom in melody, singing, movement. Here Kyrie from my Mass in Fletu solatium.",
    "263-h1": "All together, little lively.",
    "265-1": "Joseph, first hear natural graceful melody. Parts close, none blocks another. Melody not commonplace, moves naturally to related modes. Parts rest at right times. No useless overstuffed tangle. Harmony still full. Can use style in three voices too, as me often done well. Here three-voice Christe from same Mass.",
    "266-h1": "Three voices. All together.",
    "266-lyrics": "Christ, show mercy.",
    "267-1": "This freer three-voice a cappella work favors melody and imitation over fixed subject, except start. After cadence and short rest, new idea keeps coming. Other parts imitate. Melody pleasing, clearer because parts mostly follow by oblique motion. Do not sing this proportion too fast. Style near unaccompanied church gravity, more common today. So one more example: Amen from my Mass Credo in unum Deum.",
    "268-h1": "All together, fairly fast.",
    "268-lyrics": "Amen.",
    "271-1": "Joseph, inspect parts tied by subject, concordances set right, dissonances in unbroken chain. Melody natural and easy but not ordinary. Parts joined give harmony greatest force. Motion never stops till end.",
    "271-2": "Joseph. Me see and admire all. But dissonances seem resolve upward here. You forbade that.",
    "271-3": "Aloysius. Fine musician made same complaint about this Amen, Joseph. Missed that fusa rising after dissonance is variation figure. Added for motion and better melody. Look at substance.",
    "271-4": "Joseph. Me annoyed at missing clear thing. Next time recognize variation figures before judging.",
    "272-1": "Master, with leave, one more doubt.",
    "272-2": "Aloysius. Speak.",
    "272-3": "Joseph. You banned doubling accidental sharps. But ninth measure of Amen doubles alto sharp in tenor. Example:",
    "272-4": "Aloysius. Yes. Sharp has strength and harshness. Doubled, overpowers other parts, breaks harmony balance. Ban holds when doubled sharp lasts long. Here tenor sharp so short, harm too small to break graceful texture that melody and subject need.",
    "272-5": "Joseph. Instruments join this style. What give them? Trombones usually unison with alto and tenor, me know. What for strings?",
    "272-6": "Aloysius. In this a cappella style, both first and second violins go unison with soprano.",
    "272-7": "Joseph. But me often hear and see strings do something else.",
    "272-8": "Aloysius. Yes. What do they play? Ugly oversized leaps, not singable. Wander up and down, confuse harmony they should help. If four voices complete by art's rules, no room for fifth subject part. Same with three voices. Other way makes bad melody.",
    "272-9": "Joseph. What if first violin doubles alto at octave, as many do?",
    "272-10": "Aloysius. If many doubled voices and added trombone hide octave succession, tolerate it. Few voices let octaves show? Sounds rustic. Safer: both violins join soprano. Other Mass sections, offertories, psalms, hymns, and rest follow varied text as said. But freer range than no-organ style.",
    "273-1": "Joseph. What watch when work has several subjects?",
    "273-2": "Aloysius. Music needs double counterpoint, as shown. Subjects must have different note values, fit text, express it. Also never mix text periods with opposite meanings. Crucifixus and Resurrexit: was crucified and rose again. That tangles meaning. Judge carefully to avoid. Now next:",
    "273-h1": "Mixed style.",
    "273-3": "Mixed style sometimes one, two, three, or more voices concerted with instruments. Sometimes full choir. Main church use today. Commonly heard, so no long talk or examples. Joseph, remember church music aims to stir devotion and serve worship. Do not mix with theater or dance as many do. But sacred does not mean barren pointless ideas or tiring harshness. That makes boredom, not devotion. Make harmony please ears and enter minds with delight. Remember all long course's advice. Build work worthy before God, praiseworthy among people.",
    "274-h1": "Recitative style.",
    "274-1": "Recitative is speech in musical phrases, like orator speaking. Speaker varies voice with words: stronger, softer, higher, lower, showing feeling in mind. Composer must follow text same way. Everyday-speech recitative uses restrained voice. Argument uses sharp voice, sometimes shouting, bass changes often. Dignified text needs grave music, bass changes rarely. Suits church style, often with instruments. Example:",
    "274-lyrics": "Lord, do not rebuke me in wrath or punish me in anger. Show mercy, Lord, me weak. Heal me, Lord, bones troubled.",
    "276-1": "Joseph. What me see? Instruments' harmony, especially dissonances, seems leave counterpoint rules entirely.",
    "276-2": "Aloysius. Recitative nature needs this freedom. Bass does not move usual dissonance-resolution way, so usual treatment cannot happen. Exact concordance matters less here than feeling. Feeling is why style exists. When praying our feelings to God, arrange roughly so, or differently as text needs. Secular chamber and theater music have different aim, thus need different handling.",
    "276-3": "Secular music refreshes minds and leads to different feelings. Recitative mostly expresses anger, compassion, fear, force, distress, pleasure, love.",
    "276-4": "Anger: excited voice climbing. Strong anger: abrupt outcry. Use small notes almost always rising high, bass changes often. Mind angry person's rank. King keeps royal gravity and dignity, not womanly shouting. Same rank concern for every feeling.",
    "277-1": "Compassion: plaintive voice, sometimes broken. Longer notes, often dissonant. Bass stays put longer.",
    "277-2": "Fear: low, hesitant voice.",
    "277-3": "Force: strong intense voice, with gravity to strengthen it.",
    "277-4": "Pleasure: flowing voice, gentle and relaxed.",
    "277-5": "Love: pleasing, tender, affectionate voice. Other feelings often join love. Consider those carefully too.",
    "277-6": "Watch speech marks carefully: comma, colon, semicolon, full stop, question, exclamation, parenthesis. Almost each needs own ending.",
    "277-7": "If comma needs ending, do like this. Example:",
    "277-8": "Semicolon gets almost same music. Often skip comma break when meaning needs haste.",
    "277-9": "Colon usually ends like this.",
    "278-1": "Full stop same if sentence ends but talk stays on same matter. Entirely different speech needs formal cadence, usually shortened. Example:",
    "278-2": "But if speech ends completely, arrange like this.",
    "278-3": "Question mark has different expressions for different meanings. Example:",
    "278-4": "Wonder or exclamation usually shown like this.",
    "278-5": "Words in parentheses usually imagined spoken only to audience, unheard by other actors. Use quieter voice. Learn all this more by judgment, practice, and studying trusted writers than rules.",
    "278-6": "Joseph. Enough recitative then. What advice for what we call arias?",
    "278-7": "Aloysius. Fixed rule for free invention changing almost every five years? Me praise novelty, not blame. Middle-aged man in fifty- or sixty-year-old fashion gets laughed at. Music too must fit time. But no tailor puts sleeves on thigh or knees. No architect puts foundation on roof. Music often does such foolishness! Experts hurt, art shamed. Nature and art rules overturned, bass foundation shoved upward, other parts lowered, no care for foundation. Joseph, when ready, use all strength for new invention. Never overturn art rules. Art copies and improves nature, does not destroy it.",
    "279-1": "Joseph, make these things easy habit through hard practice. Then me hope nothing stops you earning excellent composer's name.",
    "279-2": "Joseph. Respected Master, seems you bringing work to end?",
    "279-3": "Aloysius. Yes. Feel numbness and weariness? Usual warning of gout coming. Years and almost constant sickness made me weak. If illness hits hard and stays usual six months, reasonable fear me may not survive this time. Little work has other faults. Let it not lack ending too. Me end here.",
    "279-4": "Joseph. Then no teaching for more voices?",
    "279-5": "Aloysius. Me meant include treatise for more voices here. Illness stopped me, now in bed. If God, supremely good and great, grants longer life and strength, me publish separate treatise later. Then you can learn rest without living teacher. Meanwhile trust this: one who makes complete four-voice work already has road to more parts. More voices loosen some rule strictness. Farewell. Pray to God for me.",
    "279-finis": "The end."
  }
}